CONTRIBUTIONS

MONOGRAPHICAL CONTRIBUTIONS: Previously unknown painters.

Gianluca Bocchi's monographical works have given a significant contribution to the knowledge of still life painters active in Italy in the 17th and 18th centuries. Paintings produced by artists cited in historical sources as well as those by still unidentified hands have been recognised.

1. Andrea Bonanni (Naples?-documented in Rome until 1682)
Neapolitan painter, was Giovanni Domenico Valentini’s master in Rome. One of his paintings is in Ajaccio in the Musée Fesch, three in Florence in the Galleria degli Uffizi and in the Palazzo Pitti.

Bibliography:
G. Bocchi-U. Bocchi, Andrea Bonanni, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 447-452.
G. Bocchi, Giovanni Domenico Valentini, pittore di “cocine” e di “robba mangiativa”, in Giovanni Domenico Valentini alias G.D.V. pittore di interni e di nature morte, exhibition catalogue by G. Asioli Martini (Imola, Fondazione della Cassa di Risparmio di Imola, 12 November 2005-8 January 2006), Imola 2005, pp. 112-115, fig. 10.
G. Bocchi, Andrea Bonanni, in Giovanni Domenico Valentini alias G.D.V. pittore di interni e di nature morte, exhibition catalogue by G. Asioli Martini (Imola, Fondazione della Cassa di Risparmio di Imola, 12 November 2005-8 January 2006), Imola 2005, cards 23-24, pp. 196-197.

Kitchen interior with fish - oil on canvas 143 x 219 cm - Ajaccio, Musée Fesch

2. Ludovico Caffi (Cremona ca. 1641-Milan 1691)
Cremonese artist, was the husband of the famous painter of flowers Margherita Caffi. He was active as a painter of figures and still-lifes. Two of his paintings are in the Palazzo Comunale in Cremona and one in the Palazzo Comunale in Cella Dati.

Bibliography:
G. Bocchi-U. Bocchi, Ludovico Caffi, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp. 72-77.
G. Bocchi, La famiglia Volò, Ludovico Caffi e Gilardo da Lodi, in Gilardo da Lodi e la pittura di uva in Lombardia nel Seicento e nel Settecento, exhibition catalogue by T. Gipponi (Lodi, chiesa di S. Cristoforo, 24 April-6 June 2004), Milan 2004, pp. 33-41.
G. Bocchi, Il soggiorno bolognese di Ludovico e Margherita Caffi, in “Strenna piacentina 2013”, Piacenza 2013, pp. 92-101.

Still-life of fruits - oil on canvas 105 x 130 cm - Cella Dati, Palazzo Comunale

3. Bartolomeo Castelli the Elder (Rome?-Rome 1686)
He was the elder brother and the teacher of the famous Giovanni Paolo. He was influenced by the style of Michelangelo di Campidoglio. His works are found only on the market and in private collections.

Bibliography:
G. Bocchi-U. Bocchi, Bartolomeo Castelli, in Arte nei secoli, exhibition catalogue (Casalmaggiore, Galleria d’Orlane, 18 April-10 May 1987), Vignola 1987, pp. 14-15.
G. Bocchi-U. Bocchi, Bartolomeo Castelli, in Naturalia. Nature morte in collezioni pubbliche e private, by G. Bocchi e U. Bocchi, Turin 1992, pp. 298-299.
G. Bocchi-U. Bocchi, La famiglia Castelli / The Castelli family, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 577-581.
G. Bocchi-U. Bocchi, Bartolomeo Castelli il Vecchio, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 582-590.

Still-life of fruit - oil on canvas 72 x 127 cm - formerly Prato, Farsetti Arte

4. Bartolomeo Castelli the Younger called Spadino (Rome 1696-1738)
Son of Giovanni Paolo, he took his nickname Spadino. His style was influenced by the works of his uncle Bartolomeo Castelli and these of Michelangelo di Campidoglio. Four of his paintings are in the Galleria Spada in Rome, one in the Civic Museum Lia in La Spezia, one in the Musée Granet in Aix-en-Provence.

