Italian Paintings

Italian painting of the late 19th century. Work oil on canvas, on the first canvas, depicting a wooded view with river in impressionist style. Pleasantly furnished and bright framewo...

A vibrant pair of mid-century Italian hand-painted ceramic tiles depicting animated European street scenes, circa 1940s–1960s. Each square tile is executed in expressive impasto bru...

Dolomites "Monte Tuglia" - Marcelliano Canciani Measures: 50 cm x 60 cm (dimensions referring to the panel only - the painting is sold with frame), oil on table 1910s Autumn...

18th Century Italian Pastoral landscape painting of the Neapolitan School, circle of Paolo Anesi. Depicting the oft painted aristocratic subject of the stag hunt, the piece is cente...

Dipinto religioso italiano di Scuola Lombarda Madonna con Bambino e San Giovannino circa 1650 con una buona composizione equilibrata ed armoniosa al centro della quale si trova il Bi...

Charming 19th century Continental oil on canvas depicting a romantic garden tableau with frolicking putti figures gathered beside classical architectural elements. The central reclin...

Italian liberty Canvas painting with flowers and butterfly in metal frame, 1970s Canvas painting depicting blue and pink colored flowers, in perfect Art Nouveau style. At the top of ...

Refined medium-large oil on canvas painting, embellished with a carved and gilded wooden frame. The painting depicts the famous Greek poet Sappho, whose identification is further con...

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...

Eduardo DalBono, Portrait of a Lady Painting En Plein Aire, 1880's. Watercolour on card paper of a lady dressed in white in an artist’s folding chair seated with sketchbook and brush viewing the landscape, possibly seaside with soft brown dunes in the background and blue and green brush foliage in the foreground. An elegant subject softly rendered in original gilt carved floral frui frame. Eduardo DalBono was a Neapolitan pupil of Nicola Palizzi...

A large Italian 18th century period hand painted Armorial Shield coat of arms, on a hand woven canvas. This exceptional piece was discovered in Southern Italy. A crowned shield depic...

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

Original oil on canvas painting by listed Italian artists Federico Salvatore. The painting depicts a sailboat coming out of the Marina Grande in Capri Italy. Hand marked ‘Marina ...

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 ...

each horizontal painting in an octagonal painted and gilded frame, the paintings depicting floral still lifes in cachepots

Circle of Pietro Cavallini (Rome, 1250–1330)
 St. Bartholomew
 Fresco transferred onto canvas Umbria, 14th century
66.5 x 40 cm Provenance: Collection of Raymond Van Marle (The Hagu...

ITALIAN SCHOOL "TOBIAS AND THE ARCHANGEL RAFAEL" 18TH CENTURY Oil on canvas made in the 18th century, It represents the moment in which the archangel Raphael instructs a young Tobit...

Italian (19th Century) oil painting of 2 classically dressed women in front of a fountain of a dolphin by the ocean in a carved ornate giltwood frame titled: "A Musical Interlude" (s...

Painter of ruins xviii century: "capriccio with classical ruins and four figures" , pendant with "capriccio with classical ruins and three figures" Oil on canvas cm 140 x 95 The ...

Beautiful oil painting on panel depicting Christ, made with a chalky preparation which gives brightness and depth to the figure. The work can be attributed to a Venetian painter or o...

Italian Renaissance style (20th Century) acrylic painting of two birds perched on a flowering tree on a beige background, painted on wood in a rectangular, black wooden frame.

This is a charming painting of a cherub with an arm extending forward, perhaps hold out a bouquet of flowers. The painting dates to the mid-18th century and is probably cut from a larger painting. The putti is well-framed in a French a gold leafed neoclassical-style. Considering the quality of this painting, and although not signed, the painting was most probably painted by a recognized Italian 18th century artist.

Silvio Bicchi (1874 Livorno-1948 Florence) La Mucca, The Cow. Pupil of G. Fattori. Charming pastel of a young cow in a gilt gesso and wood carved frame. Italy, first quarter twentie...

Italian Grand Tour Miniature of the Holy Family, Signed R. Tomassi, Rome, 19th Century Measurements: 3" wide x 4" high (4.5" to top of hanging ring) A finely painted Italian minia...

The painting is entitled "La Vucciria," which is one of the most famous historic markets in Palermo, Sicily. The subject of the painting-with stalls, vegetables, hanging meat, and hu...

A C R O T E R I O N is pleased to offer this dazzling mid-17th-century Italian Baroque oil on canvas 'capriccio' painting in the manner of Alessandro Salucci depicting an urban battle scene between Spanish soldiers...

A almost life size depiction of a human skeleton holding a length of chain, with a banner at the base. We believe the piece to be Italian from the language used within the banner, ...

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,...

