Richard Wilson R.A. Furniture

Venetian school of the second half of the 18th century. Oil painting on canvas depicting an Arcadian landscape of pastoral genre. This type of pictorial representation established it...

Antique Italian painting from 18th century. Framework oil on canvas, on the first canvas, depicting a view with characters, animals and ruins of good pictorial quality. Large size fr...

Antique Italian painting from the mid-18th century. Oil on canvas artwork depicting a landscape with characters and architecture along the river, of good pictorial quality. Finely ca...

Painting with probably biblical Italian school characters End of the 17th beginning of the 18th century unsigned carrying a Carlo Maratta cartouche of in...

Original oil on canvas laid on panel painting, Italian school. Unsigned. Possibly a religious composition with three putti in lower left. Condition: Age related craquelure, some abra...

Refined Italian painting from the 18th century. Oil on canvas artwork depicting a splendid female portrait, a noblewoman in an elegant dress embellished with jewels, lace and embroid...

Elegant Italian painting from the 18th century. Oil painting on canvas depicting a portrait of a young gentleman, of good pictorial quality. The particular hairstyle and refined clot...

This is a monumental and spectacular 18th century, or possibly early 19th, oil on canvas of the Italian school. The canvas depicts a shepherd serenading a maiden in a wooded glen. B...

Refined Italian landscape from the second half of the 18th century. Oil painting on canvas depicting a splendid view with ancient ruins and figures in Venetian dress...

Antique Spanish painting from the 18th century. Artwork oil on canvas depicting a religious subject, Adoration of Saints with Christ and the Virgin Mary, of good pictorial quality. T...

Francesco Simonini (Parma, 16 June 1686 - Parma, 1766) “The rest of the soldiers” and “The march of soldiers” oil on canvas cm 40 x 58 and 40 x 60 ; frame: h 52,5 x W 70,5 x D 6 an...

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...