Bibliography:
G. Bocchi-U. Bocchi, Bartolomeo Castelli detto Spadino Junior, in Naturalia. Nature morte in collezioni pubbliche e private, by G. Bocchi and U. Bocchi, Turin 1992, pp. 272-275.
G. Bocchi-U. Bocchi, La famiglia Castelli / The Castelli family, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 577-581.
G. Bocchi-U. Bocchi, Bartolomeo Castelli il Giovane detto Spadino, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 625-659.

Still-life of fruits outdoors - oil on canvas 96 x 73 cm - formerly Milano, Finarte

5. Paolo Cattamara called Pavoluccio Napoletano (Naples?-Naples before 1670)
Neapolitan artist recorded by Pellegrino Antonio Orlandi (1733) as a painter of "snakes, birds and other animals, flowers and fruits." We only know one painting, which was signed and dated in 1652. It was published by Gianluca and Ulisse Bocchi in 1987. Another painting is in the Musée des Beaux-Arts in Strasbourg.

Bibliography:
G. Bocchi-U. Bocchi, Paolo Pavoluccio Napoletano, in Arte nei secoli, exhibition catalogue (Casalmaggiore, Galleria d’Orlane, 18 April-10 May 1987), Vignola 1987, pp. 18-20.
G. Bocchi-U. Bocchi, Paolo Cattamara detto Pavoluccio Napoletano, in Naturalia. Nature morte in collezioni pubbliche e private, by G. Bocchi and U. Bocchi, Turin 1992, pp. 298-299.
G. Bocchi-U. Bocchi, Otto Marseus van Schrieck detto Ottone Marcellis o Snuffelaar, in Pittori di natura morta a Roma. Artisti stranieri 1630-1750 / Italian Still Life Painters in Rome. Foreign Artists 1630-1750, by G. Bocchi e U. Bocchi, Viadana (Mantua) 2004, p. 24, fig. OM.1.

Flowers on a table, a butterfly and a snail - oil on panel 32 x 43,3 cm - signed “Paolo Pavoluccio F. Nap. ano 1652 CasalMagg. Ger.mo Buonguadagno Castello di Loano” - formerly Casalmaggiore, Galleria d’Orlane

6. Jacopo Cortese called Baella (Pontremoli?-documented in Naples in 1687)
Born in Pontremoli, he was active in Tuscany, Rome and Naples. We only know a signed painting made in Naples which shows an eclectic style that shows the influence of the Florentine painter Bartolomeo Bimbi.

Bibliography:
G. Bocchi-U. Bocchi, Iacopo Cortese detto Baella, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, p. 506.

Flowers in a vase with fruit and a woodpecker - oil on canvas 65 x 95 cm - signed “Ia. Cortese Nap. Dipinse 1687” - location unknown

7. Carlo Antonio Crespino called Crespino (active in Como in the second half of the the beginning of the 18th century)
Long believed as a bolognese, he is instead a lombard painter. In a picture we find the signature: "Carlo Antonio Crespi made in Como in 1784". In Milan inventories of the eighteenth century there are often still-life paintings with the indication "Crespino".

Bibliography:
G. Bocchi-U. Bocchi, Carlo Antonio Crespi, in Arte nei secoli, exhibition catalogue (Casalmaggiore, Galleria d’Orlane, 18 April-10 May 1987), Vignola 1987, pp. 54-57.
G. Bocchi-U. Bocchi, Carlo Antonio Crespi, in Naturalia. Nature morte in collezioni pubbliche e private, by G. Bocchi and U. Bocchi, Turin 1992, pp. 128-131.

Still-life of fruits - oil on canvas 70 x 59 cm - signed “Carlo Crespi” - formerly Casalmaggiore, Galleria d’Orlane

8. Antonio Gianlisi Senior called Cardellino (Ponte dell’Olio 1655-Crema 1713)
Remembered by Desiderio Arisi (1725) as a painter of flowers and fruits, specialized in composition with grapes, he has been neglected for centuries and then confused with the son of the same name, which was the first teacher. Two of his paintings are in the Collegio Alberoni in Piacenza, two in the Accademia Tadini in Lovere and two in the Museo Civico in Bassano del Grappa.

