Neapolitan Gouache Vesuvius Eruption, c.1830

Antique Bay of Naples Gouache Seascape with Vesuvius Erupting, 1906, a fine gouache on paper seascape with the panoramic Bay of Naples stretching wide, wit...

An absolutely exquisite pair of Italian 19th century Neapolitan gouaches in 20th century giltwood frames. One depicts the volcano eruption of 1822 in Naples, the other is an affluent...

Neapolitan gouaches in a blue paper, signed bottom left, gold painted wood French frames.

Pair of Italian Neapolitan Views Gouache on Paper, Mid-19th Century A pair of finely executed mid-19th century Italian Neapolitan views, rendered in ...

A set of three Neapolitan street scenes. Gouache on paper. Not examined out of the frames. Apparently unsigned. Early 19th century. Possibly by Saverio della Gatta. Label on back from a prominent Boston frame...

The caption of this charming pen and ink, watercolor and gouache vignette reads "A troupe of Eastern Entertainers taken from diary of G. Copeland 1830." Perhaps a rememberance from...

Amalfi Coast with Vesuvius. Vintage oil on board in soft greys and blues and greens of the Bay of Naples with Vesuvius looming in the distance in vintage associated frame. Italy, fir...

A beautiful pair of Italian 18th century Neapolitan gouaches in 19th century mahogany frames. One depicts the volcano eruption of 1822 in Naples, the other is an affluent residential...

Pair of 18th or 19th century Neapolitan gouaches of Virgil's Tomb, one with a view of Mount Vesuvius and the Bay of Naples. This is a wonderful high quality pair of a rare subject. A...

Neapolitan School of the 17th Century Battle scenes between Christians and Turks (2) Oil on canvas, 52 x 71 cm Framed, 61 x 80 cm One genre that met with wide acclaim in seventeenth-century Neapolitan painting and flattering success among collectors was that of battle. The Parthenopean nobility loved to adorn the walls of their salons with battles depicting single acts of heroism or complex combats that exalted patriotism and warlike prowess, virtues with which members of the wealthy aristocracy of the time liked to identify. The Church, in the Neapolitan area, was also at the forefront of commissions, commissioning artists to depict the spectacular triumphs of Christendom over the infidels, such as the memorable naval battle of Lepanto in 1571, which marked a historical turning point with the great victory over the Turks, becoming a repeated iconographic motif imbued with devotional value, replicated several times through the interest of the Dominican order, which was very devoted to Our Lady of the Rosary, who benevolently followed earthly events from above in heaven. Other themes dear to the Church within the genre were drawn from the Old and New Testaments, such as Constantine's Victory at the Milvian Bridge or St. James at the Battle of Clodius. Among the leading Neapolitan artists of that period, several specialized in battle scenes: these include Francesco Graziani, known as Ciccio Napoletano, a battler active between Naples and Rome in the second half of the 17th century; Andrea De Lione, who lived in Naples from 1610 to 1685, a versatile narrator of battles without heroes, of horsemen assaulting or retreating, and of profane scenes immersed in a wild and primordial, yet already classicized, nature; and Carlo Coppola. The latter was active for more than twenty years, from 1640 to 1665, and his catalog, which is interesting because it bears witness to a particular historical moment and the tastes of private patrons, has yet to be defined, although many of his works are initialed. It is precisely to Coppola's corpus that these two paintings could come close: with the production of the Neapolitan battler the two paintings seem to share the smoky colors, the accentuated chiaroscuro and the marked dynamism of the scenes. Moreover, it is necessary to mention how that of the battle between Christians and Turks was an absolutely central theme in Coppola's pictorial production. Also close to the manner of the two paintings analyzed here is the production of one of Coppola's most celebrated pupils, Giovanni Luigi Rocco...