Olio su tela, cm. 61x36. Firma in basso a destra. Esposizioni: 2011, importanti dipinti dell'800 e '900, 7 - 21 maggio, galleria il magnifico, firenze. Bibliografia: 2010, a cura di rizzoni g. e lualdi l., Ottocento. Catalogo dell'arte italiana ottocento - primo novecento. Vol. 39, metamorfosi editore, milano, certificato di provenienza antiche gallerie d'arte il magnifico. Dichiarazione di autenticità in fotocopia di ferdinando donzelli.
Olio su tela. cm 28,5x31. Firmato in basso a destra. Dedicata e controfirmata al verso della tela. Placchetta metallica con nome d'autore applicata in basso al centro sulla cornice.
Olio su tela, cm. 37,5x68,5. Firma in basso a destra. Sul verso: a inchiostro, indicazioni dell'autore, della data e del titolo; e iscrizioni: "Bozzetto di / Egisto Ferroni/ P. Nomellini"; "Approvo quanto afferma/il collega Nomellini/ Llevelin Lloyd".
EGISTO FERRONI (1835-1912) Gioie materne olio cm.30 5x57 f.to in b. importante cornice coeva nel retro cartello della mostra commemorativa del pittore Firenze 1936 XIV anno
Oil on canvas Signed (lower right) 50.5 x 82 cm Provenance: Private collection, Hertzelia. Note :With gilt original period frame Condition: For a detailed condition report, please contact us at info@hammersite.com
Egisto Ferroni (Italian, 1835-1912) A beauty with a guitar signed 'E. Ferroni' (lower right) oil on canvas laid down on masonite 32 x 13 3/4in (81.4 x 356cm)
Egisto Ferroni, (Italian, 1835-1912), Peasant Woman, oil on canvas, signed lower left, unframed. 32.25" H x 13.5" W. Painting has been relined, areas of surface damage and deterioration.
Egisto Ferroni, (Italian, 1835-1912), Peasant Woman, oil on canvas, signed lower left, unframed. 32.25" H x 13.5" W. Painting has been relined, areas of surface damage and deterioration.
Egisto Ferroni (1835 - 1912) CONTADINI NEI CAMPI acquerello su cartone, cm 20x34,5 firma sul retro: indistintamente iscritto Provenienza Collezione Giuffrida Galleria d'Arte Cancelli, Firenze Collezione privata
(1835 Lastra a Signa 1912). Sitzende junge Frau die Laute spielend. Öl auf Lwd. 82 x 34,5 cm. Unt. li. sign. In aufwändigem Stuckrahmen mit Voluten u. Samenkapseln u. genageltem Namensschild aus Metall mittig. Krakelee. Sitting young woman playing the lute. Oil on canvas. Bottom left signed. Elaborate stucco frame. Craquelure. D
A 19th Century antique portrait oil painting by acclaimed and well listed Italian artist Egisto Ferroni (1835-1912) | Entitled "Women with a Basket" | Oil on Canvas | Signed by the artist in the lower left of canvas | Housed in a newer gold gilded wood frame | Measures 32.5" H x 13.5" W | In very good condition. This painting underwent professional restoration in 1997 in Washington, DC. Gallery. Dimensions: 32.5" H x 13.5" W Artist or Maker: Egisto Ferroni (1835-1912) Medium: Oil on Canvas Date: 19th Century Literature: FERRONI , Egisto . - He was born in Lastra a Signa (Florence) on December 14th. 1835 by Egiziano and Teresa Soldaini. The eldest of eight children, he was initiated into the art of his father, master stonemason, who wanted him to be an ornatist and who sent him first to Empoli and then to Florence to learn the trade from local artisans. In 1851 F. entered the Academy of Fine Arts in Florence where he studied, until 1857, drawing, figure and perspective, reporting "prizes in the ornate drawing, in the drawing by the chalk and in the academy designed" (Somarè, 1939. p 25). After leaving the Academy, he spent a few more years in Florence attending E. Pollastrini and S. Ussi, who started him to study the historical-anecdotal composition; some of his drawings and portraits ( The Girlfriend of the Painter , 1858 and The Grandfather Bista , sketch, 1860: Florence, private collection) document this early youthful period revealing, next to the neoclassical inspiration and some ideas derived from A. Ciseri, a decisive orientation towards observation and realistic rendering. In 1862, established in Lastra a Signa, where in the meantime he had taken a wife (1860), F. painted his first historical picture, The meeting of Charles VIII with the Florentine ambassadors in Ponte a Signa(preserved in the municipal building). The painting is still linked to the academic canons, as are the numerous gender squares, with figures