Italian Paintings

"Perseus Rescuing Andromeda" Masterful Old Master Oil on Canvas Painting, Large size, framed. Painting depicts the dramatic scene from Greek mythology where Perseus, the hero, saves ...

Madonna and Child late 1600s, oil painting on canvas from northern Italy, in good condition, within walnut frame, from a private collection in Milan. The work depicts the Virgin hol...

A very important painting by the great artist of the Florentine school, Onorio Marinari. Dr. Silvia Benassai has confirmed Marinari’s authorship of the Saint Margaret of Antioch; available on demand, a historical-artistic fact sheet prepared by Dr. Silvia Benassai Onorio Marinari (1627 – 5 January 1715) was a very important Italian painter and printmaker of the Baroque period, active mainly in Florence. His father, Sigismondo di Pietro Marinari, was also a painter, and he trained with his cousin, Carlo Dolci, later being also influenced by Simone Pignoni and Francesco Furini. His fresco in the Palazzo Capponi, Florence, is dated 1707. He worked mainly in Florence for Florentine and Tuscan clients, but he did not devote himself only to painting. In fact, in 1674, he published an essay on astronomy entitled Fabbrica ed uso dell' Annulo Astronomico. Bartolomeo Bimbi was one of his pupils. St. Margaret of Antioch July 20, Martyr Margaret, known as Margaret of Antioch in the West, and as Saint Marina...

Rembrandt Van Rijn (1606-1669) Reproduction GHI.M.A Authorized Measures: Height 57 cm Width 68 cm Technique oil on canvas The company GHI.M.A. certifies that the relief, the app...

We are pleased to present this captivating religious painting of the Italian school, painted in oil on canvas in the 18th century. This wonderful painting depicting the Madonna in pr...

Magnificent almond-shaped portrait of a young poet, painted in oil on canvas and framed in a fine carved and gilded wooden frame. At the cente...

Reproduction of Rembrandt's Night Watch, mixed media on canvas. Measures: Height 136cm Larghezza 191 cm In good conservative condition, present signs of time due to use and age...

Surrealist Oil Painting by Jean Calogero (1922 - 2001) titled Carnival a Venise. About the Artist: Calogero was born August 20, 1922 in Catania, Sicily. Self-taught Artist First exhi...

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...

Alfano Dardari Oil Painting on Canvas 1970's. Measures: Height 88cm Width 69 cm Oil on canvas In good conservative condition, present signs of time due to use and age. (Pleas...

Sunflower Field C.Lipari Print on paper Measures: Height 33cm Width 74cm Print on paper In good conservative condition, present signs of time due to use and age. (Please see phot...

We present this fantastic oil painting on board dating back to the end of the 19th century. The painting features the Leto signature at the bottom right (see photo). Attributable to ...

Ugo Sterpini (Italian, 1927-2000)''La Lotta Sulla Duna" (The Battle On The Dune). Mixed media on canvas, signed and dated ''58'' lower right, signed, titl...

18/19th Century Floral Still Life, Oil On Canvas, Painting in an 18th century giltwood Frame. Painting has a colorful profusion of flowers in a gray-silver colored urn. Flowers are i...

A Religious oil painting on canvas of Jesus Christ carrying the cross on the way to his crucifixion. This European piece of art is probably 17th-18th Century. This art piece was disc...

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...

18th century Giacomo Guardi old master painting of Venetian Lagoon. Provenance. Old master painting in oil on canvas by the artist Giacomo Guardi (1764...

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....

Italy, 18th century. This magnificent 18th-century Italian planter is a captivating example of Rococo Baroque craftsmanship, featuring an elegant French blue painted background that...

Madame Rimsky-Korsakov by Franz Xaver Winterhalter (1805-1873, Germany). Measures: Height 67 cm Width 57 cm Print on canvas In good conservative condition, present signs of t...

Wonderful painting of farmers bringing in the harvest of wheat Oil on canvas. Unsigned. Artist unknown Framed in a slightly distressed antiqu...

Claude Monet Les Coquelicots 1873 A Quality Reproduction Oil Painting In Gilt Frame Wild Poppies, near Argenteuil painting was created in 18...

A few beautiful works of art by the Italian artist Umberto Brunelleschi. They are female nudes, slightly erotic in appearance with a beautiful display of transparent fabrics. Dimensions frame: 25,5 x 20 cm Dimensions paper: 23,5 x 18 cm Umberto Brunelleschi (21 June 1879 - 16 February 1949) was an Italian artist. He was born in Montemurlo, Italy, studied at the Accademia delle Belle Arti in Florence and moved to Paris in 1900 where he soon established himself as a printer, book illustrator, set and costume designer. He worked for Le Rire as a caricaturist and was a contributor to many of the deluxe French fashion publications including Journal des Dames et Des Modes, La Vie Parisienne...

