Bolognese School, late 17th and early 18th century. Oil painting on canvas, cleaned and relined. There are some non-detrimental restorations present. Measurements: cm 32x38 canvas with a carved and gilded non-coeval frame cm 45x60. This painting, where St. Joseph is not present as a main variation, takes up the work of the "Madonna of the Embroidery," an oil painting on panel from the late 16th century donated by Margherita Tomei to the Misericordia of Borgo a Mozzano. It is a truly particular and unusual subject among the depictions of "Madonna the worker". Among the similar works known, there is a mid-14th century fresco, found in a dilapidated oratory of an Emilian villa, attributed to Vitale da Bologna, which is now in the National Art Gallery of Bologna, and there is an autograph painting by Guido Reni, made using fresco technique between 1609 and 1611 in the Quirinal Palace, whose dimensions are 210 x 200 cm, which represents a "Madonna sewing with angels". The posture of the Madonna, the basket on the left makes it very similar to the painting of the Misericordia. In the painting of Borgo a Mozzano there is also the Baby Jesus in the cradle, which is not present in the painting by Guido Reni. Regarding this work, the painting of the Bolognese School, 17th century, THE VIRGIN SEWING WITH THREE ANGELS, oil on copper, cm 25x19 should also be remembered; The painting replicates the pendant of the Virgin with Child and Saint John the Baptist kept at the Louvre (inv. 524), considered lost until its reappearance in 2001 in a private London collection. The two branches constitute the first works executed by Guido Reni, in 1606, for the Borghese family and later donated to the Pope. Malvasia maintains that in 1678 they already belonged to the French Royal Collections in the 18th century. The faithful and punctual rendering of this fortunate scene, the attention to anatomical drawing - observe for example the delicacy in the gestures of the Madonna and in the presentation of the ensemble with the presence of the angels in her adoration - leads to not excluding that the example offered here is by a follower of the school of Guido Reni.