Italian Decorative Art

18th century Italian gilded church tablet adorned with faceted diamante stones. It reads, "Tabella dei Signori Amministratori del Santissimo Sacramento" which means, "Table of the Lo...

Introduce a touch of elegance with the Hortus Gingko brass Leaf Wall Light. Crafted with meticulous attention to detail, this exquisite wall ligh...

Pair of 1700s Italian Wall Decorative Panels, a pair of blue laquer vertical frieze dating back to late 18th century, with a stunning  hand-carved gilded relief  candelabra decoratio...

Part of the Bisanzio Collection, this stunning bas-relief is made of white Carrara marble and is distinctive for its harmonious decoration and attention to detail. Its name, Sikelia, celebrates Sicily during the Byzantine domination: the Verde Alpi marble used for the green circles, showcasing a polished finish, is finely counterbalanced by the satin finish of the copper sheet used for the triangles. Each wall decor (the single tile...

The Frameworks are created with the same technique as our wallcoverings and represent a unique artistic vision, which embellish the location where they are exhibited. This creation ...

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...

Piero Fornasetti "Libra" silk screen print on masonite / made in Milano Italy, 1990s Width: 12 inches / Height: 12 inches / Depth: 1 inch 1 available...

Dimensions - (Frame) H: 16 1/2 in W: 11 1/2 in D: 1 in (Plaque) H: 12 1/4 in W: 7 1/4 in This exquisite Antique Italian Early 20th Century Pietra Dura Inlaid Marble Plaque is a stu...

From our Hand-Painted Furniture Collection, we are pleased to introduce you to our Fuchsia Otello Screen. Nature has always been a source of inspiration for our hand-decorated furn...

Vintage Pop Art Paperclip Wall Sculpture, purchased in Italy and in the style of Curtis Jere. The sculpture of oversized paperclips linked together is in fun primary colors and measu...

An antique Italian frieze panel with flowers, vines and leaves, made of hand crafted Oakwood in good condition. The vertical door features two hand crafted round metal door pulls...

Elegant hand-watercolored print representing Corallium Rubrum in red nuance, Image reproduced from the famous illustrations by Albertus Seba' Cabinet of Natural Curiosities. These pr...

- This product is priced per square meter. Please contact us for assistance with square footage calculations. - The lead time depends on the quantity of the order. Inspired by the l...

Attributed to Giorgio Lucchesi (1855-1941) A large and impressive early 20th century oil on canvas "Madonna and Child" after Bartolomé Esteban Murillo...

1 of the 24 blue and white sunflower tiles. The floral tiles are handmade and hand painted in Europe, Italy. These tiles are particularly beautiful, the biscuit is handmade and the ...

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 Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, 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. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 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...

A 19th century Italian reliquary with silver thread double-headed eagle and foliage and floral motif on a red silk background.  Inscriptions with sev...

18th century Italian gold gilded tabernacle door adorned with naturally forming baroque pearls. This door once belonged on a tabernacle which housed the eucharist in a church. In the...

Piero Fornasetti Adamo or Adam porcelain plate number 7. Signed. Excellent condition.

Spectacular silk tie in bright vivid post modern colors . Label reads Florence Made in Italy . Emilio Pucci 100% silk . Retail label reads Made in Italy for Saks Fifth avenue 100% si...

Elegant hand-colored print representing a golden shell. The handcrafted frame is in gilded wood with mirror inserts. This print is made with a special technique called giclée. The gi...

From our hand painted Furniture Collection, we are pleased to introduce you to our Bellini Panel. An exquisite decorative wooden panel inspired by the famous Venetian cocktail invent...

19th C. bas-relief panel which is a type of sculpture where the design in only slightly raised from the background surface, creating a shallow, low-relief effect. The relief depicts...

Studio Zero Milano Object MO6, 1970 Giorgio Tonti, Milan, 1936 Abstract composition "multipli" on the plate, label marked G. Tonti, Studio Zero, Mi...

An 18th century Italian Venetian-style wall mirror with original silvered patina.

Gio Ponti ceramic tiles La Casa Degli Efebi. New Old Stock beautiful set of ceramic tiles with a famous design made by Gio Ponti in 1923 for cerami...

Painting of a stylized oriental camel by Fabbriziani and Calandra from the 1970-ies Italy. On satin in a kind of silkscreen in limited edition, wooden frame gilded. The black camel i...

Cassina Set of Two Podor Outdoor Accessories Outdoor accessories complete the Cassina lineup of furnishings for open-air living and dining areas. The baskets are inspired by the sh...

