Oil painting on canvas. Venetian school of the late 18th century. The large painting tells the evangelical episode of the meeting between Saint Elizabeth, pregnant with John the Baptist, and Mary, waiting for Jesus, but inserted in a larger choral scene: it is placed on a large staircase, probably that of the temple in where Zechariah, Elizabeth's husband, was a priest, and a crowd of figures, and is animated by a crowd of figures, among which several women with children and families stand out. Detail in the foreground on the left is the figure with a little boy attached to his legs, who looks towards the viewer, indicating with a broad gesture of his arm the central event, the meeting between the two holy women. The colors stand out, which according to the Venetian pictorial tradition, are founding elements of the scenes, which underline the figures and fade into the different three-dimensional planes. Relined and restored, the canvas has a slight crack on the left. It is presented in a gilded frame from the late 19th century.

Oil painting on canvas. The large landscape presents a view of a mountain lake, on the shore of which there are some huts; coniferous forests form the backdrop, creating the chromatic contrast between the blue of the sky and that of the water. The painting has a small tear in the canvas in the center. It is in a style frame.

Oil painting on canvas. The large painting recalls the pictorial methods of the 17th century but is from a later period, and was created on a canvas applied to an older one. The scene tells the biblical episode (taken from the Book of Kings) widely narrated pictorially, depicting the bath of Bathsheba, the wife of General Uriah, in the service of King David. According to the biblical story, David is on the terrace of his palace when he notices the woman bathing in the garden of her home, surrounded by her handmaids. Davide falls in love with her and seduces her, making her pregnant. To hide the crime, he recalls General Uriah from the front, to make him lie down with his wife, but Uriah does not want to leave his soldiers; then David sends him to fight on the front line hoping that he will be killed: this happens and David can marry Bathsheba, but he will be punished by God for the adultery and impiety committed. The painting shows the moment in which Bathsheba, having just come out of the bathroom, while she is reflected in the mirror held by a slave girl, and surrounded by other servants, reads the note that King David sent her; the latter appears at the top right, overlooking the terrace. The scene is dominated by female figures intertwined with each other, in a tangle of clothes and fabrics, and surrounded by flowers from the garden; in the center stands the mirror in a rich golden frame. The painting has a patch at the bottom right. It is presented in an antique gilded frame.

Oil painting on canvas. Emilian school of the late 1600s - early 1700s. According to the biblical narrative, Loth fled with his daughters from the city of Sodom before the Lord destroyed it with fire and brimstone, to punish it for its impiety. Having taken refuge in a cave in the mountains, Loth's daughters got their father drunk and incestuously united with him for two nights in a row and without his knowledge, in order to get pregnant and ensure the continuation of the lineage. This depiction of the episode presents the two young and attractive girls, already scantily clad, who make the elderly father lying between them drink again, out of control under the effect of the wine. The three figures intertwine and overlap, in a game of colors, against the dark background, between the rosy complexions of the naked bodies and the fabrics that surround them without covering them. The painting, restored and relined, is presented in a period gilded frame.

The Last Judgment

Oil painting on canvas. The work is probably the preparatory and presentation painting to the client of the fresco created by Moretti Larese for the vault of the church of Volpago del Montello (Treviso), dedicated to Santa Maria Maddalena. The Last Judgment describes Heaven on the clouds above, gathered around Christ sitting on the judge's throne. In the background the Trinitarian image is composed, with God the Father in flight and the dove of the Holy Spirit, among the choirs of angels and the elders of the Apocalypse. Christ the judge is flanked by his mother Mary, in the role of intercessor, and by the four evangelists who have in their hands the Gospels of which they are authors and alongside the traditional symbols. The saints of the Old Testament are lined up on the sides (David with the harp, Moses with the tablets of the law, John the Baptist with the processional cross) and the apostles Peter (with the keys) and Paul (with the sword of martyrdom). The terrace below is occupied by the other apostles (Andrew with the cross) and saints. The three Virtues of Faith, Hope and Charity, with their symbols, show the resurrected people the cross of Jesus' sacrifice. The angel with the top hat awakens the dead and shows them the judge. The archangel Michael, with his flaming sword and double-pan scales, decides the individual fate of the resurrected. Below, the elect (including mothers with their children) ascend to Heaven with the help of the angels. The damned instead end up in the flames of Hell. The painting presents evident traces of the underlying pencil drawing and, compared to the definitive fresco, some small differences in the postures of some figures and above all in the non-definitive colors. Moretti Largese was appreciated above all as a decorator of public and private buildings, but he also created some religious frescoes. The painting is presented in a late 19th century frame.

