Italian Paintings

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 Ma...

This set of four antique hand painted pottery tiles are all unsigned, so no specific artist can be identified, but are presumed to have be...

An outstanding and grand 17th century Baroque oil painting on an oval wooden panel of the Madonna and Child. Beautifully executed and stunning patina.

A wonderful Italian painting depicting peasants at rest under trees, with haystacks and farm buildings in the distance. Oil on board, late nineteenth century or early twentieth centu...

Antique Religious Oil Painting, Antique Religious Icon, Antique Gothic Revival Religious Painting, Antique Gothic Revival Cabinet, Reli...

Matteo Lovatti (Italian, 1861-1909) A Fine 19th-Century Oil on Canvas Titled 'Church V. State - The Fencing Lesson'. The finely detailed artwork depicting an interior tavern scene, f...

This painting is after Raphael which was one of the greatest artists of the Italian Renaissance. He was a meteoric success painting altar pieces and Por...

Italian Renaissance style (19th Cent) gilt framed oil painting of Madonna and child with 3 attendants.

Splendid oil portrait on canvas of a gentleman in uniform, identified as Professor Moses Bosisio, mayor of Monza, who died in 1846, as reported on a plaque on the back of the paintin...

Carlo Mismetti "Miscar" Oil on Canvas Painting 1972. Measures: Height 82cm Width 63 cm Oil on canvas In good conservative condition, present signs of time due to use and age....

Attributed to Giorgio Lucchesi (1855-1941) A large and impressive early 20th century oil on canvas "Madonna and Child" after Bartolomé Esteban Murillo...

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 Large and Quite Impressive 19th C. Italian Oil on Canvas Painting, 'Departure of the Guests', F. Beda. The oil painting Departure of the Guests, signed by Francesco Beda, capt...

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...

Pair of circa 1920's Italian still life paintings. Measurements: Height: 50.25" Width: 26.25" Depth: 1.5"

This antique hand painted porcelain panel is unsigned but was done in Italy in circa 1890 in the Roccoco style. The hand painted porcelain disc of La Madonna della Sedia, after Rafael Sanzio...

Italian 1970s mixed-media art by Roffi (Roberto Fraschetti). Accompanied by Artist authentication and signature. In excellent vintage condition.   

Baroque and Rococo Architecture and Decoration Book by Alastair Laing, Anthony Blunt, and Christopher Ernest Tadgell. A study of a period in art ...

Portrait painting of old master artist Raphael. Early 19th century Italian watercolor. Unsigned. Contemporary frame.

A 1930s futurist watercolor painting of a motorbike race by Italian futurist artist Aris Bacci. Mounted in original geometric cream mottled frame, with stun...

Francesco Vinea portrait of a woman Portrait of Empire taste Work by painter Francesco Vinea ( Forli 1845- Florence 1902). Oil on panel, depicting a young woman in Empire style in re...

Italian school 17th / 18th century: oil on framed panel, representing The Virgin and Child Jesus, accompanied by Saint Elizabeth and John the Baptist as a child, in the foreground A...

A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the World, a title given to Christ on the Catholic f...

Napoleone Luigi Grady (Italian, 1860-1949) A Very Fine Oil on Canvas "A Young Man Bicorne Hat". The beautifully executed artwork depicting a posing young boy in full period celebrato...

Nicola Simbari, Italian painter of semi-abstract impressionist works known for using colors and favoring brilliant tones, especially with a palette knife. Considered by many to be It...

Venetian school of the second half of the 18th century. Oil painting on canvas depicting an Arcadian landscape of pastoral genre. This type of pictorial representation established it...

Capture the essence of Venice with this exquisite pair of Italian paintings, each offering a serene glimpse of the iconic harbor scene. The artworks are elegantly crafted, and framed...

Italian school table of the 16th century "Crucified Christ with the Virgin, Saint John and Mary Magdalene" Oil on board Period frame 16th century ( gold frame parts ) Measures: 41cm ...

The Reader by Jean-Honorè Fragonard Print on Canvas Reproduction. Measures: Height 67 cm Width 58 cm Print on canvas In good conservative condition, present signs of time du...

This Italian oil on canvas painting of Venice was made in the early 19th century. Featuring one of the most striking Venetian scenes, the Grand Canal, the artist was probably near th...

17th Century Italian School Oil on Canvas - Soldiers and Travellers Resting by a Rocky Cove The painting carries a plaque with the name of the attributed artist Salvator Rosa (1615-...

A fabulous Oil on board Venetian canal scene with the clouds and buildings reflected in the shimmering water. M J Rendell a very accomplished impressionist...

This is a magnificent antique Italian School, 19th Century, oil on canvas painting of a young lady reading a scroll,mid 19th century in date. ...

Painting Winter Landscape Tony Studio Art Icardi 1970s Measures: Height 70,5cm Width 89,5 cm Oil on canvas In good conservative condition, present signs of time due to use and ag...

Beautiful oil painting on canvas depicting a gentleman belonging to the ancient chivalric order of Saints Maurice and Lazarus, founded in 1572 by the House of Savoy. The protagonist ...

