Italian Wall Decorations

We love the wonderful pop art design by Franz Marangolo that features on this supersized vintage Italian advertising poster Campari Soda. Founded in Milan in 1860 by Gaspare Campar...

"Perseus Rescuing Andromeda" Masterful Old Master Oil on Canvas Painting, Large size, framed. Painting depicts the dramatic scene from Greek mythology where Perseus, the hero, saves ...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

We love the wonderful pop art design by Franz Marangolo that features on this supersized vintage Italian advertising poster Campari Soda. Founded in Milan in 1860 by Gaspare Campar...

Background: Red Classic Burgundy Subjects: Beige Onyx Designer: Marika Tardio Designed by hand in Digital Art Made in: Italy Printing support: Fine Art ( front 50% cellulose, back n...

Gorgeous midcentury rectangular wall shelf in curved rattan, bamboo and hand-woven wicker. This charming French Riviera style shelf was designed by Franco Albini and produced in Ita...

Last 4 of an original set of 16 wall fixtures. Set of four really large and great looking, half-moon shape, easy to mount and beautifully handcrafted alabaster wall lights. In all ...

A stunning vintage Italian Rococo style giltwood wall bracket shelf with a hand carved scrolling acanthus leaf design in a lovely gilt patina. Marked "Made in Italy" on reverse. It's...

Pair of boldly hand-carved and painted Italian Florentine wall bracket shelves in the baroque manner, circa 1850-1880. The shelves feature a shapely platform resting on elaborate, ca...

This is a beautiful antique watercolour entitled "The Music Recital" by Attillio Simonetti (Italian 1843 - 1925)  signed Attillio Simonetti, Roma, bottom right and Circa 1890 in date...

We adore the Italian film poster for 60s classic Breakfast at Tiffany's. Enzo Nistri's design is simply fabulous darling! This vintage film poster has been professionally linen-back...

Fabulous country-of-original release Italian poster for the 1967 classic Blow-up.Often sold as first-year-of-release, this printing (featuring the same design as the first release) i...

One of two etching printed Ancient Roman Vase print with gold leaf background hand-gilded and enhanced with a square frame made of mirrors and gilded with gouache and burnished with ...

This hammered and etched glass art sculpture captures the essence of motherhood with delicate artistry. The jagged surface of the hammered glass creates a dynamic play of light and s...

"Perseus Rescuing Andromeda" Masterful Old Master Oil on Canvas Painting, Large size, framed. Painting depicts the dramatic scene from Greek mythology where Perseus, the hero, saves ...

Impressive 19th century Italian hand fan, remarkably preserved with silvered metal sticks and guards depicting ancient gods, palm trees and classical emblemes. The paper leaves are h...

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

An exquisite and very rare 16th century renaissance Silk brocade fragments mounted and artistically displayed in the Glas case on the antique linen. Both fragments are greatly preserved and originated by its design from famous Palazzo Pitti in Florence. The ornaments contain flowers, jaguars, birds and Fleur De Lis- the symbol of royalty. The colours remain vibrant and parts of golden embroidery/ threads are in very good condition considering the age. Both fabric...

Gorgeous Mid-Century wall shelf in curved rattan and bamboo. This stylish organic shelf was designed by Franco Albini in Italy during the 1960s. In amazing conditions and with a cha...

Pair of Extra large Roman Vase printed on a hand press on 100% cotton engraving paper. Completely handpainted with a cream wash, umber highlights, and...

Blue and white ceramic wall shelf, made in Italian in the early 20th century Ø cm 15 Ø cm 13 h cm 20 Antique ceramic shelves are fascinating objects that combine functionality with...

This antique Italian embroidered panel is a finely handwoven work in wool, showcasing exceptional craftsmanship and decorative richness. Likely dating from the 18th century, the vert...

Pair of 18th century Italian architectural etchings of churches in Rome by Guiseppe Vasi (1710-1782) from "Raccolta Delle Più Belle Veduta Antiche...

Rococo style giltwood wall bracket or shelf - hand carved soft wood - featuring acanthus leaves and 'c' scroll design motifs - original metal hangers - Italy - circa 1950's. Excelle...

Bruno Munari Untitled 1991 Serigraph on paper Ed. 43/50 Wood Frame frame size: h30x25.5x3 cm paper frame: h24x16 cm

Rembrandt Van Rijn (1606-1669) Reproduction GHI.M.A Authorized Measures: Height 57 cm Width 68 cm Technique oil on canvas The company GHI.M.A. certifies that the relief, the app...

Alessandro Mendini Quilted Wall Hanging Tapestry Interflex, Italy, 1993 Dimensions 104" x 62" x1" This large wall hanging tapestry designed by Al...

