Italian Paintings

Chichio Female Study, Oil on wooden Plate. Painting from 1928. Provided with a wooden frame on the backside. Frameless in the front view. Ready to hang.

Antique Italian painting from the 18th century. Artwork oil on canvas depicting a religious subject Bishop of good pictorial quality. Beautifully sized and pleasant decor painting ad...

Oil tempera on canvas "The Annunciation" Period: 17th century This beautiful canvas fits into the pure Emilia-Bolognese iconographic tradition of the seventeenth century, captiva...

Beautiful antique Italian oil painting on canvas. Excellent pictorial quality great attention to detail. Italian school of the 18th century. Not signed. A beautiful religious painting Saint Francesco...

Italian modern orange, yellow and blue abstract painting with relief motif, 1970s Abstract painting with drops motif in relief inside the painting, in shades of orange, yellow and b...

Antique Italian painting from the 18th century. Artwork oil on canvas (glued on a board) depicting a pleasant caprice, seen with architectures and characters of good pictorial qualit...

A very striking and stunning early 19th century architectural oil painting - a landscape from Tuscany, Italy. Gorgeous color.

Beautiful early 19th century Italian oil painting on board, not signed. Biblical scene probably "the Emmaus supper". High pictorial quality. Sold with frame.  

Italian painting from the late 19th / early 20th century. Artwork oil on canvas depicting Virgin with child in antique Byzantine style of good pictorial quality. Wooden frame of the ...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting a bucolic landscape, view with goats of excellent pictorial quality. Small painting for antique dealer...

Important early 20th century italian oil painting on canvas not signed. Woodland landscape. Painting of great artistic quality of impressionist taste.  

A beautiful painting of the Italian school from the second half of the 17th century. The religious subject depicts the Virgin Mary with Jesus and Saint...

Original Mario Ceroli wooden sculpture panel Silhouette of a man showing his muscles Multiple sculpture of balsa wood on paper. Work signed lo...

Antique Italian painting from the 17th century. Artwork oil on canvas depicting a religious subject, Jesus stripped of his clothes, scene of the passion of Christ of good pictorial q...

Italian painting from the mid-20th century. Artwork oil on board depicting a girl with a calf of good pictorial quality. Impressionist style painting of good brightness adorned with ...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting landscape with pilgrims of a religious nature, scene under study...

Italian painting dated 1939. Oil on board painting depicting a woodland landscape in impressionist style of good pictorial quality. Painting adorned with a wooden and plaster frame, ...

Great Italian painting dated 1908. Artwork oil on canvas, on the first canvas, depicting a portrait of a gentleman with newspaper of excellent pictorial quality. Painting of exceptional size adorned with a pleasantly carved and gilded coeval frame of beautiful decoration. Artwork of strong visual impact signed and dated in the lower left corner Agazzi R. 1908 (see photo) referable to the painter Rinaldo Agazzi...

Outstanding 19th century Italian raised gilt gesso and oil painted panel. Very pretty images of leaves, flowers and urns. An exceptional piece!

Aquarelle view of Venice by late-XIX-century artist The aquarelle created by an artist of the late XIX century depicts the view of Saint Mark square in Venice. The overall condition...

Antique Italian painting from the 18th century. Framework oil on canvas depicting a religious subject Saint Joseph with a child of good pictorial quality. Beautifully sized painting ...

San Pietro by Giovanni Battista Piazzetta’s follower – Venice XVIII century The painting is a very-well executed replica of the famous original by Giovan...

Parmigianino e Il Manierismo Europeo Schianchi, by Lucia and Sylvia Ferino Pagden. Published by Silvana, Milano 2002. To commemorate the 5th centenary of the birth of the important Italian Mannerist...

Beautiful vintage frame in chromed steel made by Luigi Caccia Dominioni and Vittorio Introini in the '70s for the Vips Residence. The frame has a square shape and is made entirely of...

17th century San Francesco d'Assisi Oil on copper, 26.5 x 21 cm The present Saint Francis is exemplified in the perfect post-Tridentine iconogra...

Antique Italian painting from the late 17th century. Framework oil on canvas depicting a religious subject Praying Madonna of good pictorial quality. Nice size and pleasant impact pa...

Antique Lombard / Venetian painting from 17th century. Artwork oil on canvas depicting a portrait, a grotesque character in a tavern with a glass of excellent pictorial quality. Pain...

Masterfully painted is this maroon and black rooster by Italian artist Oreste Dequel (1923-1989). While his work has gone under the radar this is a stunn...

Pair of Italian School Paintings from the 18th Century. " Allegory of Summer and Autumn" Oils on canvas. In simplistic black frames with slight gilding.

Painter active in Rome in the 18th-19th century. View of the temple of Minerva Medica Oil on canvas, 65 x 78 cm - with frame 71.5 x 85 cm The painting bears a traditional attribution to François Marius Granet (Aix-en-Provence, 1775 - 1849). The painter was a pupil of David but from 1802 to 1819 he lived in Rome, as evidenced by a series of paintings depicting views of the city and especially of the Roman countryside (Ponte San Rocco in Tivoli, 1810-20, MoMA, New York), and then return there between 1825 and 1830. In the Eternal City Granet devoted himself to landscape painting, inspired by the landscape painting of Gaspard Dughet and Van Lint...

Italian painting from the first half of the 20th century. Framework oil on board depicting a countryside landscape with cows of good pictorial quality. Painting signed lower right (s...

