Italian Paintings
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Period: Early 1900s
Place of Origin: Italian
Horse & Rider Painting, Italy circa 1900
Located in Culver City, CA
Italy circa 1900
on stretched burlap canvas over wooden frame.
47.5”w x 1”d x 39.5”h
Category
Early 1900s Antique Italian Paintings
Materials
Canvas
19th Century Still Life Wooden Framed Painting / Oil on Canvas, Signed Bianchi
Located in Beirut, LB
19th century oil on canvas painting signed on the bottom right corner "Bianchi", representing still life, fruits, grapes and peach basket , and apples
The frame is in its original st...
Category
Early 1900s Antique Italian Paintings
Materials
Canvas, Wood, Paint
Early 20th Century Oil Painting of Venice in a 18th Century gilded Frame, 1904
Located in Berlin, DE
Fantastic Early 20th Century Oil Painting of Venice showing the Marcus Place from the Water. It was probably painted around 1904.
The Painting is framed in a 18th Century gilded Frame...
Category
Early 1900s Victorian Antique Italian Paintings
Materials
Gold Leaf
Bay of Naples Gouache Seascape with Vesuvius Erupting, 1906
Located in Nantucket, MA
Antique Bay of Naples Gouache Seascape with Vesuvius Erupting, 1906, a fine gouache on paper seascape with the panoramic Bay of Naples stretching wide, wit...
Category
Early 1900s Grand Tour Antique Italian Paintings
Materials
Paper
Antique Canvas Depicting 'The Preaching of St. Peter'
Located in Milano, IT
Beautiful framed wooden canvas from the end of the 19th century.
The reference narrative is the one found in the Acts of the Apostles (Acts 2:14-42) in which Saint Peter starts pre...
Category
Early 1900s Romantic Antique Italian Paintings
Materials
Canvas, Wood
After Raffaello Sanzio 1483-1520 Raphael La Madonna della Seggiola Oil on Canvas
By (after) Raphael (Raffaello Sanzio da Urbino)
Located in Los Angeles, CA
A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900.
Subject: Religious painting
Painting diameter: 28 inches (71.1 cm)
Frame height: 55 1/8 inches (140 cm)
Frame width: 46 inches (116.8 cm)
Frame depth: 5 1/8 inches (13 cm)
Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking.
After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.
Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters.
Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin.
Early Life and Works
His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello.
According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500.
His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career.
Influence of Florence
Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...
Category
Early 1900s Baroque Antique Italian Paintings
Materials
Canvas, Giltwood
After Raffaello Sanzio 1483-1520 Raphael La Madonna della Seggiola Oil on Canvas
By (after) Raphael (Raffaello Sanzio da Urbino)
Located in Los Angeles, CA
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...
Category
Early 1900s Baroque Antique Italian Paintings
Materials
Canvas, Giltwood
Pietro Fragiacomo Italian Period Venetian Landscape
By Pietro Fragiacomo
Located in Roma, IT
Beautiful oil on panel painting representing Venetian landscape.
The luminosity of this evocative view combined with the impressionistic style of br...
Category
Early 1900s Romantic Antique Italian Paintings
Materials
Wood
dipinto Adolfo Polaroli, raffigurazione napoletana di pescatori -olio su tela
Located in Milano, MI
raffigurazione napoletana di pescatori
olio su tela
inizio ventesimo secolo
ottime condizioni generali
dimensioni
altezza 88 cm
larghezza 127 cm.
Category
Early 1900s Antique Italian Paintings
Materials
Canvas
Pair of Porcelain Plaques in Giltwood Frames, After Old Master Madonnas
Located in London, GB
Pair of porcelain plaques in giltwood frames, after Old Master Madonnas
Italian, 1901
Measures: Frames: height 28cm, width 23cm, depth 2cm
...
Category
Early 1900s Renaissance Antique Italian Paintings
Materials
Porcelain, Giltwood
Italian 19th Century Porcelain Plaque of Madonna della Primavera, after Barabino
By Nicolò Barabino
Located in Los Angeles, CA
A very fine Italian 19th century porcelain plaque of Madonna della Primavera ("Madonna detter Primavera with Bambino"), after Nicolò Barabino (1831-1891). The finely painted standing Madonna holding baby Jesus in her arms surrounded by flowers, framed in a Gothic revival style giltwood carved frame. The back inscribed: "Madonna detter Primavera - nach Barabino" and handwritten "E. Guenther, Phila". Signed lower left corner, circa 1890-1900.
