Watercolor drawing by Quinto Cenni (1845-1917) dating back to the end of the 19th century. Born in Imola on 20 March 1845, from an early age he developed an innate passion for drawing which he developed by portraying military figurines observed on the dusty roads of the country, then traveled by pontifical and Austrian soldiers, then by Piedmontese. His spirit of observation captured every distinctive element of the uniform and when he didn't see them personally, he made them describe them and then draw them. The untimely death of his father seemed to interrupt his school career at the Academy of Fine Arts in Bologna. A municipal subsidy first came to his aid then nothing more until 1867. After the death of his mother, who had remained his only supporter, he then decided to move to Milan. Here he obtained various positions as illustrator of magazines, continuing in the portraiture of events and men. From 1887 he became director of the "Italian Military Illustration" collecting great affirmations in Italy and abroad. His son Italo followed in his footsteps but with less success. Quinto Cenni died in 1917 in Carate Brianza. The artistic production of Quinto Cenni is today preserved in part by public institutions and in part by numerous private collectors scattered all over the world. 288 watercolors are conserved in the National Museum of Castél S. Angelo in Rome, of which 238 were donated by the Prime Minister Mussolini and 50 by the heirs of Cenni. At the Museo del Risorgimento in Milan 133 watercolors are preserved on the volunteers of the Risorgimento. Other smaller groups are located in the Pinacoteca civica di Imola. In addition to the artist's private archive, the Historical Office of the Army General Staff has (300 plates of his code) a collection of 2,500 sheets divided into various volumes, where Quinto and his son Italo after him collected notes and designs on uniforms, weapons and armies from all over the world and all eras. Recently, 50 watercolors by Quinto Cenni on the Duchy of Parma at the time of Maria Luigia, of which the existence was unknown, appeared on display in the Museum of New York. Period: Late 19th century Measurements: In frame H 36 x L 42 x P 6 / Paper H 18 x L 23 cm

Scene of a courtyard, oil on cardboard by Daniele Fissore, signed and dated on lower right, a very rare work as the artist usually depicts the landscape without figures. Daniele Fissore (Savigliano 1947 - Savigliano 2017) began his artistic career as self-taught artist. In 1975 he took part in the X Quadriennale in Rome and in 1976 in the "Biennale del disegno" in Milan. A constant evolution of the first pictorial themes (see the "Telephone booths", the "Oppositions", the "Reconnaissance", investigated with an in-depth analysis of strong photographic inspiration), led him to the human figure and the portrait. Period: 1980 Measurements: Framed H 69 x W 93 x D 4,5 / Cardboard H 60 x W 84 cm

"Santuario d'Oropa" mixed media on canvas by Silvano Magliola Large painting, mixed technique on canvas, from the 1970s, depicting the Sanctuary of Oropa with its ancient Basilica. Silvano Magliola, painter from Biella in the second half of the 20th century. Period: 1970s Measurements: Framed H 114 x W 199,5 x D 4,5 cm / Canvas H 99 x W 184,5 cm

"San Grato Di Aosta with the head of the Baptist" oil on canvas from the first half of the 18th century. The work has been restored. An important legend flourished on the account of San Grato, now proven to be completely anachronistic, which goes by the name of Magna legenda Sancti Grati and is attributed to canon Jacques des Cours, who lived in the 13th century. The story of the discovery of the head of St. John the Baptist, a relic often associated with San Grato in popular iconography, dates back to this tradition. Beheaded by a whim of the beautiful Salome, the head of the Forerunner by order of King Herod Antipas was buried in a well separated from his body, for fear that he might miraculously rejoin it and John might rise again. Grato had a vision from the Lord, in which he was shown the secret location of the burial. He left Aosta in the company of his companion Giocondo, received the Pope's blessing in Rome and then embarked for the Holy Land. During the crossing, a great storm broke out, which threw terror among the sailors, but Grato, raised his arms to the sky, which instantly returned calm. When he arrived in Macheron, near the ruins of Herod's castle, an angel guided him, taking him by the hand and leading him to the well where the head of the Baptist had been for centuries. Immediately the relic rose to the surface and settled in Grato's outstretched palms. Period: First half of the 18th century Measurements: H 110.5 x W 97 x D 2 cm