From our Hand painted Furniture Collection, we are pleased to introduce you to our Hand decorated Panel featuring a lush bouquet of flowers and pomegranates on a sweetly curved antiq...

Tapestry designed by Enzo e Elio Mari Hand-tufted and doubled textile panel. Printed by silk-screen printing. Interflex- Flou production, 1999. Without iron support for hanging. Bi...

Morbelli Porcelain wall plate “Talismano Di Carlo Magno” 1988 Italy.

From our Hand-Painted Furniture Collection, we are pleased to introduce you to our Moro Screen. Nature has always been a source of inspiration for our hand-decorated furnishings. We...

Piero Fornasetti "Cancer" silk screen print on masonite / made in Milano Italy, 1990s Width: 12 inches / Height: 12 inches / Depth: 1 inch 1 availabl...

Midcentury Italian orientalist wood bar cabinet in gold and black lacquer, 1950.

A terrific ceramic wall piece of Bacchus by the Italian ceramic artist H Bertoni. This piece features a roman male figure with an harp resting on a s...

Beautiful print that is part of a series of four, representing an ancient Italian roman Vase which was found in a garden in Trastevere in Rome. It i...

From our hand painted Furniture Collection, we are pleased to introduce you to our Bellini Panel. An exquisite decorative wooden panel inspired by the famous Venetian cocktail inven...

A wondrous collection of Florentine botanicals lovingly gathered between 1905 and 1907 and presented under glass in a weathered window frame with nine panels, dated, categorized and ...

Rare extra-large (cm 59 x 85) antique watercolour of capital from a collection of architectural details of Florence monuments painted in Italy in the middle of 19th Century. Black ma...

This striking mid-century enameled wall plaque showcases a bold geometric fish motif, reminiscent of the artistic influence of Gio Ponti. Featuring vibrant hues of red, turquoise, an...

Pietro Gabrini (Italian, 1856-1926) a very fine and large oil on canvas "Three Singing Italian Beauties on The Road" depicting three cheerful Village young maidens walking through a ...

A stunning late 20th Century collection of antique pressed flowers and herbs, each preserved and labeled with handwritten botanical names. Thes...

This exquisite 19th Century framed collection of Italian cameos is a true testament to fine craftsmanship and artistic heritage. Each cameo is intricate...

Lovers by a fountain, painting oil on canvas, Signed left sight. Measures: cm 70 x 100 frame 118 x 145 Faustini Modesto. Brescia, 27 Maggio 1839 - Roma, 23 marzo 1891. Born i...

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.

Probably circa 1910, decorative painting with craquelure throughout. Old dark varnish. The sky near frame edge has thicker paint suggesting some later in painting. Stretcher marks sh...

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...

A very fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by Paolo Veronese (Venice, 1528-1588). The original of this painting hangs in the Palazzo Ducale, Venice. The 'Ricci' coloration suggests a late 17th-early 18th century date. In 1715 Charles de la Fosse advised Ricci to paint only "Veroneses and no more Riccis", Venice, circa 1800. Measures: Height: 45 1/4 inches (115 cm). Width: 29 inches (73.7 cm). Frame height: 58 1/4 inches (147.9 cm). Frame width: 43 1/4 inches (109.9 cm). Frame depth: 5 1/4 (13.3 cm). Provenance: Royal Academy of Scotland. Paolo Veronese (Born 1528, Verona, Republic of Venice - died April 9, 1588, Venice) was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at...

Elegant hand-watercolored print representing a sheffield candle holder with a Sea-shell hand-colored in light grey nuance, Image reproduced from ancient and famous illustrations. Images that representing the movement called Objets de Curiosité...

Fontana Arte Madonna and Child Glass and Brass Frame, Italy 1950s One can also change the glass with a mirror.

8 double handles from 1940, cast brass attributed to architect Gió Ponti. They are in excellent condition with some patina from the era , but could be polished back to new.

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). This Louis XV style black marble and giallo di Siena...

Vintage large oval ceramic wall plaque or tile features Modernist abstract decor with branches of orange fruits and green and yellow leaves displayed on blue-green background. The o...

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

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 ...

This original 18th century frame is silver gilded over copper. It is elaborately embossed and chiseled. The cartouche is surrounded by rocaille and volute motifs. The Carta is mounte...

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 Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, 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 Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 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...

Matteo Lovatti (Italian, b. 1861) a fine 19th century oil on panel "The Young Prince's Visit" Depicting an interior tavern scene with a jester introducing and welcoming a young Princ...