Nicolò Barabino (1831–1891) was an Italian academic painter of religious and historical subjects, active in Florence and Genoa.
He was born in Sampierdarena. His initial studies were at the Genovese Accademia Ligustica di Belle Arti, under Giuseppe Isola. In Genoa, he befriended Maurizio Dufour. In 1857, he won the Durazzo scholarship to attend the Accademia di Belle Arti in Florence. He designed some of the lunettes completed as mosaics for the portals of the Florence Cathedral...
Category
Early 1900s Gothic Revival Antique Italian Paintings
Materials
Porcelain, Giltwood
20th Century Oil on Canvas Italian Man Portrait Signed and Dated Painting, 1908
Located in Vicoforte, Piedmont
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...
Category
Early 1900s Antique Italian Paintings
Materials
Canvas
Early 20th Century Oil Painting on Board Peasant Scene, Signed
Located in Casale Monferrato, IT
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...
Category
Early 1900s Antique Italian Paintings
Materials
Wood
Italian post-impressionist Oil on Canvas Portrait of Little Girl with Accordion
Located in Casale Monferrato, IT
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...
Category
Early 1900s Antique Italian Paintings
Materials
Canvas
Eugenio Zampighi 'Italian, 1859-1944' 19th/20th C. Oil on Canvas "Joyous Family"
By Eugenio Zampighi
Located in Los Angeles, CA
Eugenio Zampighi (Italian, 1859-1944) A fine and charming Italian 19th/20th century oil on canvas Titled "A Joyous Family" depicting an interior scene of a seated joyous mother with her smiling toddler child on her lap, as her young daughter amuses them while holding a small kitten picked-up from the cat...
Category
Early 1900s Country Antique Italian Paintings
Materials
Gesso, Canvas, Giltwood
Pair of Italian Paintings from the 90's Representing a Vanity - F392 F393
Located in Lyon, FR
Pair of very decorative Italian paintings, probably an old theatre set, from the 90s. Structure in old solid wood and linen canvas representing a vanity. S...
Category
Early 1900s Baroque Antique Italian Paintings
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20th Century Renaissance Painting Oil on Canvas Sano di Pietro, 1900s
Located in Roma, RM
Copy of the painting of the early twentieth century, in excellent state of preservation, oil on canvas and frame coeval to the painting.
Sano di Pietro, (1405-1481)
St. Jerome and th...
Category
Early 1900s Renaissance Antique Italian Paintings
Materials
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Antique Oil on Canvas of Venice
Located in Austin, TX
Antique oil on canvas painting of Venice with the original gold leafed frame. The image represents the Castello neighborhood in Venice.
Category
Early 1900s Antique Italian Paintings
Materials
Gold Leaf
19th Century Painting, View of a North Italian Village by a Lake
Located in Belmont, MA
Very decorative painting of an unknown artist. "View of a North Italian Village by a Lake," oil on canvas. Measurements without frame: 11.5 x 19 inches.
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Early 1900s Romantic Antique Italian Paintings
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20th Century Important Italian Artist Oil Painting on on Wooden Board, Signed
Located in Casale Monferrato, IT
Beautiful oil painting on canvas.
Excellent pictorial quality. Signed by Gragnoli Ovidio an Italian important artist (born 1893s / dead 1953s). A beautiful countryside scene with wa...
Category
Early 1900s Antique Italian Paintings
Materials
Wood
Federico Ballesio Attributed 'Italian, 19th Century' Watercolor "The Courting"
By Francesco Ballesio 2
Located in Los Angeles, CA
Attributed to Federico Ballesio (Italian, 19th Century) a fine Italian watercolor and gouache on paper "The Courting". The finely painted watercolor ...
Category
Early 1900s Country Antique Italian Paintings
Materials
Giltwood, Paper
"Pescatori", Oil on panel, signed F.Morello
By Federico Morello
Located in Saint-Ouen, FR
Rectangular oil on panel representing fishermen on the beach. Behind them, a clear sea in which reflects cloudy sky giving a sweet pinky and pearly light.
Work with a vivid touch on...
