Antonio Guansé Furniture

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...

A fun abstract painting on a merlot background in its original walnut & gilt frame with antique glass. We have not been able to find any information on the artist, but it is signed a...

A beautiful original framed abstract landscape watercolor painting of a house Recently procured from Frank Lloyd Wright's DeRhodes House. Signed ...

A beautiful original framed abstract landscape watercolor painting Recently procured from Frank Lloyd Wright's DeRhodes House. Signed by the artist in the lower righthand corner M...

Signed in Madrid in 1993, this work by Antonio José Murado synthesizes the aspects of expressionist figuration, a current to which the artist was closely related, specifically during...

For FULL item description click on CONTINUE READING at the bottom of this page. Offering One Of Our Recent Palm Beach Estate Fine Art Acquisitions Of An Authentic Signed Antonio DeV...

Gustave de Breanski (British 1856 - 1898) The brother of Alfred de Breanski (Snr.) and a member of the famous family of painters. His style was more impressionistic than his broth...

20th century oil on copper painting by the Dutch/American painter A. de Nottbeck. Pictured a landscape with sawmill and farmers. Dated 1972. ...

Rose Freedman Naftulin grew up in North Philadelphia where she studies art. Her paintings are in collections at Bryn Mawr College, the Free Library of Philadelphia, the Pennsylvania Academy of Fine Art, Asheville Museum of Fine Art, Woodmere Museum...

This original painting by Pennsylvania-based artist R. Monti uses a flurry of bright colors to create an eye-catching abstract work. Please confirm item location with seller (NY/NJ).  

Signed and dated, acrylic on canvas painting by Italian-American artist, Vincent Cavallaro (1912-1985) who was honored in the with an award from the MoMA (War Poster, 1941), commissi...

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...