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.

Tempera on paper on etching. French school from about 1750-1770. Refined colouring of a coeval French print. The oriental subject is a young Chinese man who hints at some dance steps on an outdoor trail, under a plant of exotic fruit. The quality of the piece reminds of the French Rococo production, like those of François Boucher (1703-1770) or Jean Pillement (1728-1808), who both contributed to the spreading of the liking for Chinese representations in Europe. Pillement was the author of numerous drawings and etchings of Chinese taste, collected in two volumes (1767-71) and widely spread in Europe as models. The drawing needs cleaning and restoration. It is mounted on cardboard and comes with a frame.

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.

The Country Road

Oil on hardboard. Signed lower left. Having moved as a child with his family to Milan in 1898, still very young, Raoul Viviani enrolled at the Brera Academy, where he studied under the guidance of Giuseppe Mentessi (1857-1931). At the same time he attended the nude school of the Artistic Family, with which he exhibited for the first time at the age of 17, immediately enjoying great success with the public and critics, as a landscape painter with a strong personality and modernity and for his highly original style characterized from strong chromatic experiments. In 1912 he participated in the Venice Biennale and subsequently participated in numerous national and international exhibitions. From 1926 he began his career in the field of art criticism, writing for various newspapers, but his opposition to fascism led him to choose voluntary exile: in 1931 he moved to Uruguay, where he founded and directed the Academy of Montevideo Fine Arts. Returning to Milan in 1937, he resumed his activity as a painter and as a critic. In the 1950s he moved to Rapallo for health reasons and remained there until his death. Extremely original landscape painter, who engages in oil painting but also in watercolor and engraving, is very close to pointillist painting, however, developing his own personal technique, characterized by very thin filaments of color in the form of thin commas, which define the structures of the its landscapes. With his transfer to Liguria, the Ligurian landscape becomes the protagonist of his works and also his mute technique, moving away from the original pointillism to open up to a broad and summary brushstroke, which finally leads to a production of still lifes from violent and contrasting colors. In this work in which the technical characteristic of Viviani is well appreciated, along the country path that runs along the canal, a figure of a woman appears, which constitutes an exception in his production, usually lacking in figurative elements. Work in frame.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.

Female Figure on Horseback

Oil on the table. Signed top right. Maurizio Goracci, aka Mago, is a Roman painter of figurative subjects. The work depicts a naked woman wrapped in a pink cloth, sitting on a grazing horse: MaGo's figures, although well defined, are always placed in a surreal background, shaded in ranges of acid colours, which gives a sense of the fantastic . The work is presented in a frame.

Oil on plywood

Charles Moody (1979), oil on plywood. Signed on the back. The work was exhibited at the solo exhibition "Borderland" at the Gallery 8 in Milan Corso Venezia, as evidenced by the paper to the back lable. Charles Moody graduated in 2003 at the Art Institute of Boston and, after three years in Milan, chooses to live in New York. In his art the focus at trial (conceptual art, process art) rather than to the image content and it is in this scrap that painting is at its best. An art that was created by the approval of television images (almost never films) and in particular from popular soap operas. Moody's work goes beyond the mass media image by customizing the selection for special images that, in his view, offer a potential narrative; are images of transition, moments of transition from one scene to the next. The artist uses a manual oil painting to reproduce the low quality of the tv picture extolling the "blurring" of blur. We are facing a loss of spatial dimension, in a temporality confused-diffuse-intangible which is difficult to recognize the boundaries ("Borderland"). In these perceptual distortions, in which time dilates expands, each painting represents a "indiscernibilità" in which the recognition of the object that takes second place. The time of Moody is neither Chronicle nor history but suspension. (From "Charles Moody, Borderland", curated by Gianni Romano, exhibition catalogue, CorsoVeneziaOtto, November-December 2009)

Road to Cervasca 1981

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Giovanni Balansino presents a glimpse of a country road near a village that he identifies in Cervasca, a small mountain town in the Cuneo area, animated by two barely sketched figurines that blend into the natural environment, due to the overlapping of the applied colors with rapid brush strokes and undefined contours. The work is presented in a frame.