Category
Early 1900s Belle Époque Antique Italian Paintings
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Roman Views by Ettore Ascenzi Dated, 1900
Located in CH
Pair of Roman views watercolors of the Spanish steps and the arch of Titus with children playing in the foreground.
Signed Ettore Ascenzi and dated, 190...
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Early 1900s Antique Italian Paintings
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Water Landscape Oil Painting
Located in New York, NY
Italian water landscape oil on canvas with cranes in a foliage filled shore, circa 1900s.
In a vintage gilt frame.
Measurements:
Height 43.75",
...
Category
Early 1900s Antique Italian Paintings
Materials
Canvas
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Giltwood
Early 20th Century French Framed Sunset in Venice Oil Painting Signed A. Lecoz
By Alphonse Lecoz
Located in Dallas, TX
Decorate a den or living room with this elegant antique painting. Created in France circa 1910, and set in the original carved frame, the large and colorful canvas features the grand canal in Venice. The art work depicts a sunset on the canal with gondola and Venetian palaces on both sides. The painting is signed on the bottom left by French artist Alphonse Lecoz...
Category
Early 20th Century Italian Paintings
Materials
Canvas
H 25.5 in W 45 in D 2 in
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Located in Albignasego, IT
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80 cm x 100 cm with gold frame.
oil on canvas, early 1900s.
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Italian early twentieth century Oil painting of bather by the sea, 1900s
Located in MIlano, IT
Italian early twentieth century Oil painting of bather by the sea, 1900s
Rectangular oil painting depicting a bather by the sea. The frame is ...
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H 18.51 in W 13.78 in D 1.58 in
An Evocative Italian 1920s Portrait of a Male Nude
Located in London, GB
A wonderfully observed and well executed Italian oil painting of a male nude.
This evocative portrait is in a subtle warm palette of blues and greys.
In its original giltwood frame...
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Early 20th Century Neoclassical Wall Tapestry Hand Painted
Located in Casale Monferrato, IT
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Category
Early 1900s Antique Italian Paintings
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Extra Large Oil on Canvas, Framed + Unsigned
Located in Ely, GB
Extra Large Oil on Canvas of an Italian Scene, Framed & Unsigned.
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Category
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1900 Pair of Art Nouveau Italian Paintings on Fabric
Located in Aci Castello, IT
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Cesare Ciani Portrait of King Edward VII, oil on canvas with Gilded Frame
By Cesare Ciani
Located in Prato, IT
Portrait Edward VII King of the United Kingdom and the British Dominions
Oil on canvas, cm H 146 x W 104
Cesare Ciani (Florence, February 28, 1854 - Florence, February 13, 1925) was an Italian painter.
After completing his studies at the Technical Institute and did his military service until 1878, he enrolled at the Academy of Florence and followed the courses of Giuseppe Ciaranfi and Giovanni Fattori, whose basic philosophy he assimilated, which is expressed in his lively attention towards themes concerning the landscape and the figures that revolve around it.
In 1888 he presented the Widow to the Circolo degli Artisti, with whom the following year he obtained a "mention honorable" at the International Exhibition in Paris. He exhibits assiduously to promoters and then to Italian art exhibitions.
At the turn of the century, his painting is intensely vitalist, as evidenced by works such as the Interior of Officina dated 1898, which echoes contemporary works by Lovis Corinth, for the interest in workers and machines, or the Villa Bianca...
Category
Early 1900s Antique Italian Paintings
Materials
Canvas, Wood
H 57.49 in W 40.95 in D 4.73 in
20th Century Gothic Painting Oil on Canvas Gentile da Fabriano, 1900s
Located in Roma, RM
The Presentation in the Temple by Gentile da Fabriano, dated 1423 and kept in the Musée du Louvre in Paris.
This is an early twentieth century canvas copy in considerable size with ...
Category
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H 52.76 in W 122.84 in D 2.76 in
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Located in Albignasego, IT
Philip See, 1904 - Jungfrau Switzerland
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"En plain air" painting by the Jungfrau Group, animated. 1904.
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Materials
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Located in Wiscasset, ME
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Art Nouveau Italian Oil Painting on Canvas Portrait of a Young Lady with Frame
Located in Casale Monferrato, IT
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Category
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H 44.1 in W 36.23 in D 2.37 in
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