Inspired by the poetry of Charles Baudelaire, this digital painting is based off a photograph of a famous German dancer from the early 20th century. In the foreground, poppy buds evoke a drug-induced state of altered consciousness, amplified by the dreamlike atmosphere of the background. A robin emerges from the woman's chest, symbolizing her obsession. Signed, numbered Limited Edition. Year of Creation: 2015 Edition Number: 1/300 Artist’s Signature: Printed on the Canvas + original signature on Limited Edition Certificate...

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...

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 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...

Beautiful and important painting attributed to the great Neapolitan School artist Vincenzo Irolli representing a still life of fish, one of his favorite subjects. The meticulous desc...

A beautiful and important painting by the great artist Enzo Benedetto, an absolute protagonist of the so-called ‘Second Futurism’. It depicts a seascape captured in its essence of natural energy with the waves of the sea crashing powerfully on the coast, probably a glimpse of his homeland, Calabria. This artwork, never before on the market, comes from an important private collection and is beautified by an impressive original frame in wood, in almost perfect condition. Enzo Benedetto (Reggio Calabria 1905 - Rome 1993) Benedetto, called Record by Filippo Tommaso Marinetti, approached the Second Futurism in 1924 after meeting Mino Somenzi and was active as a Futurist until his death, becoming a tenacious continuer of the movement's principles, revisited in 1967 with the Futurism Today manifesto. Benedetto theorised and practised the union of colour with the word and coined the term chrome-paroise to define the synthesis of painting and writing. In 1926 he promoted the futurist hall for the 4th Calabrian Art Biennial in Reggio Calabria where Depero, Dottori, Tato, Fillia, Pozzo, Benedetto Marinetti and himself, amongst others, exhibited. In 1927 he participated in the National Futurist Exhibition in Palermo. He moved permanently to Rome in 1927 and joined the Manifesto in 1931. In a short time he took part in the ‘great Futurist exhibition’ in Imola, the ‘first exhibition of Calabrian art’ in Rome, the ‘33 Futurists’ exhibition at the Pesaro gallery in Milan, and above all the ‘great Futurist exhibition’ at the ‘international artistic circle’ in Via Margutta in Rome. Benedetto had begun flying in 1926, as a photo of the time documents. That same year, inspired by the exploits of the aviator of the same name, he had executed the painting De Pinedo. He adhered to the Manifesto already signed by Balla, Marinetti, Depero, Dottori, Tato, Prampolini and Fillia, which advocated the triumph of a spatiality enhanced by flight in its dynamic effects and freed from the fixity of the horizon. In World War II he was imprisoned in Africa by British troops until the end of the conflict. Benedetto continued his Futurist activities in the second half of the 20th century. From 1939 to 1946 he volunteered for the African campaign and was sent to Libya, after which he was imprisoned for six years in the concentration camps in Alexandria, Ismailia, and in India in Bangalore and Yol in Kashmir. During this imprisonment he was able to paint and some canvases from this period were brought back to Italy, rolled up as personal luggage, In January 1943, he painted Yol, a new psychological oil portrait of Francesco Tommaso Marinetti. In 1946, he returned to Italy and in April 1947 presented his first solo exhibition in Rome. The exhibition dedicated to the great Italian poet and founder of Futurism was opened by Benedetta Marinetti. He adhered to the Manifesto already signed by Balla, Marinetti, Depero, Dottori, Tato, Prampolini and Fillia, which advocated the triumph of a spatiality enhanced by flight in its dynamic effects and freed from the fixity of the horizon. In World War II he was imprisoned in Africa by British troops until the end of the conflict. Benedetto continued his Futurist activities in the second half of the 20th century. From 1939 to 1946 he volunteered for the African campaign and was sent to Libya, after which he was imprisoned for six years in the concentration camps in Alexandria, Ismailia, and in India in Bangalore and Yol in Kashmir. During this imprisonment he was able to paint and some canvases from this period were brought back to Italy, rolled up as personal luggage, In January 1943, he painted Yol, a new psychological oil portrait of Francesco Tommaso Marinetti. In 1946, he returned to Italy and in April 1947 presented his first solo exhibition in Rome. The exhibition dedicated to the great Italian poet and founder of Futurism was opened by Benedetta Marinetti. In 1948 he had a personal exhibition in Capri at the gallery, ‘l'oblò’, and in Reggio Calabria in the Hall of the ‘Francesco Cilea’ Municipal Theatre. In 1949 he took part in the Calabrian Biennial in Reggio Calabria. In 1950 quanta took part with ceramics in the Selective Exhibition of Artistic Craftsmanship in the Angelicum in Milan, and with paintings in the Historical Review of Futurism in the Palazzo di Re Enzo in Bologna. He then held an important solo exhibition in Milan, at the ‘Centro d'Arte San Babila’ and participated in the sixth Quadrennial in Rome. He had a solo exhibition in Fano and another exhibition in Rome in the Galleria del Palazzo delle Esposizioni and in the Galleria del Teatro ‘il Millimetro’. In 1951 he took part in the collective exhibition ‘Mostra Nazionale della Pittura e della Scultura futurista’ (National Exhibition of Futurist Painting and Sculpture) in Bologna, Palazzo del Podestà, with Acquaviva, Giacomo Balla, Primo Conti, Tullio Crali...

