Oil on canvas. 17th century Tuscan school. According to Christian tradition, Saint Veronica was the 'pious woman' who, seeing the passion of Jesus carrying the cross and his face smeared with sweat and blood, wiped it with a linen cloth, on which the imprint of Jesus' face would remain. This veil, also known as the Holy Shroud, thus became the iconographic sign of the saint. Veronica also appears in the centre of the painting, while two angels on the sides hold the linen on which Christ's face is imprinted, crowned with thorns; below it, a chalice symbolically collects the divine blood, while above the saint's theta the Holy Spirit hovers. Restored and re-framed, the painting is presented in a stylish frame.

Oil painting on canvas. The composition features a hanging hare in the centre, flanked by some quails and a pigeon; on the right side, a wicker basket containing chestnuts and pine branches; on the left side a bunch of asparagus and a vase of colorful flowers, whose bright and lively colors create a chromatic contrast with the other elements, all in brown and gray tones. Restored and relined, the painting is presented in a repurposed 19th century frame.

Oil painting on canvas. The scene tells the biblical episode of the book of Exodus in which little Moses, whom his mother had entrusted to the river inside a basket to save him from the massacre of the Israeli male children (ordered by the Pharaoh of Egypt to prevent the Israeli population became too numerous and could rebel against slavery), he was found by a handmaid of Pharaoh's daughter, who decided to adopt him and saved him. The scene, set along the river, is entirely occupied by the female figures of the princely retinue, crowded together and projected towards the bottom right corner where the basket with the newborn is placed. All eyes are also turned towards the child, in the direction indicated by the outstretched arm of the woman in the foreground on the right. The roundness of the female forms stands out, especially of the three figures in the foreground, where plays of light and shadow highlight the complexions that emerge from the clothes. Restored and relined, the painting is presented in a frame.

Oil painting on canvas. Emilian school of the 17th-18th century. This is an ancient copy of the famous panel painting by Correggio, entitled The Madonna of San Girolamo or Il Giorno, dating back to around 1528 and preserved today in the National Gallery of Parma. The subject of the representation is Saint Jerome's presentation to Jesus of the translation of the Bible from Hebrew into popular Latin, a work carried out by the saint at the request of Pope Damasus and which he accomplished by locking himself up in solitude in the Bethlehem cave. In the painting, the centrality of the scene is occupied by Mary sitting with the Baby Jesus in her arms. Various figures are composed around them in a semicircle. On the left is the powerful figure of old Jerome standing, looking at the Child, while clutching the translation scroll in his hand, with the lion, his hermit companion, crouched at his feet. On the same side, an angel holds the Bible while smilingly addressing the Madonna and Child. On the other side, Magdalene lies semi-reclining, affectionately embracing the baby's foot, who in turn caresses her hair, in an intimate gesture that underlines the intense bond between the two figures. Behind Magdalene, a little angel wrinkles his nose sniffing the penitent saint's jar of ointments. The scene is placed under a red curtain, open onto a large landscape. Correggio's painting was widely successful, so much so that numerous copies and ancient replicas exist, including this one presented here. The work, restored and relined, is presented in an ancient contemporary frame.

Oil painting on canvas. The scene tells the biblical episode of the book of Exodus in which little Moses, whom his mother had entrusted to the river inside a basket to save him from the massacre of the Israeli male children (ordered by the Pharaoh of Egypt to prevent if the Israeli people became too numerous and could rebel against slavery), he is found by a handmaiden of Pharaoh's daughter, who decides to adopt him and saves him. The scene is set on the banks of a river but in a non-oriental landscape, with architectural structures on the right: numerous figures, depicting the princess' entourage, placed in the center together with the child in the basket. The restored canvas was applied on a modern stretcher. It is presented in chronicle of the 19th century.

Oil on canvas. Mittel-European School. There is a No.S monogram on the back and numbers probably from an inventory. The painting reminds of pieces from the Austrian area. It represents a battle between knights, it is dominated in the foreground by the confrontation between two of them. The painting comes from a historical collection from Lombardy. The painting is still in its first canvas and original framing; there are patches on the back and signs of antique restorations, it has also undergone an additional pictorial and reperativr restoration, in our lab. Well marked crack. The painting is presented in an original and coeval frame, lacquered.

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. Flemish school of the 17th-18th centuries. The large scene takes place in a vast Nordic landscape, within a forest full of twisted plants, and on the right a city surmounted by rocky peaks. Inside the woods a large group of figures, popular but also high-ranking figures, all in oriental clothes, who form a circle around John the Baptist, portrayed in his traditional iconographic costume (dressed in skins, with the staff surmounted by the Cross and wrapped in the scroll, a little lamb at his feet): John's gaze is turned upwards, in line with a bird flying above the treetops, a symbolic representation of the Holy Spirit who inspires the preacher's words. Restored and relined, the painting is presented in a late 19th - early 20th century 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. Roman school of the 17th century. The large scene represents the famous episode halfway between real history and legend, told for the first time by Tito Livio in his "Ab urbe condita libri" (the books of the "History of Rome from its foundation"). To populate the newly founded city, Romulus, founder and first king of the city, resorted to a stratagem: he invited the Sabines, who lived in the nearby city of Curi, to the Consualia festival, in honor of the god Neptune, and kidnapped their women. The painting depicts the moment in which the Romans kidnapped the Sabine women, forcibly taking them away from their companions, under the eyes of the king, who remained hidden behind the columns of the temple of the deity, the god Neptune, recognizable by the trident. In the center at the rear is the obelisk, which for the Romans acquired a symbolic meaning as war booty and testimony to imperial strength. The many figures intertwine with each other, chasing each other, overlapping, creating plays of bodies and chromatic effects. Restored and relined, the painting is presented in an antique frame.

