1960s mirror Vittsjömöbel

Oil on canvas. The scene depicts a young woman presented in chains before a priest, surrounded by other elders. It is likely an episode from the Old Testament, and refers to the trial to which women suspected of adultery were subjected. They were accused by their husbands and brought before the priest, who could condemn them or, in the absence of proof, subject them to an ordeal, a "judgment of God through physical trial." The scene presented here does not suggest a specific episode. The painting has been restored and relined in the past, with a new stretcher. It is presented in a modern frame.

Oil on canvas. Lombard school, late 17th-early 18th century. The painting, previously sold at the Wannenes auction in 2018, is attributed to Giovanni Blasio, an artist close in style to Felice Boselli but differing in his specific depiction of fish. Specific in-depth studies of this artist are underway, but it is known that he was active between Lombardy and Emilia in the late 17th and early 18th centuries. The composition features three large fish resembling pike, one of which occupies the entire right edge of the canvas, hanging near a collection of plants on the ground or raised outside. In the left foreground is a bowl full of snails, with two crabs resting in front of it; in the center is a large basin full of pomegranates, with cucumbers and two bundles of lavender sprigs placed before it. In the background are two more pikes, one hanging, the other resting on a raised platform on which is displayed a large basket full of mushrooms, almost hidden by the shadows. The painting has been restored and relined in the past. It is presented in a late 19th-century gilded frame. In the background, on a raised platform on the left, is a

Composition with Plants

Oil on cardboard. Signed and dated (1838?) lower right. Giuseppe Palizzi attended the Royal Institute of Fine Arts in Naples, where he came into contact with the painters of the Posillipo School and favored historical landscapes in his early work. After moving to Paris, he was influenced by the Barbizon school, and his painting style shifted toward a veristic landscape, albeit tinged with Romantic overtones, inspired primarily by the Parisian countryside and the forest of Fontainebleau, and populated by pastoral figures. Presented here is a group of plants and herbs, perhaps from a vegetable garden, depicted in a style that had not yet reached the realist verism of his maturity. The work is presented in a period frame.

Oil on panel. Lombard School, late 16th-early 17th century. In Christian iconography, this iconographic and theological subject depicts Jesus visiting or freeing souls in a state of purification. Christ is usually depicted reaching out or gazing toward the souls, as in this painting, where he grasps the arm of a soul with one hand after tearing open the gates of Purgatory. Others look on in contemplation or supplication, while above, the devils of Hell express their rage. The central figure of Christ radiates a light that benefits the souls in Purgatory closest to him, while the upper part of the scene, evoking Hell, is illuminated by the red hues of the fire of eternal damnation. The painting has been restored in the past and reinforced on the back with wooden paneling.

Oil on canvas mounted on hardboard. 17th-century Italian school. The painting recounts an episode from the biblical book of Genesis, in which Jacob, while tending his uncle Laban's flock, falls in love with his daughter Rachel and asks her father to marry her, but is then tricked into marrying his older sister Leah first. In the scene, Jacob is seen standing before Laban, who, seated on his throne, holds his young and beautiful daughter Rachel, pointing with a finger at his other daughter, Leah, slumped in dismay in the corner. Around him, the women and servants of the house look on, sharing their emotions in what is happening. The scene takes place in front of the classical-style house, while on the left, an Italian landscape opens up in the background, with mountain peaks and a lake amidst verdant vegetation. A wagon, preceded by a flock of sheep and goats, is arriving on the path leading to the house. The canvas was previously restored and mounted on a hardboard panel. It is presented in a late 19th-century frame.

Oil on canvas. Signed lower left G. Malvezzi. First half of the 20th century. The landscape features a flat countryside with a wide, calm river flowing through it. In the foreground are two horses pulling a cart, onto which a man is throwing shovelfuls, likely sand. In a guilloché frame from the 1930s.

Snowy Alpine Landscape

Oil on canvas. Signed lower right. Leonardo Roda, a landscape painter from Turin, was known as "the painter of the Matterhorn" for his numerous views of the Alpine peak, painted in all seasons and at all hours of the day. Presented here is a view of the Conca del Breuil, a large Alpine basin at the foot of the Matterhorn, completely covered in snow: the roofs of several houses with a bell tower emerge from the snow, while in the foreground a farmer passes by with a sleigh pulled by two horses. Early 20th-century guilloche frame.

Lecco Imbarcadero 1837

Oil on canvas. Signature, date, and title at the bottom left. Giuseppe Canella was one of the most important Veronese landscape and view painters of the 19th century. He made numerous trips throughout Europe, bringing back glimpses and views of European cities, which allowed him to study Flemish painting in particular. In 1835, he returned to Italy, dedicating himself to Italian landscape painting, especially of Lombard cities, which, under Flemish influence, were characterized by a clear departure from rigid classical vedutism and by the choice of particular lighting and color effects. The painting presented here, although signed and consistent with Canella's work in subject matter and pictorial style, is stylistically less effective in execution, thus casting doubt on its definitive attribution to the artist; nevertheless, it remains a work of considerable quality. The painting is presented in a period frame.

Rural Landscape of the English Countryside 1871

Oil on canvas. Signed and dated lower left. Holder devoted himself to landscape painting, specializing in views of the English countryside, particularly the rolling hills and rugged coastline of his native Yorkshire. His pictorial approach was very concrete, aiming to faithfully depict the Yorkshire landscape as he experienced it. He portrayed farmers working in the fields, sheep grazing on the rolling hills, and picturesque villages nestled among ancient trees. He created not idealized portraits but rather honest depictions of daily life in the region, infused with a sense of quiet dignity and respect for the land.

Oil on canvas. Signed G. Esposito lower left. A classic Neapolitan school subject, depicting the corner of a flower-filled veranda of a tenement on the slopes overlooking the coast; a woman tends the rooster, while hens and chicks scratch around. Colorful, serene, lively. Presented in a period frame.

Oil on canvas. Northern Italian School, late 17th-early 18th century. This large-scale painting depicts the evangelical moment of the encounter between Mary, awaiting the birth of Jesus, and her cousin Elizabeth, pregnant with John, the future Baptist. The emotion of this encounter, which sees the two women embrace while, as Elizabeth says, baby John leaps in her womb, later gives rise to the splendid prayer of the Magnificat, proclaimed by Mary in thanksgiving and praise of her Lord "who has looked upon the lowliness of his servant". Unusual is the presence in this painting of the two husbands, Joseph on the left and Zechariah on the right, who are not mentioned in the Gospel and are usually not depicted. All the figures are depicted according to traditional iconographic canons and stand out against a background featuring the temple behind Zechariah, the priest, and a distant Italian landscape on the left. On the back of the canvas is an old attribution of the work to Giacomo Barbelli. The painting is completely missing paint along all edges; It has been restored in the past and firmly relined. It is presented in a period frame.

Crayons on paper laid down on canvas. English School, 19th century. Signed lower left DP Anker. In a dark inn, with the female figure of the innkeeper on the left, intent on filling a glass, two patrons are engaged in a game of chess, while a third observes them attentively. The light is focused on the players' table, the fulcrum of the scene. The painting is presented in a late 19th-century gilded frame.