The Grotto of Pozzuoli, Naples; The Torre del Greco with the eruption of Mount Vesuvius beyond; The Riviera di Chiaia, Naples, from the Convento di Sant Antonio, with Vesuvius beyond; and The Bay of Naples from the Punta di Posillipo

The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.

Please note the condition reports are as the paintings are displayed in the catalogue left to right and top to bottom.
The first:
The canvas is reinforced on the reverse with a glue lining, onto which has been transcribed the description and artist’s signature. The paint is stable on the support and the varnish slightly yellowed and dull. A fine craquelure is visible in natural light. Slightly discolored lines of retouching to address earlier frame abrasion are visible along the upper and right edge. Inspection under ultraviolet light reveals further retouching to address frame abrasion along the left and lower edges. Otherwise, the painting appears to be free of later intervention. The painting is in overall excellent condition and can be displayed in its current state, but its appearance would likely be enhanced with a more saturating varnish.
The second:
The canvas is reinforced on the reverse with a glue lining, onto which has been transcribed the description and artist’s signature. The paint is stable on the support and the varnish slightly yellowed and dull. A fine craquelure is visible in natural light. Slightly discolored lines of retouching to address earlier frame abrasion are visible along the edges. Inspection under ultraviolet light confirms this and suggests the painting is otherwise free of later intervention. The painting is in overall excellent condition and can be displayed in its current state, but its appearance would likely be enhanced with a more saturating varnish.
The third:
The canvas is reinforced on the reverse with a glue lining, onto which has been transcribed the description and artist’s signature. The paint is stable on the support and the varnish slightly yellowed and dull. A fine craquelure is visible in natural light. Slightly discolored lines of retouching to address earlier frame abrasion are visible along the left, top and right edges, with frame abrasion visible along the lower edge. Inspection under ultraviolet light confirms this and suggests that, aside from a handful of fine dots of retouching in the sky measuring less than ½ x ¼ inch, the painting is free of later intervention. The painting is in overall very fine condition and can be displayed in its current state, but its appearance would likely be enhanced with a more saturating varnish.
The fourth:
The canvas is reinforced on the reverse with a glue lining, onto which has been transcribed the description and artist’s signature. The paint is stable on the support and the varnish slightly yellowed and dull. A fine craquelure is visible in natural light. Slightly discolored lines of retouching to address earlier frame abrasion are visible along the edges. Inspection under ultraviolet light confirms this and suggests the painting is otherwise free of later intervention. The painting is in overall excellent condition and can be displayed in its current state, but its appearance would likely be enhanced with a more saturating varnish.