17th Century, Italian Oil on Slate Painting with A Cavalry Battle Scene

17th century, oil on canvas Dutch painting with hunting scene Oil on canvas. Dimensions: frame W 81 x H 75 cm, canvas 58 x 49 cm The oil on canvas painting depicts a hunting scene in a predominantly rocky landscape. On the right, at the center of the canvas is depicted a group of characters dressed for hunting according to the 17th century fashion of northern Europe. The men stop with their horses and dogs; one of them points downstream, while another one sounds a Horn, used as a call sign in hunting trips. In the foreground on the left another character sits on the ground, turning his back on the observer, in the company of two hunting dogs. The scene takes place in the open air, in a rocky context and the landscape widens towards a valley, beyond which the horizon is lost among mountain reliefs with blue tones. The bright sky is characterized by some clear clouds. The color palette of the canvas is characterized by brown tones; a ray of light that emphasizes the right group, where it stands out illuminated a dog and the spotted steed on which is rising a man with a red mantel...

17th century, Italian oil on canvas painting with battle between Christian and Turkish cavalry The oil on canvas painting depicts a battle between Christian and Turkish cavalry. C...

Marzio Masturzo, attributed (Active in Italy - in Naples and Rome- in the second half of the 17th century) "Battle between cavalry and vessels with fortified city on the left" ...

19th century Roman painter Still life with cherubs, flower festoons and herma with faun Measures: Oil on canvas, cm H 78 x W 95 without frame Cm H 122.00 x W 106 x D 8 with frame. The work, painted in oil on canvas, octagonal in shape, represents a nature with three putti or cupids playing with flower festoons in a wooded environment in which is placed a herma with faun and, on the left, a large neoclassical marble vase...

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...

17th century, pair of ink drawings on paper with studies for grotesques, friezes and helmets. Painter of central Italy of the 17th century, signed with monogram “A.M.”. Measurements: cm L 45.5 x H 59.5 x 5.5; cm 22 x 33 / cm L 46.5 x H 59 x 5.5; cm 22.5 x 31.5 The pair of sheets, in good condition, is framed by antique frames in carved and gilded wood. They show some china studies with some studies for different subjects. Specifically, the first sheet represents the design of a frieze of Renaissance taste under which are some studies probably referring to a family coat of arms. Below the center is a monogram “A.M.”. The sheet is also worked on the back in which are drawn some articulated elements of decoration in the style of the Renaissance grotesque...

A fantastic late 17th-early 18th century Italian oil on canvas of a battle scene attributed to Francesco Graziani. Measurements are canvas only.

C18th gilt framed oil painting of the Battle of Boyne after Dutch artist Jan Wyck. It shows a panoramic landscape view from the northern vantage point ...

A ram lowers its horns in a face off with a barking dog that rises on its haunches. An ox turns its head to watch the row. An annoyed ewe glances over its shoulder, but the two behin...

Beautiful antique Italian oil painting on canvas 1650s. The painting of excellent pictorial quality represents an animated battle scene. Many horsemen with swords and guns fight fiercely. Painting sold with beautiful 17th century antique wooden frame.

Antique Italian painting from the 17th century. Oil painting on canvas depicting a lively popular genre scene of great charm, typical of the Bamboccianti school. Many Flemish and Italian painters active in Rome took Pieter van Laer as a reference, known under the pseudonym il bamboccio due to his boyish appearance. It was typical to represent scenes of common life with particular attention to those who live on the margins of society, as in this case: next to Roman ruins we find a party of peasants who eat and...

Ancient oil painting on canvas depicting the symposium of the Gods. This important seventeenth-century painting refers to the exquisite ...