Bibliography:
G. Bocchi-U. Bocchi, Circa i Gianlisi, Gilardo da Lodi e Giacomo Desti, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998,pp. 150-173.
G. Bocchi-U. Bocchi, Il collezionismo nobiliare a Crema. Un tramite di influenze intensamente decorse dai Gianlisi al Desti, in Giacomo Desti. Un pittore eclettico nella Crema del Settecento. Con contributi di Gianluca e Ulisse Bocchi sulla natura morta dei Gianlisi, by L. Carubelli, Crema 2009, pp. 207-211.
G. Bocchi-U. Bocchi, La cronistoria del vero Cardellino, in Giacomo Desti. Un pittore eclettico nella Crema del Settecento. Con contributi di Gianluca e Ulisse Bocchi sulla natura morta dei Gianlisi, by L. Carubelli, Crema 2009, pp. 213-223.
G. Bocchi-U. Bocchi, Una nuova e definitiva prova per il riconoscimento di Antonio Gianlisi senior detto il Cardellino, in Giacomo Desti. Un pittore eclettico nella Crema del Settecento. Con contributi di Gianluca e Ulisse Bocchi sulla natura morta dei Gianlisi, by L. Carubelli, Crema 2009, pp. 225-256.
G. Bocchi-U. Bocchi, L’arte pittorica di Antonio Gianlisi senior detto il Cardellino, in “Strenna piacentina 2014”, Piacenza 2014, pp. 26-36.

Still-life with grapes, strawberries and carnations - signed “Ant.o Gianlesi F.” - private collection

9. Gilardo da Lodi (active in Lodi at the beginning of the second half of the 18th century)
Painter remembered by historical sources as a specialist in painting grapes, he has been confused with other contemporary artists like Antonio Gianlisi the Elder for centuries. Four of his paintings are in the Museo Civico in Lodi, one in the palace of the Provincia of Lodi, one in the Pinacoteca Malaspina in Pavia.

Bibliography:
G. Bocchi-U. Bocchi, Circa i Gianlisi, Gilardo da Lodi e Giacomo Desti, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998,pp. 150-173.
G. Bocchi, La famiglia Volò, Ludovico Caffi e Gilardo da Lodi, in Gilardo da Lodi e la pittura di uva in Lombardia nel Seicento e nel Settecento, exhibition catalogue by T. Gipponi (Lodi, chiesa di S. Cristoforo, 24 April-6 June 2004), Milan 2004, pp. 33-41.
G. Bocchi-U. Bocchi, Gilardo da Lodi, in Gilardo da Lodi e la pittura di uva in Lombardia nel Seicento e nel Settecento, exhibition catalogue by T. Gipponi (Lodi, chiesa di S. Cristoforo, 24 April-6 June 2004), Milan 2004, cards 63, 68-74, 77-78, pp. 148-149, 152-159, 162-163.

Still-life with grapes, pears, plums, pumpkin, peaches and bottles of wine - formerly Casalmaggiore, Galleria d’Orlane

10. Alessandro Gori (active in Florence in the second half of the first half of the 17th century)
There is no biographical information of this painter who was almost certainly from Florence. The signed works appeared on the international market are all hunting subject , they represent wild animals and sometimes fruit.

Bibliography:
G. Bocchi-U. Bocchi, Alessandro Gori, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi e U. Bocchi, Calenzano (Florence) 1998, pp. 507-511.

Still-life with quail, magpie, sparrow and cherries - oil on canvas 39,5 x 31,5 cm - formerly Casalmaggiore, Galleria d’Orlane

11. Francesco Guardi (Venice 1712-1793)
Great Venetian artist specialist in views, capricci and figurative paintings, he had a limited pictorial production with floral theme inspired by examples by Margherita Caffi and Elisabetta Marchioni, but interpreted in a completely personal way. In 2012 Gianluca Bocchi In 2012 Gianluca Bocchi made an exhibition of flowers paintings by Francesco Guardi on behalf of the Soprintendenza ai Beni Artistici e Storici of Trento.

