Italian Decorative Art

Pannello murale realizzato con la tecnica dell'arte in scagliola, Lavorazione manuale di scagliola con effetto materico nella tonalità del rosso. Cornice in acciaio lucido in forte ...

Extra large art print of a Japanese "SATSUMA" vase. Printed by hand on engraving paper with an antique star press. Completely hand-colored by our skil...

Three Pierro Fornasetti Egocentrismo Plates, c1960 Eric Knowles Comments Pierro Fornasetti was one of the absolute stars of Italian design in ...

Large ceramic plate in white and gold luster, hand painted in Italy and handmade with the pottery wheel. This majolica plate can be used as a centerpiece...

A very decorative true pair of Italian 18th century Baroque st. faux painted Porphyry wall decor. Each wonderful carved architectural element is in the shape of an oil lamp and are r...

An antique pair of Grand Tour intaglios in wooden frames with a total a 72 medallions. Wear consistent with age and use. circa 19th century, Italy.

This splendid round wall plate whit decorations fish was made by the Sardinian master ceramist Claudio Pulli. Made in Italy in the 1970s. Claudio Pulli's works have a particular ce...

Bronzino by Alessandro Zambelli Dimensions: D 28 x W 6 x H 21 cm Materials: Solid Casting Bronze. Also available in different dimensions and in sets. Please contact us for more information. This essential yet precious collection is highly refined in its clear, defined lines: a series of small bronze sculptures which are able to combine typical renaissance taste in terms of perfection of form, with the minimalist aesthetic refinement of the Art Deco movement. A series of small home furnishing accessories in which a collection of flowing lines, at times clean and linear, at times softer and more rounded, follow after each other to delineate original geometric surfaces. Their mirror-like finish gives back glimpses of images, light and colours to the environment. in a skilful game of perfect formal harmony which seems embellished, and at the same time accentuated, by the metal's shininess. /Bron-zì-no/ Created following Donatello's wonderful work on the Pontifical Basilica of Saint Anthony of Padua, and popularised during the renaissance as an expression of admiration for antiquity, bronzetti are small bronze objects - small-scale reproductions of classical sculptures and bas-reliefs - or, more simply, objects created with the function of picchiotti, the door knockers which had been placed at the entrances to noble residences since ancient times. Lorem ipsum. Alessandro Zambelli Alessandro Zambelli lives and works in Mantua, Italy. He studied industrial design and materials engineering at the Cova School of Design in Milan, and his career took off at bathroom designer Agape in 2000. A few years later, in 2003, he founded Alessandro Zambelli Design Studio. In 2006 he worked on the Estetico Quotidiano project, marking the start of his co-operation with the design house of Seletti. Zambelli’s Palace Collection and School Joke Chair...

Three decorated ceramics with bamboo frame, Italy, 1970s The three ceramics depict a lynx, a tiger and a lion. Two have breaks, not very visible; One intact. 40cm x 40cm.

Fine pair of exuberant Hollywood Regency majolica wall pockets - featuring colorful hand painted acanthus leaves set against the trumpet shaped floral body - the glaze with a smooth ...

Nazareth painting from the 70s. With brass frame, glass carved on mirror and covered with a wooden surface at the back

A beautiful and most decorative Italian 19th century architectural wall element of a crown. The white Carrara marble crown is jeweled with o...

18th century Italian spolvero fresco pattern printed onto canvas and framed with an antique wood frame. Spolvero is an artistic method of transferring a design from a print to the p...

18th century Italian spolvero 'cherubs' pattern printed onto canvas and framed with an antique scroll frame and adorned with fossil agate coral. Spolvero is an artistic method of tr...

Italian hand carved semi precious stone panel of two birds sitting on a tree branch. c. 1950's, Firenze, Italy . Pietra Dura The art of Pietra Dura began with the Medici family...

Antique Italian figurative pietra dure panel Italian, 19th century Measures: Height 18cm, width 14cm, depth 1cm This beautiful pietra dure panel depicts in the Renaissance style...

18th century Italian spolvero fresco pattern printed onto canvas and framed with an antique molding frame and citrine crystals. Spolvero is an artisti...

18th century Italian spolvero rococo scroll pattern printed onto canvas and framed with an fragment scroll frame and adorned with polished fossil agate coral. Spolvero is an artist...

18th century Italian spolvero fresco pattern printed onto canvas and framed with a custom frame and citrine crystals. Spolvero is an artistic method of transferring a design from a ...

18th century Italian spolvero fresco pattern printed onto canvas and framed with an antique molding frame and citrine crystals. Spolvero is an artisti...

