Galleria Carlo Orsi

Chiama Indicazioni Sito Web

Galleria Carlo Orsi Sculture e Dipinti Antichi

08/10/2026

BIAF 2026 has come to a close.
Our sincere thanks to all our friends, collectors, clients and colleagues who came to visit us at Palazzo Corsini.
It was a pleasure to spend these days in the rooms of Palazzo Corsini, normally closed to the public, and to be part of the lively atmosphere of this year’s Biennale.
Thank you to everyone who came to see us.
Until next time, Florence.

Let’s begin the day with another protagonist of our stand at BIAF.Giambattista Tiepolo, Head of an Oriental Man with Mou...
03/10/2026

Let’s begin the day with another protagonist of our stand at BIAF.
Giambattista Tiepolo, Head of an Oriental Man with Moustache and Turban

Tiepolo rarely painted portraits, yet the human head was a recurring subject throughout his mature work.

From the 1750s, he explored an ever-growing repertoire of distinctive faces and characters, capturing them with remarkable freedom and expressive power. These studies became a world of their own, separate from the grand decorative cycles for which he is best known.

This painting also has a fascinating afterlife: it was later translated into an engraving by his son Domenico, becoming part of his father’s visual repertoire of heads.

A small painting, but one that opens a window onto Tiepolo’s extraordinary imagination and his enduring fascination with the human face.

Discover it at our stand at BIAF.

BIAF Italian Art

The journey through the artworks exhibited at our booth at BIAF continues. This time, we bring together the stories of t...
30/09/2026

The journey through the artworks exhibited at our booth at BIAF continues. This time, we bring together the stories of two foreign masters active in Italy at the end of the eighteenth century: Jacques Sablet and Louis Gauffier.

Two artists who transformed portraiture at a moment of transition from Neoclassical rigor to a new sensibility, portraying members of the aristocracy, Grand Tour travelers, and protagonists of the Napoleonic campaigns.

Jacques Sablet (Morges 1749 – Paris 1803)
Portrait of Giuseppe Cristiano Gabaleone, Count of Salmour (1791)
Oil on canvas, 62 × 51 cm
Signed and dated: J. Sablet. Romae / 1791

Louis Gauffier (Rochefort 1762 – Livorno 1801)
Portrait of Étienne Michaux, with the City of Florence in the Background (1801)
Oil on canvas, 64.5 × 46 cm
Signed and dated lower left: L. Gauffier. Flor. / an 9.e

The dialogue between these two portraits unfolds within natural landscapes: the Roman countryside in Sablet’s painting, and a terrace overlooking Florence in Gauffier’s, identified by the unmistakable dome of the Duomo.

Sablet, nicknamed the “Peintre du Soleil” for his warm, diffused light, combines portraiture with the timeless appeal of the Roman countryside, balancing Neoclassical tradition with a quiet pastoral atmosphere.

Gauffier, celebrated among Grand Tour travelers for his open-air portraits set against famous monuments, adapted this successful formula to the protagonists of the Napoleonic presence in Florence. His portrait of Commissioner Michaux is an emblematic example, depicting him at the height of his military success.

BIAF Italian Art

Not everything at BIAF is solemn.Bartolomeo Passerotti(Bologna, 1529–1592)Due vecchi che amoreggianoOil on canvas, 54 × ...
28/09/2026

Not everything at BIAF is solemn.

Bartolomeo Passerotti
(Bologna, 1529–1592)
Due vecchi che amoreggiano
Oil on canvas, 54 × 70.5 cm

A particularly curious and rare painting by Bartolomeo Passerotti, a leading figure in Bolognese art of the second half of the sixteenth century.

Through a distinctive combination of naturalistic observation, acute attention to physiognomy, and a subtle satirical vein, Passerotti explores the theme of love in old age, transforming it into a refined meditation on vanity, desire, and the fleeting nature of beauty. In doing so, he anticipates some of the developments of genre painting in the following century.

The subject belongs to the sixteenth-century tradition of the “ill-matched couple,” particularly widespread in Northern European painting, which Passerotti reinterprets with remarkable freedom and a distinctly personal sense of irony.

The painting also has a noteworthy collecting history. It once belonged to Federico Zeri, one of the most important art historians of the twentieth century, who devoted particular attention to Passerotti’s genre scenes.

The canvas has also been associated with the celebrated “Allegra compagnia”, now in the Musée du Grand Siècle in Nanterre and formerly in the collection of Pierre Rosenberg.

A rare and singular work, bringing together iconographic originality, pictorial quality, and a distinguished provenance.

Following the success of the preview at BIAF 2026, on this opening day Palazzo Corsini unveils its   to a global audienc...
26/09/2026

Following the success of the preview at BIAF 2026, on this opening day Palazzo Corsini unveils its to a global audience of collectors and connoisseurs from all over the world. To celebrate the first official day of the fair, we have the pleasure of unveiling a truly extraordinary artefact: an absolute masterpiece of Sienese Gothic goldsmithery, the ‘Calice’ by Goro di Ser Neroccio.

Goro di Ser Neroccio, goldsmith from Siena (1415)
Chalice
Copper, silver, translucent enamels and champlevé enamels, 26.4 x 16.5 cm

Signed and dated in Gothic majuscule script and decorated through a masterful use of translucent and champlevé enamels, the chalice is populated by saints, Seraphim and sacred scenes that emerge through the contrast between bright colors and gold. This craftsmanship is at once heir to the stylistic traits of the second half of the XIV century and a bearer of innovation, such as in the globular rendering of the stem’s knop. Its historical-artistic importance is matched only by its fascinating provenance: formerly part of the famous Debruge-Duménil, Soltykoff, and Seillière collections in the 19th century, the work had long remained untraceable. Studies suggest a prestigious original destination for the church of San Francesco in Borgo San Sepolcro, intended for the altar of Blessed Ranieri Rasini, who is depicted on one of its plaques.