Bibliography:
G. Bocchi-U. Bocchi, Francesco Guardi, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp. 466-476.
G. Bocchi, La fortuna critica della ‘pittura di fiori guardesca’, in Francesco Guardi nella terra degli avi. Dipinti di figura e capricci floreali, exhibition catalogueue by E. Mich, (Trento, Castello del Buonconsiglio, 6 October 2012-6 January 2013), Beni Artistici e Storici del Trentino, Quaderni 21, Trento 2012, pp. 85-95.
G. Bocchi, I pittori di fiori a Venezia nell’età di Francesco Guardi. Il problema Nicolò Guardi, in Francesco Guardi nella terra degli avi. Dipinti di figura e capricci floreali, exhibition catalogueue by E. Mich, (Trento, Castello del Buonconsiglio, 6 October 2012-6 January 2013), Beni Artistici e Storici del Trentino, Quaderni 21, Trento 2012, pp. 114-127.
G. Bocchi, Francesco Guardi pittore di fiori, in Francesco Guardi nella terra degli avi. Dipinti di figura e capricci floreali, exhibition catalogue by E. Mich, (Trento, Castello del Buonconsiglio, 6 October 2012-6 January 2013), Beni Artistici e Storici del Trentino, Quaderni 21, Trento 2012, pp. 127-141.
G. Bocchi, L’influenza delle opere di Francesco Guardi sui fioranti coevi, in Francesco Guardi nella terra degli avi. Dipinti di figura e capricci floreali, exhibition catalogue by E. Mich, (Trento, Castello del Buonconsiglio, 6 October 2012-6 January 2013), Beni Artistici e Storici del Trentino, Quaderni 21, Trento 2012, pp. 141-145.

Flowers, cock and and a basket with flowers - oil on canvas 75 x 94 cm - signed “F.G.” - private collection

12. Francisco de Herrera the Younger called el Mozo or lo Spagnolo delli pesci (Sevilla 1627-Madrid 1685)
Son of Francisco Herrera the Elder, he was a Sevillian painter, architect, designer and engraver who also painted still-lifes. Between 1647 and 1650 he lived in Rome where he was nicknamed as Spanish of fish. We know only one painting signed in naturalistic theme made known for the first time by Gianluca and Ulisse Bocchi in 1992.

Bibliography:
G. Bocchi-U. Bocchi, Francisco de Herrera detto el Mozo o lo Spagnolo degli pesci, in Naturalia. Nature morte in collezioni pubbliche e private, by G. Bocchi and U. Bocchi, Turin 1992, pp. 340-343.
G. Bocchi, Francisco de Herrera, in Fruges. Frutta dipinta su tela e maiolica dal XVI al XVIII secolo, exhibition catalogue by G. Asioli Martini and G. Bocchi (Imola, Musei Civici, 8-23 November 2003), Imola 2003, card 3, pp. 22-23.
G. Bocchi-U. Bocchi, Francisco de Herrera il Giovane detto el Mozo o lo Spagnolo degli pesci, in Pittori di natura morta a Roma. Artisti stranieri 1630-1750 / Italian Still Life Painters in Rome. Foreign Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2004, pp. 13-22.

Great still-life with fish, game, fruits, vegetables, shell and flowers in a ceramic vase - oil on canvas 100 x 158 cm - signed “F. Herrera” - formerly Casalmaggiore, Galleria d’Orlane

13. Filippo Lauri (Rome 1623-1694)
Son of the Flemish landscape painter Balthasar Lauwers, he devoted himself to the same kind of father to the genre painting and to small figures. He also painted still-lifes, as evidenced in the inventories of roman families Veralli-Spada (1759) and Imperiali (1737) and in a pair of signed paintings published by Gianluca and Ulisse Bocchi in 2005.

Bibliography:
G. Bocchi-U. Bocchi, Filippo Lauri, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 499-506.

Still-life with fruits and flowers on a stone ledge - oil on canvas 74 x 61,5 cm - signed “F. Lauri” - private collection

14. Master of Araldi palace (active in Cremona in 1695)
Emilian painter, probably Parmesan, author of three large still-lifes made for the Araldi’s family palace in Cremona. They are elegant paintings with rugs, musical instruments, sweets, flowers and animals, now they are in the Pinacoteca Civica in Cremona.

Bibliography:
G. Bocchi-U. Bocchi, Il Maestro di palazzo Araldi, in “Parma per l’Arte”, Nuova serie, a. XX, f. 2014, pp. 55-94.

