Italian Decorative Art

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 Italian ceramic sculpture by Otello Rsa for San Polo of Venezia, pink Othello design, signed back of ceramic not visible due to wood pa...

Roman School, 17th century Angelica and Medoro engrave their names on the bark of a tree Oil on canvas, 65 x 48.5 cm The canvas depicts one of the most famous episodes of O...

A large vintage Deruta Raffaellesco decorative wall plate with scalloped rim. Majolica hand-painted with magnificent detailing and artwork, extraordina...

Provenance: Italy, Florentine "Bottega" mid-19th Century Round Frame Hand Carved and gilded with pure gold leaves Dimensions: Outer diameter 122 cm - Inner diameter 82 cm - thickne...

A stunning and most impressive pair of Italian 19th century Pietra Dura marble wall decor plaques. Each solid white carrara marble plaque displays ex...

This is an artwall handmade by our skilled craftmanship, manufactured using a special technique of engraving on a selenite background. The artist plays with light and dark graffiti ...

A dark-blue, vintage Mid-Century Modern Italian wall mirror made of hand blown cut crystal glass with its original colorful mirror glass, produced by Cristal Art in good condition. T...

Painted ceramic tile by Mancinelli from Deruta, famous Italian little town for its ceramic. This tile is hand made and hand painted with a countr...

18th century Italian hand painted on Alabaster and framed landscape painting.

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

Decorative ceramic plate with characters and cart Giovanni De simone 1960s

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...

A beautiful pair of burin engravings depicting "Saint Bernardo degli Uberti" and "Saint Hilary of Poitiers" two of the patron saints of the city included in the base of the cupola ( dome ) of Parma cathedral frescoed by Antonio Allegri known as Correggio (Correggio, August 1489-Correggio 5 March 1534) between 1524 and 1530. Admirable work by the great master in which his genius as a forerunner of the Baroque is fully seen. In 1642 Giovanni Battista Vanni etched a series of fifteen plates from Correggio's frescoes. Giovanni Battista Vanni was born in Pisa around 1599; he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli, and then became a disciple of Cristofano Allori. He is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice. In addition to the series of prints...

perpetual calendar Meridiana "Leonardo" by Studio Paolo Nava Milano production in 1978 by Giulio Confalonieri design and exclusively version for Cuts Torino 1982, very rare,...

Celebrating the human body by dissecting it. The human body as a great system of signs and symbols. We are expression, beyond words and gestures. A perspective of the flesh in which certain parts become containers. Here then are hearts made into porcelain powders...

Eccentric African mask and unique piece created by artist Bomber Bax. Rare and unique piece made by the artist. The mask dates back to the early 1900s and was processed and painted i...

More version are available: - porous texture, colored with natural pigments and where each piece, although reproducible, represents a single piece, due to the uneven distribution...

Stunning continental view possibly venice, Italy. Watercolour on Artists board, last quarter of the 19th century. Depicting Mountainous and Landscape views with three ladies...

An Italian plaster wall sculpture relief plaque, in Roman figure theme, from the mid-20th century. This vintage art piece, created of plaster in relief, features younger children at play beneath three adolescent horn players, and their onlooking crowd. The figures are dressed in Roman attire, complete with knee-length tunics, robes, leaf headdress, and sandals. The plaster is in various neutral shades of cream and bone, with warmer areas adding to the depth of the relief. This Italian plaster relief...

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...

Roman school of the 17th century Landscape with bridge - Christ and the Samaritan woman at the well Oil on canvas, cm 42 x 59,5 - With frame, cm 54, 5 x 71 cm The small canvas portrays a broad view of the city surrounded by a bucolic and lush landscape, probably a reinterpretation of the Roman countryside or the Agro. The fulcrum of the canvas is the bridge consisting of several bays beyond which stands a village. In the distance the landscape made of green mountains opens into what looks like a lake crossed by boats. The landscape is animated by the human presence; not only small and fleeting figurines intent on walking along earthy paths but also the representation, in the foreground, of an Gospel episode, that of Christ and the Samaritan woman at the well. The landscape can be clearly traced back to a painter trained on the examples of the great seventeenth-century Roman baroque landscape that sees in the Lunette Aldobrandini by Annibale Carracci but also in Claude Lorrain, Nicolas Poussin and Gaspar Doghet are its greatest achievers. If in the past, therefore, the landscape was considered the scenic background on which to project the representation of divine or human characters, in the seventeenth century it became an autonomous and codified pictorial genre. With Carracci comes the so-called ideal landscape: a mental reconstruction of a peaceful and harmonious nature in which the dream of a perfect communion with man is realized. In the wake of Hannibal, as mentioned, during the seventeenth century the "classic" Roman landscape knows a long and happy season by artists such as Domenichino, and the French Claude Lorrain, Nicolas Poussin and Gaspar Dughet. Lorrain investigates the Roman countryside in all its aspects, studying the variations in the different hours of the day, the seasons or weather conditions, but always nourished by a sense of bucolic Virgilian. With Poussin the approach becomes intellectual elaboration and sophisticated rational construction. From the examples of the great masters, the Roman Baroque season, from the middle of the century, saw the flourishing of several personalities who, with shots, but also important personal reworkings, led to further spread the genre. Among the personalities that can be compared to the work in question we cannot fail to mention Crescenzio Onofri (1634-1714), defined by Salerno as the only true pupil of Dughet, who then spread in Florence the taste of the Baroque landscape influencing Tuscan painters such as Panfi and Peruzzini. His paintings are in various Roman collections; such as, for example, the landscapes from the Sacchetti Collection and today at the Pinacoteca Capitolina. and those in the Almagià collection in Rome, others in the Palazzo di Montecitorio, but the most conspicuous group is in the Galleria Doria. In comparison we can mention the two passages of the National Gallery in London, the landscape with a bridge over the Antiquarian Market but also the design of the National Gallery of Art in Washington. In the work you can also find the influences of the art of Giovanni Francesco Grimaldi...

