Pietro Fabris Sold at Auction Prices

Pietro Fabris,  Italian/British fl.1740-1804-  Illustrations for William Hamilton’s Campi Phlegraei

Pietro Fabris,  Italian/British fl.1740-1804-  Illustrations for William Hamilton’s Campi Phlegraei (1776–79);  hand-coloured etchings, each approx.19.7 x 37.8 cm., twelve (12).  Provenance:  Private Collection, UK.  Note:  This lot consists of the present works: The Fossa Grande of Mount Vesuvius, showing the deep hollow ways cut by torrents of rainwater; Tufa at the bottom of the crater of Monte Nuovo near Pozzuoli, formed in a volcanic eruption in 1538; Mount Vesuvius in winter, covered with snow; The Island of Ischia seen from the sea, showing volcanic features; The discovery of the temple of Isis at Pompeii, buried under pumice and other volcanic matter; Mount Vesuvius: a volcanic eruption at the foot of the mountain, 1760-1761, causing the destruction of the land and property; Lacco (Lacco Ameno), on the island of Ischia composed of volcanic tufa, with other islands raised by volcanic eruptions: view at sunset; The crater of Monte Gauro or Barbaro (right), with other volcanic features in the background; A bird's eye view from the convent of the Camaldoli, the highest ground near Naples; The Lake of Agnano, evidently the crater of an ancient volcano; Mount Vesuvius from the sea shore above Resina; The cone of Astruni, showing volcanic matter.  Fabris was employed by Hamilton (1730–1803), Envoy Extraordinary to the Kingdom of the Two Sicilies, to produce illustrations for his 'Campi Phlegræi: Observations on the Volcanos of the Two Sicilies', an influential work documenting the volcanic landscape of Naples. 

Pietro Fabris Naples 1740-Naples 1792 Bullfighting in Rome

Pietro Fabris Naples 1740-Naples 1792 Bullfighting in Rome oil on canvas 70x97 cm - with frame 90x116 cm

PIETRO FABRIS (documented in Naples from 1756 to 1792). "Popular scene", ca. 1770. Oil on canvas. Relined. Certificate.

PIETRO FABRIS (documented in Naples from 1756 to 1792). "Popular scene", ca. 1770. Oil on canvas. Relined. Certificate. Measurements: 116 x 94 cm; 152 x 126 cm (frame). With this magnificent popular scene Pietro Fabris follows in the wake of the "Bamboccianti", genre painters active in Rome from about 1625 to the end of the 17th century who created small cabinet paintings or engravings of the daily life of the lower classes in Rome and its countryside. These artists, mostly Dutch and Flemish, brought with them to Italy the existing traditions of depicting peasant subjects from 16th-century Netherlandish art. Despite their humble subject matter, the works found appreciation among elite collectors and fetched high prices. As Stefano Causa, an expert on the artist, states about the work under bidding "This dazzling popular scene, which takes place en plein air in the shadow of a ruined arch at the entrance of an unidentified village, constitutes a precious piece to better map the chapter of "Neapolitan" Vedutism of the second half of the 18th century." Causa continues that the work we now present can be cataloged as a mature work made in the best moment of the Anglo-Napolitan painter, comparable to important works of his production as the pair of canvases with scenes of popular life, set in a grotto of Posillipo and selling watermelons in the port, already on the English market and that, signed and dated 1656 and '57 are the oldest trace of the painter's Neapolitan work). He also states that it can be compared to "Tarantella on the background of the Bay of Naples", a piece that comes from the collection of Maurizio and Isabella Alisio and is currently preserved in the collections of the Museum of San Martino. Causa defines the work as a fresh and vivid scene realized by a very clear palette, bathed by the light of a southern afternoon. The multiple characters divided into various planes accentuate the popular character of the scene: "from the young woman with a promising cleavage holding a spinning wheel, to the young men in caps, one of them barefoot, engaged in a game of blackberry on a barrel (on which, represented with a few brushstrokes, is the cat). Further to the right, two small dogs, one of them wearing a collar, stand apart, directing our attention to the center of the page where, in the background, a man and a woman riding a mule are drinking. Two chattering children, one of whom shields himself with a tambourine, deftly introduce the opposite corner of the painting, full of annotations where, with the mother on her back nursing her child, they are accompanied by peasants and animals (depicted with an accuracy of contours not unworthy of the best Jacob Phillip Hackert)," concludes Causa. Despite being an artist of whom we know little biographical information, we know that he was an Italian painter active in England and Naples in the second half of the 18th century. He produced for Sir William Hamilton, diplomat and amateur geologist, a series of engravings based on his paintings depicting contemporary volcanic activity compiled in two books, Observations on Mount Vesuvius, Mount Etna, &c. (London, 1774) and Campi Phlegraei: Observations on the Volcanoes of the Two Sicilies (Naples, 1776). Under Hamilton's patronage, he also made visual reproductions on his excursions to visit the volcanic sites of Mount Etna, Mount Vesuvius, and the Lipari Islands. His paintings and drawings were exhibited in 1768 at the Free Society of London and in 1772 at the Society of Artists of Great Britain in London.