Great still-life with musical instruments, carpets, sweets, flowers and a small monkey - oil on canvas 314 x 217 cm – dated “1695” - Cremona, Pinacoteca Civica Ala Ponzone

15. Carlo Manieri called Master of the Floridiana (Taranto?-documented in Rome from 1662 to 1700)
Artist from Puglia, he worked in Rome in the second half of the eighteenth century. Prolific and eclectic, when he painted fruits, his paintings were very similar to those by Michelangelo del Campidoglio. His stylish interiors scenes with carpets, curtains and architectures are very characteristic . His paintings are in the Museo Duca di Martina and in the Museo Nazionale di Capodimonte in Naples, in the Museo Civico in Prato, in the Pinacoteca Comunale in Macerata, in the Musée Fesch in Ajaccio and in the Museum of Bastia in Corsica.

Bibliography:
G. Bocchi, Salv o Maestro della Floridiana, in Fruges. Frutta dipinta su tela e maiolica dal XVI al XVIII secolo, exhibition catalogue by G. Asioli Martini and G. Bocchi (Imola, Musei Civici, 8-23 November 2003), Imola 2003, card 6, pp. 28-29.
G. Bocchi-U. Bocchi, Carlo Manieri, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 524-576.

Great still-life with basket of grapes, quinces, pomegranates and pears - oil on canvas 145 x 195 cm - Casalmaggiore, Galleria d’Orlane

16. Francesco Caldei called Francesco Mantovano (Mantua ca. 1687/1688-Venice 1674)
Painter from Mantua, he worked first in Rome and then in Venice painting fruits, flowers, animals, armor and musical instruments rising to the admiration of the historian Marco Boschini. His production of vases of flowers, identified by starting from a group of four paintings preserved in the Accademia dei Concordi in Rovigo, shows all his stylistic debt towards the Roman production started with Tommaso Salini and continued with Mario Nuzzi.

Bibliography:
G. Bocchi-U. Bocchi, Francesco Mantovano, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp. 392-410.
G. Bocchi-U. Bocchi, Francesco Mantovano o Mantovani, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 203-243.
G. Bocchi, I pittori di fiori a Venezia nel Seicento, in Francesco Guardi nella terra degli avi. Dipinti di figura e capricci floreali, exhibition catalogueue by E. Mich, (Trento, Castello del Buonconsiglio, 6 October 2012-6 January 2013), Beni Artistici e Storici del Trentino, Quaderni 21, Trento 2012, pp. 95-106.

Flowers in a blue vase stained - oil on canvas 50,5 x 35,6 cm - private collection

17. Monogrammist F.A. (active in Rome in the second half of the second half of the 17th century)
Painter of fruits that absorbed influences from Roman artists of the previous generation like Michelangelo Cerquozzi, the Pseudo Salini or Monogrammista SB, Abraham Brueghel. One of his paintings is in the Galleria Corsini in Rome.

Bibliography:
G. Bocchi-U. Bocchi, Monogrammista F.A., in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 491-498.

Still-life with fruits - oil on canvas 94 x 130 cm - signed “F.A.” - private collection

18. Monogrammist G.A. (active in Rome in the first half of the first half of the 18th century)
Painter of fruits and ruins, he was inspired by the compositions by Cristian Berentz, Maximilian Pfeiler and Pietro Navarra. Two signed paintings are in the Museo Civico Parazzi of Viadana, in the province of Mantova.

Bibliography:
G. Bocchi-U. Bocchi, Dipinti profani, in Documenti d’arte nel Casalasco-Viadanese. Un territorio di confine tra Cremona, Mantova e Parma, by U. Bocchi, Viadana (Mantua) 2003, p. 179, figg. 200-201.

Still-life with fruit on the ground, on a plate and in a basket - signed “G.A.F.” - Viadana, Museo Civico Parazzi

19. Monogrammist FGB (active in Rome in the first half of the XVII century)
Painter of fruits, vegetables and birds active in Lombardy in the thirties and forties of the seventeenth century. He reveals Spanish influences in the proposition of the shelves on which he rests the baskets stuffed with vegetables and fruits of the field. He can be considered a follower of the late Vincenzo Campi.

