Italian Paintings

A striking vintage Boho original 1960s Italian oil on canvas. A chic still life in warm neutral tones with a subtle flash of green. Signed and dated ...

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...

La Sacra Familia 18th Century Title: La Sacra Familia Dolci, School of Florence 92 x 118 cm A truly stunning 18th Century Italian Oil on canvas of the sacred family. Super high ...

Scuola bergamasco-bresciana, XVII secolo Ritratto di donna Olio su tela, cm 51 x 37 Cornice, cm 60 x 47,5 Il presente dipinto rappresenta un ritratto di donna di scuola lombarda...

Oil on canvas painting representing two clowns riding a unicycle in an empty field. Signed Alfano Dardari in the lower right. Titled Taxi on the frame. ...

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...

Spectacular large Balinese Painting on Silk with an outstanding bamboo and woven rattan frame. This marvellous painting was realized in Bali around the 1960s and is signed on the bot...

This stunning abstract artwork was made in 1966, by the well known Italian artist Ermete Lancini. The artwork is a painting and a collage with newspaper sheet and other glued element...

Heinz Pinggera (Italian, b 1900) "A Recital for the Cardinal" oil on canvas within a gilt-wood and gesso frame. The interior 18th century rococo scene depicting a seated Cardinal or ...

Italian painting from the second half of the 20th century. Framework mixed media on enamelled metal depicting architectures, signed in the lower right corner (see photo), signature u...

Italian modern floral painting oil with wood frame and passepartout in fabric. Peinted by the artist Cimbali, 1972 Painting with floral represen...

Italian painting from the first half of the 20th century. Artwork oil on panel depicting still life with fruit, tray and goblet of wine of good pictorial quality. Framework of beauti...

17th century Italian School still life of flowers in a vase, set of two unframed paintings. Oil on canvas with dark background and finely defined flowers. These Italian Old Master Baroque Flowers...

Two oils on canvas, 18th century school, representing 2 of the miracles of Saint Vincent Ferrier: the healing of an injured person and the child stricke...

A stunning trompe l'oeil (fool the eye) mid 20th century Italian oil painting by artist Alfano Dardari. This work depicts the after effects of a late night. Gambling. Drinking. Smoking. Vice. And do you see a thread through all of this? I do. Mind you, it's my opinion but I'll happily share it with you. Memento Mori. Instead of defining it for you, I'll offer this description from the Tate in London: "Memento mori is a Latin phrase meaning ‘remember you must die’. A basic memento mori painting would be a portrait with a skull but other symbols commonly found are hour glasses or clocks, extinguished or guttering candles, fruit, and flowers. Closely related to the memento mori picture is the vanitas still life. In addition to the symbols of mortality these may include other symbols such as musical instruments, wine and books to remind us explicitly of the vanity (in the sense of worthlessness) of worldly pleasures and goods. The term originally comes from the opening lines of the Book of Ecclesiastes in the Bible: ‘Vanity of vanities, saith the Preacher, vanity of vanities, all is vanity...

Ancient Italian painting from the 18th century. Oil on canvas framework depicting still life, large basket with flowers and game, of good pictorial quality. Painting adorned with a m...

Painted with impasto paint (Italy-second half of the 20th century). The painting is unsigned and bears no gerenze on the back. An impasto technique can be recognized in which the spe...

"Fortress in an oasis" vintage canvas hand painted by an Italian artist after a trip to Morocco: he loved the sunny and earthy colors of Africa. The sizes published are only for pain...

"Roman amphora", a canvas hand-painted by an Italian painter after a trip to Morocco: he loved the colors of Africa. The sizes published are only for painting, not for all canvas.

This is a charming painting of a cherub with an arm extending forward, perhaps hold out a bouquet of flowers. The painting dates to the mid-18th century and is probably cut from a la...

19th century, English School Gentleman’s portrait Oil on canvas, cm 76,5 x 64 The painting in question portrays a gentleman of the second h...

Still life with flowers in a vase, oil on canvas, signed Manuela Bonati encased in carved frame. Dimensions Height 28 Inches Width 24 Inches Depth 2 Inches.

An antique Italian genre painting by G. Boldero and titled “After The Dual” offers oil on canvas interior genre scene with figures, feast and dogs; artist signed lower left; seated i...

"Dreaming of Morocco": the painting represents a large palace or fortress in the sunory sky perhaps of an oasis. Is a painting of an Italian artist after a trip to Morocco. He loved ...

