Leonardo da Vinci Battle of Anghiari - Engraving by Edelinck After Rubens, c1660

The 'Battle for the Kauwenstein Dijk', engraved and titled Pugna in Aggerere Covenstio Anno 1585, depicts a significant battle during the Siege of Antwerp on 26 May 1585. The engraving illustrates the fierce combat around the Kauwenstein embankment, where the Spanish forces under the Duke of Parma attempted to cut off supplies to the city of Antwerp, leading to intense fighting. The scene vividly portrays soldiers engaged in close combat, naval forces in the background, and smoke rising from the battlefield as cannon fire and musket shots fill the air. The embankment, partially breached, is a focal point, showing the chaotic nature of the battle as forces from both sides converge. At the top, the title is inscribed in Latin, and a detailed legend (A-O) at the bottom provides further explanations about various parts of the battle, referencing key locations, troops, and actions. The detailed precision of the engraving reflects the high level of craftsmanship typical of 16th-century military engravings...

Antique print titled 'Das rennen und stechen'. Engraving of a Medieval tournament. This print originates from 'Thurnier Buch. Von Anfang, Ursachen, ursprung und herkommen (..)' b...

The print is a historical depiction of the Siege of Bergen (also known as Mons) in Hainaut in 1572, during the Eighty Years' War. This event is significant as it involved Count Lou...

Antique print titled 'Petrus Farnesius (..)'. Plate VIII: The Battle of Orbetello in 1100, section from the vaulted ceiling in the Sala dei Fasti, Caprarola; at right Pietro Farnese ...

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, 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...

Rare and beautiful engraving on vellum paper, signed, titled, and published by the Société Française des Amis des Arts, dated 1900. Title "BATTLE OF TAILLEBOURG" won by Saint Louis o...

Louis XIV on horseback. Engraved by Gerard Edelink after Charles Lebrun, circa 1680. Engraving on two sheets pasted together and glued on canvas. With frame and glass of the time.