in eighteenth-century costume, which were commissioned in those same years by the Pisani gallery in Florence (Boito, 1873). Although he was sensitive to the requests expressed in Florence by the Macchiaioli movement, the F. did not join the group, of which he did not share the technical novelties, but, abandoned the academic painting of historical subject, dedicated himself to the rural theme portraying characters and episodes of the Tuscan countryside by an incisive design with a strong plastic prominence. In 1863 he exhibited at the Promoter of Florence the Return from the fair (1862: Florence, private collection) that, together with other works of those years ( The visit, 1863: Florence, Modern Art Gallery of Palazzo Pitti), documents how his painting was definitively oriented towards the expression of truth. At the Promoter of 1868 he presented Le trecciaiole (1867: London, National Gallery), inaugurating a series of larger and more complex compositions. In contact with some members of the Macchiaioli movement, among which G. Fattori, O. Borrani, N. Cannicci, L. Gioli and, above all, T. Signorini, the F., reserved and meticulous, rarely moved from Tuscany; in 1878 he was in Paris on the occasion of the Universal Exposition where he exhibited his paintings La boscaiola e Gita by boat(unknown location). In Paris he got to know the different orientations of French naturalism, and in particular he was attracted to the painting by J. Bastien-Lepage. In 1878 the most fruitful decade of the painter's life opens. Most of the paintings commissioned by the Count of Frassineto ( L'infioccatura , 1877, Towards the sheepfold , La barca , La caccia , Il ballo , from 1879, Il carro , 1881: Frassineto, coll conte Frassineto) ; a series of idyllic pictures, often of small size, such as inserting, at times, purely pictorial motifs in delicate shades of gray ( the camps , 1881. The woodsman , 1883: Florence, Galleria d'Arte Moderna in Palazzo Pitti, The street merchant, 1882: Palermo, Gallery of modern art; Father returns , 1883: Rome, National Gallery of Modern Art); some portraits ( La madre , 1873: Milan, private collection) and numerous studies and sketches. At the National Exposition of Turin in 1879, F. presented At the source (Florence, Art Gallery of Pitti Palme), which also exhibited the following year to the Florentine Promoter, receiving the consensus of D. Martelli, F. Martini and A. Cecioni. In those same years, with A. Tommasi, he rented a studio in Florence in via Milton, where for a few years he privately taught painting. Member of the Society of Fine Arts and Honorary Academic of the Florentine Academy of Design since 1882, in 1889 F. took part in theThe mother and the lumberjack . From 1891 a depressive crisis, due to the death of his son Raffaele, slowed down the work of F. which also reduced participation in the exhibitions. Present in 1897 at the Venice Biennale with Amori santi , in 1906 in Rome he exhibited Back to the source at the Second exhibition of the Association of Italian Artists. He was the author of some sketches and drawings for the Bellariva ceramics factory, directed by his son Giuseppe, and he also modeled the reliefs depicting the Harvest and Harvest for the "Vittorio Emanuele" steamer saloon. In 1908 he settled in Florence, at the home of his son Arrigo, where he died on May 25, 1912. Sources and Bibl . N. Tarchiani Marginalia : E . F. , In Marzocco , 2 June 1912, and in L'Illustration Italian , 2 June 1912, p. 543; C. Boito, The new painting in Florence , in New Anthology , March-April 1873, p. 488; A. Cecioni, On the E framework . F. , In Giornale artistico , 12 June 1874, n. 6; L. Bellinzoni, The Paris Exposition : F . and Moradei , in Il Popolo romano , May 15, 1878; T. Signorini, the art that Florence sent to Paris , inLetters and Arts , XV (1889), pp. 6-8; P. Nomellini, in Commemorative exhibition of E . F . (catal.), Florence 1936; E. Somare, the work of It . F. , Milan 1939 (with previous bibl.); J. Pelegatti - R. Tassi, I postmacchiaioli , Florence 1962, pp. 5-12; S. Furlotti Reberschak, Bolaffi Catalog of Italian painting . 800 , Turin 1980, p. 81 (for collective exhibitions, the most recent auctions and private collections); A. Del Guercio, 19th century painting , Turin 1982, pp. 88, 90; E. Spalletti, in Painting in Italy . The nineteenth century , Milan 1991, ad Indicem; S.Bietoletti, ibid ., P. 824; Italian art of the twentieth century , M. Pratesi - G. Uzzani, La Toscana , Venezia 1991, ad Indicem ; Encicl . Ital ., XV, p. 123; U. Thieme - F. Becker, Künstlerlexikon , XI, pp. 488; Diz . encicl . of the painters ... ital . Bolaffi , IV, pp. 419 s. Notes: Additional Photographs will be added soon, including photographs under UV Light. Dimensions: 32.5" H x 13.5" W