FABRIS (ATTIVO TRA IL 1756 E IL 1792) PIETRO - Popular feast with tarantella dancers

FABRIS (ATTIVO TRA IL 1756 E IL 1792) PIETRO. Popular feast with tarantella dancers. 94,00 x 65,00 cm.

Pietro Fabris (tätig 1740 – 1792 in Neapel) – Die Ausgrabung des Isis-Tempels in Pompeji (The excavation of the Temple of Isis in Pompeii)

Watercolour and pen and grey ink, partly with preliminary drawing in pencil, on wove, laid down on laid paper. (Before 1776). 22.2 x 34.2 cm (sheet size). Entitled "Decouverte du Temple d'Isis à Poempeji" outside the depiction at top centre, with legend and reference to "Hamilton. C.Phl. pl. XLI" (Campi Phlegraei). With a borderline in black brush. In a classicist frame with ornamental decoration (acanthus frieze) of gilt sheet brass.

Pietro Fabris (documentato a Napoli dal 1756 -1792)

Pietro Fabris (documentato a Napoli dal 1756 -1792) Una scena di vita popolare Olio su tela 119 x 96 cm L'opera è corredata da uno studio del professore Stefano Causa, disponibile, su richiesta, via email. Riprendendo quanto scrive il professor Stefano Causa nella perizia: Allo stato attuale le informazioni su Pietro Fabris, maestro che meriterebbe finalmente l’appello di una mostra monografica, appaiono numerose quanto irrelate. Sappiamo che fu attivo a Napoli dal 1754 al 1804 qualificandosi in diverse riprese come inglese (per esempio in un dipinto del 1761); e proprio a Londra espone nel 1768 i suoi disegni e vedute di Napoli. L’Inghilterra come molti di noi ricorderanno ha gran peso nella storia napoletana di fine secolo e, nel merito, nella vicenda di Fabris. A cominciare dal fatto che la svolta nella sua carriera va indicata nell’autentico sodalizio intellettuale e umano che intrattenne con un ingegno poco meno che cruciale come William Hamilton (Henley-on-Thames 1730- Londra 1803). A Fabris spettano, tra le altre cose, le sessanta acqueforti colorate a corredo dei Campi Phlegraei. Observations on the Volcanos of the Two Sicilies che, uscito nel 1776 come collezione delle lettere inviate alla Royal Society, rimane un apice del tardo illuminismo europeo oltre che, senza discussioni, uno dei libri più belli del secondo ‘700. Fabris, che aveva accompagnato Hamilton nelle escursioni nel lembo costiero a nord ovest di Napoli, vi viene indicato nella prefazione come ‘a most ingenious and able artist’. Sporadico pittore sacro (autore di due pale nella chiesa barese di Santa Chiara) Fabris fu una delle grandi sorprese della mostra curata da Raffaello Causa, Civiltà del ‘700 a Napoli, che si aprì nel 1979, ormai quarantacinque anni fa, nel Museo di Capodimonte a Napoli. Completava, in catalogo, a seguito dei pittori sacri, la compagine dei vedutisti non stranieri: il romano o napoletano Carlo Bonavia: il siciliano Antonio Dominici, il modenese Antonio Joli fino ad arrivare a Saverio della Gatta, indiscusso maestro della gouache di fine secolo e che sembra dare la mano allo stesso Fabris. La loro presenza in mostra fu indicativa soprattutto del rapporto con i grande vedutisti stranieri - da Pierre Jacques Volaire a Vernet allo stesso Hackert, per non parlare di Hubert Robert. Tutti avevano scelto Napoli come patria di elezione. Pietro Fabris (documented in Naples from 1756 -1792) A Scene of Popular Life Oil on canvas 119 x 96 cm The artwork is accompanied by a study by Professor Stefano Causa, available on request by email. Taking up what Professor Stefano Causa writes in the expertise: Currently, the information on Pietro Fabris, a master who finally deserves the appeal of a monographic exhibition, appears numerous and unrelated. We know that he was active in Naples from 1754 to 1804, qualifying himself as English on several occasions (for example, in a painting from 1761); in London, he exhibited his drawings and views of Naples in 1768. As many of us will remember, England has a great weight in the Neapolitan history of the end of the century and, in essence, in the story of Fabris. Starting from the fact that the turning point in his career must be indicated in the authentic intellectual and human association that he entertained with a little less than crucial genius like William Hamilton (Henley-on-Thames 1730-London 1803). Fabris is responsible, among other things, for the sixty coloured etchings accompanying the Campi Phlegraei. Observations on the Volcanos of the Two Sicilies which, was published in 1776 as a collection of letters sent to the Royal Society, remains a pinnacle of the late European Enlightenment as well as, without discussion, one of the most beautiful books of the second half of the 18th century. Fabris, who had accompanied Hamilton on excursions to the coastal strip northwest of Naples, is indicated in the preface as 'a most ingenious and able artist'. Sporadic sacred painter (author of two altarpieces in the church of Santa Chiara in Bari) Fabris was one of the great surprises of the exhibition curated by Raffaello Causa, Civiltà del '700 a Napoli, which opened in 1979, now forty-five years ago, in the Museum of Capodimonte in Naples. Following the sacred painters, the group of non-foreign landscape painters completed the catalogue: the Roman or Neapolitan Carlo Bonavia: the Sicilian Antonio Dominici, the Modenese Antonio Joli up to Saverio della Gatta, the undisputed master of gouache at the end of the century and who seems to shake hands with Fabris himself. Their presence in the exhibition was indicative above all of the relationship with the great foreign landscape artists - from Pierre Jacques Volaire to Vernet to Hackert himself, not to mention Hubert Robert. Everyone had chosen Naples as their homeland of choice.