This is a magnificent pair of antique Italian oil on canvas paintings by Ettore Ascenzi, 19th C, Italian, titled "Music Recitals" signed and inscribed 'Roma' . These beautiful paint...

Pair of 18th century Italian ecclesiastical, hand-embroidered decorations mounted on antique mercury mirror. The intricate ecclesiastical decorations are hand-embroidered with four ...

Orientalist Scene Turkish Women Dancing In The Harem, Luigi Crosio. Measures: Height 67.5 cm Width 92 cm Mixed media on wood In good conservative condition, present signs of ...

A large antique oil on canvas painting entitled "Sacrifice to Minerva", circle of Francesco Solimena, attributed to Odoardo Vicinelli, dating from the mid 18th Century. The painting depicts a man standing, behind an altar, shielding himself from a kindling fire. To the left of the altar is seated Minerva, in classical flowing white robes, surrounded by a crowd of people. Francesco Solimena (4 October 1657 – 3 April 1747) was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. Verso: Title, describtion, inventory marks and later restoration stamp: Aitken Dott & Son, Edinburgh 15 July 1970. Also bears an inscription attributing the painting to Odoardo Vicinelli: Odoardo Vicinelli, scholar of Giovanni Maria Morandi, flourished about 1750 an excellent master of the Venetian and Roman Schools, Provenance: Formerly at Letterfourie, Morayshire, and by descent, through the Gordon family Letterfourie House is a Georgian house in Moray Scotland, built by Robert Adam and completed in 1773 for Clan Gordon...

The Antique Painting, Vase Of Flowers paintings on canvas depicts a beautiful bouquet of flowers with Dahlias, Asters and Chrysanthemums above a table. The flowers are gathered in a...

Early 18th century Italian Venetian inland painting, a large size oil on canvas Baroque mountain landscape with stream, bridge, waterfall, wayfarers and a village in the background. The woodland is animated by figures, a caravan with horsemen fishermen. This monumental Italian Baroque landscape painting has a strong impact and an excellent composition balance, as it depicts in the center the luminous perspective of a fortified village, whose side wings consist of two mountain rocks with dark wooded vegetation crowded by characters, horsemen, paths, streams.On the left side, with respect to the observer, there is a path that runs alongside a stream that flows into a waterfall in the center of the composition. from a caravan of travelers on foot and on horseback traveling along it in both directions: going up the slope on the mountainous coast you can see a church and a village near the top. The right part of the painting depicts a more sparse and dry vegetation, painted in the chromatic tones of ocher, inside of which there are dead plant, dry branches and a smaller number of figures on the rugged mountain. The iconographic inspiration of this wooded representation seems to be in the large trunk of the withered conifer in a central position, which represents a dead tree, as a? reminder of the transience of everything in life, whose phases are summarized in the two mountainous coasts. In the background a village painted in light and soft blue colors, in stark contrast to the previous scene, seems  to reassure and project us into a future season. With a suggestive theatrical effect, more than 250 cm wide, this Baroque Italian painting comes from a private collection of Milan, the canvas has been lined and shows minor painting retouches at a horizontal seam of the canvas. It is unframed, it has just a wooden profile covering the canvas edge. It is an antique Italian landscape, the perfect opportunity to make a statement. Get the perfect size painting for a great living room, to create that eye-catching focal point. You can make an impact with a single large work by hanging this early 18th century Italian Baroque painting...

18th century, large Italian neoclassical oil on canvas four panels screen with Trompe L’œil These large screen is composed of four panels in oil on canvas painted. Neoclassical, dating to the second half of the 18th century. Each panel represents a trompe l'oeil, with a classical architecture with square section marble columns and large clogging. Inside the pink space of the first and third panels are painted, as inserted in a niche with bronze frame, ancient busts...

Probably circa 1910, decorative painting with craquelure throughout. Old dark varnish. The sky near frame edge has thicker paint suggesting some later in painting. Stretcher marks sh...

Modern Fausto Pirandello Signed Abstract Watercolor Important work by one of the greatest artists of the Italian artistic avant-garde Fausto Pirandello It depicts one of his iconic ...

