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Oil on canvas, applied on panel. Central Italian school of the 18th century. It depicts the evangelical episode in which Jesus welcomes the children to himself, urging his disciples not to push them away: "Let the children come to me, for theirs is the Kingdom of Heaven". The scene is full of figures that overlap and intertwine: in the foreground Jesus seated on the right, opens his arms in a sign of welcoming the children who approach him, urged by their mothers; in the background the disciples, with Peter recognizable in the center who tries to push a boy away, but their gaze is turned to Christ, who looks at them and urges them to welcome them. In the background of the scene some architecture appears, in particular the pyramid stands out which symbolically represents the tension, the ascent towards the top. The painting has an evident lack of canvas in the center, patched with the application of a wooden panel to the back. It has other small traces of widespread restoration. It is presented in a 19th century frame.

Female Portrait 1937

Oil on canvas. Trace of signature lower left, full signature on the back, with the date. Trained at the Tallone school, Moretti Foggia was mainly a landscape painter, who offers veristic views characterized by a very bright and material chromatic palette, mainly reproducing his native Val d'Ossola. But his production also includes several portraits, among which is the successful one of this elegant and smiling lady, portraits in which the influence of Cesare Tallone is evident, in the brush stroke and in the use of color, as well as in the attention to the female world. The painting is presented in a contemporary frame.

Highland Cattle Loch Venachar

Oil on canvas. Signed lower left. Further signature and title on the back. A herd of Highland cows, a typical Scottish breed, is depicted on the shores of the Scottish lake Venachar. Henry Robinson Hall was an English artist who specialized in Victorian landscapes, and in particular glimpses of the Scottish countryside animated by herds of typical animals. The painting is presented in a gilded frame from the first half of the 20th century.

Boats on the Canal

Oil on canvas. Signed lower right. Title in pencil on the frame. The Hungarian painter Emil Lindenfeld lived in Italy for a long time, before moving to the United States in 1956. His very rich production includes scenes with humble characters, workers, but also landscapes and glimpses of the places he lived, including glimpses of Venice. The work is presented in a frame.

Courtship at the Well 1873

Oil on canvas. Signed and dated lower right. Haier was a Viennese painter and photographer, but lived for a long time in the Czech Republic. His pictorial production includes portraits and many genre scenes, set like this one in the Czech rural environment. We have a seller of jars, transported on the back of his donkey, who entertains himself at a well in amorous conversation with a girl, who in the meantime offers a tuft of grass to the docile beast. The painting is presented in a period frame.

Oil on canvas. On the bottom right the signature Luigi Regis, the location Turin and the date 1917. On the back there is the dedication "All' illustre commendatore dott. T. Sironi", with an additional signature. Presented in a period frame.

Oil on canvas. The painting looks at the similar work by Paolo Veronese (1528-1588), datable around 1560-70 and now preserved in the Prado Museum, of which our painting takes the composition of the figures, changing the entire background and the clothing of the characters. Veronese's work was so successful that it was replicated by his own workshop, with numerous variations: our work probably derives from one of these copies, replicated at a later time. The episode depicted is narrated in the biblical book of Exodus and tells of the finding of the little Moses, left by his mother in a basket along the banks of the Nile River, to save him from the massacre of the children of Israel perpetrated by the Pharaoh; the Pharaoh's daughter, who went to the river with her entourage, finds him and saves him, adopting him. The figures in the scene are depicted in eighteenth-century clothing, in particular the princess' dress stands out for its richness and sumptuousness; the only exotic element is the presence of a colored servant in the retinue, while the background also refers to a landscape of northern Europe, with thick woodland vegetation. The painting, restored and relined, is presented in an 11th century frame.

Oil on canvas. Dutch school of the late 18th-early 19th century. On the back of the frame, an early 20th-century inscription reads "The Surgeon, based on a subject by Bega", referring to the Dutch painter Cornelis Bega (1620 - 1664) who stood out for his genre scenes, usually interiors and in a popular style. The interior of a house is shown here, where a woman is treating a man's leg wound, assisted by her little daughter and the curious old woman. The work is presented in an early 20th-century frame.

The Country Road 1905

Oil on canvas. signed and dated lower right. The Hungarian painter Antal Berkes painted landscapes in the early years of his career, but later devoted himself to glimpses and views of cities, Budapest, Paris, Vienna. This painting still belongs to the first production, proposing the view of a country road, which passes through a forest where some farmhouses are located; on the dirt road there is a cart pulled by horses. The painting is presented in a period frame.

Glimpse of the Country 1923

Oil on panel. Signed lower left. On the back is a further signature and the date (November 1923). De Bernardi's painting fits into the tradition of Lombard landscape painting of the 19th and 20th centuries. He always lived in Besozzo, his hometown in the province of Varese, but he travelled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. Here is a glimpse of a small village, De Bernardi's painting fits into the tradition of Lombard landscape painting of the 19th and 20th centuries. The picturesque. He always lived in Besozzo, his hometown in the province of Varese, but he travelled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. Here is proposed the glimpse of a mountain village. The work is presented in a frame in style.