Pietro Fabris (Italian, circa 1740-1792) Interior of Crater of Vesuvius with spectators, from the Campi Phlegraei, plate IX

Pietro Fabris (Italian, circa 1740-1792) Interior of Crater of Vesuvius with spectators, from the Campi Phlegraei, plate IX etching with handcolouring on laid paper 21.3 x 39.2cm (8 3/8 x 15 7/16in).

Attributed to Pietro Fabris (Italian, circa 1740-1792) Mount Vesuvius erupting at night with elegant figures looking on

Attributed to Pietro Fabris (Italian, circa 1740-1792) Mount Vesuvius erupting at night with elegant figures looking on oil on canvas 66.6 x 87cm (26 1/4 x 34 1/4in).

PIETRO FABRIS (ITALIAN FL.1756 - 1792), FIGURES DANCING AND PLAYING MUSIC IN THE COUNTRYSIDE

PIETRO FABRIS (ITALIAN FL.1756 - 1792)FIGURES DANCING AND PLAYING MUSIC IN THE COUNTRYSIDEOil on canvas19.5 x 14cm (7½ x 5½ in.)

Pietro Fabris

(Naples active 1740–1804) Tarantella at the Palazzo Donn’Anna, Naples, with Vesuvius beyond, oil on canvas, 39.5 x 73.5 cm, framed Provenance: sale, Christie’s, Milan, 28 November 2007, lot 23 (as Pietro Fabris); where acquired by the present owner Pietro Fabris was active in Naples during the second half of the 18th century and his works were highly requested by the cultured and cosmopolitan elite who visited Naples during their Grand Tour. The present painting relates to another version of the same subject, nearly identical in size (38 x 71 cm), in the Fondazione Maurizio e Isabella Alisio, Naples, signed and dated to the 1760s (see G. Alisio, N. Spinosa, Vedute napoletane della Fondazione Maurizio e Isabella Alisio, exhibition catalogue, Naples 2002, pp. 39, 94). The subject of the dance on the seashore was one of the most successful and frequently requested by Fabris’ patrons. The depicted central group of dancing women and children is repeated in the Fabris’ Tarantella con Posillipo sullo sfondo, painted in 1756–1757 (see N. Spinosa (ed.), All’ombra di Vesuvio. Napoli nella veduta europea dal Quatrocento all’Ottocento, exhibition catalogue, Naples 1990, p. 383, illustrated p. 231). Some of the other figures return in a composition that gives a more expansive view of Neapolitan life. This work depicts not only a scene with people dancing, but also others eating, set in the same location on the coast of Posillipo with Vesuvius in the background (Cf. N. Spinosa, Pittura napoletana del Settecento II. Da Rococò al Classicismo, Naples, 1988, fig. 405, no. 306). The canvas (72 x 100 cm, signed and date 1766) is kept, along with its pendant depicting Breakfast by the Seashore, in the Royal collection at Holyrood Palace, Edinburgh.

