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| Giovanni Battista Benaschi Personification of Time (detail) ca. 1675-80 oil on canvas Palazzo Buonaccorsi, Macerata |
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| Giovanni Battista Benaschi Study for Prophet 1680-82 drawing (study for fresco) Royal Collection, Windsor |
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| Giovanni Battista Benaschi Personification of Time ca. 1675-80 oil on canvas Palazzo Buonaccorsi, Macerata |
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| Giovanni Battista Benaschi Figure Study before 1688 drawing Musée du Louvre |
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| Giovanni Battista Benaschi Head of an Apostle before 1688 oil on canvas National Trust, Hatchlands, Surrey |
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| Giovanni Battista Benaschi Sacrifice of Abraham before 1688 drawing Musée du Louvre |
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| Giovanni Battista Benaschi Sacrifice of Abraham before 1688 oil on canvas Musée des Beaux-Arts de Brest |
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| Giovanni Battista Benaschi Study of Bearded Figure before 1688 drawing Metropolitan Museum of Art, New York |
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| Giovanni Battista Benaschi Studies for Figure of Male Saint in Clouds before 1688 drawing British Museum |
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| Giovanni Battista Benaschi Adam and Eve mourning the death of Abel before 1688 oil on canvas Real Academia de Bellas Artes de San Fernando, Madrid |
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| Giovanni Battista Benaschi Study for Angel before 1688 drawing Musée du Louvre |
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| Giovanni Battista Benaschi Study of Trumpeters before 1688 drawing Morgan Library, New York |
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| Giovanni Battista Benaschi Studies for Figure of the Magdalen before 1688 drawing British Museum |
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| Giovanni Battista Benaschi Study for Console with Emblems of the Four Evangelists before 1688 drawing Musée du Louvre |
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| Giovanni Battista Benaschi Glory of Angels before 1688 drawing Art Institute of Chicago |
"Hailing from Turin, where he began his training under the court painter Esprit Grandjean, Giovanni Battista Beinaschi (or Benaschi) had settled in Rome by 1652. He first found employ working for the engraver Pietro del Pò, for whom he made copies after Annibale Carracci's frescoes in the Galleria Farnese, and after Giovanni Lanfranco's work in San Andrea della Valle and San Carlo Catinari. The latter artist, in particular, was to have a profound influence on Beinaschi's style – the works of Lanfranco and Beinaschi often so close as to confuse scholars. In 1664 Beinaschi moved to Naples to work primarily in fresco on a number of decorative cycles for churches within the city."
– from biographical notes published by Christie's, London