Oil painting on canvas. Spanish school of the 19th century. The young woman, who wears a black cape over a lively yellow and white dress, has a rose stuck in one ear and wears elegant embossed pendant earrings; in her hand she holds a black mask, away from her face, from which she also pushes the hood away with the other hand, to reveal herself smiling and perhaps even a little mischievous. A sky of gray clouds opens up in a patch of blue to surround the figure, which stands out brightly. The painting is presented in an early 20th century frame.

Oil painting on canvas. On the back there is a scroll with an old attribution to Hubert Robert (1733 -1808), a French painter who traveled in Italy bringing back various picturesque views and glimpses, populated by architectural ruins. In this work, the glimpse of a hilly countryside is set in a village with farmhouses and a fountain in the centre, in the midst of which however there are also classical architectural ruins: in the center three columns of a temple, further on the left the ruins of an amphitheater. Several popular figurines wander among the structures. Restored and relined, the painting is presented in a frame.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.

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 on canvas, applied on hardboard in the second half of the 1900s. The painting takes up the pictorial ways of the eighteenth century, with a decorative cut. In a peaceful landscape, with an architectural structure on the right and the green valley with the river opening on the left, two figures walk along the path, a woman with her bundle of clothes and the wayfarer with a saddlebag and a stick. The work is presented in a chronicle style.

Oil painting on canvas. This is a small copy of Titian's work of the same name, created around 1532 and today preserved in the Louvre Museum. Originally it was thought that the work portrayed Alfonso d'Avalos, marquis of Vasto, bidding farewell to his wife before going to fight the Turks. Instead, it is more likely a prototype of a matrimonial allegory that enjoyed widespread success in Venice. The spouses are represented in the guise of Mars (in armour) and Venus, and are accompanied by Cupid, protector deity of love, who holds a bundle of arrows, by Vesta, goddess of the domestic hearth, crowned with myrtle, symbol of marital fidelity , and by Hymenaeus, divinity of weddings who offers a basket of fruit and flowers. The woman holds a crystal ball, as if she wanted to peer into the future. The melancholic expressions of the protagonists have been read as a reference to the possible death or departure of one of the two spouses. The painting is presented in a contemporary frame.

Paintings under glass, on a convex glass surface. The two oval paintings offer landscapes enlivened by figurines of people intent on various activities: in one the setting is in the mountains, with small chalets below by the stream and below rocky peaks; in the other instead at night, a placid river flows near wooded banks, illuminated by the full moon. The paintings are presented in contemporary gilded frames, to be restored due to deficiencies.

Oil painting on canvas. French school. At the bottom left are the signature and date written backwards; the signature is readable as H. Faillade. At the bottom right there is the Latin writing " Quando ex exilio redibit!!!"; (When he returns from exile!). This writing underlines the bond of the man portrayed with the young general depicted in the small picture that he holds in his hand, probably his relative and linked to the monarchy of Charles, the last sovereign of the Bourbon-France dynasty, absolutist and anti-liberal monarch, overthrown from the throne and fled in exile in 1830 during the July Revolution, known as the Second French Revolution. The painting is presented in a period frame.

Oil on panel. Northern European school of the late 19th century. In the composition inside a shed, hunted game lies on a level; on the left the muzzle of the hunting dog appears but is turned towards a nest full of chirping birds, located above the shaft of the carriage seen on the right. The painting is presented in a period frame.

Oil painting on canvas. The Holy Family is depicted with Mary and Joseph who, converging one hundredth with their heads close together, frame the Child Jesus, intent on playing with a lamb, the iconographic symbol of the sacrificial victim, therefore a prelude to the Passion, together with the small Cross that the child holds in one hand. The inscription anno 1845 appears at the top right, an indication of the period probably added during the subsequent restoration phase. In fact, the work has been restored and relined. It is presented in a stylish frame.

Oil painting on canvas. Northern European school of the late 19th century. Unidentified signature lower right. The portrait presents a child in a maritime context: he is sitting on a rock on a beach, by the sea, he is dressed like a sailor and is holding a small toy sailing ship in his hand. The child is rather prim and serious. The painting has slight tears in the canvas and color stains. It is presented in an imposing late 19th century frame, with several missing and damaged plaster decorations.

Oil on canvas. Portrait of a middle-aged woman, dressed entirely in black, perhaps for mourning. Restored and relined, the painting is presented in a contemporary gilded frame.

Oil painting on canvas. Signed and dated on the right "Rivoire 1884". It is the portrait of a woman, still young but very serious in her upright pose, in her unsmiling gaze, perhaps in mourning as suggested by the austere black dress she is wearing, together with the rather dark monochrome background. The work is presented in a contemporary frame, with some shortcomings that require restoration.

Landscape with River and Figures 1878

Watercolor and pencil on paper. Signed and dated lower left. We know of several landscape views of the English countryside by the English painter Henry Clifford Warren, mostly painted in watercolour. Here is a view of a wooded countryside crossed by a wide river, with a shepherd leading his cows to graze on the hill in the foreground. Presented in a frame.

Oil painting on canvas. At the bottom left there is a signature traced very lightly and not decipherable. There is a plaque on the frame attributing the work to Jean-Baptiste François Pater (1695-1736), which is considered inconsistent. The landscape develops near the mouth of a river into the sea; on the left there is the landing directly to a group of houses; on the right a rowboat is leaving the tree-lined shore, with two scantily clad figures. Relined, the painting is presented in a late 19th century frame.

Crayons on cardboard. Elegant portrait of a young lady, with a floral garland like a necklace. Presented in a contemporary golden frame.

Marble sculpture depicting the bust of a man. Signature of the author "F. Parisi" engraved at the base.