Italian Paintings

Radames Scoppa, Naples 1877-1957 a beautifully painted, miniature like view of the bay of Naples from the first half of the 20th century. unframed, as found.

A distinctive Italian capriccio landscape, painted in oil on a shaped panel and presented in a softly worn giltwood frame. The composition draws from the Grand Tour tradition—romanti...

We are pleased to present this 18th-century Italian oil on canvas painting. It is a charming still life with flowers and fruit. The painting depicts a rich composition: bunches of w...

Italian Grand Tour gouache of Mount Vesuvius erupting at night with a full moon over the Bay of Naples. In the original gilt wood frame. This is a very fine and large example of this...

Silvy Favero FONDALI MARINI, 2026 Acrylic on canvas 85 × 65 cm Visual Narrative — Fondali Marini In Fondali Marini, Silvy Favero does not depict the sea from the outside: she immer...

A large still life painting by Germano Russo (b.1935) featuring a round table set with colorful yellow and red and white floral arrangements, a teapot, and blue china positioned on ...

Italian painting from the first half of the 20th century. Oil on board painting depicting a mountain view, Croda Rossa D'Ampezzo (Hohe Gaisl) seen from the valley floor. The painting...

Large colorful pop art acrylic on canvas painting "Danza Circolare" by Julián Pancheco, signed and dated 1973, professionally framed under glass. Dimensions: width 39.5 inches, heigh...

17th century Italian oil painting of Mary surrounded by cherub angels framed with a 17th century Italian pediment and fluorite, pyrite, chalcedony, jasper, and barite natural specime...

Antique Lombard painting of the 17th century. Oil painting on canvas of considerable size depicting a shepherd with his dogs immersed in a countryside landscape. Painting of great pi...

VINTAGE ORIGINAL IMPRESSIONIST OIL ON CANVAS PAINTING BY ALBERTO CECCONI, (ITALIAN 1897-1971) Depicting a rural landscape at night with the full moon ...

Venetian school painting, first half of the 17th century. Oil on copper artwork depicting Saint Mary Magdalene in Penitence, an intense and captivating subject. The saint is generall...

An 18th-century oil painting on canvas depicting a still life. Italy. This painting, set against a dark background, features a cascade of white grapes at the top and, below them, var...

A distinctive Italian capriccio landscape, painted in oil on a shaped panel and presented in a softly worn giltwood frame. The composition draws from the Grand Tour tradition—romanti...

Mid Century Modern Abstract Oil on Canvas Signed by Matilde Sacchi, 1970. This striking expressionist piece was hand-painted by 20th Century Italian artist, Matilde Sacchi whose work...

An Italian Rococo period framed still-life oil on canvas painting from the late 18th century, depicting a colorful bouquet. Created in Italy during the third quarter of the 18th cent...

A large and beautifully executed 18th-century Italian School painting that combines the elegance of a still life with the imaginative charm of an architectural capriccio. The composi...

Capture the romance, elegance, and timeless beauty of classical Europe with this magnificent pair of large Italian Grand Tour paintings dating to the late 19th century. Rich in archi...

Silvy Favero MADRE NATURA, 2024 Acrylic on canvas 100 × 100 cm Visual Narrative — Mother Nature In Mother Nature, Silvy Favero does not describe a landscape: she conveys its primal...

Pair of three-dimensional vintage patinated silver paintings, Italy, 1970s Measurements of the silver patinated panels: width 30 cm x height 27 cm. External measurements: width 60 cm...

A beautiful oil on canvas painting by Guido Agostini, Italian, 1865-1898, late 19th century in date. The sensitively painted landscape shows a girl on a country road with the cit...

Mid-20th Century Large Ornithological Oil Painting of Songbirds by Ira Monte. An exceptional and commanding mid-20th century oil on canvas painting by Spanish Artist, Ira Monte (b.1...

Antique Italian painting from the mid-17th century. Oil on canvas artwork, first canvas, depicting a biblical episode of great charm, Herod's banquet, of excellent pictorial quality....

Mary Magdalene the Penitent oil painting on canvas, of Italian, Lombard origin, dates from the 17th century and is unframed, has been lined and restored to a new frame; this ancient...

We are pleased to present this splendid small 19th-century oil painting on canvas. The work depicts a lively genre scene depicting a group of children enjoying a carefree moment of e...

A distinctive pair of Italian capriccio landscapes, painted in oil on shaped panels and presented in softly worn giltwood frames. The compositions draw from the Grand Tour tradition—...

The work is attributable to the painter Mario Barbieri, dated 1977. The scene depicts two monumental, stylized, and geometric male figures clutching a bunch of grapes or a branch of ...

Wonderful reverse glass or eglomise painting featuring a young goat herd with a village in the distance. Original gilt frame. Charmingly patinated.

Original oil on canvas laid on panel painting, Italian school. Unsigned. Possibly a religious composition with three putti in lower left. Condition: Age related craquelure, some abra...

C. Maratta went to Rome in 1636 and became an apprentice in the Studio of Andrea Sacchi. Pope Alexander VII commissioned many paintings from him. Maratta’s paintings of the later 165...

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

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

A charming pair of Italian oil paintings by Aldo Grossi, dating to the early 20th century, depicting two iconic Venetian views. Executed in oil on board in a warm, atmospheric palett...

Artwork by Enrico Baj, Italian artist, framed silkscreen print on tiled plastic Stunning framed serigraphy of Enrico Bay Enrico Baj (31 October 1924 – 16 June 2003)[1] was an Itali...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

Mount Tuglia - Marcelliano Canciani Technical information: Dates: about 1910 Origin: Italy Artist: Marcelliano Canciani (1873-1953) Technique: Oil on panel Support: Wooden board Pain...