Mid-Century Oil Painting of Sailboats on the Capri Coast by Giuseppe Cavalleri – Impressionist Marine Art on Board Discover a breathtaking mid-century sailboat painting by renowned Italian artist Giuseppe Cavalleri. This original oil on board painting beautifully captures the tranquil waters of the Capri coast in Italy, portraying a serene Mediterranean seascape filled with graceful sailing boats and sunlit reflections. A masterwork of Impressionist maritime art, this piece transports viewers to the calm, sun-drenched shores of southern Italy during the 20th century. Ideal for collectors of vintage Italian seascape paintings, enthusiasts of Impressionist coastal art, or those seeking an authentic marine painting that radiates peace and atmosphere. Artistic Highlights: Style, Technique & Composition 1. Impressionist Style and Technique This vintage marine painting by Giuseppe Cavalleri exhibits hallmarks of the Impressionist style, focusing on capturing natural light, mood, and momentary impressions over fine detail. The brushwork is fluid yet deliberate, allowing viewers to feel the gentle motion of the sea and the softness of the cloud-strewn sky. The artist skillfully uses short, broken brushstrokes to render the rippling water and textured sky, a signature of mid-century Impressionist techniques. The composition prioritises atmosphere and sensory experience, inviting a sense of immersion into the coastal environment. 2. Balanced Composition with Depth Cavalleri creates a strong sense of depth, using atmospheric perspective and clever placement of the boats. The largest sailboat is positioned off-centre to the right, drawing the eye with its elegant white and tan sails—an excellent use of asymmetrical balance. The horizon line sits just above the center of the painting, expanding the sense of openness and space. 3. Evocative Color Palette A soft, tonal blend of sky blues, aqua, and whites dominates the painting, giving it a serene, almost dreamlike feel. Subtle warm beige and peach tones in the sails contrast against the cool blues of the sea, adding both visual interest and harmony. Cavalleri masterfully blends hues to depict light reflections on water, making this an exceptional example of Italian tonalist marine painting. 4. Tranquil Atmosphere & Emotional Appeal This painting evokes a timeless sense of tranquility, reflecting the leisurely pace of coastal life in mid-20th-century Italy. The distant boats, hazy clouds, and calm water contribute to a peaceful, reflective mood. Whether viewed from a distance or up close, the scene resonates with themes of freedom, simplicity, and quiet beauty, making it a perfect centrepiece for any interior that values art with emotion and soul. Artist Biography: Giuseppe Cavalleri (1893–1951) Giuseppe Cavalleri was a gifted Italian painter born in Milan, Italy, on November 24, 1893. He studied under Ricardo Pellegrini at the esteemed Brera Academy, one of Italy’s most prestigious art institutions. Furthering his artistic development, he later trained in Barcelona, exposing him to a diverse range of European art influences. Cavalleri’s life was marked by resilience. After serving in World War I from 1915 to 1918, he sustained a permanent injury to his dominant right arm. Refusing to let this end his artistic journey, he taught himself to paint with his left hand, showcasing a rare determination and passion for art. Over his career, Cavalleri travelled extensively, capturing a wide array of Mediterranean landscapes, seascapes, and coastal scenes. His works reflect a deep connection to nature, light, and maritime life. He is best known for his tonalist landscape and marine oil paintings, which have become highly collectable. One of his celebrated pieces, Tramonto di Marina, features two anchored boats at sunset beside a distant channel marker—exemplifying his ability to infuse mood and narrative into seascapes. Giuseppe Cavalleri passed away in 1951, leaving behind a legacy of evocative, impressionistic art that continues to captivate viewers and collectors worldwide. Why This Painting is Perfect for Collectors & Enthusiasts Whether you’re an art investor, an interior designer sourcing coastal artwork, or a private collector of mid-century Italian paintings, this piece offers exceptional value and beauty. Ideal For: Collectors of original Italian seascape oil paintings Admirers of Impressionist marine art Enthusiasts of Capri and Amalfi Coast paintings...

Important work by one of the greatest artists of the Italian artistic avant-garde Fausto Pirandello It depicts one of his iconic subjects ‘Bathers’ with five characters depicted in ...

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 ...

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 ...

Period Venetian Signed Landscape Painting Beautiful and evocative painting in the splendid style of Federico Faruffini. The strong colours, languor and romanticism emanating from this painting make this oil on canvas a small masterpiece. This artwork, never before on the market, comes from an important private collection and is beautified by an impressive antique frame in gilded wood, in almost perfect condition. 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. Federico Faruffini (1833–1869) was an Italian painter and engraver of historical subjects, in a style that combines the styles and themes of Realism with the diffuse outlines and lively colors of Scapigliatura painters. Born in Sesto, a commune now inside the metropolitan area of Milan, he initially trained with Trecourt in Pavia. He befriended Tranquillo Cremona and accompanied him to Milan and Venice. He traveled with Giovanni Carnovali. In the 1864 exposition at the Brera, he submitted a watercolor, Coro della Certosa di Pavia, and four oil canvases...

A very fine and Large Italian 18th-19th century oval-shaped oil on canvas titled "The Triumph of Venice" After the original work by 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...

Carlo Mismetti “Miscar” Dipinto Olio su Tela 1972. Misure: Altezza 82 cm Larghezza 63 cm Olio su tela In buone condizioni conservative, presenti segni del tempo dovuti all’ut...

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...

Italian painting from 1600 Banquet with Figures Memento Mori by Giovanni Martinelli, titled Death Comes to the Banquet Table, vanitas circa 1635. The oil-on-canvas painting is inspi...

Oil painting on canvas depicting a natural summer landscape, created by Henry Markò in the early twentieth century. Ø cm 49 h cm 105 Henry Markò, descendant of the Austrian paintin...

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...

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...

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...

Bolognese School of the 16th Century Mummy of Saint Catherine of Bologna
Oil on Panel 20,5 x 7 x 0,8 cm This rare painting depicts Saint Catherine of Bologna as a mummy, housed in a ...