BIAF Italian Art

Today marks the Preview of BIAF 2026 in Florence.As the doors of Palazzo Corsini open, we are delighted to share a first...
25/09/2026

Today marks the Preview of BIAF 2026 in Florence.
As the doors of Palazzo Corsini open, we are delighted to share a first glimpse of our presentation, beginning with an important portrait by Anton Raphael Mengs.

Anton Raphael Mengs
Portrait of George Clavering Nassau, III Earl Cowper
Oil on panel, 77 × 64 cm

One of the leading figures of 18th-century European painting, Mengs portrays George Clavering Nassau, 3rd Earl Cowper (1738–1789), the celebrated English aristocrat, patron and collector who made Florence his home.
The portrait reflects the personal and artistic relationship between Mengs and Cowper, established in the 1760s. A prominent figure in cosmopolitan Florentine society, Cowper was also a distinguished connoisseur whose collection included masterpieces by Raphael, Carlo Dolci, Fra Bartolomeo, Pontormo and other major Italian masters.
Particularly significant is the existence of two autograph versions of the portrait. One, formerly in the collection of Carlo Rinuccini and later in the Corsini collection, is now preserved at the Fondazione Cassa di Risparmio di Firenze. The present work has been identified with the second version, plausibly the one intended to remain with Cowper and his family.
A remarkable work bringing together artistic quality, distinguished provenance and the history of Grand Tour collecting in 18th-century Florence.

BIAF Italian Art
Palazzo Corsini, Florence

Tomorrow, our stand begins to take shape. ✨ The journey to the Biennale Internazionale dell’Antiquariato di Firenze begi...
20/09/2026

Tomorrow, our stand begins to take shape. ✨
The journey to the Biennale Internazionale dell’Antiquariato di Firenze begins.

From September 25, you will discover a selection of works chosen to take you across centuries of art, history, and collecting.

Among them, a rare and deeply intimate work:

Antonio Canova
(Possagno 1757 – Venice 1822)
The Penitent Magdalene
Oil on canvas, 105 × 81 cm

Painted between 1798 and 1799, during Canova’s stay in Possagno, The Penitent Magdalene belongs to one of the most personal moments of the artist’s career. Away from Rome and from sculpture, Canova turned to painting, keeping it within an intimate and private dimension.

The same subject would later return in his sculptural work, in two celebrated versions: the 1796 sculpture for Giovanni Battista Sommariva, and the 1809 version for Eugène de Beauharnais, now in the Hermitage Museum.

A silent work.
A private moment.
A masterpiece to encounter in Florence.

From September 25.

📍 Biennale Internazionale dell’Antiquariato di Firenze

«Not a museum, but a museum-university open to the world».With these words, Rector Elena Beccalli inaugurated “Brera nel...
18/09/2026

«Not a museum, but a museum-university open to the world».
With these words, Rector Elena Beccalli inaugurated “Brera nella città”, a scientific project born from the synergy between Università Cattolica, Pinacoteca di Brera and the Museo Nazionale Scienza e Tecnologia Leonardo da Vinci.
The goal? To push beyond traditional museum boundaries and return a heritage previously kept in storage to both research and the community.
From now on, 37 Renaissance frescoes from Lombardy finally emerge from the shadows. These works - masterpieces by masters such as Bergognone, Luini, Lanino and Zenale, saved by detached fresco techniques from the original structures of churches and convents destroyed during the Napoleonic era - have found a new home.
As co-curator and medieval art historian Stefania Buganza emphasized during the conference, the initiative makes it possible to “discover fragments of Milan’s history and art while walking through the university’s lecture halls and spaces”.
This operation transforms conservation into living research and constant updates, a vision that we can all embrace.
Università Cattolica

In Panicale, within the quiet beauty of the Church of San Sebastiano, a remarkable work of art bears witness to centurie...
06/09/2026

In Panicale, within the quiet beauty of the Church of San Sebastiano, a remarkable work of art bears witness to centuries of devotion and artistic heritage.
Originally housed in the nearby Church of Sant’Agostino, where it adorned the altar of the Madonna del Soccorso, the fresco was carefully detached in 1796 due to humidity. Following several restorations and relocations, it found its permanent home in its present setting.
A precious expression of the Umbrian Renaissance, it belongs to a distinguished artistic tradition shaped by masters such as Perugino, one of the defining figures of the Renaissance in Umbria.



Almost ready to return ✈️ Our summer break is coming to an end, and we look forward to sharing new stories, new insights...
28/08/2026

Almost ready to return ✈️
Our summer break is coming to an end, and we look forward to sharing new stories, new insights and new works with you once again.
The new season will begin with an important appointment: Carlo Orsi Gallery’s participation in the upcoming Biennale Internazionale dell’Antiquariato di Firenze.
Behind every work we choose to present lie months of research, study and careful consideration.
In the coming weeks, we will reveal some details of the works that will accompany us to this prestigious event.
See you soon!

📷 Anton Von Maron
(Vienna 1731 – Rome 1808)
The Education of Cupid (details)

Indirizzo

Milan

Notifiche

Lascia la tua email e sarai tra i primi a sapere quando Galleria Carlo Orsi pubblica novità e promozioni. Il tuo indirizzo email non verrà utilizzato per nessun altro scopo e potrai annullare l'iscrizione in qualsiasi momento.

Scelte rapide

Condividi