Egisto Ferroni (Lastra a Signa 1835 - 1912) RITRATTO DI BAMBINA olio su tela applicata su tavola, cm 36x30,5 firmato in basso a destra PORTRAIT OF A GIRL oil on canvas laid down on panel, cm 36x30,5 signed lower right
EGISTO FERRONI (Plate to Signa 1835 - 1912) ROOSTER AND HENS Oil on canvas applied on cardboard cm. 19 x 10 Signed at the bottom center Gilded case frame EGISTO FERRONI (Lastra a Signa 1835 - 1912) GALLO E GALLINE Olio su tela applicato su cartone, cm. 19 x 10 Firmato in basso al centro Cornice dorata a teca
Porto di Mezzo in Lastra a Signa, 1835 - Firenze, 1912 Ragazzo seduto ai piedi della chiesa Firmato 'E Ferroni' in basso a destra Olio su tela, cm 114X57
A 19th Century antique portrait oil painting by acclaimed and well listed Italian artist Egisto Ferroni (1835-1912) | Entitled "Women with a Basket" | Oil on Canvas | Signed by the artist in the lower left of canvas | Housed in a newer gold gilded wood frame | Measures 32.5" H x 13.5" W | In very good condition. This painting underwent professional restoration in 1997 in Washington, DC. Gallery. Dimensions: 32.5" H x 13.5" W Artist or Maker: Egisto Ferroni (1835-1912) Medium: Oil on Canvas Date: 19th Century Literature: FERRONI , Egisto . - He was born in Lastra a Signa (Florence) on December 14th. 1835 by Egiziano and Teresa Soldaini. The eldest of eight children, he was initiated into the art of his father, master stonemason, who wanted him to be an ornatist and who sent him first to Empoli and then to Florence to learn the trade from local artisans. In 1851 F. entered the Academy of Fine Arts in Florence where he studied, until 1857, drawing, figure and perspective, reporting "prizes in the ornate drawing, in the drawing by the chalk and in the academy designed" (Somarè, 1939. p 25). After leaving the Academy, he spent a few more years in Florence attending E. Pollastrini and S. Ussi, who started him to study the historical-anecdotal composition; some of his drawings and portraits ( The Girlfriend of the Painter , 1858 and The Grandfather Bista , sketch, 1860: Florence, private collection) document this early youthful period revealing, next to the neoclassical inspiration and some ideas derived from A. Ciseri, a decisive orientation towards observation and realistic rendering. In 1862, established in Lastra a Signa, where in the meantime he had taken a wife (1860), F. painted his first historical picture, The meeting of Charles VIII with the Florentine ambassadors in Ponte a Signa(preserved in the municipal building). The painting is still linked to the academic canons, as are the numerous gender squares, with figures in eighteenth-century costume, which were commissioned in those same years by the Pisani gallery in Florence (Boito, 1873). Although he was sensitive to the requests expressed in Florence by the Macchiaioli movement, the F. did not join the group, of which he did not share the technical novelties, but, abandoned the academic painting of historical subject, dedicated himself to the rural theme portraying characters and episodes of the Tuscan countryside by an incisive design with a strong plastic prominence. In 1863 he exhibited at the Promoter of Florence the Return from the fair (1862: Florence, private collection) that, together with other works of those years ( The visit, 1863: Florence, Modern Art Gallery of Palazzo Pitti), documents how his painting was definitively oriented towards the expression of truth. At the Promoter of 1868 he presented Le trecciaiole (1867: London, National Gallery), inaugurating a series of larger and more complex compositions. In contact with some members of the Macchiaioli movement, among which G. Fattori, O. Borrani, N. Cannicci, L. Gioli and, above all, T. Signorini, the F., reserved and meticulous, rarely