18th century Italian spolvero "fruit and foliage" fresco pattern printed onto canvas and framed with an antique wood frame. Spolvero is an artistic method of transferring a design f...

Elegant hand-watercoloured print representing Crabs, from the Japanese Sea Life Series This marine style print is available in 6 different natural represe...

Elegant hand-watercoloured print representing Butia Capitata, of the palms family. This botanical style print is available in 4 different natural representations to create a brigh...

- This product is priced per square feet. Please contact us for assistance with square footage calculations. - The lead time depends on the quantity of the order. The absolute prota...

Otello Ciullini for Studio EF - Cristo Plex . Studio EF decorative wall art from the 70s in brass in collaboration with Studio Plex . The measureme...

Il cuore dedicato ad Alessandro è Mendini è l'ultimo di una serie di 7 pezzi realizzati in plexiglas curvato a caldo con un procedimento artigianale. La superficie interna del cuore è stampata con una interpretazione originale di Massimo Caiazzo del pattern di "Proust" di Alessandro Mendini. Il cuore nasce come oggetto celebrativo dedicato ad Alessandro Mendini artista e designer tra i più apprezzati del novecento, grande maestro di Policromia del quale Caiazzo è stato collaboratore per sedici anni. Il Cuore dedicato Sandro Mendini è stato esposto al "Festival dell'Amore“ presso la Triennale di Milano (2019) e alla mostra personale di Massimo Caiazzo dal titolo “Policromia" tenutasi al palazzo Reale di Santo Domingo (2019). Massimo Caiazzo (Napoli 1966) è un esperto di progettazione cromatica, che affianca all'esperienza accademica la progettazione “sensibile” della luce e del colore nei settori dell’architettura, del design, della moda e della comunicazione. Presidente di IACC Italia, sede di International Association of Colour Consultant, fondata nel 1957 a Hilversum e citata dalla Fondazione Munsell tra le quattro migliori scuole di colore del mondo. Docente a tempo indeterminato di Cromatologia presso l'Accademia di Verona dal 2003 al 2015, tiene corsi sul colore nella progettazione presso alla SPD (Scuola Politecnica di Design Milano), alla Nuova Accademia di Belle Arti (NABA) e alla Domus Academy di Milano. La sua formazione sul colore è iniziata all'Atelier Mendini di Milano (1990-2006), dove ha fatto parte del team guidato dal designer e artista Alessandro Mendini, maestro della policromia. Allievo di Frank Mahnke e di Narciso Silvestrini, ha seguito i loro insegnamenti sulla natura interdisciplinare del colore e sull'importanza di condividerne la cultura per renderla una risorsa per la riabilitazione del nostro ambiente costruito. Nel 2021 è stato nominato testimonial del Design Italiano nel modo ed è stato scelto come oratore principale di Color Impact, all’Università di Yale, la più importante conferenza internazionale sul colore dedicata all’ambiente costruito. Ha pubblicato con Silvia Botti il best seller “Abitare i colori” per Vallardi Editore. AMBITI DI PROGETTAZIONE CROMATICA, ART DIRECTION E DESIGN - Automobilistico: Fiat 500 (2003); Lancia Y (2005) - Nautico: Cantieri di Baia (2002); Claus Loewe (2015) - Trasporto pubblico: Metropolitana di Napoli (2000); autobus a gas naturale, Verona (2004) - Riqualificazione urbana: Carcere di Bollate, Milano (2008); Chiesa di Santa Maria Maggiore, Mirabella Eclano (2010); Liceo Boccioni, Milano (2017); Biblioteca Zappa, Milano (2020) - Arredo urbano: Città di Napoli (2001) - Spazi espositivi, attività commerciali: Banca Albertini-Syz,(2007); Flag Store Alberto Guardiani (2008); Pasticceria Scaturchio, Napoli (2009); Qubica Bowling, USA (2012); Cantine Ciani, Mirabella Eclano (2019); Showroom OTS, Padova (2022) - Stabilimenti industriali: OTS, Padova (2019); Vetropack, Boffalora sul Ticino (2022); - Architettura d’interni: casa studio di Gianna Nannini...

Quadri "LEONI DI VENEZIA" Gio Magri, Set di 2, 1970s Presenti piccoli fori ai 4 angoli Stile Vintage Periodo del design 1970 - 1979 Periodo di produzione 1970 - 1979 Anno di produz...

19th century Italian "Mary with Jesus" painting and framed with amber. The painting original came from Tuscany and depicts Mary sitting with another young child and looking lovingly ...

