18th Century Italian Painting Attributed to Antonio Peruzzini and Marco Ricci

Francesco Lavagna (Italy -Naples 1684-1724) "Still life with flowers and watermelon and hermas with garden in the background" The painting, beautifully made and in good condition, d...

This wonderful oil painting on canvas portrays a vibrant Dutch landscape and is attributed to Théobald Michau (1676-1765). It is characterised by a realistic depiction of everyday rural life in a flat Dutch landscape, emphasising intricate details of the scenery and luminism in the portrayal of light effects. The atmospheric perspective creates depth and portrays the dynamic influence of changing weather conditions in the painting, due to its use of soft colours in the background, giving the illusion of depth and distance. It is presented within a modern wooden frame and dates back to the 18th century, maintaining an impeccable condition. Théobald Michau was a Flemish painter known for his landscapes and genre paintings more famous in his own time than he is today. He began his training at the age of ten in Brussels under Lucas Achtschellinck, also a landscape painter. In 1698, he became a master in the Guild of Brussels, and in 1710, he was elected as a member of the Guild of Antwerp. He is considered a follower of Flemish landscape masters of the 17th century, such as Jan Brueghel the Elder...

A romantic 18th century oil painting on canvas depicting two young couples in an idyllic landscape, the figures sitting by a stream beside a garden folly, their pets with them. The two men serenade the women with their stringed instruments. The subject matter and style of painting...

Charming old Italian village scene of a young girl with her cow and sheep. Oil on canvas in giltwood frame. The painting without the frame measures 19 3/4" high x 22 3/4" wide. Italy...

Created in England and attributed to Francis Wheatley (1747-1801), the oil on panel depicts a young shepherdess attending her sheep and lambs in a pastoral landscape. The colorful ar...

Attributed to Bartolomeo Pedon (Italian 1665-1732) "Ruins", circa 1700 Oil on canvas 69.5" x 52" inches framed 61" x 43.5" inches unframed Pedon was born in October 1665. In 1716, he became part of the Fraglia, a guild of Venetian painters. He lived the lifestyle of a Bohemian and had a strong taste for poetry. Pedon spent most of his career as a painter in Padua, in the Monastery of San Benedetto, and died in February 1733. The present painting, attributed to Pedon, relies on the late Seicento landscape culture of Northern Italy. The artist was clearly influenced by painters like Johann...

This lovely and decorative painting of peasants in a bucolic setting with numerous farm animals is typical of the period and is designed to illustrate happier moments and a getting b...

18th century old masters oil painting attributed to Claude Joseph Vernet, France. View of a Mediterranean port at sunset. Great pi...

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...

Here is a set of four 18th century Italian paintings depicting various romantic dramas. All four painted in old world style and presented in the original stretchers and frames. Findi...