Bibliography:
G. Bocchi-U. Bocchi, Monogrammista FGB, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp. 46-55.
G. Bocchi-U. Bocchi, Monogrammista FGB, in Gilardo da Lodi e la pittura di uva in Lombardia nel Seicento e nel Settecento, exhibition catalogue by T. Gipponi (Lodi, chiesa di S. Cristoforo, 24 April-6 June 2004), Milan 2004, card 7, pp. 72-73.

Great still-life with fruit and vegetables in baskets, in bowls and on stone ledges- oil on canvas 135,5 x 142,5 cm - formerly Casalmaggiore, Galleria d’Orlane

20. Giovanni Giacomo Morati (Venice? ca. 1643- Venice documented until 1690)
Artist of unknown origin, he worked in Venice where he is surveyed in the Rollo de’ pittori maestri matriculated in the college of 5 June 1690. We know only two paintings with fruits and vegetables, one of which is signed.

Bibliography:
G. Bocchi-U. Bocchi, Cavalier Morati, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, p. 247.
G. Bocchi, I pittori di fiori a Venezia nella prima metà del Settecento. Il ruolo dominante di Francesco Duramano, in Francesco Guardi nella terra degli avi. Dipinti di figura e capricci floreali, exhibition catalogue E. Mich, (Trento, Castello del Buonconsiglio, 6 October 2012-6 January 2013), Beni Artistici e Storici del Trentino, Quaderni 21, Trento 2012, pp. 106-114.

Still-life with fruits, flowers and vegetables - oil on canvas 95 x 173 cm - signed “Eq. Morati F.” - formerly Prato, Farsetti Arte

21. Francesco Noletti called Maltese (Valletta? ca. 1611-Rome 1654)
Born in Malta, Francesco Noletti was the greatest painter of carpets active in Rome in the seventeenth century. His works and his true identity have been the subject of two monographic studies published in 2005 as a result of joint work by Gianluca Bocchi, Ulisse Bocchi and Keith Sciberras.

Bibliography:
G. Bocchi-U. Bocchi, Francesco Noletti detto il Maltese. Le opere / His paintings, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi e U. Bocchi, Viadana (Mantua) 2005, pp. 371-397.

Still-life with carpet, armor, pitcher and gloves - oil on canvas 129,5 x 98 cm - private collection

22. Giovanni Battista Rossi (active in Viadana between between 17th and 18th centuries)
Active in Viadana, in the province of Mantua, he is known for only two signed paintings with fruits preserved in the Museo Civico Parazzi in Viadana.

Bibliography:
G. Bocchi-U. Bocchi, Giovan Battista Rossi, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp. 141-143.
G. Bocchi-U. Bocchi, Giovanni Battista Rossi, in Gilardo da Lodi e la pittura di uva in Lombardia nel Seicento e nel Settecento, exhibition catalogue by T. Gipponi (Lodi, chiesa di S. Cristoforo, 24 April-6 June 2004), Milan 2004, cards 47-48, pp. 128-129.

Still-life of fruit outdoors with a bird - oil on canvas 45 x 51 cm - signed “Johannes Baptista Rossi fecit” - Viadana, Museo Civico Parazzi

23. Antonio Tibaldi (Rome 1635-Rome documented until 1675)
Author of sumptuous still-life paintings with carpets, curtains, silverware, sweets, musical instruments and small animals in the style started in Rome by Fioravanti. He worked for important noble families: the Barberinis, the Chigi Albanis, the Colonnas. Two paintings are in the Musée Fesch in Ajaccio.

Bibliography:
G. Bocchi-U. Bocchi, Antonio Tibaldi, in Pittori di natura morta a Roma. Artisti italiani 1630-1750 / Italian Still Life Painters in Rome. Italian Artists 1630-1750, by G. Bocchi and U. Bocchi, Viadana (Mantua) 2005, pp. 473-490.

Still-life with musical instruments, books, drapes and carpet - signed “Il Tibaldi” - private collection

24. Anna Maria Vaiana (Florence?-Rome ca. 1655)
Active in Rome in the first half of the seventeenth century, she engraved and signed a vase of flowers for De florum cultura by Giovan Battista Ferrari. We know only two panel paintings attributed to her, one signed V and the other AV.