"Colors of Morocco" is the name of this canvas, hand-painted by an Italian artist after a trip to Morocco: he loved the colors sunny and earthy of Africa! The sizes published are onl...

"Sunny desert" with small bare tree in one corner: canvas hand painted, very textural painting, by an Italian artist after a trip to Morocco: he loved the sunny and earthy colors of ...

Venetian school, early 16th century Oil on panel, 49 x 56 cm. Framed (restorations) These two panel paintings, portraying John the Baptist a...

Roman forest landscape, rendered in watercolor on laid paper. The work has received archival treatment, including de-acidification from the acid transfer of pulp matting. Float mount...

Important watercolor painting representing a beautiful view of Rome with the Tiber, Castel Sant'Angelo and the dome of St. Peter's in the background. A typical work in the vein of t...

A gorgeous pair of Grand Tour or Neoclassical style framed oil paintings of an Italian Capriccio landscape with ruins Italy, Early Century Oil on board, gilt frame Measures:...

Beautiful oil painting on canvas depicting a winged putto with a tree background, grape branches and fruit. Within a molded frame in gilded wood, typical manufacture attributable to...

Davide Balliano, "Untitled" painting on wood, Italy, 2015 Additional Information: Materials: Plaster, gesso and lacquer on wood Dimensions: 73 1/...

Leopoldina Zanetti Borzino (Italian 1826-1902). Born in Venice, Leopoldina was the niece of Daniel Manin, a hero statesman, who would become the President of San Marco, a revolutiona...

Lithograph from the 1990s by Remo Brindisi, Italian painter. Measures: Ø cm 50 H cm 70. Realist painter of the twentieth century, he was born in Rome in 1918. His artisti...

Leonardo da Vinci. The Complete Paintings. Book by Pietro Marani Da Vinci in detail: Leonardo's life and work all paintings. One of the most fully ac...

Antique Italian painting from the second half of the 18th century. Artwork oil on canvas depicting a portrait of a young girl, Princess with parrot, of good pictorial quality. Painti...

Oil painting on canvas depicting Christ and the Madonna consoling a dying man, Emilian school, 17th century.

Nice wooden panel painted with geometric decorations, figures and fantastic animals, probably used to hide niches in the wall or as a decorative element on the door jamb. Typical Mar...

Wonderful painting of farmers bringing in the harvest of wheat Oil on canvas. Unsigned. Artist unknown Framed in a slightly distressed antiqu...

Art Deco painting elegant lady with book by Alfredo Luxoro, Italy 1859-1918. Oil on canvas. Ca. 1910. Handmade silver leaf frame by Gehring & Heijdenrijk. With Certificate of Au...

Magnificent Italian 17th century Portrait of Virgin Mary measures 52 x 68 cm without the frame. The colors are stunning and the painting has never been restored. The Master unfortun...

Antique Trompe l'oeil Painting by Micheangelo Meucci, Florence 1867 A large Trompe l'oeil oil painting depicting hunted birds. A very detailled and colorful oil painting on board pa...

Invite a symphony of color into your home with this important antique still life oil on canvas painting. Painted in Italy circa 1880 and set in the original carved gilt frame, the composition depicts a tablescape adorned with a rich crimson tablecloths, decorated with a bowl filled with various fruits and squashes, with a vase on the right side overflowing with flowers. The artwork is signed in the lower right corner by Italian artist D. Giuseppe. The large colorful painting...

Trompe L'oeil Hyperrealism oil painting abstract surrealist photo realist art of early country living. This charming vintage trompe l’oeil scene i...

Accardi - Dipinto Fiori - Natura Morta - Painting - XX Secolo - Italia Descrizione : dipinto rappresentante un vaso di fiori dai colori pastello su sfondo grigio rappresenta...

Beautiful portrait of a poet, oil painting on canvas in a coeval carved and gilded wooden frame. In good condition. MEASURES: Work cm 54x39, Overall cm 67x52.

Italian antique Oil pastel painting of a landscape, 1932 Oil pastel painting representing a natural landscape: two trees in the foreground and mountains in the background. In a finely worked dark wood guillochè frame. 1932. Signed and dated lower right. Very good conditions, it has light marks on the frame. Measurements in cm 42 x 5 x 33 H This fantastic painting...

