Federico Rossano (Napoli 1835 - 1912)

From a first hand inspection there are some small losses of pigment along the top edge, two in the center of the sky and one on the right-hand side. The white spot on the left-hand side of the boat is due to a damage of the oil film. There is a superficial slit of the support going from the right-hand side to the center of the painting. There are small scratches over the water on the left-hand side close to the signature (all the notes are visible from the picture in the catalogue). The ultra violet light reveals no retouch nor restoration. It is suggested a nice cleansing. The overall condition as to the state of preservation is good.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Insieme ad altri tratti marini del litorale flegreo, la spiaggia di Portici è tra i soggetti prediletti da Rossano negli anni cruciali della ricerca linguistica condotta dalla Scuola di Resina, in nome di un'arte eseguita en plein air che fosse "indipendente, puramente veristica e realista, tendente alla vera manifestazione semplice del vero nelle sue svariate forme, senza orpello e transazioni". (cfr. G. Vittori, I migliori artisti nella XXIX Esposizione della Società Promotrice di Belle Arti di Napoli, in "Natura ed Arte, III, 15 luglio 1894)

Caratterizzato da un tipico taglio orizzontale e da un impianto compositivo semplice e sincero, dove è la luce, con i suoi contrasti di luce ed ombra, a costruire e a riassumere il reale in poche macchie, Spiaggia di Portici è databile fra la metà degli anni sessanta e i primi anni settanta.