Italian Wall Decorations

Original vintage travel poster published by the Italian Tourism Board ENIT for Capri l'isola del Sole / Island of the Sun featuring a colourful view by Giuseppe Riccobaldi (1887-1976) of the cliffs and faraglioni rock...

Mid-century modern ceramic tiles italian modernist wall art 1970s This painting from the 1970s is a fascinating example of Italian modernism, with glazed relief tiles depicting elega...

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

BUTTERFLY The free dance movement For more than 22 years, Sabrina Landini pays homage to glass surfaces in her expression of silvered masterworks, the hallmark of her collection. S...

Memorie, #13062, by Italian artist Gianfranco Asveri mixed media on paper, gallery framed in white wood frame and under glass. Depicted are some of his favorite subjects, his mother, his dog, and his cat. Live image measures 19.5 x 11.75 inches. Gianfranco Asveri was born in Fiorenzuola D’Arda, Italy, in 1948. The artist lives and works at Gasperini on the hills between Parma and Piacenza with his beloved dogs. He began to paint in 1969. His first work was merely figurative. In the 1980s he moved closer to the “Art Brut” style. Renowned in Italy, Asveri has just finished a solo exhibition in Genoa at the Medioeval “Commenda” and will be presented in Paris next February during the Contemporary Art Fair in Port de Versailles. Recently, the newspaper “Il Sole 24 Ore” (The Italian Economic newspaper) included Asveri among the artists to watch in terms of investment in the Italian Art Market. An appreciable number of famous critics have written essays about his works: Paolo Bledinger, Luca Beatrice, Flaminio Gualdoni and Martina Corgnati. Most Important Exhibitions: 2016 – Sogni dipinti, Galleria Rotaross, Novara. – Lo sguardo nascosto, Galleria Biffi Arte, Piacenza. 2015 – Abracadabra, Galleria Leonardus, Sestri Levante...

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

Oversized 19th Century giltwood Florentine wall shelf.

Pair of 19th Century Italian Painted and Gilt wood Wall Brackets. Stunning large pair of Italian Baroque style painted and gilt wood wall brackets, wall shelves or wall consoles to d...

Silver plate painting On the River. Measures: Height 44 cm Width 49cm Painted on silver plate In good conservative condition, present signs of time due to use and age. (Pleas...

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...

Featuring gorgeous artwork by the American designer Milton Glaser, this beautiful 1977 poster was created in promotion of Italian typewriter brand O...

Shelves in stainless steel and plexiglass. Hanging frame on to support photos, small pots, small books, knick-knacks. Materials: 24-karat gold plated s...

Wonderful set of 9 Grand Tour Prints. Classical Roman busts Copper-plate engravings Published by Monaldini, Rome, 1776 Good quality wove paper Fr...

Offered is an absolutely stunning, 1950s Italian gilt wood miniature wall shelf or wall console. Minor patina and paint lost gives this piece a classy statement. Made of hand carved ...

Really impressive oil on canvas painting by the great modern Italian artist Umberto Carabella (Paliano, Frosinone 1912-1956). This is an intense portrait of the great football player Giancarlo 'Carlo' Galli, known as 'Testina d'oro' (Golden Head) for his skill in the head game. Period 1950s This painting, never before on the market, comes from a private collection. Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. After his football training at Montecatini, Carlo Galli's competitive career remained inextricably linked to that of coach Giuseppe Gipo Viani. He met the future coach of the national team in Lucca in 1949 and in the summer of that year, when Viani moved to the Palermo bench, Galli was signed by the Rosanerodal from Cascina. Despite his stature, however, he was gifted in the aerial game and here Viani's contribution was decisive. He succeeded in making him a centre forward who made the most of his characteristics, so much so that he was nicknamed the golden head, and on 8 December 1949 came his Serie A debut. On 18 December (Palermo Lazio 2-1) he scored his first Serie A goal. He ended his first season in the top division with 8 goals. On 5 November 1950 (Palermo Pro Patria 8-0) he scored four...

Background: Ice white Subjects: Multicolor Designer: Marika Tardio Designed by hand in Digital Art Made in: Italy Printing support: Fine Art ( front 50% cellulose, back non-woven ba...

Background: Green Subjects: Black line Designer: Marika Tardio Designed by hand in Digital Art Made in: Italy Printing support: Fine Art ( front 50% cellulose, back non-woven backin...

Acrylic painting with Leopard. Hand painted in Italy. In the set of gold wood frame. Very nice decoration for every interior. Only one unique piece.