A contemporary abstract mixed media painting on paper by Italian artist Alessandra Chiffi. This piece was professionally framed in a black wood frame with a white mat. Signed lower r...

Lovely 18th century Italian painted panel featuring chinoiserie images. Vibrant colors of blue, pink, green and gold. Such an interesting piece ...

Original oil on canvas painting of landscape with resting couple in the foreground and castle on the distant hill (upper right corner). The impressive 6' length adds to the visual impact of this lovely old painting displaying lovely hues of blues and greens by an unknown artist. Condition includes craquelure throughout. Canvas will likely benefit from a light cleaning which we leave to the discretion of the buyer. With over 37 years of experience selling European antiques, our brick-and-mortar storefront, Round Top Ranch Antiques...

Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793) Lying Female figure Oil on canvas, cm 46 x. 31 - With frame, cm 56 x 42 The present painting is connected by style and treated subject, in this case a young girl lying in an idyllic landscape, to the production of small pictures of pastoral subject of the Piedmontese painter Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793). Molinare was born in Caresana (Vercelli) on 19 July 1721 but after losing both his parents he moved to Turin. Here he became, from 1736, a pupil of the Academy of Drawing founded by the painter Claudio Francesco Beaumont (Turin, 4 July 1694 - Turin, 21 June 1766) where he remained as a pensioner until December 1755. Molinari was immediately engaged in the translation of the master’s sketches on cardboard used for the Regia manufacture of tapestries. His early success on the Turin art scene is confirmed by the fact that he joined the Compagnia di San Luca in 1756. In 1751 he married Margherita Peiroleri, whose brothers Pietro (engraver) and Nicolò (painter) also attended the school. Remained widower count two other marriages first with Lucrezia Elisabetta Burzio and then in 1770 with Domenica Maria Ferrero. On the death of the master in 1766 Molinari, considered by his contemporaries to be the most faithful interpreter of the master and for his elegant and Arcadian style, which clearly interprets the aesthetic taste of the court, was called to finish the works that remained unfinished, such as the altarpiece for the church of Santa Maria della Scala in Moncalieri depicting the Assumption venerated by Blessed Bernard of Baden and Saint Anthony. Molinari was also well praised by critics and Abbot Lanzi highlighted the quality of the production of historical and mythological subject for the rigorous post-marattesco classicism. In Turin he worked for Vittorio Amedeo III of Savoy as a portrait painter, executing for him eleven canvases (between 1774 and 1775), but, since 1745, he also supplied tapestry cartoons to the local Fabbrica, of which, in 1766, he became director. The production of paintings of sacred subjects is also lively, especially used in the decoration of the churches of the capital as the Assumption for the Hotel of Virtue and San Pietro Regalado and San Benedetto il Moro for Santa Maria degli Angeli ( Torino) He also painted tempera and oil cartoons for the same church, on the occasion of the beatification of Pacifico da San Severino (1787) and, for that of San Francesco di Paola, when Gaspare de Bono...

Contemporary Italian Claudio Granaroli abstract water colors. Signed by artist born 1939. Newly framed. From a collection of four. See images #4, P1410A #5, P1410B #6,P1410C.

Beautiful oil on panel from the Italian school of the 18th century representing a faun trying to seduce a half-naked nymph, behind them a man seems to hav...

Delightful 18th century Roman school representing a view of Rome fixing the "ponte Rotto". Painted in an architectural style of the best craftsmanship, this charming animated composi...

Oil on canvas depicting the mythological scene of Bezzebea bathing. Gorgeous woman wife of one of King David's army commanders, the latter, seeing her at the bath, fell madly in love...

Decorate a living room, library or study with this important antique painting. Created in Italy circa 1850, and set in the original carved gilt wood frame, the hand painted canvas titled "Madonna of the Harpies", depicts the Virgin Mary holding her Child, our Lord, Jesus Christ; She is flanked by Saint John the Evangelist, and either Saint Francis or Saint Bonaventure. The large religious painting...

This magnificent Madonna and Child belongs to an Itlalian (Roman) school of painting and could be a masterpiece of a Carlo Maratta /Maratti (1625-1713) school. Maratta's style of Bar...

Large oil painting on canvas depicting the Madonna with Child and San Giovannino within a carved and gilded wooden frame. The subject is particular as it leaves the classic canons of the representation of Maternity by presenting a Madonna without a halo. Attributable to the School of Giovanni Battista Salvi...