Landscape with Figures

Oil painting on canvas. Signed lower left. Achille Vertunni was born and trained artistically in Naples, but then moved to Rome where, in his mature age, his studio in Via Margutta was a point of reference for many Italian and foreign critics and artists (D'Annunzio, De Sanctis , Franz Listz, to name a few) and was frequented by the nobility and politicians of the time, figures of the Risorgimento and visitors of the "Grand Tour". His first themes were inspired by historical events, but he then dedicated himself to landscape which, from the seventies, became the almost exclusive subject of his paintings. Its sunsets in the Roman countryside and in the Pontine Marshes are characteristic, sometimes animated by butteri and herds of buffalo. This painting shows two figures in traditional Lazio clothing, a couple of farmers resting near a small votive chapel along the road; on the right the coastal landscape opens up along the Tiber, at the bottom of which the profile of Rome stands out, with the Dome of St. Peter and Castel Sant'Angelo. Above all, the typically romantic atmosphere of a sunset, with its play of soft, pink lights. The painting, relined, is presented in a period frame.

Oil painting on canvas. Central Italian school of the 17th century. In its pictorial style, the painting recalls the production of Angelo Caroselli (1585-1652), a Roman Baroque artist who was a painter, copyist, restorer, but also a pasticheur and connoisseur of art, i.e. creator of paintings "in the manner of"- in “technique” and in the “style” of a specific artistic period or of a specific author, even assembling “parts” taken from different paintings. Initially Caravaggesque, Il Caroselli later developed his own personal artistic language, which was copied by many minor artists. In this work the fixed and almost exasperated expressiveness of the character stands out, whose elegance of the seventeenth-century dress and the almost feminine features of the face with its rosy complexion contrast with the crudeness of Goliath's head, bloody, with the large stab wound that stands out against the mortal pallor. The painting has been restored and relined, retaining the original wooden frame. It is presented in a contemporary wooden frame.

Oil painting on canvas. Italian school of the 17th-18th centuries. A large composition of colorful flowers, in embossed metal vases, and some fruits scattered on the ground, are placed close to a wall overlooking a maritime landscape: the brightness of the sky and sea on the right contrasts with the shaded area on the left, on which the colors of the flowers stand out. The painting, relined and restored, has a significant crack. It is presented in a contemporary lacquered and gilded frame.

Oil painting on canvas. Italian school of the early 17th century. The Madonna on the throne, crowned by two angels, has the Baby Jesus in her arms, who offers Saint Francis the poor knotted belt, a symbol of poverty; witnessing the scene are a holy bishop, Saint John the Baptist and two female saints, Saint Clare on the left, Saint Catherine of Alexandria on the right. The painting, still on the first canvas, has a clearly visible crack with small drops of color; subjected to restoration (there are old patches on the back), it was fixed to a non-coeval wooden frame and mounted in a coeval Florentine frame, in black painted wood with gold decorations.

Oil painting on canvas. Portrait of a young gentleman. It has several color drops. It is presented in a contemporary lacquered frame.

Oil painting on canvas. Italian school of the 18th century. portrait of a noblewoman in rich evening dress, with an ermine cloak draped over her shoulders, indicating her high lineage. Relined, the painting is presented in an antique gilded frame.

