Showing all 16 results
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Pair of Vanitas, 17th century
Master of the Vanitas Texts
Naples, XVII century
1,00€
A pair of vanitas still lifes
Oil on canvas, 49 x 64 cmQuick viewMaster of the Vanitas Texts
Naples, XVII century
A pair of vanitas still lifes
Oil on canvas, 49 x 64 cm
Bibliography: A. Veca – P. Lorenzelli, Forma Vera (Bergamo, 1985), pag. 176 – ill. 73a, 73b
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Neapolitan tempera – Ischia Island
Naples, early XIX century
Ischia Island
Tempera on paper in original giltwood frame
Paper: 24 x 42,5 cm
With frame: 41 x 59 cm
Quick viewNaples, early XIX century
Ischia Island
Tempera on paper in original giltwood frame
Paper: 24 x 42,5 cm
With frame: 41 x 59 cm
Comparative Literature:
AA.VV., Gouaches napoletane del Settecento e dell’Ottocento
Electa: Naples, 1985
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FRANCESCO LONDONIO (MILAN, 1723-1783)
FRANCESCO LONDONIO (MILAN, 1723-1783)
Three horses and peasants in front of a farmhouse
Oil on canvas, cm 85 x 148
Provenance: Villa Alari Visconti di Saliceto, Cernusco sul Naviglio (Milan)
Quick viewFRANCESCO LONDONIO (MILAN, 1723-1783)
Three horses and peasants in front of a farmhouse
Oil on canvas, cm 85 x 148
Provenance: Villa Alari Visconti di Saliceto, Cernusco sul Naviglio (Milan)
Literature:
Bona Castellotti, C. Geddo, Francesco Londonio (1723-1783), Piva&C, Milan, 1998, n. 8
F. Pizzini, Un’eredità lombarda, da Milano alla Franciacorta, Milan, 2010, p. 153Reference literature:
L. Böhm, Pittori milanesi del Settecento: Francesco Londonio, in “Rivista d’Arte” a. XVI, s. II, n. 3. 1934, pp. 229-261
Storia di Milano. L’età delle riforme (1706-1796), vol. XII, Milan, 1959, , tav. f.t. tra pp. 484 e 485
S. Coppa, in Settecento lombardo, catalogo della mostra a cura di R. Boscaglia, V. Terraroli, Milan 1991, pp. 206-211, 274-275Entry by Dr. Cristina Geddo
This painting is in perfect conditiod and it is identifiable with n. 13 in the list of Londonio’s pictures in Villa Alari (Böhm, 1934, p. 252), where it is described as “A white horse and other brown ones, a peasant next to a house – canvas 1,30 x 0,60” (with uncorrect dimensions). […]
The far-reaching scene could be appropriately entitled “the get back home from work”. Some working tools hang on the farmhouse wooden fence, while three horses with still tenses nuscles were just loosed from the pack-saddle. Itts trace is still visible in the bloodstained venter of the white horse. The sunset lightens the white horse and the resting peasant on the lower right angle.
Ambrosian Library in Milan keeps a beautiful drawing showing Two farmhouses (black pencil and white leade on light yellow paper, Cod. F. 267 Inf. n. 78; mm 328 x 255), which was already known, but it can be put into relation with our canvas just now (Storia di Milano, vol. XII, 1959, tav. f.t. tra pp. 484 e 485; Coppa, in Settecento lombardo, 1991, pp. 274-276, n. I.292). In the upper part of the drawing we can see a farmhouse, heightened by white leade rich touches, which is preliminary study for our painting’s background, and it is certainly contemporary with the Ambrosian Library drawing n. 79, which is the preliminary study for the pendant painting from Alari collection.
Our canvas shows a marked interest in studying from life, most of all in the accurate description of country still life, partally left out in painting tradition. The peasant figure, lying in the sun, is on the contrary quickly depicted. In this feature, Londonio’s idealizing and amending purpose is clear. […]
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Neapolitan tempera, early XIXth
Naples, early XIX century
Averno lake
Tempera on paper in original giltwood frame
Paper: 24 x 42,5 cm
With frame: 41 x 59 cm
Quick viewNaples, early XIX century
Averno lake
Tempera on paper in original giltwood frame
Paper: 24 x 42,5 cm
With frame: 41 x 59 cm
Comparative Literature:
AA.VV., Gouaches napoletane del Settecento e dell’Ottocento
Electa: Naples, 1985
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John Fulleylove – Quay San Carlo of Trieste
Fulleylove, John, England 1845-1908
1,00€
Quay San Carlo of Trieste
watercolor in original frame
signed lower leftQuick viewFulleylove, John, England 1845-1908
Quay San Carlo of Trieste
watercolor in original frame
signed lower left
paper: 24 x 36 cm
with frame: 34 x 46 cm
literature: Picturesque Mediterrean, vol 2 -
Francesco Fidanza (Rome 1747-Milan 1819)
Francesco Fidanza (Rome 1747-Milan 1819)
Seascape at moonlight with fishermen
and a fire behind the promontory
Oil on canvas, cm 72 x 98
Quick viewFrancesco Fidanza (Rome 1747-Milan 1819)
Seascape at moonlight with fishermen
and a fire behind the promontory
Oil on canvas, cm 72 x 98
In a gilt wooden frame
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View of Palermo
Naples, early XIX century
1,00€
View of Palermo
signed lower right “Chez Glass Naples”
Tempera on paper in the original wood frameQuick viewNaples, early XIX century
View of Palermo
signed lower right “Chez Glass Naples”
Tempera on paper in the original wood frame
gouache: 27 x 40,5 cm
with frame: 42 x 56 cm -
View of Florence
Veduta panoramica di Firenze
1,00€
con Piazza della Signoria in primo piano
tempera su traccia di incisione all’acquatinta, 1840 circa
entro cornice d’epoca in legno doratoQuick viewView of Florence
with Piazza della Signoria
Hand colored print, 1840 circa
with the original giltwood frame
gouace: 23 x 89 cm
with frame: 41 x 102 cm -
Camillo De Vito – A pair of Eruptions of Vesuvius
Camillo De Vito
1,00€
Naples, early XIX century
A pair of Eruptions of Vesuvius: Eruption of 1812 and 1822
signed lower left: “Camillo de Vito p.”Quick viewCamillo De Vito
Naples, early XIX century
A pair of Eruptions of Vesuvius: Eruption of 1812 and 1822
signed lower left: “Camillo de Vito p.”
Tempera on paper into the originals frames
gouache: 28 x 41 cm – frame: 48 x 61
Comparative Literature:
AA.VV., Gouaches napoletane del Settecento e dell’Ottocento, Electa: Naples, 1985, cat. 1.13