A very important painting by the great artist of the Florentine school, Onorio Marinari. Dr. Silvia Benassai has confirmed Marinari’s authorship of the Saint Margaret of Antioch; available on demand, a historical-artistic fact sheet prepared by Dr. Silvia Benassai Onorio Marinari (1627 – 5 January 1715) was a very important Italian painter and printmaker of the Baroque period, active mainly in Florence. His father, Sigismondo di Pietro Marinari, was also a painter, and he trained with his cousin, Carlo Dolci, later being also influenced by Simone Pignoni and Francesco Furini. His fresco in the Palazzo Capponi, Florence, is dated 1707. He worked mainly in Florence for Florentine and Tuscan clients, but he did not devote himself only to painting. In fact, in 1674, he published an essay on astronomy entitled Fabbrica ed uso dell' Annulo Astronomico. Bartolomeo Bimbi was one of his pupils. St. Margaret of Antioch July 20, Martyr Margaret, known as Margaret of Antioch in the West, and as Saint Marina...

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

Nerone & Patuzzi cculptural wooden wall panel for NP2, mahogany, Italy, 1973. This untitled sculpture panel, created around 1970, features linear, curved, concentric, and triangula...

This painting is after Raphael which was one of the greatest artists of the Italian Renaissance. He was a meteoric success painting altar pieces and Por...

Pair chinoiserie panels. Pair custom vintage chinoiserie panels in ebonized wood upholstered in acid green velvet with antique gilt carved ...

A stylish pair of vintage Neoclassical style Italian silver and gold gilt resin wall brackets or shelves with a lovely scrolling acanthus leaf design. Perfect for displaying decorati...

Rare large and extremely sculptural wall table with marble inlay and beveled mirror. If you are appreciative of rare and sculptural antiques then this large mirror / side table could be exactly what you are looking for. The quality and the patina of the large, fighting phoenix bird and dragon frame is second to none and for it to be in such good condition is truly amazing. It takes a special craftsman and artist to create such a piece, the type that you simply don't find anymore in this day and age. Because of the subject matter and the great quality, the first name that comes to mind would be that of master sculptor Gabriel Viardot. However, Viardot virtually made all of his dragon sculptures in the Chinoiserie style and this piece is clearly more European. In terms of the quality of the carvings, whomever created this unique piece of furniture certainly was no less artistic or skilled as Viardot, because this piece really is among the best you will ever see. The way in which this hand carved wooden phoenix is holding the shield-like beveled mirror in its claws and the way the dragon seems to try to fend off the enormous and fierce phoenix is both dramatic and impressive at the same time and it will never seize to amaze you or anyone visiting. Especially when you see the detailed carvings and the true size of this work of beauty in real life, you will be stunned. By the way, we learned that in imperial China, the dragon and the phoenix were respectively associated with the Emperor and the Empress...

We are pleased to present this captivating religious painting of the Italian school, painted in oil on canvas in the 18th century. This wonderful painting depicting the Madonna in pr...

Surrealist Oil Painting by Jean Calogero (1922 - 2001) titled Carnival a Venise. Painting framed measures 46.25" wide and 46.25" high. Painting unframed measures 39" wide and 39" h...

ONE of... wonderful solid brass wall light. Italy, 1940s - 1950s Measure: Height without bulbs: 8.9" Lamp sockets: 2x E27 (US E26) Shipping...

Extraordinary Mid-Century wall shelf in curved rattan, bamboo and wicker. This marvellous object was made in Italy in the 1960s and is attributed to the mastery of Franco Albini. Th...

Background: Dark Blue, Light Blue Subjects: Beige Onyx Designer: Marika Tardio Designed by hand in Digital Art Made in: Italy Printing support: Fine Art ( front 50% cellulose, back ...

This is an antique coffee house bell. An Italian, brass and mahogany wall mounted cafe bell, dating to the Edwardian period, circa 1910. Charmingly decorative example, with an orna...

This is a late 20th century chinoiserie pagoda form tole vitrine. There are two available. The interior does have a light. There are two glass shelves with 11 inches separating each ...

Background: Antique Rose Subjects: Beige Onyx Designer: Marika Tardio Designed by hand in Digital Art Made in: Italy Printing support: Fine Art ( front 50% cellulose, back non-woven backing Greenguard Gold Inks, low emissions ). Single roll width: 53cms Height: cut according to the height of the wall. *** About the design: A myriad of hands interweave, giving life to a perpetual motion, which shapes a visionary world. Forms and colors play tricks on the eyes. The infinite metamorphosis is a constant surprise. There are so many points of view we can’t really know which one is reflecting reality Mixtures of shades and graphic drawings...

Sunflower Field C.Lipari Print on paper Measures: Height 33cm Width 74cm Print on paper In good conservative condition, present signs of time due to use and age. (Please see phot...

Alfano Dardari Oil Painting on Canvas 1970's. Measures: Height 88cm Width 69 cm Oil on canvas In good conservative condition, present signs of time due to use and age. (Pleas...

