Italian Paintings

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...

Magnificent Italian 17th century Portrait of Virgin Mary measures 52 x 68 cm without the frame. The colors are stunning and the paintin...

Two paintings, sold as a pair, from Italy circa 1880. Curved tops. Measurements: 39.75'' W x 71'' H x 3'' D.

A gorgeous pair of Grand Tour or Neoclassical style framed oil paintings of an Italian Capriccio landscape with ruins Italy, Early Century Oil on board, gilt frame Measures:...

This 17th century Italian Baroque painting, executed in oil on copper, depicts the Crucifixion of Christ with remarkable depth and dramatic composition. Christ is shown on the cross...

Italian mid-century modern oil painting with donkeys in golden frame, 1960s Picture with rectangular frame. The painting represents two donkeys accompanied by a girl, another female ...

This six panel Italian screen is from the Baroque period, circa 1700. The four central panels have been affixed to a foldable frame, while the two outer panels are detached. When all...

Italian 19th century oil on canvas titled "The Music Professor" depicting a mid-19th century music-room scene of an elder man, the music professor, holding his violin, hat and umbrel...

Maximilian Pfeiler (active Rome, circa 1694-circa 1721 Budapest) Still life with peaches, grapes, figs and pomegranate Oil on canvas, Measures: cm H 63,5 x W 47. With frame cm ...

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

8-154 hand carved Italian water giltwood frame Interior rabbit size 36 x 30".

Authentic Italian Fresco in Roman Style – Garden Landscape with Villa, Inspired by Tivoli A remarkable piece of Italian wall art inspired by the classical Roman villas of Tivoli an...

Manner of Titian (Tiziano Vecelli - Italian, 1485-1576) An Oil on Canvas "Sleeping Cupid" within a gilt and black decorated gesso frame. A label on reve...

Trompe L'oeil Hyperrealism oil painting abstract surrealist photo realist art of early country living. This charming vintage trompe l’oeil scene i...

Antonio Calza (Italy, Verona, 1653-18th April 1725) "Battle between Christian and Turkish cavalry with castle" The painting depicts a bloody battle between Christian and Turkish cavalry. Characterized by dynamism, intensity of color and light, the main scene occupies the lower horizontal section of the canvas, optically interrupted by the black fumes of the shots from which emerge, on the left, the towers of a fortress. On the right, in the distance you can see the combat in progress in the countryside, beyond which you can see the pale presence of hills that create a fifth, marking the horizon. To frame the scene contributes to the left, against light and in the foreground, a portion of the wall. The painter, however, introduces a horse on the ground, of which we see only the back, a ruse to involve the observer making him become active and participate in the scene. In the foreground, lifeless bodies, wounded horses and, scattered on the ground, weapons and a drum enhance the drama of the clash. The excitement and expressive force, the intense chromatic range attentive to the conditions of light and the fine brushstrokes, decisive and dramatic, suggests the attribution to Antonio Calza, one of the most important painters of battles of the seventeenth century, excellent student and continuator of the greatest interpreter of the genre, Jacques Courtois called il Borgognone (Saint-Hyppolite 1621 - Rome 1676). Il Borgognone, although not having had a real school or direct students, places itself as a primary reference point by the Italian and foreign "battaglisti". The genre of battle painting found great success in the collections of the Italian and European nobility of the seventeenth and eighteenth centuries. The battles of the Italian Renaissance, in which the scene converged towards a precise protagonist, evolve towards a type of combat "without hero". The bloody realism of the details and the dynamic development of the narrative confuse the figure of the protagonist, when present, to give importance to the swirl of horses and armed fighters, among which, moreover, does not emerge a winner. The certain documents relating to the life and movements of Antonio Calza are scarce; it was equally difficult to reconstruct, from the critics, a catalogue of autograph works. Through paintings in private collections, in museums and paintings passed on the antiques market it has been possible to identify a copious corpus of works that can be traced back to his hand. The work of art historians, together with that of antique dealers, in conferring proper attributions in order to best outline the figure of Calza, continues but studies are still in progress. In this sense, the work of Giancarlo Sestieri should certainly be noted, who investigated the artistic production of the battaglisti and Calza, thus allowing the comparison of the numerous photographic works reported, to identify and recognize the stylistic qualities that distinguish the corpus of paintings assigned to him today. Antonio Calza was born in 1653 in Italy, in Verona and in 1664 he entered the school of Carlo Cignani in Bologna, dedicating himself to painting battles and landscapes. He then perfected in Rome, where he knew the works of the then undisputed head of the sector, Jacques Courtois called the Burgundian. In 1675 he returned to Verona and married an 88-year-old widow who, dying, left him a rich inheritance. Much appreciated by the nobility and the bourgeoisie, he received numerous commissions. Bartolomeo Dal Pozzo (Le Vite de' pittori, de gli scultori et architetti veronesi, 1718) praises "three great paintings of battles...

An original pencil architectural sketch on paper realised in 1928 by the Italian architects Michele Busiri Vici and Clemente Busiri Vici for the large vill...

Pair of stunning 17th / 18th Century Italian School oil on canvas mounted on board paintings of Lions and Leopards. Italian artists incorporated ele...

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...

Large Italian landscape from the 18th century. Oil on canvas artwork depicting landscape with architecture and farmers of good pictorial quality. Painting adorned with an antique Lou...

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-...

Oil on canvas painting, Disarmed Love, unknown artist, 20th century, after William-Adolphe Bouguereau. ADDITIONAL PHOTOS, INFORMATION OF THE LOT AND SHIPPING INFORMATION CAN BE REQUE...