moved from Tuscany; in 1878 he was in Paris on the occasion of the Universal Exposition where he exhibited his paintings La boscaiola e Gita by boat(unknown location). In Paris he got to know the different orientations of French naturalism, and in particular he was attracted to the painting by J. Bastien-Lepage. In 1878 the most fruitful decade of the painter's life opens. Most of the paintings commissioned by the Count of Frassineto ( L'infioccatura , 1877, Towards the sheepfold , La barca , La caccia , Il ballo , from 1879, Il carro , 1881: Frassineto, coll conte Frassineto) ; a series of idyllic pictures, often of small size, such as inserting, at times, purely pictorial motifs in delicate shades of gray ( the camps , 1881. The woodsman , 1883: Florence, Galleria d'Arte Moderna in Palazzo Pitti, The street merchant, 1882: Palermo, Gallery of modern art; Father returns , 1883: Rome, National Gallery of Modern Art); some portraits ( La madre , 1873: Milan, private collection) and numerous studies and sketches. At the National Exposition of Turin in 1879, F. presented At the source (Florence, Art Gallery of Pitti Palme), which also exhibited the following year to the Florentine Promoter, receiving the consensus of D. Martelli, F. Martini and A. Cecioni. In those same years, with A. Tommasi, he rented a studio in Florence in via Milton, where for a few years he privately taught painting. Member of the Society of Fine Arts and Honorary Academic of the Florentine Academy of Design since 1882, in 1889 F. took part in theThe mother and the lumberjack . From 1891 a depressive crisis, due to the death of his son Raffaele, slowed down the work of F. which also reduced participation in the exhibitions. Present in 1897 at the Venice Biennale with Amori santi , in 1906 in Rome he exhibited Back to the source at the Second exhibition of the Association of Italian Artists. He was the author of some sketches and drawings for the Bellariva ceramics factory, directed by his son Giuseppe, and he also modeled the reliefs depicting the Harvest and Harvest for the "Vittorio Emanuele" steamer saloon. In 1908 he settled in Florence, at the home of his son Arrigo, where he died on May 25, 1912. Sources and Bibl . N. Tarchiani Marginalia : E . F. , In Marzocco , 2 June 1912, and in L'Illustration Italian , 2 June 1912, p. 543; C. Boito, The new painting in Florence , in New Anthology , March-April 1873, p. 488; A. Cecioni, On the E framework . F. , In Giornale artistico , 12 June 1874, n. 6; L. Bellinzoni, The Paris Exposition : F . and Moradei , in Il Popolo romano , May 15, 1878; T. Signorini, the art that Florence sent to Paris , inLetters and Arts , XV (1889), pp. 6-8; P. Nomellini, in Commemorative exhibition of E . F . (catal.), Florence 1936; E. Somare, the work of It . F. , Milan 1939 (with previous bibl.); J. Pelegatti - R. Tassi, I postmacchiaioli , Florence 1962, pp. 5-12; S. Furlotti Reberschak, Bolaffi Catalog of Italian painting . 800 , Turin 1980, p. 81 (for collective exhibitions, the most recent auctions and private collections); A. Del Guercio, 19th century painting , Turin 1982, pp. 88, 90; E. Spalletti, in Painting in Italy . The nineteenth century , Milan 1991, ad Indicem; S.Bietoletti, ibid ., P. 824; Italian art of the twentieth century , M. Pratesi - G. Uzzani, La Toscana , Venezia 1991, ad Indicem ; Encicl . Ital ., XV, p. 123; U. Thieme - F. Becker, Künstlerlexikon , XI, pp. 488; Diz . encicl . of the painters ... ital . Bolaffi , IV, pp. 419 s. Notes: Additional Photographs will be added soon, including photographs under UV Light. Dimensions: 32.5" H x 13.5" W Artist or Maker: Egisto Ferroni (1835-1912) Medium: Oil Date: 19th Century
