Painting of the Madonna in Adoration of the Sleeping Child - Copy from Guido Reni

Ancient landscape painting with architecture and figures, oil on canvas. This is a classic architectural capriccio, a landscape featuring architectural structures, often ruins, of imposing classical buildings, along with popular figures from the period. The painting is still on its original canvas. It is presented in a period frame.

Oil on canvas. In this work, the Holy Family addresses a young friar in a Franciscan habit, likely a reference to the commissioner: the Child's outstretched hands reach out to embrace him, under the protective gaze of Mary and Joseph. Previously restored and relined, the painting is presented in an antique 18th-century frame, regilded.

Oil on canvas. Country landscape with a small stream flowing by, near which stands a cluster of rural buildings; several figures on the path. The work shows traces of previous restoration and relining. Dirt stains. It is presented in a contemporary antique frame.

Oil on canvas. Country landscape featuring a small stream, boats traversing it, and flanked by small clusters of rural homes. In the foreground, a woman and her child are walking along the path. The work shows traces of previous restoration and relining. Dirt stains. It is presented in a contemporary antique frame.

Jesus on the Road to Calvary

Oil on canvas. The work is a replica of the one executed by Pierre Mignard and donated to Louis XIV, now preserved in the Louvre Museum in Paris. The dramatic scene is set just outside the walls of Jerusalem; a procession of people accompanies Jesus on his climb to Calvary, which can be glimpsed in the background on the right, with the crosses of the two thieves already erected. Instead, the Cross of Christ is carried by Simon of Cyrene, forced by the guards after Jesus' umpteenth fall, who is rudely urged with a whip to get up. In front of Christ walk the two thieves tied up, accompanied by some servants; on the left is the group of pious women who accompany and support Mary, broken-hearted with grief. In contrast to this group, there is another group of women of the people on the right, who watch in an attitude of pious compassion, averting the gaze of their children from the terrible spectacle. The landscape in the background is harsh and barren, under a sky that is filling with grey and dark clouds. The work was restored and relined in the mid-1900s, and mounted on a new frame. It is presented in a period frame.

Oil on canvas. In an Italian landscape, the scene is centered on a group of commoners who are trying to get away from the besieged and burned city, carrying their goods on the cart and leading the small flock; a small group of enemy soldiers, however, has chased them and is trying to stop them, with their weapons drawn. On the back of the frame there is a pencil inscription that attributes the work to Jan Both (1618 -1652), a Dutch painter known above all as the author of Italian landscapes, often animated by figures. The painting has been restored and relined in the past. It currently requires cleaning. It is presented in a period frame.

Oil on canvas. Central European school of the 18th century. At the center of the scene, set in a landscape rich in vegetation, is a shepherd with his flock of sheep, captured in a moment of rest; behind them is the farmhouse with the stable. On the back there is a collection label and the word "Tedesco" (German) is hand-written on the frame, probably to indicate the provenance. The painting is on the first canvas, with the original frame and contemporary frame, regilded.

Oil on canvas. Central European school of the 18th century. The vast Nordic landscape, rich in vegetation, is crossed by a small stream, along which, in the foreground, a herd of cows is drinking; in particular, the shepherd who, kneeling on the bank, is reciting a prayer; two other wayfarers not far away are observing him. On the back there is a collection cartouche and the word "German" is hand-written on the frame, probably to indicate the provenance. The painting is on the first canvas, with the original frame and contemporary frame, regilded.

Female Head

Tempera on wood depicting a half-length female figure; she wears a red dress over a light-colored tunic, while a green cloth rests on her right shoulder. The red hair is gathered in a central parting and is partly covered by a white headdress; the full face has an absorbed expression: the pensive gaze, the arched eyebrows and the slightly furrowed lips. Presented in a frame made with parts of an ancient frame of larger size.

Oil on canvas. Intense and high quality, the painting depicts a monarch of the royal house of Scotland. Around the portrait, in a painted oval frame, there are some writings: the name Rober(t) appears at the top left, the title Rex at the bottom left and the abbreviation Scot, which stands for Scotorum, on the right; the writing at the top right is not identifiable, but it seems to be an acronym. The man portrayed wears a hat and a coat adorned with ermine fur, which is considered the noblest fur, reserved for royalty. He wears a golden pendant around his neck, which depicts two leaves with the fruit of the thistle, which, in heraldry, symbolizes Scotland. The writing and the pendant therefore refer to a Robert of Scotland, probably from the dynasty that reigned in the fourteenth century. The portrait was however executed in the romantic nineteenth-century period, probably using some ancient engravings for inspiration. Restored and relined, it is presented in a frame in style.

Oil on canvas. French school of the seventeenth century. The scene, set at night in the garden of a villa, of which you can glimpse the ornate facade on the right and in which the fountain gushing with cherubs stands out, under a dark sky and further obscured by heavy clouds, proposes two figures who entertain each other in conversation : an elderly modestly dressed is sternly admonishing a seated young man, richly dressed, who seems instead to make the gesture of mea culpa with his hand. The physiognomy and the gestures of the two characters, together with the style of the clothes, would refer to the philosopher Aristotle who was called to the court of Macedon to be the tutor of the young Alexander, the future king then known as Alexander the Great: according to what Plutarch recounts in his “Parallel Lives”, the young Alexander was a brilliant pupil, so much so that he was also initiated into the most profound and esoteric Aristotelian doctrines, from which derives the aura of mystery and profound interiority that shines through in the work presented here. The painting has been restored and relined. It is presented in a stylish frame. The painting, restored

Oil painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands out, a symbol of his suffering humanity. The painting has been restored and relined. It is presented in a beautiful coeval frame, with shortcomings.