Luigi Nono

Luigi Nono (Fusina/Venezia 1850–1918) Study for the painting “Abbandonati”, signed L. IX, inscribed “Venezia 1–4– 75/Studio per gli Abbandonati autore Luigi Nono/in fede/Ing Mario Nono/Zattere 1486” by Ing. Mario Nono on the reverse, oil on panel, 32 x 40 cm, framed, (W) Literature: 209th auction, Finarte, Asta dipinti del XIX secolo, Milan, 22 May 1975, no. 98, plate XXXV (titled “Povera gente”). Paolo Serafini, Il Pittore Luigi Nono, catalogo ragionato dei dipinti e dei disegni, Allemandi Editore, 2006, Vol. II, p. 177, no. 562. This version of the painting “Abbandonati” was purchased by Margherita of Savoy, the Queen Mother of Italy (1851–1926) at the 1903 Biennale in Venice and presented to the Galleria Internazionale d’’’’Arte Moderna in Venice (Ca’’’’Pesaro). Provenance: Italian private property

Luigi Nono (Fusina, Venice 1850–1918) Detail of a Facade, Study for the painting “Primo Novembre”, signed, inscribed L. IX, as well as the inscription Asolo 3 marzo 1912, oil on cardboard, 21 x 31 cm, framed, (W) Provenance: Galerie d’’’’Arte Eleuteri, Rome; Private Italian Collection. Luigi Nono began his studies at the Academy of Fine Arts in Venice in 1864 under Molmenti and others. Familiar with southern styles of painting, in 1876 he travelled to Florence, Rome and Naples to study. Thematically his works appear similar to those of Favretto who influenced the use of colour in his paintings. From 1875 onwards Nono shifted his focus towards Impressionism and enriched his representations with sentimental allusions and coded social content. Appointed professor of painting at the Venice Academy in 1899, Nono is one of the most popular and sought-after Venetian artists of the 19th century.

Luigi Nono (Italian, 1850-1918) Paesaggio d'autunno con tacchini signed and dated 'L.IX.1916' (lower left) oil on canvas 52 x 97cm (20 1/2 x 38 3/16in). Footnote: PROVENANCE: Collection Carlo Sacchi with Galleria Pesaro, Milano Private collection, Italy EXHIBITED: Carate Brianza, aspetti della pittura italiana dell'Ottocento , 20 December 1981 - 10 January 1982, cat. 16, ill. LITERATURE: I pittori italiani dell'Ottocento nella Collezione Sacchi , Gal.Pesaro, Milan, April 1927, ill.no.70 Paolo Serafini, Il pittore Luigi Nono 1850-1918, catalogo ragionato dei dipinti e dei disegni , 2006, ill. vol.1 under no. 110 and ill. vol.2 under no. 709, p.221 Luigi Nono enrolled at the Accademia di Belle Arti in Venice in 1865 where he trained under Pompeo Molmenti (1819-1894). A friend and contemporary of Giacomo Favretto (1849-1887) and Guglielmo Ciardi (1842-1917), his work reflected the tradition of the great Venetian masters of the past and he became one of the most popular artists of his generation. Colour is of great significance to the painter; he would have been familiar with the paintings of the Macchiaioli group and the tonal quality that ran through their work. In his later work, such as the present lot dated 1916, his linear treatment became freer and flowing in response to seeing the work of the Impressionists. In Paesaggio d'autunno con tacchini , the trees in autumn are without leaves and in the background a village can be seen under a extraordinary sky. These are clear references to the Venetian school, but delicately handled.

signed and dated signed and dated 1886 l.l. oil on canvas this lot contains 1 item(s). provenance: acquired in america in the 1920s by the family of the previous owner provenance:acquired in america in the 1920s by the family of the previous owner nono enrolled at the the accademia di belle arti in venice in 1865, where he trained under pompeo molmenti (1819-94). a friend and contemporary of giacomo favretto and guglielmo ciardi, his early technique is distinguished by its resolved draughtsmanship and firm handling of the paint, as in the present work. in his later work his linear treatment became freer and more flowing, perhaps in response to seeing the work of the impressionists. though a generation younger, nono would have been familiar with the painting of the macchiaioli group of painters, and the patriotic overtones which ran through their work. growing up, nono witnessed not only the risorgimento leading to italian unification, but in 1866 witnessed the hand-over of venice by austria to the new kingdom of italy. his paintings reflect a sense of a new national pride, depicting typically italian interiors and colourful local costumes.