Emerson Bailey Collection Paintings

Beautiful oil on canvas of reclining blonde nude on a white bed sheet. Framed. Signed (see attached photo). 20th century. Painting dimensions: H. 20...

Remarkable Spanish colonial late 18th/early 19th-century Cuzco school painting of Madonna and Child, or Virgin Mary. Oil on canvas Cuzco school painting with a desirable aged patina ...

This lovely original oil painting portrays an elegant young woman on a summer day in the country. Look closely as she appears to have a small dog companion at her side. While the pai...

18th century, Italian oil on canvas still life by Pietro Navarra Oil on canvas, canvas measures: cm H 103 x W 164, framed measures...

Impressionistic and serene oil on canvas of a nude seated on an antique chest in which the artist is reflected in the mirror. Overall condition is very good with a custom white wa...

A refined oil painting of a dog, sitting on a table cloth. The breed is unknown, probably a fox terrier type. Made in the Netherlands or Belgium. It has no signature. The painting ha...

18th Century Framed Family Crest oil painting on canvas is a wonderfully well preserved work in part because of the lavish frame that was added to ...

Painting beautiful nude woman oil on canvas signed

This framed oil on canvas shows a comfortable living room full of antique furniture and art. In the foreground there is a large traditional fireplace with a pair of typical comfortable pair of scandinavian leather chairs...

Nude portrait oil on canvas by Hungarian/American artist Pal Fried. Excellent overall condition in period frame with a light vertical scratch line running along the lower middle as s...

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...

This exquisite 18th-century Peruvian oil on canvas is a masterful example of Spanish Colonial art, embodying the profound devotion and artistic sophistication of the period. The pain...