Oil on canvas. 17th-century Emilian school. Mary and Jesus are depicted here in a very humanly intimate pose, in an interplay of embraces and glances, in which even Jesus's face, gazing at the viewer, actually conveys the joy of a child enjoying his mother's embrace, rather than Christ's projection toward his destiny. Only the small apple the child holds in one hand, almost hidden, recalls his role as redeemer. The painting has been restored in the past. It is presented in a period frame.

Disciple of Carlo Cignani

Oil on canvas. This work is one of several contemporary versions and replicas of a work by Carlo Cignani, testifying to the subject's success. It can be traced back to his workshop or one of his followers. The allegory of Charity was one of Carlo Cignani's favorite themes, and he painted it several times. She is always depicted as a breastfeeding woman, often surrounded by numerous children, a symbol of the unconditional love she gives to others. In this depiction, the woman is breastfeeding two older children while she covers the swaddled newborn sleeping in the crib. The scene is lively and serene, characterized by natural gestures, simple yet full of tenderness; one of the children holds two cherries, a symbol of love and sweetness. The painting shows signs of restoration and relining carried out in the late 19th century. The gilded frame, decorated with friezes, also dates back to this period.

Oil on canvas. Central Italian School, 18th century. An amphora vase contains a composition of variegated flowers, with some fruit (a pomegranate and black grapes) on the surface. A classic decorative composition, often paired with other paintings. The work has been restored and relined in the past. It is presented in a period frame.

Oil on canvas. Dutch School, 18th century. In this dramatic scene, three sailing ships are at the mercy of a stormy sea; two of them fly the Dutch flag, while the third, smaller one, almost a dinghy, flies another flag. The gray, stormy sky and sea create a uniformly dark background, with a sliver of light on the right, through a rift in the clouds. The painting has been restored and relined in the past. It is presented in a contemporary antique frame.

Oil on canvas. Northern European School. A young woman wishes to signal her passion, or perhaps her commitment, to the world of music by having her portrait painted with a sheet of music in her hand. Restored and relined, the painting is presented in a period gilded frame.

Oil on canvas. Neapolitan school, 17th century. The painting, formerly attributed to Scipione Compagno (1624-1680), is in keeping with his pictorial style (which, moreover, is typical of the narrative imagery typical of 17th-century Neapolitan culture), which depicts scenes and events with countless figures, landscapes, and views depicted in a palette of browns and tans, except for the flashes of color that highlight the main characters in the scenes. The scene, filled with figures, features the Egyptian army in the foreground being overwhelmed by the waters of the Red Sea, while on the shore in the background the Israelites, now safe, watch and celebrate with dances and songs. In the center, further back, Moses stands, raising his arm with his staff, in the gesture that evoked the miracle of the parting of the waters. The painting has been restored in the past. It currently shows a slight loss of color on the left. It is presented in a late 19th-century frame.

Oil on canvas. 18th-century French school. The nobleman, portrayed wearing a body armor over a civilian dress with lace and trimmings, displays the important honor of the Cross of the Order of Malta. The painting is still on its original canvas, but shows traces of previous and recent restorations. On the back is an illegible descriptive cartouche. It is presented in a late 19th-century frame.

Copy from Jacopo Palma il Vecchio

Oil on canvas. The original painting from which this painting is based, faithful even to its size, belonging to a private collection, was exhibited in 2022 at the exhibition organized by the Museum of Santa Caterina in Treviso. The work depicts the Madonna and Child in the center, with two saints on the right, almost isolated in a spiritual discussion. The rightmost figure is Saint Catherine, recognizable by her cogwheel symbol; on the left is Saint Joseph, depicted with a youthful appearance, likely because he uses the features of the patron. The painting has been restored in the past. It is presented in a gilded frame, in period style.

Oil on canvas. Central Italian school, 17th century. The painting depicts the Virgin with the Child Jesus seated on her lap, both wearing crowns. The Child is depicted blessing the viewer, holding a flower in his other hand. The iconography of the Virgin and Child, both crowned, became widespread only from the 16th century onwards, although the theme of the Virgin enthroned was already widespread earlier, as was her Coronation. The painting has been restored and relined in the past. It is presented in an 18th-century wooden frame.