Pietro Fabris (Naples circa 1740-1792) Tarantella at the Palazzo Donn'Anna with Vesuvius in the background

Pietro Fabris (Naples circa 1740-1792) Tarantella at the Palazzo Donn'Anna with Vesuvius in the background oil on canvas 39.4 x 73.3cm (15 1/2 x 28 7/8in).

Pietro Fabris, tätig 1756 – 1792, zugeschrieben

HAUSKONZERT MIT TANZENDEM KINDERPAAR Öl auf Leinwand. 43 x 32 cm. Interieur mit Balkendecke, am weiß gedeckten Tisch eine Frau mit Tamburin, ein Lautenspieler sowie ein weiterer Mann, der sich auf den Tisch lehnt. Rechts davor ein Knabe mit Castagnetten im Tanz mit einem Mädchen neben einem Hündchen. Am linken Bildrand ein Geiger sitzend. (1361741) (3) (10) Pietro Fabris, active 1756 – 1792, attributed PRIVATE HOUSE CONCERT WITH TWO CHILDREN DANCING Oil on canvas. 43 x 32 cm. Interior with a beam ceiling and a table covered with a white cloth surrounded by a woman playing the tambourine, a lute player and another man leaning across the table. In front of the table to the right a boy with castanets is dancing with a girl next to a small dog. A violin player is seated on the left hand edge of the composition.

FABRIS (ATTIVO TRA IL 1756 E IL 1792) PIETRO View of the Greek theatre of Taormina with the volcano Etna

FABRIS (ATTIVO TRA IL 1756 E IL 1792) PIETRO. View of the Greek theatre of Taormina with the volcano Etna. Thanks to Prof. Nicola Spinosa for having confirmed the attribution of the work after photographic vision. Provenance: yet Farsetti, Importanti dipinti antichi-dipinti di artisti toscani e dell’ottocento, 9 November 2007, lot 92, adjudication 90.000€. Reference bibliography: E. Beck-Saiello, Pietro Fabris: dieci anni di attività napoletana. Alcuni documenti inediti, in ""Napoli Nobilissima"", 2 V serie, IX, 2008. . Cm 113,00 x 74,00.

PIETRO FABRIS (maniera di)

(Napoli, 1740 - 1792) Coppie di marine con figure Olio su tela, cm 54X75 (2) Pietro Fabris è documentato a Napoli dal 1756 al 1792. Sua è la famosa serie di Vedute dei Campi Phlegraei, realizzata nel 1768 per la Royal Society di Londra tramite l'ambasciatore William Hamilton. All'artista spetta anche il merito di aver indirizzato l'interesse, tra i primi, sul mondo minuto, caratteristico e colorato, della plebe napoletana, dando l'avvio a quella pittura di scenette, di vita popolaresca, che formeranno uno dei motivi fondamentali nella tematica della successiva pittura partenopea (Raffaello Causa, 1956). Le opere in esame sembrano infatti esprimere il carattere narrativo del Fabris quando indirizza la sua produzione verso soluzioni iconografiche di gusto borghese, accostandosi altresì a soluzioni pittoriche dell'ultimo Giuseppe Bonito, in modo particolare per la pennellata rischiarata dai toni cromatici rarefatti. Prossima per gusto e stile, è la grande tela raffigurante I Preparativi per il pellegrinaggio al Santuario della Madonna dell'Arco, firmata e datata 1792, dove compaiono personaggi e fisionomie assai simili, che diverranno patrimonio comune per molti artisti ottocenteschi come Saverio della Gatta. Bibliografia di riferimento: N. Spinosa, Pittura napoletana del Settecento dal Rococò al Classicismo, Napoli 1988, II, p. 57, pp. 393-397, fig. 410, scheda 310 L. Fino, Scene e costumi popolari a Napoli tra '700 e '800. Stampe acquarelli e gouaches da Fabris a De Bourcard, Napoli 2004, scheda 96