Original vintage 1960's advertising poster, 'CAMPARI' by Piatti. Year 1966 Dimension: 90 x 128cm Condition Excellent Artist Piatti Format Linen-backed This poster is in excell...

A stunning Italian mid-century modernist art pottery wall plaque or shallow bowl decorated with a textured design and signed to the base. The heavily hand-made red clay plaque is of ...

Gorgeous pair of Mid-Century organic shelves made in bamboo, rattan and hand-woven wicker. Vivai del Sud likely designed this beautiful shelves in Italy during the 1970s. This stun...

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...

Michele Antonio Rapos (Turin 1733-1819), Still life of flowers and fruits, Oil on canvas frame: cm H 133 x W 124 x D 8 (canvas: cm 108.5 x 108.5) The painting depicts a triumph of ...

A fantastic example of Victor Bonato work.

Lovely copy of the original painting, The Spring, by the German master, Ludwig Knaus (German, 1829-1910), mounted in its original and truly magnificent ornate giltwood frame measurin...

A gorgeous pair of Mid-Century Italian Neoclassical-style limed wood distressed white wall brackets or corbels. Marked "Made In Italy" on reverse. These lovely brackets are a nice la...

The price is for the lot of 5 italian copper molds from the Tuscany Beautiful antique copper molds come from a beautiful old house in the Chianti area of ​​Tuscany, Italy. They are antique copper molds, and the insides are made of tin, as was customary. Ideal copper molds to hang as an ornament in a rustic kitchen. Vintage copper molds with tin-plated interior *More lots of molds in other listings  copper molds kitchen...

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...

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...

Very scarce original vintage sport poster for the XVII Olympic Games in Rome featuring a great design by Armando Testa (1917-1992) with a Russian text. Design depicts the twin brothe...

Well defined with contemporary lines, a geometric design and unusual shapes in order to surprise and astonish. Henri is the collection of shelves designed by Bruno Rainaldi, characte...

Background: OrangeCinnemon Subjects: Beige & Black Designer: Leonardo Dini Designed by hand in Digital Art Project Miscellanea Graphic dev: Pattern Colle...

19th Cent print of a monumental Italian Renaissance classical urn in an ebonized and gilt frame

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

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...

Pair of Octagonal framed 'Pompeiian Red' pottery Roman Medallions Each one a well executed glazed pottery male profile portrait medallion, with a vin...

Antique Italian painting from the first half of the 18th century. Framework oil on canvas depicting a religious subject Virgin with child of excellent pictorial quality. Non coeval f...

Artist  Leonetto Cappiello Year 1930 Dimensions 100x140cm Condition Excellent    

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 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 ...

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...

A set of three small bamboo, rattan and smoked glass wall shelves designed and produced in Italy, c. 1960s. Dimensions: 6” H x 6” W x 6” D

Original vintage drink advertising poster by the renowned poster artist Leonetto Cappiello (1875-1942) for the Italian alcoholic aperitif drink "Campari" Davide Campari & Co. Milano....

Original Italian movie poster. This poster was designed to be used in a display case outside the cinemas in Italy at the time of the films re-release first release in the 1956 This s...

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

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...

In Untitled (Red Sheet), made in 2005, Gabriele Arruzzo blends pop aesthetics, narrative provocation and contemporary visual culture in an acrylic on canvas work with a strong iconog...

Background: Textured Soft Beige Subjects: Black Line Designer: Marika Tardio Designed by hand in Digital Art Made in: Italy Printing support: Fine Art ( front 50% cellulose, back no...

17th Century Tuscan Angel Shelf Carved from Single Block of Walnut Circa 1680. Wonderful hand-carved walnut shelf in the shape of an angel; the top hinged ...

A delightful pair of paintings After Fra Angelico Angels playing trumpets. Superbly painted in the 19th century. A pair, both tempera and gilt paint on ...

Elegant hand-watercoloured print representing Jellyfishs, from the Japanese Sea Life Series This marine style print is available in 6 different natural representations to create a br...

A set of three hand painted wooden plaques, each featuring a religious portrait within a decorative frame. The center panel is a portrait of a man with shoulder length hair and a be...

TIFFANY The first one, Audrey inspired the iconic Introducing Sabrina's breathtaking collection of Tiffany lamps. Year after year Sabrina Landini perpetuates its exceptional exp...

Reminiscent of a late 15th century coat of arms, this double eagle cartouche plaque has been hand-carved in limestone in Italy. A square top shield wi...