Landscape with Ruins

Oil on canvas. The painting is accompanied by a photo report by Dr. Giovanni Gentile, an art expert and expert witness for the Milan court, who attributes its authorship to Pieter De Witte, the illegitimate son of Pieter I and his pupil. Pieter II, a Dutchman who traveled and worked extensively in Italy, established himself with his classical landscapes, flooded with light and often featuring classical architectural remains. This work also highlights the light that floods the forest and the architectural capriccio below from the sky. The atmosphere is silent and devoid of any signs of living beings, leaving a ";sense of dying Arcadia" pervading. The painting has been restored and relined in the past. It is presented in a period frame.

Oil on canvas. Central Italian School, 18th century. An amphora vase contains a composition of variegated flowers, with some fruit (figs and grapes) on the surface. A classic decorative composition, often paired with other paintings. The work has been restored and relined in the past. It is presented in a period frame.

Oil on canvas. From an important Emilian villa, the large overdoor painting features an octagonal frame with scrolled friezes and floral decoration. Within it is a winged cherub holding a lit torch, hovering over a cup. This figure has an allegorical meaning, embodying concepts related to passion, light, or life. The canvas has slight paint loss at the bottom. It is presented in a period frame.

Oil on canvas. The scene is entirely filled with figures, presented half-length in the foreground: the three Magi, who occupy the entire right-hand side, present their gifts to the baby Jesus in Mary's arms, on the left, while the figure of Joseph appears in the background, like a shadow watching over and assisting the family. The painting shows traces of previous restorations. It is presented in a period frame from the early 1900s.

Oil on canvas. This is a copy, with minor modifications, of the painting by Salvator Rosa (1615-1673), housed in the Palatine Gallery of Palazzo Pitti in Florence. Also known as "Seaside at Sunset" for the large sunset radiating light from the background on the right, the painting depicts bustling port activity, with various figures animating the scene, from workers busy building the galleon, propped up on the ground and covered with a white tarpaulin beneath the ruins of a fortress dominated by a tower, to a group of bathers enjoying the last rays of the sun. The work has numerous patches and is in need of restoration. Still on its original canvas, it is presented in a late 19th-century frame.

Oil on canvas. Northern Italian School, 18th century. The gentleman, elegantly dressed with a red cape, is portrayed with various objects placed on the desk in front of him—books, a compass, and other drawing tools—indicating his interest in the arts and culture. The painting has been restored and relined in antique style. It is presented in a contemporary lacquered wooden frame.

Copy from Simon Vouet

Oil on canvas. This is a beautiful copy of the famous painting by Simon Vouet (1590-1649) created between 1618 and 1620, and located in a chapel of the church of San Francesco a Ripa in Rome. Created by Vouet during his stay in Rome, the work shows a significant Caravaggesque influence, both in its chromatic and lighting choices, as well as in the poses of the figures. These characteristics are faithfully found in this copy. The palette is rich in colors (blue, orange, and obviously red) that materialize in draperies painted with great brushwork, but there is also an abundance of white cloths, which are everywhere to provide light and create a visual impact. The details are rich: the elaborate hairstyle of the figure seen from behind and his bare foot in the foreground (but not dirty, like those of Merisi); the white vase on the floor contrasts with the large copper basin; The lace of the shirt and turban of the woman on the right, as well as her left hand (a typical Caravaggio pose) extended openly toward the viewer, give the scene a sense of depth. The painting was restored and relined in the late 19th century, and mounted on a stretcher from that period. It is presented in a late 19th-century frame.

Oil on canvas. Large pastoral scene, with a herd of cattle and sheep drinking from the river, while on the left a shepherdess gives directions to a traveler; in the background are blue-toned rocky reliefs. The back of the canvas is marked "School of Domenico Brandi": the pictorial style indeed harks back to the Neapolitan landscape painter (1684-1736), known for his bucolic landscapes enlivened by pastoral figures. It could therefore be the work of a pupil or a follower. The painting has been restored and relined in the past. It currently has dirt stains. It is presented in a period frame.

Oil on canvas. Venetian School, 17th century. This depiction depicts the Gospel episode of Jesus' encounter with the Samaritan woman at the well where Christ stopped to drink. The encounter sparks a dialogue of profound theological significance, culminating in the woman's conversion. In this depiction, the two figures are positioned on either side of the well, their hands almost meeting above it, a symbol of "living water, from which he who drinks will never thirst," or rather, of Christ himself. The woman looks down and points to the water in the well, while Jesus turns directly to her, even with his gaze, to draw her to himself in his saving love. The two figures occupy the entire scene and radiate light, with the colors of their clothing—typical of Venetian painting—emphasizing them; around them, a shadowy, ill-defined landscape fades, just as some of Jesus' followers remain in shadow and set back in the background on the left, not participating in the intimate dialogue between the two protagonists. The painting has been restored and relined in the past. It is presented in a late 19th-century lacquered frame.

