Oil painting on canvas. Italian school of the eighteenth century. In the portrait of this gentleman, the dressing gown made of an elegant floral fabric stands out in particular, in shades of brick red that recall the color of the wig. The severity of the pose and the austere gaze of the character almost contrast with the almost frivolous elegance of his clothing. The painting, restored and relined, is presented in a frame from the early 1900s.

Oil on the table. The picturesque landscape has a wide path in the foreground on the right which winds between fronds and green meadows, where flocks graze; a small family of peasants passes along the path, all engaged in the transport of goods: even the girl carries a large bundle on her head, while the mother carries the basket with her newborn son in the same way! In the background, the plain extends wide to fade towards the distant hills and into the clear and rarefied sky, which gives off an almost pink light. The fir table of the painting has undergone restoration and parqueting. The work is presented in a mid-1900s frame.

Oil painting on canvas. Italian school of the 17th century. At the center of the scene is Christ, kneeling in the water of the Jordan, with his arms gathered towards his body in an introspective attitude; next to him John the Baptist is pouring the water of Baptism on his head. On the left three angels assist, holding the cloth ready to dry the body of Christ, but their gaze is pointed upwards, to contemplate the descent of the Holy Spirit. A landscape rich in vegetation forms the backdrop to the scene. On the first canvas, the painting has some patches on the back. The crack is marked and there are some very small holes. The painting is presented in a 19th century gilded frame (left missing).

Oil on canvas. Italian School. Still life with fruit (watermelon, pears, peaches and pomegranates) and vegetables (pumpkin, califlowers) standing on a surface; on the right there is the ladder of a hemhouse with an hem inside. The painting needs to be cleaned and restore because of some drops of color. Revival frame.

Oil painting on canvas. Italian school of the early 17th century. The Madonna on the throne, crowned by two angels, has the Baby Jesus in her arms, who offers Saint Francis the poor knotted belt, a symbol of poverty; witnessing the scene are a holy bishop, Saint John the Baptist and two female saints, Saint Clare on the left, Saint Catherine of Alexandria on the right. The painting, still on the first canvas, has a clearly visible crack with small drops of color; subjected to restoration (there are old patches on the back), it was fixed to a non-coeval wooden frame and mounted in a coeval Florentine frame, in black painted wood with gold decorations.

Oil painting on canvas. Italian school of the 18th century. The painting depicts the death of Saint Joseph which, according to the apocryphal gospels, occurred assisted by Mary and Jesus: the dying man lies in fact in his bed of agony, supported affectionately by his putative son Jesus and his wife Mary, while several angels assist, both at the foot of the bed, or from above where the heavens already open to welcome the soul of the saint. Joseph's is considered the most desirable and peaceful form of death, of old age, in one's bed and surrounded by one's loved ones, and for this reason the Saint is considered the patron saint of the dying and of sweet death. Restored and relined, the painting is presented with a frame.

Allegories of Prudence and Justice

Oil painting on canvas. Italian school of the seventeenth century. The two paintings are probably part of a group depicting the four cardinal virtues, namely Justice, Prudence, Temperance and Fortitude. The allegories are represented in female figures, bearing some of the attributive symbols of the virtues they represent. Justice is recognized by the two most common attributes, the balance, symbol of equity and balance, and the sword, sign of distributive power. Prudence also has two symbols with it: a mirror, a symbol of circumspection that allows us to avoid the pitfalls of evil (it allows us to look behind us) or even a symbol of self-knowledge; and a snake, symbol of eternity and time, but also a symbol of prudence (in the Gospel Jesus says :"I am sending you like sheep in the midst of wolves; therefore be prudent as snakes and simple as doves"). The two canvases, previously restored and relined, are in good condition. They are presented in an antique carved and lacquered wooden frame, with current small defects and damages.

Oil painting on canvas. Italian school of the 17th century. The large composition presents a variety of foods on a kitchen table: on the left a large wicker basket full of vegetables, surmounted by a group of hanging fish; other vegetables are placed on the table top, next to a plate of cherries, one with a loaf of bread, and further back another with prawns; on the right stands a vase full of colorful flowers and, sitting on the shelf of a cupboard, a black cat calmly licking its paw. The sharpness of the colors stands out, enhanced by the reflections of light on some foods, such as cherries or prawns, and on the copper jug ​​in front of the flowers. The painting, restored and relined, is presented in a strip frame.

Oil on canvas. Italian School. The scene, full of figures, depicts the Holy Family walking towards Egypt, guided by an Angel and assisted by other angels above. The figures are inserted in a typical Italian landscape, they are depicted in a very earthly dimension: the Child, even with a halo, sleeps peacefully in His Mother's hands; Mary, who is wearing an unusual pilgrim's hat, met her husband's Joseph gaze, who is reassuring her with a sweet gesture - he is putting a hand on her knee-, while he is talking with the Angel who is showing them the way. Relined, the painting has some paint losses that need restoration. It is in an adapted frame, from the late '800 - early '900.

Oil painting on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, fruit bowl with peaches, a cut pumpkin and a goldfinch that picks grains from the bunch of grapes placed on the table. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Italian school of the 17th century. The Saint is depicted inside his study, intent on reading and studying the sacred texts, but in penitential garb, i.e. clad only in a red cloth draped around his naked body. The painting, relined, has a significant crack; It is placed in a contemporary gilded wooden frame.

Oil painting on canvas. Italian school of the 17th-18th centuries. Magdalene is depicted inside a cave, stretched out on the ground in a pose of soft abandon, partially covered by a white cloth and with her long loose hair covering her bare breasts, arranged almost to form an embroidery on her body; the saint is reading the Bible and holds a Cross with her hand resting on a skull, the traditional Memento mori. Around her, three little angels assist her, one holding the jar of ointment, the other arranging her hair, the third covering her feet with the white cloth. The sacredness of the scene mixes with the sensuality that Magdalene exudes, enhanced by the play of lights and shadows that highlight her body and the complexions of the little angels. Restored and relined, the painting shows traces of an ancient patch in the upper right corner, made with another canvas (probably because the original canvas had been inserted in an irregular space).

Oil painting on canvas. Italian school of the 18th century. portrait of a noblewoman in rich evening dress, with an ermine cloak draped over her shoulders, indicating her high lineage. Relined, the painting is presented in an antique gilded frame.

Oil painting on canvas. Italian school of the 19th century. The portrayed canon, very severe in pose and expression, holds the prayer booklet in his hands. The painting has dirt spots. It is presented in a stylish frame.

Winter scene

Oil painting on canvas. Italian school of the early 1900s. The large scene is set in a desolate landscape completely covered in snow: on the left in the foreground, behind a group of carts and mobile homes (probably a gypsy camp) a woman cries while peeking out from behind a cloth; observe the figures moving away from the center of the scene, only silhouettes but clearly definable: two gendarmes flank a man in plain clothes, evidently under arrest. A street lamp and some dry and bare trees occupy the space on the right. The whole scene, painted with broad brushstrokes and without contours, is dominated by the greyish-white shades of the snow, the gray sky, the indistinct peaks in the background, or rather all the naturalistic elements, including one of the two horses tied to rest, while the other elements, the figures, the house, the street lamps, the other horse, and also the footprints on the snow that trace the path of the three figures in the distance, are characterized by brown and ocher colours, rather dull: the whole underlines the drama of the scene, perhaps also the desperation and sense of loneliness and abandonment of the woman. Restored and relined, the painting is not signed on the front (possible signature on the back covered by the relining?). The painting is presented in a period frame.