Composition on 4 Panels, 1978

Mixed media on canvas applied to wooden panels, showing a sequence. On the lower right the artist's initials GB and the numbering of the panels; on the verso of each panel is the signature in full, with the date and the following sequential titles: 'By Bosch', 'Declination of an Owl', 'Transcription' and 'Disappearance for Coquetry'. Gabriella Benedini has defined her as an artist as 'a nomad in search of the profound meaning of things'. Although attracted and interested first by abstract-informal painting, then by Existential Realism and then by the New Figuration, Gabriella Benedini proceeds on a strictly personal quest that cannot be assimilated into any specific current. The entire 1970s were mainly marked by pictorial works that reflected literary cues filtered through her need for growth and confrontation. Then, through her passion for Alchemy, Benedini began to transform anything that came her way into works of art; shells, pages of old books, bottles, everything is combined into a harmonious whole that recalls spaces. Her works therefore become mainly three-dimensional, either to hang on the wall, or they are sculptures, even large ones. The four panels are presented here in a single frame.

Saint George 1992

Oil on panel. Signed bottom right. On the back, with Cyrillic characters, there is the title, the date and the location, Bergamo. The Lithuanian artist, who currently lives and works between Moscow, Italy and the United Kingdom, is considered one of the most important contemporary Russian artists. In his large production there are landscapes, still lifes, many portraits of famous people and his surreal compositions, an expression of his peculiar "dream vision" of reality. Even in this table, albeit in the style of traditional icons, the depiction of the famous St. George is proposed in a surreal key that reminds of De Chirico, in which the dragon is replaced by a goose, the Saint's head is an egg, in the outlines there are figures of sorceresses... a clearly unorthodox interpretation! The panel has a vertical slit. The piece is presented in a 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.

Before Dinner 1970

Oil on hardboard. Signature, date and title top right. Udo Toniato, a naive painter, is known for his works that tell the story of his homeland, the Bassa del Po, with its characters. Here he depicts three little priests who, armed with umbrellas to protect themselves from the sun of the Bassa, head towards the votive chapel on the country road, observed by an amused goat, for the last prayers of the day. The work is presented in a frame.

Cherubs' Game

Oil on canvas. In the depicting scene, three cherubs are play-acting: one of them is wearing a smiling mask and is trying to scare his mate, while the last one is dressed up like a pilgrim. 18th century.

Paintings under glass, on a convex glass surface. The two oval paintings offer landscapes enlivened by figurines of people intent on various activities: in one the setting is in the mountains, with small chalets below by the stream and below rocky peaks; in the other instead at night, a placid river flows near wooded banks, illuminated by the full moon. The paintings are presented in contemporary gilded frames, to be restored due to deficiencies.

Hunting Scene

Oil on canvas. Northern European school of the 18th century. The large scene, set in a Nordic landscape, with thick vegetation under impervious blue peaks, represents the culminating moment of a hunt for a fawn: the knight, who occupies the upper part of the scene, is spearing the prey, terrified and broken down in agony; all around the pack of dogs participates, running around the rider and the prey. Among all, the dog in the center at the bottom stands out, the only one with light fur: the intense brightness that it emanates and which brings out the accurate design of its fur, the moving muscles, the exalted expression of the animal, makes it they make the protagonist of the scene, drawing the gaze towards themselves, while all the other figures, including the knight, become the outline, accurate and precise but not the protagonist. It is precisely the accuracy in painting the animals that places the work close to the production of Philip Peter Roos, known as Rosa da Tivoli: originally from Frankfurt but then moved to Rome, where he remained until his death, this artist was very active above all as a painter of animals, shot in the foreground against landscape backgrounds and executed with rich color and intense light effects. The great success he had and the consequent very large production (sometimes to the detriment of the quality of the works), justify the frequent attribution to this painter of works with a subject and pictorial technique close to his, such as the one presented here, which however is not documented and validated. Restored and relined, the painting is presented in a late 19th century frame.

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 on canvas. Central European school. The scene, set inside a tavern, depicts a fight between two men, who are held by the other patrons and by the innkeeper; on the table, next to the interrupted lunch, the cards of the game that sparked the quarrel. The whole scene is filled with figures, painted in a raw and almost grotesque way, with very pronounced, almost theatrical expressions and poses, underlined even more by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which started in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in a period frame.

Oil painting on canvas. Central European school of the eighteenth century. Under a blue sky, a large, rather barren landscape is depicted, with the edge of a wood opening onto a rocky valley, with a river flowing between the rocks and snow-capped peaks in the background; in the foreground, scattered, some figures of shepherds with their flocks. On the stretcher at the back of the work, a cartouche refers to Poussin, the artist representing seventeenth-century classicism whose pictorial methods inspired the author of the painting. The painting, relined, is presented in a period frame.