Description: A 19th Century antique portrait oil painting by acclaimed and well listed Italian artist Egisto Ferroni (1835-1912) | Entitled "Women with a Basket" | Oil on Canvas | Housed in a newer gold gilded wood frame | Measures 32.5" H x 13.5" W | In very good condition. This painting underwent professional restoration in 1997 in Washington, DC. Gallery. Dimensions: 32.5" H x 13.5" W Artist or Maker: Egisto Ferroni (1835-1912) Medium: Oil on Canvas Date: 19th Century Literature: FERRONI , Egisto . - He was born in Lastra a Signa (Florence) on December 14th. 1835 by Egiziano and Teresa Soldaini. The eldest of eight children, he was initiated into the art of his father, master stonemason, who wanted him to be an ornatist and who sent him first to Empoli and then to Florence to learn the trade from local artisans. In 1851 F. entered the Academy of Fine Arts in Florence where he studied, until 1857, drawing, figure and perspective, reporting "prizes in the ornate drawing, in the drawing by the chalk and in the academy designed" (Somarè, 1939. p 25). After leaving the Academy, he spent a few more years in Florence attending E. Pollastrini and S. Ussi, who started him to study the historical-anecdotal composition; some of his drawings and portraits ( The Girlfriend of the Painter , 1858 and The Grandfather Bista , sketch, 1860: Florence, private collection) document this early youthful period revealing, next to the neoclassical inspiration and some ideas derived from A. Ciseri, a decisive orientation towards observation and realistic rendering. In 1862, established in Lastra a Signa, where in the meantime he had taken a wife (1860), F. painted his first historical picture, The meeting of Charles VIII with the Florentine ambassadors in Ponte a Signa(preserved in the municipal building). The painting is still linked to the academic canons, as are the numerous gender squares, with figures in eighteenth-century costume, which were commissioned in those same years by the Pisani gallery in Florence (Boito, 1873). Although he was sensitive to the requests expressed in Florence by the Macchiaioli movement, the F. did not join the group, of which he did not share the technical novelties, but, abandoned the academic painting of historical subject, dedicated himself to the rural theme portraying characters and episodes of the Tuscan countryside by an incisive design with a strong plastic prominence. In 1863 he exhibited at the Promoter of Florence the Return from the fair (1862: Florence, private collection) that, together with other works of those years ( The visit, 1863: Florence, Modern Art Gallery of Palazzo Pitti), documents how his painting was definitively oriented towards the expression of truth. At the Promoter of 1868 he presented Le trecciaiole (1867: London, National Gallery), inaugurating a series of larger and more complex compositions. In contact with some members of the Macchiaioli movement, among which G. Fattori, O. Borrani, N. Cannicci, L. Gioli and, above all, T. Signorini, the F., reserved and meticulous, rarely moved from Tuscany; in 1878 he was in Paris on the occasion of the Universal Exposition where he exhibited his paintings La boscaiola e Gita by boat(unknown location). In Paris he got to know the different orientations of French naturalism, and in particular he was attracted to the painting by J. Bastien-Lepage. In 1878 the most fruitful decade of the painter's life opens. Most of the paintings commissioned by the Count of Frassineto ( L'infioccatura , 1877, Towards the sheepfold , La barca , La caccia , Il ballo , from 1879, Il carro , 1881: Frassineto, coll conte Frassineto) ; a series of idyllic pictures, often of small size, such as inserting, at times, purely pictorial motifs in delicate shades of gray ( the camps , 1881. The woodsman , 1883: Florence, Galleria d'Arte Moderna in Palazzo Pitti, The street merchant, 1882: Palermo, Gallery of modern art; Father returns , 1883: Rome, National Gallery of Modern Art); some portraits ( La madre , 1873: Milan, private collection) and numerous studies and sketches. At the National Exposition of Turin in 1879, F. presented At the source (Florence, Art Gallery of Pitti Palme), which also exhibited the following year to the Florentine Promoter, receiving the consensus of D. Martelli, F. Martini and A. Cecioni. In those same years, with A. Tommasi, he rented a studio in Florence in via Milton, where for a few years he privately taught painting. Member of the Society of Fine Arts and Honorary Academic of the Florentine Academy of Design since 1882, in 1889 F. took part in theThe mother and the lumberjack . From 1891 a depressive crisis, due to the death of his son Raffaele, slowed down the work of F. which also reduced participation in the exhibitions. Present in 1897 at the Venice Biennale with Amori santi , in 1906 in Rome he