A fabulous vintage Boho framed silk scarf. A chic jungle print from the House of Gucci. Signed on the bottom. Acquired from a Palm Beach estate as a gift from her grandmother.

A selection of antique Grand Tour marbles, profiled in black (ebony wood), inserted in an ebonized walnut wood frame, with red Levanto marble inlays. the back of the frame with parts...

Elegant hand-watercoloured print representing Jellyfishs, from the Japanese Sea Life Series This marine style print is available in 6 different natural representations to create a br...

Decorative wall artwork, made of fabric, with abstract subject and square-shaped light wood frame. Pink-dominated background with numerous multicolored parts and fragments. Ability t...

Pair of 20th century large Venetian Renaissance revival wood panels. Wood panels in hand painted Venetian Renaissance Revival Fresco work. The Sgraffito style motif is delicately ...

From our Hand-Painted Furniture Collection, we are pleased to introduce you to our Moro Screen. Did you know that a group of butterflies is called a "Kaleidoscope"? The name comes ...

Elegant hand-watercoloured print representing Martinezia Lindeniana, of the palms family. This botanical style print is available in 2 different natural representations to create a ...

Elegant hand-watercoloured print representing Jellyfishs, from the Japanese Sea Life Series This marine style print is available in 6 different natural representations to create a br...

Il rosone policromo Archetipo Mediterraneo è realizzato interamente a mano con materiali antichi e pregiati come il vetro e il mosaico. La contrapposizione di due materiali diversi come i pregiati smalti tagliati a spacco, prodotti secondo la più antica tradizione nella storica fornace Orsoni di Venezia, e il vetro Karma di Trend, anch’esso tagliato a mano e ispirato alle vetrate delle cattedrali gotiche, consente di trovare in un oggetto bidimensionale la terza dimensione. Grazie alla forza dei materiali, che coniugano la pienezza del colore dello smalto alla luminosa trasparenza del vetro, la forma tende ad uscire dal piano su cui poggia sprigionando tutta la sua vitale energia. Esposto a: “Quali cose siamo", La Triennale Design Museum (2010). "Portare colore alla vita", Newcastle, Sage Gateshead (2013). “Policromia", mostra personale al palazzo Reale di Santo Domingo (2019); "In the Garden of Eden: Alessandro Mendini and Friends", Galleria Colombo, Milano (2021). Dal punto di vista iconico è una interpretazione in chiave contemporanea e policroma della stella a otto punte, uno dei simboli più antichi che rappresenta il punto d' incontro ideale tra oriente e occidente perché attraversa culture e simbologie apparentemente lontane come quella buddista, quella cristiana, quella ebraica e quella musulmana. La stella a otto punte nasce dalla fusione tra il quadrato e il cerchio ed è un simbolo mandalico che racchiude in sé l'origine del mondo e rappresenta il percorso alchemico che conduce dalla materia allo spirito. La quadratura del cerchio è l'emblema della rigenerazione spirituale. L’alternarsi concentrico dei sette colori della luce solare, si ricollega alla tradizione ermetica del numero sette e alle filosofie tardo-rinascimentali. Massimo Caiazzo (Napoli 1966) è un esperto di progettazione cromatica, che affianca all'esperienza accademica la progettazione “sensibile” della luce e del colore nei settori dell’architettura, del design, della moda e della comunicazione. Presidente di IACC Italia, sede di International Association of Colour Consultant, fondata nel 1957 a Hilversum e citata dalla Fondazione Munsell tra le quattro migliori scuole di colore del mondo. Docente a tempo indeterminato di Cromatologia presso l'Accademia di Verona dal 2003 al 2015, tiene corsi sul colore nella progettazione presso alla SPD (Scuola Politecnica di Design Milano), alla Nuova Accademia di Belle Arti (NABA) e alla Domus Academy di Milano. La sua formazione sul colore è iniziata all'Atelier Mendini di Milano (1990-2006), dove ha fatto parte del team guidato dal designer e artista Alessandro Mendini, maestro della policromia. Allievo di Frank Mahnke e di Narciso Silvestrini, ha seguito i loro insegnamenti sulla natura interdisciplinare del colore e sull'importanza di condividerne la cultura per renderla una risorsa per la riabilitazione del nostro ambiente costruito. Nel 2021 è stato nominato testimonial del Design Italiano nel modo ed è stato scelto come oratore principale di Color Impact, all’Università di Yale, la più importante conferenza internazionale sul colore dedicata all’ambiente costruito. Ha pubblicato con Silvia Botti il best seller “Abitare i colori” per Vallardi Editore. AMBITI DI PROGETTAZIONE CROMATICA, ART DIRECTION E DESIGN - Automobilistico: Fiat 500 (2003); Lancia Y (2005) - Nautico: Cantieri di Baia (2002); Claus Loewe (2015) - Trasporto pubblico: Metropolitana di Napoli (2000); autobus a gas naturale, Verona (2004) - Riqualificazione urbana: Carcere di Bollate, Milano (2008); Chiesa di Santa Maria Maggiore, Mirabella Eclano (2010); Liceo Boccioni, Milano (2017); Biblioteca Zappa, Milano (2020) - Arredo urbano: Città di Napoli (2001) - Spazi espositivi, attività commerciali: Banca Albertini-Syz,(2007); Flag Store Alberto Guardiani (2008); Pasticceria Scaturchio, Napoli (2009); Qubica Bowling, USA (2012); Cantine Ciani, Mirabella Eclano (2019); Showroom OTS, Padova (2022) - Stabilimenti industriali: OTS, Padova (2019); Vetropack, Boffalora sul Ticino (2022); - Architettura d’interni: casa studio di Gianna Nannini...