Oil painting on canvas produced by artist Aldo Giorgini in December 1972 entitled "Pierrot Lunair." Frame size 55x45 cm. Canvas size 40x30 cm. CONDITION: In good, working conditi...

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

Antonio de Leyva, Duke of Terranova, Prince of Ascoli (1480–1536) was a Spanish general during the Italian Wars. During the Italian War of 1521, he commanded Pavia during the siege o...

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...

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...

Miniature depicting a Memento Mori painted in gouache on paper, grisaille technique. The frame, in ebonized fruitwood and finished with wax, black in color, is oval in shape with an ...

Black cat painting in chalk and acrylic on advertising cardboard. My friend the painter. Shipped in a wooden case Thank you

P. Fortunato (Italy, 20th C.) Oil On Canvas, Still Life With Three Apples And Leather Bound Books A fabulously painted oil on canvas still life scene depicting three red apples on a...

Snowy Landscape – Alex Weise Work dimensions: 60 x 80 cm Measurements with frame: 64 x 84cm Technique: oil on canvas Period: 1930s One of this artist's favorite subjects: snow in t...

Rare extra-large (cm 59 x 85) antique watercolour of capital from a collection of architectural details of Florence monuments painted in Italy in the middle of 19th Century. Black ma...

This lovely painting from 1940 beautifully captures the atmosphere that prevailed at the Italian harbor during the orange harvest. It was painted by a German artist in 1940 in Italy,...

From Italy an original colorful view of Milan depicting the Ticinese Darsena Navigli Canal with boats and buildings, an oil on canvas painting signed lower lright C.Castelfranchi Mil...

Late 19th century Italian screen with a gorgeous oil painting of floral scene. The oil paint colors are vibrant and in good condition. The frame is made of canvas over a wooden frame...

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

Decorate a living room, library or study with this important antique painting. Created in Italy circa 1850, and set in the original carved gilt wood frame, the hand painted canvas titled "Madonna of the Harpies", depicts the Virgin Mary holding her Child, our Lord, Jesus Christ; She is flanked by Saint John the Evangelist, and either Saint Francis or Saint Bonaventure. The large religious painting...

A stunning pair of Italian 17th century oil on canvas paintings by Antonio Travi. Each painting displays an impressive array of rich colors, typical of T...

1681, Pair of Paintings signed Grechetto da Leone as Govaert G. VAN DER LEEUW Oil on Canvas Dimensions: cm W 91 x H 123 x D 6; canvas: cm W 72 x H 103.5 This pair of fine paintings,...

19th Century still life painting by A. Reynes. Beautifully observed tablescape, finely painted.

Set of two Michelangelo Meucci (Italian, 1840-1909) oil on board paintings of hanging game. First painting portrays two hanging birds on wall, second has a hanging mallard...

A striking pair of Italian 19th century Venetian oil on canvas paintings. Each painting is set within their original giltwood frame. The charming scenes d...

“Serra Floreale” – Authentic Italian Fresco of a Classical Conservatory Garden, 100 x 150 cm This exquisite fresco, titled “Serra Floreale” ("Floral Conservatory"), captures the ser...

A fine Italian Mid-20th century oil on panel "Battipanni" (The Carpet Beaters) by Nino Caffè (1908-1975) depicting a group of Cardinals playing around with ...

Italian painting from 20th century. Oil painting on canvas, in the first canvas, depicting Impressionist style landscape of good pictorial quality. Frame in silvered metal and wood c...

A pair of mixed technique abstract Mid-Century Modern art paintings from Italy. This pair of tempera and paper on canvas has been painted by Italian Artist "Guglielminetti". These ha...

Antique Italian Framed Watercolor Painting Signed by Mario Spinetti, (1848-1925)

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...

Italian painting from the first half of the 20th century. Oil on canvas artwork depicting a contemporary copy of the famous painting by Gino Piccioni, Nude on the Beach (Florence, Fr...

Beautiful pair of oil paintings on canvas, mounted on panel and framed in ebonized and gilded wood. The pictorial technique used favors chiaroscuro, with the representation of a vase...

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...

18th Century oil on canvas painting depicting Saint Catherine of Siena bearing lilies and a book in her left hand and a crucifix in her right ...

Neapolitan School - Distruzione Della Torre del Greco Nel 1794 (Distruction of Torre del Greco, 1794 [Mount Vesuvius Erupting]) gouache on paper Titl...

Original oil on canvas, a pair of portraits of a young woman with pearl necklace and a young man in a golden embroidered red cape. Unsigned. Condition: The canvas is relined. Retouc...

Italian school early 20th century (year about 1910) Oil on canvas depicting gentleman with wooden frame finished in gold leaf.

19th century framed oil on copper painting "The Ascension of Mary" continental school. Unsigned.  

A woman with a flower headdress is immersed in a dreamy atmosphere. The swamp, gray and ashen, is now behind her and she smiles as she caresses dreams of pink flamingos. This limited...

This is a beautiful antique watercolour called "The Romantic Walk" by Belisario Gioja (1829-1906) Italian. The watercolour bears the signature of the art...

Allegory of ecstasy with Cupid, an 19th century Italian tempera and watercolor painting, oval composition within a rectangular greenish frame. The painting depicts the dream, the ec...

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. ...

Italian Renaissance-style (19th century) oil painting on canvas depicting a white peacock in a garden surrounded by other birds in an ornately carved giltwood frame.