Giuseppe Casciaro, Ischia, 1929. Giuseppe Casciaro (1861-1941) Amalfi coast landscape with watchtower on the island of Ischia. Pastel and gouache on card. Signed and dated 19 Feb VII...

Antique Italian painting from the second half of the 18th century. Oil on canvas artwork depicting a religious subject, Madonna and Child, of good pictorial quality. A beautifully si...

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...

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...

A very lovely pair of late 19th century painted decorative wall panels, Italian circa 1900. Charming romantic scenes painted on dense paper. These panels will be a delightful ornam...

Stunning set of four two-sided painted wood panels that were once a folding screen or room divider. The Italian panels feature parcel gilt framed scenes embellished with Chinese moti...

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

This antique Baroque period oil on canvas painting, is an authentic 1600s Italian School Allegory of Winter featuring putti and cherubs in a rich still life, and housed in its original golden frame, is a rare masterpiece preserved in prima tela (original first canvas). Sourced directly from an exclusive, historic private villa in Tuscany, this exceptional piece has been meticulously preserved by the same noble family for generations. Emerging on the art market for the very first time, this late 17th-century canvas represents a premier acquisition from The Tuscan Villa Collection, offering absolute authenticity and prestigious provenance. Design, Details & Attribution The composition is a sophisticated allegorical study executed with the dramatic chiaroscuro and emotional depth characteristic of the late Italian 1600s. Four masterfully proportioned putti (cherubs) gather around a small fire, their flesh tones illuminated by a theatrical play of light against a deep, crepuscular Italianate landscape. To the right, a monumental Baroque urn overflowing with a finely detailed floral still life anchors the scene, symbolizing the cycles of nature. The dense brushwork, rich earthy palette, and expressive anatomical rendering point directly to a highly skilled hand active in the Italian Baroque School circa 1680-1710. Stylistically, the artwork shares strong affinities with the classicizing Baroque circle of Carlo Cignani and central Italian genre painters of the era. The canvas remains housed in its spectacular coeval original frame, which retains its genuine gold leaf gilding and a magnificent, deep, age-earned patina. Styling & Placement With its grand visual presence and historical importance, this authentic 17th-century canvas serves as an elite statement piece for high-end interiors. The Classical Anchor: Perfectly suited above an early 18th-century walnut console table or credenza in a formal dining room, entryway, or library, where the golden frame and warm tones create an immediate focal point. The Curated Contrast: Highly effective when placed in a minimalist, contemporary space. The juxtaposition of a genuine Baroque masterpiece against clean, modern architecture offers profound historical depth. Collection Harmony: This painting communicates beautifully with fine period furniture, particularly Biedermeier walnut pieces or Italian marquetry chests...

One of six fun vintage study for an Italian classic garden. Probably some scenographic preparation. Really pleasure scenery and nice vivid color on the blue and white scale, circa 1940.

Francesco Sena, “Paesaggio Urbano” A large-scale, unique mixed-media work by Italian contemporary artist Francesco Sena (b. 1966). The handwritten tag attached to the work identifie...

This elegant limited edition tempera serigraph with applications by celebrated Italian artist Gian Maria Ciferri, created circa the 1970s, 16.54 inches by 11.81 inches, exemplifies t...

Wonderful large scale Italian mural from 1920s. Believed to have originally been set in the ceiling of a Palazzo it depicts a classic scene of Roman ruins painted in muted blue grey ...

We are pleased to present this splendid oil on canvas painting from the first half of the 19th century. A beautiful portrait of a young woman. A young woman of refined beauty is dep...

We are pleased to present this 19th-century Italian oil on canvas painting. It is a classic still life, characterized by a rich composition. A lush, vertical floral composition domi...

This 19th century painting depicts the Madonna and Child, inspired by the celebrated works of Raphael. The Virgin tenderly embraces the Child, echoing the warmth and harmony that def...

An exceptionally rare and important mid-century modern architectural wall plaque, masterfully crafted by the Italian modernist painter Duilio Barnabè (better known as “Dubè”) for the...

Italian painting from 18th century. Oil painting on canvas, already backed again, depicting a subject of sacred art, Saint Francis of good pictorial quality. Large impact painting, a...

Prague painting, Old Town Square, gold leaf. 1970-1980 COLOR White, brown, gray, orange MATERIALS Glass, wood, g...

Italian painting from the second half of the 19th century. Oil on canvas, first canvas, artwork depicting an elegant still life with flowers and a musical instrument, crafted with ex...

Italian painting from the second half of the 20th century. Framework mixed media on canvas depicting an abstract subject entitled "Genesis to save" signed lower left (see picture), s...

Great Italian painting dated 1940. Oil on board framework depicting a woodland landscape in impressionist style with good pictorial quality. Frame in wood and plaster, adapted to the...

A anonymous 17th-century Continental School oil on canvas depicting Saint Jerome in penitence. The saint is portrayed kneeling in prayer before a crucifix, dressed in the traditional...

Italian painting from the first half of the 20th century. Oil on cardboard artwork depicting a bright countryside landscape with a wayfarer, excellently painted. On the back, we find...

Ada Pratella (1901-1929) Houses at Capri, oil on canvas in gold frame, signed lower left. Italy, circa 1920 Dimensions: 17" W x 14.5" H x 1.88" D; sight 12.5" W x 10.25"H.