Roberto Aloi 1970s Rare wall decorations Wood and copper Set of 2 "Roberto Aloi" signed Excellent condition Size: Item 1 : H 34 / W 28 / D...

Beautiful oil on panel painting representing Venetian landscape. The luminosity of this evocative view combined with the impressionistic style of br...

Introduce a touch of elegance with the Hortus Gingko Leaf Wall Light. Crafted with meticulous attention to detail, this exquisite wall light showcases the timeless beauty of the ging...

Beautiful hand painted wooden tiles with checkerboard pattern, 14 tiles in total, 2 red, 6 black and 6 gold. Great as a wall installation or a small space paneling, made in Italy.

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...

Large vintage Italian Murano glass bowl center piece, clear glass with white and multicolor designs. A colorful handblown Murano sculptural Italian art glass large bowl or centerpiece. Dino Martens AVEM style multicolor Millefiori rainbow Italian art glass centerpiece bowl. The bowl has a whimsically beautiful tutti-frutti candy effect decoration. Vintage Post Modern Murano colorful...

Fantastic large scale 19th century Grand Tour image of the Roman Colosseum in the original oak frame, with the original glass! At over 5.5 feet wide this is an impressive piece. Quite rare to find one this large still intact. The image was so large it had to be created from three equal sections which meld beautifully into one oversized picture of this timeless landmark, symbol of ancient Rome. It brings the viewer right there, in all it's faded glory...

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

Playful royal duo with cheerful layers of frosting in relief. Both kings are wearing a crown, a sword and an orb. The complete picture looks very much alike the images on the playin...

Transform your space with the enchanting Hortus Monstera Leaf Wall Light. Crafted from iron, this exquisite wall light features intricate laser-cut detai...

Midcentury wooden panel, covered with fabric decorated with a lion figure. Signed. Italy 1960s. The object is the door of a custom-made ...

Vintage Italian Wall Painting of an Artists Studio, Signed and dated, J. Annus Rome 1960. The painting depicts an artists studio with an easel in the evening set in Rome. Painting i...

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...

Framed 18th century Italian gold leaf angel head 'putto' wall relief sculpture with burgundy velvet and adorned with rubies and garnets. There is ...

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

Np2 by Patuzzi Nerone & Garonetti Torino year 1975, great wall panel zinc. Unique piece work of art. Good vintage condition, measure 100 cm x 100 x ...

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...

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...

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...

Italian Mid-Century Modern Anamnesi acrylic paint work on canvas by Lucio Del Pezzo, 1960s. Colored acrylic paint work on canvas entitled Anamnesi with abstract subject with multicolored geometric shapes, on a mustard-colored background, and wooden frame with friezes with a golden finish. Drawing by Lucio Del Pezzo from around 1960s. Good conditions. Measures in cm 91x3x70h If you are interested in this product or need photos or additional information, we are available to respond any question as soon and quickly as possible. Remember to check our product in the listing of this our store, where we present fantastic original vintage products...

This is an amazing work in semi precious stones in Hardstones or Pietra Dura work. This is a Museum quality work. Framed measures 21 x 24 inches. In back has a partial detail of ston...

Wonderful portrait of two oriental women in traditional clothes signed Eugenio Cecconi. This painting, never before on the market, comes from a priva...

Decalage group by Aloisi - De Cavero Girardi Turin Italy design in years 55 Panel in wood figurative hand made. Signed Decalage 55 Good condition with sign of use. Measure;...

Gucci rare barometer and clock year 1960 vintage design. Measure h 17 inches x L12" x deep 3".

18th Century Italian hand-painted on alabaster and framed landscape painting.

18th Century Italian hand painted on alabaster and framed landscape painting.

18th century Italian hand painted on Alabaster and framed landscape painting.

Elegant hand-colored print representing a beautiful fish "La Onagre Demoiselle del'Amerique", framed by a small gold leaf line. This print is made with a special handmade cotton pape...

Beautiful squared wall mounted tile plate in colored ceramic representing three fishes by the Italian artisti Giovanni De Simone. Giovanni De Simone was a great Sicilian artist...

Beautiful midcentury painting. A very decorative color collage of flowers. The painting is signed PL and named Monachez. The painting has a red original frame. The painting has a wa...

Pair of wrought iron sconces in the Art Deco style from the late 20th century. Each light fixture is composed of a shaft in twisted swirling rods giving movement and lightness to the...

Three color limited edition engraving prints in vivid shades of blue, coral, olive green and beige all depicting Le Grand Canal Venezia, Italy or Venice, Italy. These wonderful c...

A large-scale photogravure of The Forum in Rome, in original faux grain painted frame. Showing the impressive ruins of the Temple of Saturn in cent...

Decorative wall panel handmade by the artist manufactured using the scagliola technique. Tha Coloured Abstract subject dictated by the imagination ( in relief) emerges from the backg...

O/2799 -Pair of Italian garland friezes in gilded wood. They can be hung under two wall sconces, for decoration; also for mirror or other Your id...

Enclosed in a frame entirely covered in black nappa leather, this unique decorative wall sculpture is composed of pure geometric shapes of different colors arranged in an abstract st...