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

Copy of a portrait of "Emanuele Filiberto", Italian military leader of the 1500's

A Pair of Oil Paintings on Copper, Bolognese School, 18th Century XVII century, in the style of Annibale Carracci (1560–1609), Circa 1660-1680's. Provenance: Formerly with Cesare de...

Late 19th Century Large Italian Oil on Canvas Painting of Ships at Port

This 17th-century Baroque painting, in oil on copper, captures a serene portrayal of the Immaculate Conception, draped in yellow silk robes with accents of green and red. The divine ...

Christoph Schwarz (Ingolstadt, 1548 – Munich, 1592) Rest on the Flight into Egypt Oil on panel, 32 × 23.5 cm With frame, 63.5 × 56.5 cm Christoph Schwarz’s oil painting on wood ...

Early 19th century oil painting Signed "M. Isaacs" Dated "1918" Beautiful painting depicts a canal in Venice, Italy Two small restorations (shown in photo) Fine gold leaf frame

Italian painting from the second half of the 17th century. The painting, oil on canvas, is an interesting ancient replica of a very famous composition by Guido Reni depicting Saint J...

This large original drawing from 1952 highlights the creative brilliance of Gio Ponti, one of the most important figures in 20th-century design and architecture. Ponti’s hand is imme...

Italian painting, 20th century. Oil painting on cardboard depicting a wooded landscape with architectural elements on the background of good pictorial quality. Wooden frame with passe-partout and beautifully decorated protective glass. Small size painting...

Dramatic mid-century modern oil on canvas portrait painting in the Italian school style of a Lady. Painted in the romantic realism or modernist portrait style. The painting has a dre...

Pair of Roman scenes attributed to Annibale Gatti. Inscribed on reverse "A Gatti". 19th century. Oil on board. Paintings measure 14.5" x 4.5" without frames.

A highly decorative and most impressive Italian 19th century Neo-Classical st. patinated and Giltwood wall panel/plaque. This stunning square panel with its original gilding depicts ...

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 ...

A wonderfully animated oil on canvas depicting jockeys in full flight, the horses thundering forward with such momentum that one almost feels the rush of wind across the track. The s...

Italian Reverse-Painted Glass Wall Plaque, signed “Pachini” Italy, mid–late 20th century Rectangular decorative plaque in polished flat glass, reverse-painted with enamel and metall...

An 18th-century Italian Renaissance oil painting of Our Lady of Peace, depicting Mary in red and green robes holding the Christ Child and a white dove. Against a dark, atmospheric ba...

An original oil painting on rice paper of three musicians by listed painter Joyce Roybal (born 1955). Roybal is well known for his whimsical car...

18th Century Portrait of a Noblewoman in period attire, Oil on Canvas later mounted on board. Woman is dressed in richly detailed period attire and gazes confidently outward. A delic...

A follower of Baldassarre Franceschini, known as “il Volterrano” (Volterra, 1611 – Florence, 1690) Maddalena Oil on canvas, 46 x 35 cm With frame, 56 x 44.5 cm The work, an oil o...

Flagellation of Christ, Roman painter of the second half of the 16th century, follower of Sebastiano del Piombo, oil on panel Measurements: W 41.5 x H 58,5 cm, frame W 58 x H 72,5 cm...

Villa at Napoli. Vintage twenties chalk on paper view of a villa near Naples or Amalfi coast with characteristic umbrella pines and vibrant skies in a period gilt frame; signed lower...

Italian Renaissance style framed print of a celestial map depicting how the Sun, Moon and other planets revolves around the Earth

Great 18th-century architectural capriccio with figures. Oil on canvas painting depicts an evocative architectural capriccio with ruins, enlivened by elegant figures in oriental cost...

Gennaro Villani (1885-1948) Amalfi Coast, oil on canvas in painted and gilt frame, signed lower left. Italy, circa 1920. Dimensions: 27" W x 23" H x 1.25" D; sight 24.5" W x 21" H.

Florentine school, 17th century St. John Baptist Oil on canvas, diameter cm 20 - with frame diameter 30 In this small round-format canvas, St. J...

Italian mid-century modern oil painting Malinconia by Ernesto Tramezzani, 1971 Oil painting on canvas titled Malinconia, depicting a seated man. The predominant colors are blue, brow...

A painter in the style of Cortona, 17th century Immaculate Oil on copper, 26.5 x 21 cm Framed, 48 x 39 cm A small oil painting on copper, in an elongated octagonal shape, depicti...

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...

This large Italian Baroque oil on canvas, dating from the late 17th century represents an exceptionally vivid battle scene with the unusual subject of a brigand ambush on a stagecoac...

the oil on canvas painting depicting figures in a Venetian cityscape, in a period giltwood and gilt-gesso frame

Antique Trompe l'oeil Painting by Micheangelo Meucci, Florence 1867 A large Trompe l'oeil oil painting depicting hunted birds. A very detailled and colorful oil painting on board pa...