Scene at the terrace on Neapolitan coast with Vesuvius on the background was executed by Italian landscape painter, also draftsman, watercolorist Consalvo (Gonsalvo) Carelli (1818 Arenella/Naples - 1900 Naples).  Student of his father and William Leighton Leitch. Debuted in 1830 on the Espos. di BA in Naples with two sepia drawings (silver medallion). Achieved enthusiastic reception in the Espos in 1833 with Piazza della Vicaria (Aqu.; later acquired by the Queen Mother Isabella). of the Real Mus. Borbonico, where he was present with 17 works that can no longer be clearly identified today. Influenced primarily by the Posillipo school. Favorite of the banker Gustave Meuricoffre, patron of the C. family, Lord Essex and the Duca del Terranova, who enabled him and his brother (3) to travel to Rome in 1837 to study 15th and 16th century painting .to study and work in the Roman campagna. Meet the French painters of the Acad. Franc. in Rome, including Claude Joseph Vernet. In paintings of these years, such as La veduta di Ponte Lucano con il sepolcro di Plangi (1839, Priv.-Slg), it is linked to classic ruins. of the 17th century, also in Campagna di Sora (Naples, MN di Capodimonte), Sora, Campo Vaccino and Tempio di Vesta a Roma (both Naples, ABA). 1841 again in Naples, exhibited in the exhibition. of the Real Mus. Borbonico, including Veduta di Roma ripresa da Monte Mario, Solfatara dalla cima degli Astroni (Avellino, Mus. Irpino), later acquired by King Ferdinand. 1841-44 in Paris, through the mediation of Isabella and Maria Amalia, Queen of France. Participation in the Salon, commissions from the aristocracy, including the Duc d'Aumale, from Lord Manley, from Louis Philippe, for whom he created an album with 100 drawings and furnished a room in the Pal. Royale with eraser. "all'italiana" and also a gem. Miracle of St. Michael (according to Napier). Hardly influenced by French painting, except for the Barbizon school. 1845 Return to Naples, now famous, participation in exhibition. of the Real Mus. Borbonico and until at least 1855 on exhibit. of the actual. di BA. Through the mediation of the Russian Count Potosky (Potocki?), together with Giacinto Gigante, Gabriele Smargiassi, Frans Vervloet, works for the Russian Tsar, such as Napoli dai giardini reali di Portici and Napoli dai Camaldoli. 1848 political commitment to the Risorgimento; probably Participate in the “Five Days of Milan”. The portrait from this time. Garibaldi and the Gem. Garibaldi al Volturno (both Naples, MN S. Martino). Also interested in social topics, especially from the Mezzogiorno, especially robbery. 1859 Honorary Prof. of the actual. di BA. 1862 back in Rome, 1869 court painter to Margaret of Savoy, 1874 member of the Accad. di San Luca.

Works:  HAMBURG, KH. NAPLES, MN S.Martino: Views of Amalfi and Capri; Zchngn, Aqu. – PCom. Bindi: Illustrated by Vincenzo Bindi, Mon. stor. ed artist. degli Abruzzi, 1899, and to Salvatore di Giacomo, Napoli Nobilissima 1899 (description of the 264 Napoleonic taverns). – GAM. – Coll. Morano: La "falaise" di Normandia, 1841. ROME, Gal. Naz. d'Arte Mod. SORRENTO, Mus. Correale. ST. PETERSBURG, Hermitage. TURIN, Bibl. Reale: Album with 16 drawings.
EXHIBITIONS E: 1974 Capua, Mus. prov. Campano (K). – G: 1842, '43 Paris, Salon / Naples: 1936 Il paesaggio nella pitt. napoletana dell'Ottocento (K); 1938 La pitt. napoletana dei sec. 17, 18 and 19. 

Literature:Thieme/Becker, General artist lexicon, Leipzig, 1999.

Inscriptions: signed and titeld Napoli lower left.

Technique: oil on canvas, original period frame.

Measurements: unframed w 26 1/4"x h 15"(66,5 x 38 cm); framed 34 1/4" x 24"(87,5 x 61 cm).

Condition: very good.