Bibliography:
G. Bocchi-U. Bocchi, Anna Maria Vaiana, in Naturalia. Nature morte in collezioni pubbliche e private, by G. Bocchi and U. Bocchi, Turin 1992, pp. 194-197.

Flowers in a old vase - oil on panel 56 x 40 cm - signed “AV” - formerly Casalmaggiore, Galleria d’Orlane

25. Francesca Volò called Francesca Vicenzina (Milan 1650-1700)
Second child of Vincenzo Volò, after her father's death in 1671 she held the workshop of the Vicenzinis and she directed her younger brothers. She worked for Vitaliano VI Borromeo by furnishing the Isola Bella’s palace and for a great number of aristocratic families in Milan.

Bibliography:
G. Bocchi-U. Bocchi, Problematiche vincenziniane, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp. 63-65.
G. Bocchi-U. Bocchi, Francesca Volò Smiller detta Francesca Vicenzina, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp.104-111.
G. Bocchi, La famiglia Volò, Ludovico Caffi e Gilardo da Lodi, in Gilardo da Lodi e la pittura di uva in Lombardia nel Seicento e nel Settecento, exhibition catalogue by T. Gipponi (Lodi, chiesa di S. Cristoforo, 24 April-6 June 2004), Milan 2004, pp. 33-41.
G. Bocchi-U. Bocchi, Francesca Volò Smiller detta Vicenzina, in Gilardo da Lodi e la pittura di uva in Lombardia nel Seicento e nel Settecento, exhibition catalogue by T. Gipponi (Lodi, chiesa di S. Cristoforo, 24 April-6 June 2004), Milan 2004, cards 55-56, pp. 138-139.

Still-life with fruits and flowers outdoors - oil on canvas 57 x 84 cm - Casalmaggiore, Galleria d’Orlane

26. Vincenzo Volò called Vincenzino dei Fiori (Rémondans 1620-Milan 1671)
Founder of the family of Vicenzini, he was born in Franche-Comté and he arrived in Milan in the mid-forties of the seventeenth century. He painted flowers, fruits and animals. He was the first painter of still-life to work for Isola Bella palace of Vitaliano VI Borromeo and he collaborated with well-known painters of the figure: Francesco Cairo, Scaramuccia, Carlo Francesco Nuvolone and Fumagalli.

Bibliography:
G. Bocchi-U. Bocchi, Problematiche vincenziniane, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp. 63-65.
G. Bocchi-U. Bocchi, Vincenzo Volò, in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Florence) 1998, pp. 66-71.
G. Bocchi-U. Bocchi, Vincenzo Volò, in Gilardo da Lodi e la pittura di uva in Lombardia nel Seicento e nel Settecento, exhibition catalogue by T. Gipponi (Lodi, chiesa di S. Cristoforo, 24 April-6 June 2004), Milan 2004, card 8, pp. 74-75.
G. Bocchi, Vincenzo Volò pittore di nature morte: le origini borgognone e alcuni aspetti della sua attività milanese, in “Arte Lombarda”, Nuova serie, 170-171, a. 2014, 1-2, pp. 62-75.

Ceramic vase with flowers - oil on panel 32,5 x 37 cm - signed “V. Volo f” - Cremona, Pinacoteca Civica Ala Ponzone

27. Angelo Zani (Pisa?-?)
Unknown painter to historical sources, he signed two oval still-lifes appeared at Sotheby's in London the 29th October 2009 with the inscription "Angelo Zani Pisa Fecit". Born in Pisa, but also active in Emilia, he was the author of the paintings that Ulisse and Gianluca Bocchi regrouped as Monogrammist AV in 1998.

Bibliography:
G. Bocchi-U. Bocchi, Monogrammista A.V. (?), in Naturaliter. Nuovi contributi alla natura morta in Italia settentrionale e Toscana fra XVII e XVIII secolo, by G. Bocchi and U. Bocchi, Calenzano (Firenze) 1998, pp. 359-365.

Vase with flowers outdoors - oil on canvas 66 x 55 cm - private collection