Oil painting on canvas. A delicate composition of flowers is placed inside a sort of wooden cradle, with mushrooms and fruit on the ground; the background is external, but poorly defined by various stains. The work, on the first canvas, is also presented in a beautiful frame from the early 18th century, in lime wood carved with a leafy wreath held together by ribbons, and gilded with gouache.

Oil painting on canvas. Northern European school of the 18th century. Caratacus was a Celtic king of the Catuvellauni tribe of Britons and leader of the anti-Roman resistance and famous as a freedom fighter. For eight years he resisted the Roman invasion of Britain starting in 43 AD. For eight years he was the most wanted man in the Roman Empire, hunted relentlessly, from fight to fight, from fortress to fortress, in the mountains of Wales, until he was not betrayed and handed over to the Romans in 51 AD by Cartimandua, queen of the Yorkshire Brigands, to whom he had turned for help. Defeated, he was brought in chains to Rome with his entire family: brought before the emperor, the British king spoke with such wisdom and pride (with the speech reported by Tacitus in his Annales) that Claudius, struck by his words, granted the grace to him, his wife and brothers, allowing them to spend the rest of their days in Rome. The painting presents the moment of Caratacus' peroration, at the center of the scene in chains, fervently pleading his case before the emperor: he is sitting on his throne, flanked by his wife and surrounded by senators and soldiers. The painting, restored and relined at the end of the 19th century, has slight damage.

Oil on canvas. Central European School. The scene is set in the shop of a barber, who is intent on cutting a man's hair under the watchful eye of other customers and, above all, of some women with children, one of whom even observes the result of his work with glasses. Glasses were introduced in art first as a sign of distinction, and later also as a sign of scientific attention, progressively delineating the figure of the scholar, doctor and surgeon: in this painting, they actually underline the irony of the scene, and they are used as a tool for a close female examination of the spouse's haircut! The whole scene is filled with figures, painted in a crude and almost grotesque way, with very marked, almost theatrical expressions and poses, underlined as well 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 originated 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 an antique frame.

Oil painting on canvas. The vertically developed landscape sees an imposing architectural structure in ruins at the centre, invaded by weeds and presented with nuanced colors and features, as if to underline its decadence. In front, in the foreground and well defined, some figures of shepherds at rest, while the cows graze: one shepherd plays the whistle, the second, sitting leaning on his stick, observes the third, who, having stripped naked, is intent on washing himself, stretched languidly on the edge of the waterhole. On the left there is a glimpse of rocky peaks, gray under a sky with dawn atmospheres. The restored and framed painting is presented with a strip frame.

Oil on canvas. The landscape shows a very green countryside, crossed centrally by a watercourse on whose bank, in the foreground, a herd of cattle is watering; in the centre, on the opposite bank, a farmhouse surrounded by greenery, and in the background, blue-coloured peaks under a sky with pink clouds. As is recurrent in 18th century landscape painting, one finds here a bucolic atmosphere of serenity and peace, generated by nature. The painting, restored and retouched, is presented in a lath frame.

Oil painting on canvas. Traditional depiction of the Crucifix, surrounded by Saints linked to the cult of the client. In this case we have Magdalene, embracing the pole of the Cross, on the left Saint Paul, recognizable by the sword, on the right Saint Bartholomew holding his flayed skin on his arm, a sign of the martyrdom to which he was subjected. The painting, restored and relined, is presented in a repurposed antique frame.

Oil painting on canvas. The scene tells the biblical episode of the Book of Exodus, in which Moses prays to the Lord to help the people of Israel who, fleeing from Egypt, find themselves in the Sinai desert without food and without water: it is reproduced in the painting the miracle of the water, which Moses makes flow from a rock, under the gaze of God and while the people look on surprised and cheering. The setting of the scene is actually in a verdant landscape, such as that of the artist, while the figures are in oriental clothes. The painting, restored and relined, is presented in a period frame.

Oil on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur edges; curiously, with the raised arm she flaunts a fur muff tucked over one hand, probably a habit to underline a fashion of the time. The painting shows signs of restoration, with conservation of the original canvas, although reassembled on a new frame. It is presented in a coeval oval frame, but surmounted by a wooden frieze added at a later time.

Oil on canvas. Landscape of Northern Italy, with large mountains covered in snow on the background, there is a small castle at their feet, and the wide river is in the foreground, with some fishermen on its shores. The painting has some paint losses and evident craquelure. It is presented in a frame in style.

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 on canvas. Northern Italian School of the 18th century. The broad landscape shows in the centre a herdsman who has just passed with his cattle over the small bridge over the stream, which flows through the wooded countryside; in the background, again in the centre, a farmhouse and several country buildings. Restored and retouched, the painting is presented in a stylish frame.

Oil painting on canvas. Central European school of the late 18th century. The scene recounts a biblical episode widely reproduced in pictorial art, taken from the book of Esther: the young Israelite, who for her beauty had been chosen as a bride by King Ahasuerus (probably the Persian Xerxes), intercedes with the king himself to save his people, threatened with extermination and victims of a plot by the evil advisor Aman. The work depicts Queen Esther while, accompanied by her retinue, in all her splendor she is welcomed benevolently by the king, who supports her in the face of the faintness to which she is subjected due to fear, while he denounces and unmasks, by indicating it, the plots of the perfidious Haman who retreats in fear. The painting is presented in a period 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 on canvas. Northern Italian school of the 17th-18th century. In a large, rather barren hilly landscape, which widens and fades to the right, there is a high rock, shaped like an arch, under which there is Saint Jerome penitent, depicted in the act of prayer and adoration of the Cross. In accordance with the canons of 17th-18th century painting, the figure of the Saint, adapted to the iconography in his clothes and attitude, is however inserted in an unsuitable landscape, close to that of the painter who drew on the landscape reality known to him. . The painting, restored and relined, is presented in a period frame.

Oil painting on canvas. Venetian school of the 17th century. On the frames there are plaques attributing to Elisabetta Marchioni, the painter originally from Rovigo and active between the end of the 17th and the beginning of the 18th century, specializing in still lives of flowers and fruit. The two compositions are characterized by clusters of flowers of different colors - in one canvas a single floral variety, peonies, in different colours, in the other different flowers with a wider range of colors too -, placed in a rather disorganized way on very dark backgrounds, dominated by black, from which they emerge with their chromatic strength; in one of the paintings the flowers are collected in a bouquet inside a copper-coloured vase, while in the other one we can glimpse a pewter plate and perhaps a thin vase, barely visible, on which the flowers are placed. The paintings have been restored and relined. They are presented in gilded frames from the late 19th century.

Rest on the Flight into Egypt

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book in his hand, identify him as a prelate. The surname Albertoni is widely spread in Italy, in various families that started from Lombardy to extend to Parma and then to Rome. The painting, restored and relined, is presented in a period frame.

Oil painting on canvas. A small JDB monogram is visible at the bottom center. The painting is attributed to Johannes Van Der Bent, a Flemish artist working in the second half of the 17th century, and a specialist in landscapes with scenes of pastoral life, placed in large Nordic landscapes, such as the one presented here. Within a rather desolate and barren landscape, a group of shepherds with their flocks are resting, while a woman in the center is milking a goat. Restored and relined at the beginning of the 20th century, the painting is presented in a frame from that period (damage recovered)