Tarasp Castle 1960

Oil on cardboard. Signed and dated lower right. The Roman artist Cesare Maggi established himself as a landscape painter of the divisionist style, portraying Alpine landscapes of the Engadine and Aosta Valley, often enlivened by the inclusion of figures and animals. Having become friends with the painter Giacomo Grosso in Turin in 1901, he then successfully turned to the portrait genre, setting aside the divisionist technique. Although he still preferred high mountain views, he expanded his subjects by also working on marine and still life paintings. Shown here is the snow-covered glimpse of Tarasp Castle, an 11th-century fortress in Lower Engadine, Switzerland. This is a late work by the artist, who remained attached to his favorite subject, the Alpine landscape, until the end, despite having now abandoned the divisionist technique of his early period. The work is presented in a period frame.

The Angel of Death 1979

Oil on hardboard. Signed and dated lower left. Further signature, date and title on the back. Angelo Peratici's artistic production is characterized by a desire for expressive freedom that draws on his fervent imagination to represent reality. Starting from this innate impulse to transfigure reality, his art has transformed into a laborious research process, fertile with metaphorical and visionary images, sometimes grotesque, eccentric, which we see realized in particular in the production of the early 80s.

Floral Arrangement of Red Roses

Oil on canvas. Signed lower right. Alfio Paolo Graziani chose the faithful transposition of reality on his canvases, creating almost hyper-realistic compositions for the precision in reproducing the various materials and surfaces, as well as the effects of the light incident on them. Nicknamed "Prince of Flowers" for the abundant production of floral compositions, he also created landscapes, portraits and still lifes. Presented here is a bright bouquet of red roses, arranged in a decorated ceramic vase. The work is presented in a period frame.

Floral Composition

Oil on canvas. Signed lower left. Alfio Paolo Graziani chose the faithful transposition of reality on his canvases, creating almost hyper-realistic compositions for the precision in reproducing the various materials and surfaces, as well as the effects of the light incident on them. Nicknamed "Prince of Flowers" for the abundant production of floral compositions, he also created landscapes, portraits and still lifes. Presented here is a bright bunch of small roses arranged in a decorated ceramic vase. The work is presented in a period frame.

Oil on canvas. The large scene, set in a hilly countryside, with a village and ruins in the background on the left, is completely occupied by the compact group of numerous living figures: the shepherd's family is seated in the center, watching his companion who is holding the swaddled baby in her arms; all around, the animals, from the faithful sheepdog to the animals of the flock, sheep, goats and cows, also resting. The great naturalism of the animal figures stands out, which harks back in pictorial style to the works of the school of Philipp Peter Roos, known as Rosa da Tivoli (1657-1706), the German painter considered one of the best animal painters active in Italy in the 17th century, characterized by the peculiar ability to evoke the fleece and the looks of the animals. The work, restored and relined, is presented in a gilded frame in style.

Oil on canvas. Lombard school of the 17th century. On the first canvas and mounted on the original frame. Set in a prison, the scene shows Saint Ambrose the bishop directing the person on his right, a soldier with a cross around his neck, towards the sky. He can be identified as Saint Victor, a Roman soldier originally from Mauritania, who served in Milan at the time of Maximian and was martyred for his Christian faith. It was the bishop of Milan who recounted the life and martyrdom of the saint in one of his writings and who spread his cult. On the left, another probable martyr of the faith, who witnesses the proclamation of the beatitude of his cellmate; around, numerous other figures of condemned men. The octagonal painting probably belongs to a series dedicated to the cult of the Holy Bishop of Milan. The canvas requires restoration and cleaning, presenting several stains and cuts (a tear in the centre, other smaller ones on the sides).

Landscape with Hills, 1958

Oil on canvas. Signed and dated lower right. The large landscape offers a view of green and flowery hills, which opens the view onto the plain below, inhabited by several groups of houses; on the steep hill a row of cypress trees that climb diagonally, marks the climb to a house that is not visible, but identified by the gate at the base. Perhaps a landscape from Brianza (but it could also be a Tuscan glimpse!), it belongs to the vast traditionalist landscape production of the Lombard painter Arnaldo Annoni. It is presented in a contemporary frame.

Love and Wine

Oil on metal plate, with a trapezoidal shape and a concave center, in which the pictorial scene is inscribed, while the four corners are embossed with decorations. The painting presents a cheerful and gallant scene between a young and attractive innkeeper, who is pouring wine from the barrel into the flasks, and a customer who approaches her to have his glass filled. The painting has slight color losses. It is presented in a glass case frame, in style.

Soap Bubbles

Oil on metal plate, with a trapezoidal shape and a concave center, in which the pictorial scene is inscribed, while the four corners are embossed with decorations. The painting offers a joyful scene: a group of children play with soap bubbles that one of them is blowing, while the others watch them amused and the older girl lifts the little one up so he can catch them! There are slight color losses. It is presented in a style display frame.

Oil on canvas. Mary is depicted here in an attitude of suffering inner concentration, her gaze turned downwards, her head resting on her hand, her expression sad; even though she is haloed, the human dimension prevails in this painting, the suffering mother. Behind her is a deserted and barren landscape, accentuating her solitude and suffering. Restored and relined, the painting is presented in a period frame.