exhibited Back to the source at the Second exhibition of the Association of Italian Artists. He was the author of some sketches and drawings for the Bellariva ceramics factory, directed by his son Giuseppe, and he also modeled the reliefs depicting the Harvest and Harvest for the "Vittorio Emanuele" steamer saloon. In 1908 he settled in Florence, at the home of his son Arrigo, where he died on May 25, 1912. Sources and Bibl . N. Tarchiani Marginalia : E . F. , In Marzocco , 2 June 1912, and in L'Illustration Italian , 2 June 1912, p. 543; C. Boito, The new painting in Florence , in New Anthology , March-April 1873, p. 488; A. Cecioni, On the E framework . F. , In Giornale artistico , 12 June 1874, n. 6; L. Bellinzoni, The Paris Exposition : F . and Moradei , in Il Popolo romano , May 15, 1878; T. Signorini, the art that Florence sent to Paris , inLetters and Arts , XV (1889), pp. 6-8; P. Nomellini, in Commemorative exhibition of E . F . (catal.), Florence 1936; E. Somare, the work of It . F. , Milan 1939 (with previous bibl.); J. Pelegatti - R. Tassi, I postmacchiaioli , Florence 1962, pp. 5-12; S. Furlotti Reberschak, Bolaffi Catalog of Italian painting . 800 , Turin 1980, p. 81 (for collective exhibitions, the most recent auctions and private collections); A. Del Guercio, 19th century painting , Turin 1982, pp. 88, 90; E. Spalletti, in Painting in Italy . The nineteenth century , Milan 1991, ad Indicem; S.Bietoletti, ibid ., P. 824; Italian art of the twentieth century , M. Pratesi - G. Uzzani, La Toscana , Venezia 1991, ad Indicem ; Encicl . Ital ., XV, p. 123; U. Thieme - F. Becker, Künstlerlexikon , XI, pp. 488; Diz . encicl . of the painters ... ital . Bolaffi , IV, pp. 419 s. Notes: Additional Photographs will be added soon, including photographs under UV Light.
Matita di grafite. mm 305x210. In basso a penna dedica: "Gli eredi Corsi nipoti del prof. Egisto Ferroni al prof. Franchetti". In alto a matita n. "113". Corredato di foto autenticata.
Olio su tavoletta. cm 38x28,5. Firmato in basso a destra. Scritte sbiadite al verso, con probabile titolo, timbro parzialmente leggibile in inchiostro verde: "I grandi maestri - Galleria d'arte Internazionale".
A 19th Century antique portrait oil painting by acclaimed and well listed Italian artist Egisto Ferroni (1835-1912) | Entitled "Women with a Basket" | Oil on Canvas | Housed in a newer gold gilded wood frame | Measures 32.5" H x 13.5" W | In very good condition. This painting underwent professional restoration in 1997 in Washington, DC. Gallery.
Egisto Ferroni (Italian, 1835-1912) The reed boat oil on panel 45 x 26.5cm (17 11/16 x 10 7/16in). Footnotes Provenance Galleria d'arte La Stanzina, Florence. Acquired from the above.
EGISTO FERRONI (1835-1912), ITALIANTHE COURTSHIPOil on canvas; signed lower right, titled to old label verso39 x 29.25 in — 99.1 x 74.3 cmProvenance:John Britnell At Galleries Limited, 876 Yonge Street, Toronto;Britnell Art Galleries Ltd., Toronto, Diamond Jubilee label to the frame verso;By descentEstimate: $4,000—6,000
Egisto Ferroni (Italian, 1835-1912), "Musicians" two oils on canvas, both signed, lower left and right "E. Ferroni". Sight size: approximately 31 1/2" high, 13" wide. Condition: soiling, crazing, losses.
FERRONI, EGISTO (Lastra a Signa 1835 - 1912 Florence) Market woman at the side of a street. Oil on canvas. Signed lower right: E. Ferroni. 107 x 92 cm. FERRONI, EGISTO (Lastra a Signa 1835 - 1912 Florenz) Marktfrau am Strassenrand. Öl auf Leinwand. Unten rechts signiert: E. Ferroni. 107 x 92 cm.
GEMÄLDEPAAR Jeweils Öl auf Leinwand. 82 x 34 cm. Signiert. In den originalen, vergoldeten Rahmen mit Künstlernamensschild. Jeweils hochformatiges Gemälde mit stehender Wiedergabe junger Italienerinnen im Festtagskleid. Das eine Gemälde zeigt ein junges Mädchen in gelbem Seidenkleid und rotem Umhang in einem Innenraum, über den Kopf ein Spitzentuch gelegt. Im Hintergrund eine Vase auf einer Kommode, im Vordergrund auf dem verplatteten Boden ein liegender Krug. Das Gegenstück zeigt eine Musikantin mit Gitarre und ockergelbem Schultertuch, das Haar hochgesteckt. Sie steht vor einer Rückwand mit Plakatierung, die wohl als Ankündigung einer Konzertveranstaltung zu deuten ist, rechts ein Tischchen mit drauf stehender Blumenvase. (951852)