PIETRO FABRIS (NAPLES 1756-1779) An interior scene with a young woman spinning yarn, a cobbler, a young girl... oil on canvas 19 1/4 x 15 1/4 in. (49 x 38.9 cm.), each 75

PIETRO FABRIS (NAPLES 1756-1779) An interior scene with a young woman spinning yarn, a cobbler, a young girl... oil on canvas 19 1/4 x 15 1/4 in. (49 x 38.9 cm.), each

PIETRO FABRIS (NAPLES 1756-1779) The Bay of Naples from Posillipo looking South with the Palazzo Donn'Anna, the...

PIETRO FABRIS (NAPLES 1756-1779) The Bay of Naples from Posillipo looking South with the Palazzo Donn'Anna, the... oil on canvas 36 x 60 in. (91.4 x 152.4 cm.)

Pietro Fabris – „Entrée de la Grotte de Pansilipe“ (“Entrée de la Grotte de Pansilipe”)

Pen drawing in black and watercolour on laid paper, laid down on thin cardboard. 21.4 x 39.6 cm (sheet size 26.2 x 43.1 cm). Monogrammed “P.” lower right, numbered in Roman numerals “XVI.” upper left. With a black pen margin. Titled below the depiction “Entrée de la Grotte de Pansilipe”.

Pietro Fabris, tätig 1756 - 1792, zugeschrieben

DAS KONZERT Öl auf Leinwand. Doubliert. 76 x 102 cm. In einem Innenraum vor beige-braunem Hintergrund findet ein kleines Konzert statt: ein elegant gekleideter Mann mit grüner Samtjacke und goldenen Knöpfen sowie einem gold verzierten Dreispitz auf dem Kopf spielt auf einer übergroßen Basslaute und blickt dabei aufmerksam eine junge, vor ihm auf einem Stuhl sitzende Frau an. Diese wiederum, in Rückenansicht für den Betrachter, musiziert mit einem Tamburin in ihren Händen. Ein kleines Kind mit blonden Haaren schaut erstaunt auf die große Laute. Ein Mann in leuchtend roter Jacke mit Silberknöpfen und einer weißen Perücke auf dem Kopf spielt auf einer Violine; er steht rechts der Frau und wendet sich ihr leicht zu. Im Hintergrund rechts ist zudem eine weitere Frau mit roten Lippen zu erkennen. Malerei in harmonischer Farbgebung, das große Musikinstrument dabei besonders herausgestellt. Provenienz: Laut Einlieferer ehemals aus der Sammlung Rocco Pagliara Neapel; Stempel der Sammlung auf Leinwandrückseite. Anmerkung: Der Künstler hat auch für den englischen Diplomaten Sir William Hamilton gearbeitet. Vom Künstler kennt man auch die Innenraumdarstellung mit dem jungen Komponisten Mozart in Neapel, 1770, das sich in der Schottischen Nationalgalerie in Edinburgh befindet. (1250831) (18)

Fabris, Pietro (Neapel 1740-1792)

Ansicht von Posillipo mit dem königl. Barkenzug von Ferdinand IV. und Maria Carolina von Österreich um 1763-68 Vom Ufer und dem Palazzo Donn´Anna aus wird die Anwesenheit des Königs bei dem jährlichen Fest der Posillicata gefeiert. Im Vordergrund tafelnde und musizierende Gesellschaften. Im Hintergrund der Golf von Neapel mit Castel Nuovo und dem Vesuv. Lwd. (doubl.) 57×95 cm. R. Provenienz geprüft von: The Art Loss Register. Freundlicher Dank an Prof. Nicola Spinosa, Neapel, für die Bestätigung der Authentizität. In einem Brief vom 7. Juni 1763 schrieb Ferdinand IV., König von Neapel, an Carlos III. von Spanien über seine Teilnahme an dem Barkenzug der Posillicata. Vgl. Il Carteggio San Nicandro – Carlo III, ed. Carlo Knight, vol. 2, Napoli, 2009. Ein fast identisches Bild befand sich bis Ende der 80er Jahre in einer Privatsammlung in Neapel. Vgl. Nicola Spinosa, Leonardo Di Mauro. Vedute napoletane del Settecento, Napoli 1989, Abb. 138, Katnr. 156. (58667)