Vintage Hand Carved Giltwood Wall Bracket. Italian Handmade Scrollwork Shelf. Rococo Style Vintage Italian, Rococo style water gilded wall bracket is hand carved in scrolling acanth...

Rare original vintage "Jerusalem by Night" screen print on wood panel, designed by Piero Fornasetti / made in Milan Italy by Fornasetti Original label on the back Measures: width 37 ...

Bronze sculpture on wood by Filippo Stefani, 1981 Title - Ride Cast by lost wax process Circulation 23/999 Good conditions. Thank you

In the 1930s, when Italy was once again valorizing and idealizing the male nude -- witness the famous crescent of nude male athletes at the Foro Italico in Rome -- this silvered bron...

Antonio de Leyva, Duke of Terranova, Prince of Ascoli (1480–1536) was a Spanish general during the Italian Wars. During the Italian War of 1521, he commanded Pavia during the siege o...

Rare and remarkable Italian pietra dura bayscape with birds, boats and a lighthouse handcrafted in inlaid stone and marble and presented in a marble frame.

Early 20th century Italian lithograph hand-colored by Giuseppe Falchetti depicting still life of fruit and flowers, horizontally framed, apples, pea...

Pochoir Umberto Brunelleschi Early 1900 Art Deco Pochoir on paper Original wood frame "Brunelleschi" signed Very good condiction

Elegant and refined print representing French private architecture and, precisely, a the design of a 19th century suburban villa under Napoleon III by Casar Daly. Together with anot...

Background: Powder Designer: Magnus Gjoen Designed by hand in Digital Art Project Miscellanea Graphic dev: Pattern Collection: Racconti Made in: Italy Printing support: Fine Art ( f...

Background: Cinnamon Orange Subjects: White Line Designer: Marika Tardio Designed by hand in Digital Art Made in: Italy Printing support: Fine Art ( front 50% cellulose, back non-wo...

Ugo Sterpini (Italian, 1927-2000)''La Lotta Sulla Duna" (The Battle On The Dune). Mixed media on canvas, signed and dated ''58'' lower right, signed, titl...

This is a lovely set of Italian hand colored engravings framed with a linen matting. The frames are a painted and carved gift wood. They depict scenic views of Rome. The image is 12”...

A Pair of Italian grand tour Wall Mounted Intaglios. Intaglios comes from the Italian word intagliare, meaning "to incise or carve". Intaglios, generally speaking, are designs or mo...

A beautiful gilt metal key hanger wall decoration. Made in Italy, about 1950s. Made of gilded metal. In very good used condition. Very charming piece. Nice addition to your room or e...

Ceramic shelf from Nove di Bassano with flowers and fair, hand-painted by Gian Battista Viero and made in the 19th century. Restorations have been carried out as shown in the picture...

Background: White with Black Polka Dots Subjects: Red Designer: Marika Tardio Designed by hand in Digital Art Made in: Italy Printing support: Fine Art ( front 50% cellulose, back n...

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.

Silk thread embroidery on velvet applied on a fir tablet depicting the coat of arms of the Sebregondi family, a noble Florentine lineage. Dating back to the period between 1745 an...

Splendid oil portrait on canvas of Count Bailiff Ludovico Caprara (1731-1812), as indicated by the writing inside the "tabula ansata," at the bottom of the frame of the painting. The...

Reproduction of Rembrandt's Night Watch, mixed media on canvas. Measures: Height 136cm Larghezza 191 cm In good conservative condition, present signs of time due to use and age...

Extra large Roman vase printed on a hand press on 100% cotton engraving paper. Completely hand painted with a cream wash, umber highlights, and matte black details. Light brown mat...

Italian tapestry, circa 1920s.

A superb pair of framed Grand Tour intaglios, circa 1820. These genuine plaster hand-carved intaglios are all gilt paper wrapped and numbered. They are custom framed on a gray linen ...

A wonderful 19th Century Italian religious textile banner with beautifully colored Our Lady Of Sorrows Mary, Mother of Jesus oleograph, original backing, rod, rope, fringe and tassel...

This is a pair of large scale Italian Regency style carved giltwood sconces. The tops have carved Prince of Wales feathers. Both sconces have tassels suspended from a long chain that...

Gennaro Villani (1885-1948) Amalfi Coast, oil on canvas in painted and gilt frame, signed lower left. Italy, circa 1920. Dimensions: 27" W x 23" H x 1.25" D; sight 24.5" W x 21" H.

Background: Marsala Subjects: Multicolor Designer: Magnus Gjoen Designed by hand in Digital Art Project Miscellanea Graphic dev: Pattern Collection: Racconti Made in: Italy Printing...

Elegant and refined print representing French private architecture and, precisely, a the design of a 19th century suburban villa under Napoleon III by Casar Daly. Together with anot...