Italian Decorative Art

A light-blue, vintage Mid-Century Modern Italian wall mirror made of hand blown crystal glass. Original colored mirror glass, enhanced by detailed flower decoration, designed by Luig...

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 ...

Lofty antique Italian bisected seashell arrangement ambitiously composed in a floral motif. Presented under a convex lens in a distressed ceramic round frame.

Morbelli Zodiac plate “Virgin” porcelain gold, 1950, Italy.

Fantastic set of five decorative porcelain plates produced by Arte Morbelli, of fine Italian manufacture. Each plate can be hung as a decorative object, or you can use them as real plates. The plates are made entirely of ceramic, with designs and edges in 24 karat gold, very precious and elegant. The plates contain designs of animals symbolic of every historical era and every area of the world. They are represented: a quadruped with a back decorated with red and gold squiggles, representing Southern Russia; a donkey also decorated in gold and purple and represents the period of greatest flowering of the Persian period (500-400 BC); the Egyptian jewel...

Original vintage travel poster published by ENIT promoting Italy as The Ideal Land For All Sports featuring a stunning Art Deco style design by the notable poster artist A. M. Cassan...

Decorative hand-decorated vintage modern ceramic wall plate or centerpiece, designed by Italian artist Giovanni De Simone and produced by his workshop, note the worn manufacturer's ...

Italian modern large and very colorful abstract painting, 1980s. Decorative wall work, in fabric, with abstract subject and square-shaped frame in light wood. Background with a predo...

An antique Grand Tour faux book of Neoclassical plaster intaglios. Dating to the early 19th century, this intriguing book encloses twenty-five classically themed Italian medallions...

Oil on board Venetian Canal Scene looking towards the mouth of The Grand Canal with Della Salute to one side . Typical in the Grand Tour style of 18th ,19th and 20th centuries ..

10 Italian Roman Neo-classic (mid-18th Century) panels decorated in Pompeiian style faux marble inlaid patterns. (PRICED EACH)

Beautiful squared wall mounted tile platen or vide-poche in colored ceramic by the Italian artisti Giovanni De Simone. Giovanni De Simone was a great Sicilian artist...

Stunning abstract square wall panel designed by Nerone Patuzzi, crafted from etched aluminum with a wooden backing, created by Forme e Superfici and belongs to a limited edition, wit...

Pair of Mid-20th century oil paintings by Mario Fattori, circa 1950s Wonderful pair of oil paintings. One shows a young woman standing in a barn interio...

Blue and yellow Neapolitan equestrian tile. Large equestrian-themed floor tile of bold blue and yellow design featuring mounted huntsmen, of Italian and Arabic riders with hunting ac...

- 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. This is a designe...

- 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. Vite light blue (...

An outstanding and grand scale oil on canvas painting of a nude male. Entitled "La Vittoria Della Verita' Sull'Insidia" - "The Victory Of Truth Over The Trap"..... Expertly executed ...

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662,...

The artwork by legendary poster artist Silvano "Nano" Campeggi on this 1966 re-release Italian locandina is simply stunning. Surely the best artwork of Paul Newman and Elizabeth Tayl...

Elegant hand-watercoloured print representing "Amaryllis Formosissima". This botanical style print is available in 6 different natural representations to create a bright and joyful ...

The bronze panel depicts a discus thrower, capturing a dynamic moment of athleticism. This is inspired by the ancient Greek statue "Discobolus" (Discus Thrower) by Myron, an iconic representation of athletic grace and form. The figure's body is bent forward, with one arm reaching back to hold the discus, while the other arm stretches forward, illustrating the balance and tension in the moment just before the throw. This posture emphasizes muscular definition and the natural movement of the body in action, typical of ancient Greek athletic sculptures...

Beautiful print that is part of a series of two, representing 2 different views of an ancient Italian vase of Villa Ghigi. It is printed with an antique press and colored by our best...

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...

This customizable Murano glass curtain in black, amethyst, clear, gray and aqua tints worked with avventurina, a contemporary work of art as a very decorative solution for a screen o...

Finely painted in an Italian palette with mythological and Roman battle scenes, each border rim painted with yellow enamel. With a large carved ebony...

Italian 17th century still life painting in period carved gilt frame Italian school still life painting from the workshop of a great master. The 17th century Baroque painting in oil...

Wall Decoration Seahorse Crystals with frame polished stainless steel. With swordfish artwork on plexiglass with Swarovski carved crystals inserts.