Giancarlo Marcucci, Golden city an Unique work authenticated with certificate and signed Despite having always worked in very technical fields (construction sector), he has always ha...

A gorgeous pair of Grand Tour style framed oil paintings of an Italian Capriccio landscape with ruins Italy, Mid-20th Century Oil on canvas, gilt frame Measures: 9.5"W x 1"D x 9.5...

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...

Giovanni Ottaviani (Italy, 1735-1808) Title: Scene from Cloister Vaults in the Raphael Loggias, Vatican Large, exquisitely hand-coloured etching from the series Loggie di Rafaele ne...

Y. Gianni (Italian) The Gulf of Naples, 19th Century. A beautiful signed "Y. Gianni" gouche on paper, framed and matted with description & name on matti...

print THE FOURTH STATE by Giuseppe Pellizza da Volpedo (1901). Measures: Height 61 cm Width 89 cms Print on paper In good conservative cond...

Madonna and child, Classical 19th century painting. This lovely oil painting was purchased in Spain. The artist is unknown. The painting still maintains its original finish and ha...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

Depicting a vibrant bouquet of flowers in a vase placed on a stone window sill with flying butterflies and a red bird, retaining a period carved giltwoood and gilt gesso frame, signe...

Architectural Capriccio of Roman Ancient Ruins with Figures. Italian, 18th century large painting in oil on canvas is from the school of Giovan...

A gorgeous Grand Tour style framed oil painting of an Italian Capriccio landscape with ruins Italy, Mid-20th Century Oil on canvas, gilt frame Measures: 9.5"W x 1"D x 9.5"H. Exce...

Valentina Guido Crepax lithograph 1980s multiple 90/99. The item is in excellent conservative condition, there are no major cosmetic or structural defects to report, just slight an...

An absolutely exquisite pair of Italian 19th century Neapolitan gouaches in 20th century giltwood frames. One depicts the volcano eruption of 1822 in Naples, the other is an affluent...

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

This is a beautiful hand carved and gilded mirror frame. It is a dramatic wall hanging with a stunning depth of more than 3 inches. The circa 1880...

Guido Borgianni was born in New York on June 11, 1915, to Florentine Roberto Borgianni, a leather merchant, and Sara Herreshoff, who belonged to one of the wealthiest families in the United States and became a legend in the construction of the racing boats that also participated in and won the America's Cup. Guido was not even a year old when, once his parents' marriage had foundered, his father brought him back to Florence. Of Guido Borgianni's extraordinary gifts as a draftsman and painter, Galileo Chini, his neighbor, noticed, and he worked to see that talent refined. Thus Borgianni attended the Academy of Fine Arts under Felice Carena, a strict teacher but one who knew how to appreciate the qualities of his pupils. In the first part of his life he signed his works in black. Then, when he became a pointillist, he began to use red. Among his great admirers were Alessandro Parronchi and Oskar Kokoschka, who was captivated by Borgianni's paintings during his Florentine stay in 1949. Soffici, Saetti, Malaparte, Montale, Pratolini, and Cesare Zavattini, the screenwriter of Vittorio De Sica and Italian neorealism, all liked him very much, finding him "as beautiful as a Corot." In 1946 he exhibited at the Quadriennale in Rome. After his marriage to Simonetta Avila in 1954, his activities were enlivened by travel: in 1955 to Venice, in 1957 to Paris, from 1958 to 1962 around Italy, in 1964 to Spain, in 1971 to New York and Barbados Islands. In 1950 he was awarded a prize at the Mostra Nazionale del Fiorino in Florence, and in 1956 he was appointed Academician of the Accademia delle Arti del Disegno in Florence. In 1957 he was awarded First Prize at the Portrait Exhibition at Dante's House in Florence. Upon his death, deep condolences were expressed by the president of the Florence City...

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...

Ludovico Trevisan (November 1401 Venice, Italy - 22nd of March 1465) was an Italian Catholic prelate, who was the Camerlengo of the Holy Roman Church, Patriarch of Aquileia and Capta...

Giuseppe Tarantino lithograph face Young Woman Milan 1974. Measures: Height 70 cm Width 52 cm Mixed Technique on paper In good conservative ...

Alfano Dardari (Italian, 1924-1988) “surrealist clowns painting” A fantastic 1950’s Italian oil on canvas painting depicting colorful clowns gatherin...

Splendid 17th century Italian painting. Oil painting on canvas depicting the alliance of Jacob and Laban. The subject is inspired by a canvas by Pietro da Cortona (1596-1669), preser...

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

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...

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...

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 ...

This magnificent Madonna and Child belongs to an Itlalian (Roman) school of painting and is a masterpiece of Carlo Maratta /Maratti (1625-1713). Maratta's style of Baroque painting ...

Pair of 18th or 19th century Neapolitan gouaches of Virgil's Tomb, one with a view of Mount Vesuvius and the Bay of Naples. This is a wonderful high quality pair of a rare subject. A...

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...

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...