Oil on canvas. Italian school of the seventeenth century. The scene of traditional Christian iconography is very lively and lively, very rich in figures, details and colors: in the center the three figures of the Magi, who pay homage to the Baby Jesus, moved to the left with the Holy Family, while at right there is all the rich suite of the three kings, with gifts. Restored and relined, the painting is presented in a period frame, with shortcomings.

Oil painting on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, fruit bowl with peaches, a cut pumpkin and a goldfinch that picks grains from the bunch of grapes placed on the table. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.

Oil on canvas. Italian School. The scene, full of figures, depicts the Holy Family walking towards Egypt, guided by an Angel and assisted by other angels above. The figures are inserted in a typical Italian landscape, they are depicted in a very earthly dimension: the Child, even with a halo, sleeps peacefully in His Mother's hands; Mary, who is wearing an unusual pilgrim's hat, met her husband's Joseph gaze, who is reassuring her with a sweet gesture - he is putting a hand on her knee-, while he is talking with the Angel who is showing them the way. Relined, the painting has some paint losses that need restoration. It is in an adapted frame, from the late '800 - early '900.

Oil on the table. Italian school of the second half of the 19th century. The painting, a garland of multicolored and variegated flowers, effectively takes up the pictorial ways of the seventeenth century. The wood has large openings and cuts at the joints of the boards. The painting is presented in a gilded frame from the early 1900s.

Oil on canvas. In the scene, set in a countryside near a watercourse, some lumberjacks are intent on cutting tree trunks, to entrust them to the watercourse; on the left, in the background, women and children bring the meal. The canvas offers a well-defined landscape rich in elements, in which human figures instead rather nuanced, almost monochrome those on the left, are inserted as accessory elements in the scene. Restored and relined, the painting is presented framed with a strip.

Oil on canvas. Italian school, 17th century. The lady, dressed in black, poses near a small column on which a medallion with a coat of arms is placed and on which the age of the woman, 60 years old, is engraved. On the back of the second canvas, undergoing restoration, the woman\\\'s name has been stamped. Restored and relined, the painting is presented in an ancient, non-coeval frame.

Oil on canvas. Italian School. Still life with fruit (watermelon, pears, peaches and pomegranates) and vegetables (pumpkin, califlowers) standing on a surface; on the right there is the ladder of a hemhouse with an hem inside. The painting needs to be cleaned and restore because of some drops of color. Revival frame.

Oil painting on canvas. Italian school of the seventeenth century. The depiction of the face of St. Peter is inspired by the homonymous work by Guido Reni, made around 1600, an intense representation of the disciple whose face expresses the anguish and repentance for having just denied Jesus, during the Passion, as narrated in the Gospels . The restored and relined work is presented in a period frame.

Oil on canvas. Italian school. With a romantic atmosphere, the landscape with the hill full of trees, the stream crossed by a bridge and the young villager carrying the amphora of water on her head, is surmounted by a sky mottled of different colors, with darker clouds that fade away into the pink of the dawning sky. On the first canvas, the painting shows small drops in colour. It is presented in a stylish frame.

Mixed technique on paper, applied on cardboard. Italian school. The name of Londonio is proposed on the back: the delicate piece certainly recalls the subject and manner of the work of Francesco Londonio (1723-1783), the Milanese artist who specialized in the animal and pastoral genre. It can be considered a work inspired by Londonio, by an artist close to his field.