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...

Print from the Collection Botanique Vegetables representinga group of three different types of artichokes enriched with green colors and nuances of watercolor. Another different veg...

Hand-painted in Florence, Italy, this fantastic oval wooden wall panel features a large urn with a scrolled handle. The urn is adorned with a fluted...

Vintage Silver relief picture "Trieste - San Giusto", collection Alliani made in Italy in the 1970s. Sterling Silver 925 and gold. Sculpture relief picture has certification of authe...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

We love this striking original country-of-origin Italian Locandina film poster for Antonioni's 1966's classic Blow-up. Produced in 3 different colours with yellow being the rarest. ...

Jack Nicholson's character rightfully takes centre stage in the visually impressive Italian 70s re-release 2 sheet. The simple but effective artwork and size of the poster combine to...

19th C. Italian Capriccio Ruins of Church with a Cemetery & Gravediggers Apparently Unsigned Oil On Canvas: 13.5-inches high x 16- inches wide Framed : 18-inches high x 22 - inche...

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

This set of twelve hand-decorated porcelain plates, as a whole, forms the figure of Adamo. You can use the ensemble for ornamental purposes ...

Special slabs available Two-sided Curved Extra treatments Temper glass Non-slip finishing Special glasses Borosilicate glass Finishings Chrome, Opalescent, Satin Us...

Wonderful old Italian master painting Madonna Oil on panel Alessandro Filipepi, also known as Sandro Botticelli, is the first artist that come...

- 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. A tribute to natu...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. 19th C. Italy Ready to go on a wall. Framed Item ...

A gold, large vintage Mid-Century Modern Italian full size oval wall mirror made of hand crafted gilded metal with its original mirrored glass, designed by Pier Luigi Colli in good condition. The metal frame is decorated with alluring details. Wear consistent with age and use, circa 1940 - 1950, Italy. Pier Luigi Colli (1895-1968) studied at the Paris L'École Des Beaux Arts Decoratifs. He returned to Turin, Italy to lead the Colli family furniture business. Today, Colli is one of the most popular furniture factories in the antique and vintage market...

In the manner of Francesco Lazzaro Guardi (October 5, 1712 – January 1, 1793) . Francesco Lazzaro Guardi was a Venetian painter of veduta, a member of the Venetian School. He is con...

Beautiful print that is part of a series of four, representing an ancient Italian roman Vase-Urn of Villa Mattei in Rome. It is printed with an anti...

Gigi Caldanzano MGA, Albisola Italy, 1950-1960 Set of 6 plates Polychrome Ceramic Excellent Condiction "Caldanzano" and MGA under the base diam: 30 cm diam: 20 cm

We are delighted to offer for sale this very rare and collectable antique Italian marble mosaic table top panel with Neoclassical figures I have never seen another like this, to ...

- 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. This is a designe...

One of six fun vintage study for an Italian Classic Garden Fountain. Probably some scenographic preparation. Really pleasant scenery and nice vivid color on the blue and white scale,...

Early 20th century Italian oil on canvas by M Zampella, "Cows by Stream", gilded frame, signed: lower right, M. Zampella.  

Elegant hand-watercoloured print representing "Lilium Bulbiferum". This botanical style print is available in 6 different natural representations to create a bright and joyful compo...

Elegant hand-watercoloured black silhouette print representing Chess Queen, printed on aged paper. This series is available in 3 different representations to create a bright and joy...

19th century hand painted Italian charger featuring three cherubs interacting with another lying on a bed of wheat stalks under a scenic skyscape. Beau...

Wonderful Italian Empire original giltwood frame. Early 19th Century Internal measurements cm 13 x 10 Every item of our Gallery, upon request, is accompanied by a certifica...

Very original reproductions of decorative vases from important English mansions, printed on a hand press on 100% cotton engraving paper. Completely handpainted with a cream wash, umb...

This beautiful maiolica pottery charger is from Montelupo, Italy and is boldly decorated with a soldier walking, carrying a tool of the day. Vividly painted in yellow, green, and blu...

Architectural Capriccio of Roman Ancient Ruins with Figures. Italian, 18th century large painting in oil on canvas is from the school of Giovan...

A stunning and most impressive set of twelve Italian 19th century Neo-Classical st. Bronze, Alabaster and Black Belgian marble plaques of Roman emperors. Each exceptional plaque is c...