Antonio Guansé Wall Decorations

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 fine original abstract oil painting signed Olivier. Hand-signed on the lower right. Wonderfully decorative piece of art. Offered in a custom oak frame. Framed measurements: 27 1/...

Giovanni Antonio Raggi (Italian, late 19th century) Scene depicting and hookah smoker. Watercolor and gouache on paper. sight: 14 by 20 ¾ inches Frame: 23 by 30 inches

Antique Framed oil painting on canvas by De Kok showcases the artist's firm grasp on creating the tranquility of an intriguing landscape composition using color and contrast resultin...

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

A fabulous vintage Boho Original oil painting on board. A chic Abstract composition in bright, clear colors. Signed by the artist. Acquired from a Palm Beach estate.

Antique Oil Painting of Dogs by Bernard De Gempt

We love paintings and drawings of interiors, as they portray the soul of a room. This vignette is small, but contains so many lovely details of the French salon. The artist, Leo Gr...

Mid-Century oil on canvas by painter Miguel Guzman entitled "Bouquet de Jonquilles," signed and dated 1968. Framed with original giltwood hand-carved frame. Brass plaque attached w...

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...

An abstract canvas entitled “Indian Summer” by the well regarded San Antonio, TX artist, Carole Myers, ca. 1970s.

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...