Beautiful early 20th century oil painting on board, signed unidentified artist. The painting is small in size but has a very high artistic quality. A scene of peasants resting during...

Antique Italian painting from the 17th century. Artwork oil on canvas depicting a religious subject, Martyrdom of St. Bartholomew of good pictorial quality. Small artwork, full of ch...

17th century Madonna of the milk Oil on panel, 27 x 20 cm - with frame 32.5 x 26 cm The subject of the work in question is particularly fascinating for its sweetness and refinem...

Early 20th century Naked woman Oil on canvas, 170 x 75 cm With frame 192 x 97 cm years of the Merlin Law which in 1958 had sanctioned the closure of closed houses. In ad...

Italian hand colored engraving print of flowers with Latin names within inlaid frame (late 18/19th Century).  

A brilliant and arresting example of high-style Art Deco painting from the late 1920s, this exotic scene of a female figure -- no doubt a royal or divine personage -- riding an elephant, accompanied by a procession of retainers and servants, was painted by Cesare Bentivoglio...

Beautiful, evocative Pencil Drawing Still Life with Flowers and Butterfly Early 20th century Signed at lower right The painting is embellished by a beautiful nineteenth-century la...

Rare pair of 19th century Venetian oil paintings on canvas. These paintings depict a Venetian harbor scene with boats, buildings and people. Ver...

Great Italian painting from the second half of the 17th century. Work oil on canvas depicting a religious subject Madonna with child of good pictorial quality. Painting with a partic...

Roman School of Italian painting Madonna and Child early XVIII century Created by an artist of the Roman School of Italian painting in the early XVIII century, this exceptionally preserved artwork was part of a private collection, thus it has never been on the market before. The oil-on-canvas painting is enhanced with a carved and gilded wood frame. The Virgin's dress' vivid colors - red and white, with yellow and blue sleeves - hold a major role in the scene, as well as the position of both sacred characters - the Virgin's left hand is softly placed on her cheek, while the right arm is holding the Child against her chest. The Child is portrayed while giving blessing and holding in his left hand a small wooden cross...

Couple of still-life paintings by Oscar Sogaro - XX century Couple of oil-on-cardboard paintings by the Italian artist Oscar Sogaro (Dolo, 1888 – Venezia, 1967). The melon still li...

XX century, Pair of Italian Oil Paintings with Chinoiserie Landscapes Provenance: Pietro Accorsi collection, Turin (Italy) This delightful pair ...

19th century, Lombard school Portrait of a Gentleman Oil on canvas, 92 x 71 cm With frame 107 x 87 cm The elegant portrait in question depicts a carefully dressed gentle...

Pair of male portraits "gothic revival" Male portrait "Man with hat" oil on canvas 154 x 85 cm in pendant with male portrait "Man with sword and armo...

Antique Italian painting from the 19th century. Artwork oil on canvas, on the first canvas, depicting a female portrait, a young girl in an elegant dress of good pictorial quality. C...

A beautiful Italian 19th century oil on canvas painting. The painting depicts a beautiful Italian scene of personages going about their day with charming boats and a house on the wat...

XVIII century Views of Rome (9) Tempera on paper, 9 x 14 cm; with frame 34 x 40 cm During the seventeenth century the fashion of the Grand Tour spread among the aristocracy, a ...

Large Op Art painting by celebrated architect - Craig Ellwood. Acrylic on canvas, 60" x 60" with artist signature/date verso. Rich blue color with gradient brown geometric grid.

A happy and colourful painting of a smiling young woman holding a basket of flowers in an open fruit and flower market. People mill around her at other tented stalls picking and choo...

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...

An Italian oil on canvas genre painting dating back to mid-19th century, after Volterrano's famous the Prank of Pievano Arlotto, a 17th century famous painting exposed in Palazzo Pit...

Portrait of a woman Framed and glazed Signed and dated on the reverse 1979 Italy.

An antique Italian painting offers enamel on copper portrait of a Classical woman seated in reticulated foliate giltwood frame, artist signed with initials as photographed, 19th cent...

Follower of Giambattista Valentino Piazzetta (Venice, 1682 - there, 1754) Head of St. Peter Oil on canvas applied on cardboard, 36.5 x 34.5 cm With frame 42.5 x 41 cm The claves Regni Coelorum, an essential Petrine attribute, shyly peek out in this painting, with the sole purpose of allowing the character to be recognized. The wholeness of attention is indeed conveyed to the Saint, from aching humanity and divine inspiration. Pietro is rendered with a liquid epidermis, illuminated by a pearly light that slips and drips to define the overbearing nose, cheekbones and browbone; while the vitreous humor of the eye turns bright to the sky, to investigate the highest wills of the divine mystery. The portrait, rendered here in intense monochrome, denounces the direct dependence of the present artist on the suggestions of Giambattista (Valentino) Piazzetta, one of the greatest among the eighteenth-century Venetian masters. Following an immature apprenticeship in the field of wood carving with his father Jacopo, a sculptor from Pederobba, in the Treviso area, Piazzetta retired to the workshop of Antonio Molinari...

This is an extremely rare and unique set of five oil on canvas paintings of naked puttis in either a reclining or flying pose surrounded by still life style flowers set against a bla...

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...

Beautiful antique Italian oil painting on canvas 1900s. Portrait of a little girl with accordion. Unsigned work attributed to important Italian artist Angelo Vernazza (Genoa Sampierd...