Pietro Fabris (Napoli 1740-1792), attribuito a, veduta di Napoli con palazzo Donn’Anna

olio su tela, cm 63x76

PIETRO FABRIS | A) View of Naples, looking towards Castel dell' Ovo B) View of Naples, looking towards Mergellina 

Both gouache over traces of black chalk; A) signed lower left:  Fabris. P  B) signed and dated, lower left:  Fabris. f. 1773 

Pietro FABRIS (Naples 1740 - 1792)Les pèlerins de saint Jacques

Pietro FABRIS (Naples 1740 - 1792) Les pèlerins de saint Jacques Toile (rentoilé) anciennement chantournée en partie supérieure et mise au rectangle Restaurations anciennes The pilgrims of Saint James, canvas (relined) formerly curved in the upper part, then squared 159 x 140 cm - 62 5/8 x 55 1/8 IN. € 50,000-70,000 Fabris est l'un des principaux paysagistes et peintres de scènes de genre de la seconde moitié du XVIIIe siècle à Naples. "Védutiste" de la baie, des éruptions du Vésuve, il réalise les illustrations du traité de Lord William Hamilton sur les volcans du Royaume des Deux-Siciles entre 1776 et 1179. Il acquiert ainsi une notoriété certaine en Angleterre et expose à Londres en 17689, puis en 1768 à la Society of Artists of Great-Britain. Il renouvelle le genre des Bamboccianti, en précise des paysages et des coutumes locales, de la vie populaire et des cérémonies publiques à la campagne et à la ville. Une copie du certificat du professeur Nicola Spinosa, qui authentifie et date ce tableau après 1770 et avant 1780, sera donnée à l’acquéreur.

PIETRO FABRIS (attr. a)

(Napoli, 1740 - 1792) Pescatori che mangiano Olio su tela, cm 75X62 Pietro Fabris è documentato a Napoli dal 1756 al 1792. Sua è la famosa serie di vedute dei Campi Phlegraei realizzata nel 1768 per la Royal Society di Londra tramite l'ambasciatore William Hamilton, ma all'artista spetta anche il merito di 'aver indirizzato l'interesse, tra i primi, sul mondo minuto, caratteristico e colorato della plebe napoletana, dando l'avvio a quella pittura di scenette, di vita popolaresca, che formeranno uno dei motivi fondamentali nella tematica della successiva pittura partenopea' (Raffaello Causa, 1956). L'opera in esame sembra infatti esprimere il carattere narrativo del Fabris quando indirizza la sua produzione verso soluzioni iconografiche di gusto borghese, accostandosi altresì a soluzioni pittoriche dell'ultimo Giuseppe Bonito, in modo particolare per la pennellata rischiarata dai toni cromatici rarefatti. Prossima per gusto e stile, si cita la grande tela raffigurante i Preparativi per il pellegrinaggio al Santuario della Madonna dell'Arco, firmata e datata 1792, dove compaiono personaggi e fisionomie assai simili, che diverranno patrimonio comune per molti artisti ottocenteschi come Saverio della Gatta. Bibliografia di riferimento: N. Spinosa, 'Pittura napoletana del Settecento dal Rococò al classicismo', Napoli 1988, II, p. 57, pp. 393-397, fig. 410, scheda 310 L. Fino, 'Scene e costumi popolari a Napoli tra '700 e '800. Stampe acquarelli e gouaches da Fabris a De Bourcard', Napoli 2004, ad vocem

Attributed to PIETRO FABRIS (active 1740-1792) Italian Tarantella With Posi

Attributed to PIETRO FABRIS (active 1740-1792) Italian Tarantella With Posillipo in the Background (Tarantella con Posillipo Sullo Sfondo) Oil on canvas 96.5 x 65.5 cm, framed

Attributed to Pietro Fabris (Naples circa 1740-1792)

Attributed to Pietro Fabris (Naples circa 1740-1792) Portrait of a peasant boy in profile; and Portrait of a peasant boy, bust-length, in a brown cloth cap a pair, oil on canvas 20.5 x 15.2cm (8 1/16 x 6in). (2)