Oil painting on canvas. Northern Italian school of the 17th-18th century. The large scene is full of figures in ancient oriental clothing, placed in a Nordic landscape, rich in vegetation and with mountain peaks in the distance. The left half is mainly occupied by Saint John the Baptist, standing and depicted according to traditional iconography: he is dressed in a poor tunic made of animal skins, but has a red cloak draped around him, symbol of martyrdom; with one hand he holds the cross-shaped stick, around which is rolled the scroll with the writing "Ecce Agnus Dei", symbol of his role as precursor and herald of Christ, and at his feet the lamb itself, sacrificial victim and therefore a symbol of Christ's sacrifice. With his other hand John points to someone on his right outside the frame of the scene, but who is obviously Christ: this gesture catalyzes the gazes of the entire crowd located on the right of the scene, a varied crowd representing genders, social classes and races different, indicating the universality of the Baptist's message. The work, previously restored and relined, has a widespread patina that needs to be cleaned. It is presented in an antique frame.

Oil painting on canvas. Northern Italian school of the seventeenth century. In the portrait of this no longer young woman, dressed in an austere black dress that blends into the background, the white lace of the neck and sleeves and the detachable stomacher, or rather the richly embroidered bib to simulate a jewel, invented at the end of the '600 to cover the deep necklines of women's dresses, following the Catholic moralizing influence of the French court; the woman then exhibits a fine gold bracelet on her wrist. Restored and relined in the 19th century, the painting is presented in a late 19th-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 canvas. Lombard school of the seventeenth century. A smiling young girl is portrayed in an elegant black dress, embellished with lace on the neckline and a play of red and green laces and ribbons on the sleeves, which match the red embroidered petticoat; she wears her jewels around her neck, wrists, ears, in the hairstyle of her hair, where the austerity of pearls is lightened by colored ribbons; she holds a bouquet of flowers in her hand, which emphasizes her gracefulness and grace. Restored and relined, on the second canvas there is written, probably a copy of the original on the first canvas, which indicates who the young woman is: \\\"Margh.a D. Gridonia Gonz. Agnella - Soada Maffei - D\\\'etta Anni XVIII\\\", followed by a coat of arms with the initials C FAS This writing, in addition to defining the name and age, highlights the young woman\\\'s belonging to the College of the Virgins of Jesus in Castiglione delle Stiviere, founded in 1608 by the Marquise Guidonia Gonzaga together with the two sisters Cinzia and Olimpia, all nephews of San Luigi Gonzaga. This college had the purpose of imparting an education to young noblemen or young people from good families, who, with the dowry donated to the college, contributed to the sustenance of the same. The portrait has minor flaws. It is presented in an ancient, non-coeval frame, with small shortcomings.

Oil on canvas. Northern Italy school. The depiction of the Nativity is seen here as a contemplative moment of the Holy Child, by Mary and Joseph, accompanied by little angels. The pictorial ways resume those of widely replicated models, starting from Correggio, from Barocci, to arrive at the numerous versions of Gherardo delle notte, or the Flemish painter Gerard Von Honthorst, representative of tenebrism, a pictorial current that played on strong contrasts of darkness and light, light and dark. In this work too, the light radiated by the Baby Jesus illuminates the figures around him and makes them emerge from the surrounding darkness. The restored and relined work is presented in a 19th century frame.

Oil painting on canvas. The painting has the artist's name (Giovani Piana) and the date of creation 1616 at the top. It depicts Saint Simon holding a book and a saw in his hand, his iconographic attribute which would indicate the martyrdom he suffered. Restored and relined, the painting shows traces of the restoration along the margins.

The miracle of Soriano

Oil painting on canvas. The canvas recounts the miracle of Soriano: in this village of Calabria, the Madonna with Mary Magdalene (recognizable by the ointment jar) and Catherine of Alexandria (carrying the palm of martyrdom), would appear in 1530 to a young Dominican, to give him an image of San Domenico to be placed in the convent he built. A beautiful version of the painting is that of Grechetto, from 1654-1655, preserved in Genoa: ours seems to be inspired by this work, which re-proposes the tense composition of the figures. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. The biblical episode depicted refers to the story of Daniel, the prophet in the court of King Darius the Mede who, for having prayed to his God, was condemned to be thrown into the lions' den. But God saved Daniel, sending an angel to close the jaws of the beasts, and the king pardoned Daniel by instead condemning those who had denounced him. The subject has been depicted several times in art, for the fascination linked to history but also for its exotic flavor due to the presence of wild beasts; in particular we remember the version by Rubens of 1615, where the prophet is depicted naked in the underground pit, while he prays ardently, surrounded by a crowd of ferocious lions. The work presented here instead proposes a version centered on the dialogue between the prophet and the angel, who face each other, standing out with the vivid colors of their robes against the dark background of a prison; there is only one lion, meekly crouching at the angel's feet, and therefore the spiritual and salvific dimension of the biblical event prevails. According to the famous art historian Maurizio Marini, a specialist in the painting of Caravaggio and Baroque art, who had had the opportunity to view the painting years ago, the work could be attributable to Antonio Maria Vassallo (1620 -1664) for the compositional and chromatic choices. The painting, restored and relined, is presented with a listello 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. Central Italian school of the late 1600s-early 18th century. The composition proposes a female bust in the centre, portrayed as if it were a sculptural effigy, for the monochrome that evokes marble; it is surrounded by a garland of colorful flowers, which stretch from twisted branches above, while a landscape fades in the background. This type of portrait came from a solution born in the Flemish environment and spread in Italy by Daniel Seghers. Restored and relined, the painting has slight drops of colour. It is presented in an antique frame.