Framed Piero Fornasetti Framed Set of Coasters, "12 Mesi, 12 Soli" design, Coasters Early 1960s The six large ceramic coasters are from the "12 Mesi,...

Vintage Tarcisio Tosin - La Freccia wall plated - Glazed Ceramic, Italy 1934 hand painted under glaze from the 1934 to the 1942. The Diana Huntress ...

Italy, late 18th Century Antique hand-coloured map of Venice. Measures: H 52 x W 59 cm.  

Elegant hand-watercoloured print representing Imperatoria Ostruthium, a flowering plant belonging to the family Apiaceae. This botanical style print is available in 4 different n...

Elegant hand-watercoloured print representing Imperatoria Ostruthium, a flowering plant belonging to the family Apiaceae. This botanical style print is available in 4 different n...

Elegant hand-watercoloured print representing Caryota Sobolifera, of the palms family. This botanical style print is available in 2 different natural representations to create a bri...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520) The circular canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame (all high quality gilt is original) which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting, circa 1890-1900. Subject: Religious painting Measures: Canvas height: 29 1/4 inches (74.3 cm) Canvas width: 29 1/4 inches (74.3 cm) Painting diameter: 28 1/4 inches (71.8 cm) Frame height: 57 7/8 inches (147 cm) Frame width: 45 1/2 inches (115.6 cm) Frame depth: 5 1/8 inches (13 cm).   Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Elegant hand-watercoloured print representing Cocos Nucifera, of the palms family. This botanical style print is available in 4 different natural representations to create a bright ...

Elegant hand-watercoloured print representing Phoenix Dactylifera, of the palms family. This botanical style print is available in 4 different natural representations to create a br...

An impressive charcoal and pastels painting of Fontana Di Trevi in Rome. This painting is drawn as a quick sketch on a quality canvas and painted with...

Wonderful portrait of a young noblewoman signed by the great Italian artist Vincenzo Volpe in lavish costume communicates her social status. Oil on board The very elegant posture of...

A Roman Micromosaic Plaque Depicting a Basket of Flowers. Inscribed verso 'From The Townshend Colln.', 'Poe 200, Florentine Mosaic', 16.5 x 18 cm, the plaque 18.5 x 20 cm, overall...

Great aquarium, fish tank in Murano Glass, by Cenedese and attributed to Riccardo Licata, well known Murano artist. This is an early piece with a big fish, t...

17th Century Italian Architectural Drawing of a Palazzo which has been done with pen and ink with a grey wash. Signed on reverse by Bart...

Elegant hand-watercoloured print representing Imperatoria Ostruthium, a flowering plant belonging to the family Apiaceae. This botanical style print is available in 4 different n...

Very nice patina due to age. The mirror has small scratches, which you can see well in the photo, does not bother, but should be mentioned.

Spectacular set of 12 Fornasetti ADAMO plates with detailed gold background - not the newer flatter plain gold.

Pair of magnificent, hand painted, polychrome and gilt wood panels featuring specimen marble and porphyry geometric shapes with obelisks in center. Gi...

A mid-20th century Italian pietra dura inlaid plaque, a Florentine commesso depicting a view of Florence with the Cathedral.

Original Alvino Bagni Keramik Kachel / Fliese um 1950-1960er Jahre. Wunderschöner Fund. Vermutlich für Bitossi. Herrliche Farbkombination der späten 50er, frühen 60er Jahre Handsigni...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Ma...