FABRIS PIETRO

FABRIS PIETRO (1740-1792) "Paesaggio con figure" olio in cornice coeva in legno dorato cm. 73x50

ATTRIBUTED TO PIETRO FABRIS (NAPLES CIRCA 1740-1792) Portrait of a peasant

ATTRIBUTED TO PIETRO FABRIS (NAPLES CIRCA 1740-1792) Portrait of a peasant boy in profile; and Portrait of a peasant boy, bustlength, in a brown cloth cap a pair, oil on canvas 20.5 x 15.2cm (8 1/16 x 6in). (2)

¤ Pietro Fabris Actif à Naples entre 1750 et 1804 La halte de chasse galante Huile sur toile

Pietro Fabris Actif à Naples entre 1750 et 1804 La halte de chasse galante Huile sur toile Porte le numéro '42276 M(...)' au verso du cadre 'THE AMOROUS BREAK DURING THE HUNT', OIL ON CANVAS, BY P. FABRIS h: 40,50 w: 33,50 cm Provenance : Vente anonyme ; Londres, Sotheby's, 10 juillet 2008, n° 260 Commentaire : Pietro Fabris, né en Angleterre et actif à Naples, est l'un des grands vedutistes napolitains de la seconde moitié du XVIIIe siècle. A la fois peintre de genre et paysagiste, travaillant la gouache et l'huile, son pinceau conjugue avec harmonie des scènes de la vie populaire et des vues de Naples. L'artiste nous offre ici un sujet atypique. Présenté dans un merveilleux état de conservation, cette charmante scène semble nous offrir une double lecture de l'amour, courtois ou violent. L'authenticité de ce tableau a été reconnue par Nicola Spinosa.

PIETRO FABRIS | Peasants dancing and playing music along a country road; Peasants gathered under a stone arch

a pair, both oil on canvas

PIETRO FABRIS | Villagers preparing to depart for the festival of the Madonna dell'Arco

oil on canvas

PIETRO FABRIS | Naples, a view of the Gulf of Pozzuoli and the islands of Nisida, Procida, Ischia and Capri

gouache on paper, within black ink framing lines

Pietro Fabris (active Naples 1756-1779) A mother and child in Neapolitan d

Pietro Fabris (active Naples 1756-1779) A mother and child in Neapolitan dress gathering vegetables, a farmer harvesting beyond; and ...

PIETRO FABRIS | A lady in the traditional dress of the Island of Ischia together with a boy holding a donkey in a landscape

oil on canvas

PIETRO FABRIS | Tarantella at Palazzo Donn'Anna with Vesuvius in the background

oil on canvas

Pietro Fabris (actif à Naples de 1756 à 1784) Vue de l'Atrio del Cavallo, entre le Vésuve et le Somma, planche XXXIII des Campi Phlegraei, Observations on the Volcanos of the two Sicilies... Naples 1776

Pietro Fabris (actif à Naples de 1756 à 1784) Vue de l'Atrio del Cavallo, entre le Vésuve et le Somma, planche XXXIII des Campi Phlegraei, Observations on the Volcanos of the two Sicilies... Naples 1776 Aquarelle sur traits gravés Watercolor on engraved lines 39,1 x 21,4 cm

Pietro Fabris (active Naples 1756-1779)

Pietro Fabris (active Naples 1756-1779) The Carnival in Naples in 1778, with the 'Cavalcata turca' parading through the Largo di Palazzo oil on canvas, unlined 74 x 133¾ in. (188 x 340 cm.)

Circle of Pietro Fabris (active Naples 1756-1779)

Circle of Pietro Fabris (active Naples 1756-1779) Elegantly-dressed men seated below an awning, with an usherette and other figures oil on canvas 16 x 21 1/8 in. (44.6 x 53.6 cm.)

PIETRO FABRIS

THE  PROPERTY  OF  SIR  PETER  MOORES,  CBE  DL ACTIVE  IN  NAPLES  1768  -  1778 FIGURES  EATING,  DRINKING  AND  MAKING  MERRY  OUTSIDE  AN  INN Quantity: 2 Pen  and  pale  black  ink Pen  and  black  ink 230  by  382  mm  (sight  size)

PIETRO FABRIS

THE  PROPERTY  OF  SIR  PETER  MOORES,  CBE  DL,  REMOVED  FROM  PARBOLD  HALL DOCUMENTED  IN  NAPLES  1756  -  1804 PAESTUM,  A  VIEW  FROM  THE  WEST  WITH  THE  TEMPLES  OF  POSEIDON  AND  CERES oil  on  canvas 77  by  130  cm.;  30  1/4    by  51  1/8    in.

