Overview
A substantial 19th-century Italian oil painting after Raphael’s celebrated Madonna della Seggiola, also known as the Madonna of the Chair, inscribed to the reverse and dated Florence, 1868.
Presented within an exceptionally imposing carved and pierced giltwood frame, this large-scale devotional painting combines recognisable Old Master imagery with remarkable architectural presence.
Key Features
- Large 19th-century Italian oil painting
- Italian School, after Raphael
- After the Madonna della Seggiola
- Also known as the Madonna of the Chair
- Inscribed to the reverse
- Dated Florence, 1868
- Painted in oil on canvas
- Circular religious composition
- Depicts the Virgin and Christ Child
- Young Saint John the Baptist shown alongside
- Richly coloured Renaissance-style costume
- Monumental carved and pierced giltwood frame
- Scrolling acanthus and foliate ornament
- Strong Grand Tour and country-house appeal
Composition & Detail
The circular composition depicts the Virgin tenderly embracing the Christ Child, with the young Saint John the Baptist positioned alongside. The figures are closely grouped, creating the intimate sense of maternal affection for which Raphael’s original composition became internationally admired.
The Virgin is shown in richly patterned green, red and blue garments, while the Christ Child is dressed in warm yellow and ochre tones. The young Saint John emerges from the shadowed background, creating contrast against the softly modelled faces and vivid drapery.
The painting is presented within a highly decorative carved and pierced giltwood frame. Bold scrolling acanthus leaves, curled foliage and openwork ornament surround the square inner frame and circular image, giving the work exceptional scale and architectural presence.
The reverse of the canvas bears a historic handwritten inscription referring to the composition as number three and recording Florence, 1868. This inscription supports its identification as a 19th-century Florentine copy produced after Raphael’s celebrated Renaissance original.
Copies after recognised Old Master paintings formed an important part of the 19th-century Grand Tour tradition. Travellers and collectors commissioned or purchased such works in Florence and other Italian artistic centres as reminders of the paintings encountered in major galleries and churches.
With its substantial proportions, recognised subject and dramatic carved frame, this painting would make a commanding statement within a large hallway, staircase, drawing room, country house or formal interior.