Were I, all of a sudden, to find myself lost in a dream, I would search in the horizon for the right moment to make it come true. Even if everything seems frozen in time, it’s actua...

This fanciful pair of hand carved, gilded, and polychrome figural wall brackets were made in the 19th Century in Venice, Italy. They feature fanc...

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...

VENARIA REALE II, TORINO 2017, photo by Carlo Carossio from series Grande Bellezza for Compendio Gallery, Roma fuji ultra HD edition of 10 +2 ap Measure: 180 x 120 cm signed and numb...

Striking original oil on canvas painting of Madonna and child with the infant Saint John the Baptist. Unsigned. After the original by Guercino (Giovanni Francesco Barbieri) dated ca....

Framed Helmut Newton Black and White Photography - Iconic Nude, 1987 Own a piece of photographic history with this framed black and white photograph by Helmut Newton. This iconic im...

Decorate an office or study with this beautiful antique pastoral painting. Hand painted in Italy circa 1870, the painting depicts a tranquil ...

Carlo Carossio Cupola della Chiesa di San Lorenzo a Torino, 2017 interno from series Grande Bellezza for Compendio Gallery, Roma fuji ultra HD edition of 10 +2 Measure: 160 x 1...

Original vintage drink advertising poster by the renowned poster artist Leonetto Cappiello (1875-1942) for the Italian alcoholic aperitif drink "Campari" Davide Campari & Co. Milano....

An Impressive 18th Century Painted Parchment Armorial Height: 260cm Width: 185cm Provenance: Private Melbourne collection.

Elevate your decor with a stunning pair of Italian carved giltwood eagle wall sconces or shelves. Meticulously crafted, these majestic eagles showcase intri...

Pair of 18th or 19th century Neapolitan gouaches of Virgil's Tomb, one with a view of Mount Vesuvius and the Bay of Naples. This is a wonderful high quality pair of a rare subject. A...

Voided Olive Green silk velvet showing the Ferronerie pattern Left and Right panels from a dismantled Chasuble Joined and made up from several sections Florence or Venice dating...

Shelf characterized by asymmetrical supports in curved and shaped multilayer wood panels, that can either be veneered or covered with leather, in which are fitted six 5 cm thick shel...

Large size antique Gothic Art painting 'The Apparition of the Virgin Mary to Saint James'. We are by no means connoisseurs when it comes to antique paintings, but we have seen enough antique paintings to know when something is special, decorative and truly inspiring and interesting to look at. And the large size of this antique work of art, makes it impressive too. Also, because it must have taken one very skilled painter an awful lot of time (probably weeks, if not months) to hand-paint this famous religious scene. According to ancient local tradition, on January 2nd of the year AD 40, the Virgin Mary appeared to James on the bank of the Ebro River at Caesaraugusta, while he was preaching the Gospel in Iberia. Looking at the perfectly painted ancient landscape and the kneeling figure who is in awe of what he is witnessing (by the river bank) we believe this is in fact the apparition of Mary to James. Following that apparition, by the way, St. James returned to Judea, where he was beheaded by King Herod Agrippa the first (in the year AD 44). Judging from the skillfully painted individuals in the Renaissance Style and the striking and lively colors, we believe, this late 1800s painting is the work of a true artisan. This work of religious art on the back reads 'Sacerdote Salvatore Rosa, Dipinse 1889' which means Priest Salvatore Rosa, Painted 1889. This priest clearly had a god given talent and god bless him for having created this masterpiece. Apart from some minor imperfections this large and nostalgic painting is in very good condition and we believe it will look particularly great in a church, monastery or chapel. At the same time, a one of a kind antique like this will ofcourse also look great atop the stairwell of a mansion or in the entry hall of a French castle etc. We don't know the 'exact' value of this large size antique painting...

This extraordinary wall console, designed by Dino Cavalli for Tredici & C. Pavia, perfectly exemplifies the elegance and functionality that characterize high-quality Italian craftsma...

Studio Del Campo, important Turin company , founded in 1957 by , Virgilio Bari , Euclide Chiambretti ,Lidia Lanfranconi , and Bianca Tuninetto,, based in a deep experimentation of im...

Sunnymoon is born. rose silvered - satin silvered Inspired by the clear sun light and the calm moon light, that are combined here. From the classic silhouette of our iconic Two-be a...

Constructed from salvaged antique wood that has been reinforced with more recent boards, this large-scale coat of arms shield has an outward curve, reminiscent of the bend of a real ...