PIETRO FABRIS

THE  PROPERTY  OF  SIR  PETER  MOORES,  CBE  DL,  REMOVED  FROM  PARBOLD  HALL DOCUMENTED  IN  NAPLES  1756  -  1804 POSILLIPO,  A  VIEW  OF  THE  COAST  TOWARDS  VESUVIUS; POZZUOLI,  A  VIEW  OF  THE  BAY Quantity: 2 the  former  signed  lower  left:  P.  Fabris  p.; the  latter  signed  and  dated  lower  left:  P.  Fabris  F  1773 a  pair,  both  oil  on  canvas each:  47  by  70.5  cm.;  18  1/2    by  27  3/4    in.

PIETRO FABRIS

THE  PROPERTY  OF  SIR  PETER  MOORES,  CBE  DL,  REMOVED  FROM  PARBOLD  HALL DOCUMENTED  IN  NAPLES  1756  -  1804 NAPLES,  A  VIEW  OF  MERGELLINA  AND  THE  PALAZZO  DONN'ANNA  BEYOND,  WITH  FISHERMEN  DRAWING  THEIR  CATCH,  PEASANTS  GRILLING  FISH  AND  OTHER  FIGURES  CONVERSING dated  lower  right:  1777 oil  on  canvas 103.5  by  157  cm.;  40  3/4    by  61  7/8    in.

Pietro FABRIS (actif à Naples 1754-1804) Voyageurs devant les Champs Phlegréens signé 'Fabris' (en bas à gauche) pierre noire, gouache 221 x 469 mm.

Pietro Fabris (Naples, active 1756-79)

Pietro Fabris (Naples, active 1756-79) A capriccio of classical ruins with elegant company oil on canvas 9¼ x 13 in. (23.5 x 33.2 cm.)

Pietro Fabris (active Naples 1756-1779)

Pietro Fabris (active Naples 1756-1779) A view of the Bay of Naples from the Strada di Posillipo, looking east, with the Riviera di Chiaia and fishermen selling their catch by a palm tree in the foreground signed and dated 'FABRIS Fe t 1756' (lower right) oil on canvas, unlined 28 x 40¾ in. (71.2 x 103.5 cm.)

Pietro Fabris (Naples circa 1740-1792) View of Pozzuoli showing the high road from Naples

View of Pozzuoli showing the high road from Naples to Pozzuoli and Monte Barbaro hand-coloured etching on paper 20.7 x 39.1cm (8 1/8 x 15 3/8in).

Pietro Fabris (Naples circa 1740-1792) A view of the Bay of Naples from Posillipo looking south with the Palazzo Donn'Anna, the Castel dell'Ovo and Vesuvius beyond

A view of the Bay of Naples from Posillipo looking south with the Palazzo Donn'Anna, the Castel dell'Ovo and Vesuvius beyond oil on canvas 91.5 x 152.5cm (36 x 60 1/16in).

FABRIS, PIETRO.

FABRIS, PIETRO. RACCOLTA DI VARII VESTIMENTI ED ARTI DEL REGNO DI NAPOLI. NAPOLI: 1773 folio (350 x 230 mm), 35 tavole incise in rame incluso frontespizio, monogrammate e alcune numerate in lastra, pelle rossa moderna, dorso a 5 nervi impresso in oro. Alcuni fori di tarlo riparati al margine bianco di 16 tavole che in qualche caso sfiorano la cornice incisa, qualche lieve marginale fioritura, qualche macchia, brunite le carte di separazione tra le tavole. Colas 1022; Vinet 2302

Pietro Fabris (Naples, active 1756-79)

Pietro Fabris (Naples, active 1756-79) A capriccio of Benevento with King Charles of Naples and Sicily, subsequently King Charles III of Spain, and his courtiers before the Arch of Trajan, architectural ruins beyond oil on canvas 30 3/8 x 51 5/8 in. (77.2 x 130.5 cm.)