Copy from Titian

Oil on canvas. This is a (much smaller) copy of the famous portrait painted by Titian in 1545, now in the Palatine Gallery of the Uffizi in Florence. A renowned writer and courtier of sixteenth-century Italy, Aretino lived first in Rome at the papal court in the 1520s, and later in Venice, where he became renowned for his ingenious and insightful writings. He was also feared for his violent, satirical nature and his forthright, polemical writing, which he used to criticize even illustrious and powerful figures, earning him the nickname "the scourge of princes" by Ludovico Ariosto. The portrait highlights the man's proud and resolute frown in his gaze and pose. The painting is presented in an early 20th-century frame.

Oil on copper. Flemish school of the seventeenth century. The painting, attributed by oral tradition to Frans Francken the younger (1581 -1642), depicts a miraculous healing performed by Jesus: while he goes with his disciples, he meets on his way a sick man, probably with leprosy, a disease that involved isolation and banishment from the city; the man invokes Christ who performs the miracle and heals him. The painting places the event on the left edge of the scene, in the foreground, where the figures dressed according to the typical style of the times of Christ stand out for their bright colours; moreover, the landscape that fills the rest of the scene is decidedly Nordic, with a river full of water flowing in a countryside full of vegetation, and a city in the background under mountain peaks. The pictorial description of the vegetation is meticulous and precise, rich and well defined in the details: the broken trunk in the foreground, the fronds of the large tree behind the characters, the birds flying high in the sky, the small flowers on the shore, the nuances of the The water in which plants and clouds are reflected are painted with a pictorial refinement typical of Flemish painting, similar in style to that of the great Antwerp artist. The painting is presented in a repurposed antique frame.

Oil on panel. Venetian school, mid-16th century. The crucified Christ at the center of the scene is surrounded by four saints identified by their iconographic symbols: on the left, Saint Francis and Saint Jerome; on the right, Saint Sebastian and Saint Roch. In the background is a view of a city, likely Rome, indicating the connection with the Church as an institution. A paper label with a number is on the back (from a 19th-century private collection). The painting is presented in a frame.

Figures with Autumnal Still Life

Oil painting on canvas. The H.Sanders signature is present on the barrel at the bottom left. The scene, set outdoors in a street of a Flemish city, with the canal in the background on the left, sees in the foreground a vegetable seller behind her stall, which is set up with a varied composition of winter vegetables, a composed still life from cauliflowers, cabbage, carrots, corn on the cob; next to the woman, a passer-by carrying a harpoon on his shoulder is offering her some fish, evidently the fruit of his catch that he wants to sell. The setting brings to mind Amsterdam, the city where the Dutch painter Hercules (or Herkules) Sanders was born and lived, who established himself mainly as a portraitist, but of whom an interior genre scene is known, currently at the Detroit Institute of Arts, dated 1647 and entitled "Woman cleaning fish", whose female figure closely resembles the seller of the work presented here. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Neapolitan school of the 17th century. A composition of variegated flowers, in light shades, is placed in a vase, black like the background, on a marble base, of which only the base can be distinguished, because it is covered with a fabric that is also black, of which only the golden trimmings stand out willing to create a game of curves; Two birds rest on both sides of the top, a large pigeon on the left holding a twig stolen from the composition in its beak, and a red-headed woodpecker on the right. Along the left margin a landscape opens up, with a tall curved tree under a dark sky, and a city in the background. Restored and relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. Central Italian school of the 17th century. The unusual and particular representation presents on the left the three figures of the Holy Family, with Jesus already a child, sitting at the table and blessing the simple meal they are about to consume (consisting of fruit and bread); the scene, a subject depicted rather rarely and generally with a more sacred character due to the presence of angels serving food to the family, here instead has the flavor of very normal and simple domestic intimacy. Instead, everything around the Holy Family stands out majestically, the glimpse of a Renaissance city, with tall buildings with loggias and colonnades, presented according to a beautiful perspective effect which leads, at the bottom on the right, to the entrance walls of a richly turreted city, probably Jerusalem. Restored and relined, the painting is presented in a late 19th century frame.