Oil painting on canvas. Northern European school of the 18th century. The allegorical scene presents a scantily clad woman sitting on a man's lap, near a table set with a jug, a chalice, a snuffbox and a lit cigar. The two characters are in an attitude of playful complicity, both intent on smoking a long pipe. The background offers a leafy landscape. The figures and objects refer to the material and carnal pleasures of life, smoking, drinking, female company; the rosy and plump characters also recall the pleasure of good food. These subjects were recurrent in Flemish or more generally Nordic painting, which proposed them in an ironic and alluring way. The painting, restored and relined, is presented in a period frame.

Oil painting on canvas. French school. At the bottom left are the signature and date written backwards; the signature is readable as H. Faillade. At the bottom right there is the Latin writing " Quando ex exilio redibit!!!"; (When he returns from exile!). This writing underlines the bond of the man portrayed with the young general depicted in the small picture that he holds in his hand, probably his relative and linked to the monarchy of Charles, the last sovereign of the Bourbon-France dynasty, absolutist and anti-liberal monarch, overthrown from the throne and fled in exile in 1830 during the July Revolution, known as the Second French Revolution. The painting is presented in a period frame.

Oil painting on canvas. The scene takes place near a military camp: outside a tent on the left an army leader, probably Greek, is receiving offerings from a group of men, poor and ragged, who prostrate themselves before the new master; the first is holding out some loaves of bread, another is taking something out of a sack, the third is showing the wounds on his body to ask for mercy; behind them other figures of beggars are approaching, forming a scattered line on the path fading into the distance on the right. In the background on the left, life in the military camp is bustling. The painting has been restored and relined.

Oil painting on canvas. Northern Italian school of the 18th century. According to the taste of the 18th century, the proposed landscape is dominated by the remains of an ancient temple, vestiges of past glories. All around there is a countryside with a stream, but fading in the distance towards the blue peaks of a mountain range. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Northern Italian school of the 17th-18th centuries. The scene shows the clash between knights outside the walls of a besieged city, with the smoke of firearms invading the sky. Restored and relined, the painting is presented in an adapted antique frame. The scene shows the clash between knights outside the walls of a besieged city, with the smoke of firearms invading the sky. Restored and relined, the painting is presented in an adapted antique frame.

The Announcement of Defeat at Waterloo

Oil painting on canvas. French school of the 19th century. The scene, set in the poor bedroom of an elderly war veteran, who is crying in his bed, sees his family telling him the sad news of the defeat at Waterloo, as can be deduced from the sheet of newspaper in the woman's hands, on which the name of the historic location where Napoleon Bonaparte was definitively defeated. The canvas shows signs of previous restorations, in particular the patch corresponding to the female figure is clearly visible. It is presented in an early 20th century setting.

Oil painting on canvas. Spanish school of the late 18th century. The biblical episode narrated in the book of Exodus is told in which little Moses, to escape the massacre of the children of Israel ordered by Pharaoh, is left by his mother in a basket on the banks of the Nile, where Pharaoh's daughter went to bathe . Having found him, she decided to save him and then raised him as a son at her court. The episode has been widely used as a pictorial subject, due to the suggestion of the theme: the scene full of characters sees in the center the princess daughter of the Pharaoh of Egypt, surrounded by all her entourage, who looks and welcomes with the gesture of the hand tense little Moses, who takes it from the basket on the left, leans hungrily towards the breast of the woman behind him, the nurse ready to breastfeed him. The scene is placed in a Nordic landscape contemporary with the painting, just as the figures wear 18th century clothes, except for the princess who sports an oriental-style headdress with a diadem. Her figure stands out for the bright color of the dress, just as the rosy complexion of the naked child stands out, which imposes itself on the duller and darker colors of the women in the entourage. The painting has been restored and relined.

Oil painting on canvas. At the bottom left there is an unidentified signature. Large composition of variegated flowers, placed outdoors on bare, deserted ground. The colors of the flowers are applied with a certain material consistency, making them stand out and emerge from the almost monochromatic background. The painting has some dirt splashes in the lower left corner. It is presented in a contemporary frame.