Oil on cavas, framed. Featuring a cityscape landscape scene. Entitled, "St. Martins in the Fields Londra" (dated 1959). Signed and attr. Ferruccio Steffanutti (Italian, 1928-1970) on the lower right corner, dated '59. 60 x 29 cm (23.6 x 11.4 inches). Ferruccio Steffanutti, who was born in Venice in 1928, has lived and worked in Italy most of his life. Since 1949, he has taken part in national and international exhibitions. He has already achieved wide recognition through-out Europe, and his paintings are included in leading private and museum collections, including those of Venice, Milan, Novara, Vienna, Moscow and Strasbourg, and the collections of Queen Elizabeth II at Buckingham Palace and of Pope Paul VI. In addition, he has had one man shows in virtually every major art capital, including London, Munich, New York and Paris. On the basis of his reputation in Europe, Steffanutti was invited to. participate in the Exhibit of Italian Artists held in Washington, D.C., in 1960. Steffanutti's work has been exhibited in New York at the Vatican Pavilion of the 1964-65 World's Fair. Steffanutti's work is in the tradition of Canaletto and Guardi, who established the city view as a genre in itself. It is an effective blend of Venetian craftsmanship and personal enthusiasm that prevents Steffanutti's realistic interpretations from falling into the category of mere illustration. His intensive observation and interpretation is coupled with a vivid draughtsmanship which illuminates the architectural character of his subjects, whether baroque chprches or domestic courtyards. PROVENANCE: Lot 508A, Empire Auctions, 26 April 2017 (Toronto, Canada). Acquired by the current owner (Private Toronto estate, 2018).

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By [Artist Name] : In our opinion, the work is by the artist.

Attributed to [Artist Name] : In our opinion, the work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : In our opinion, the work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : In our opinion, the work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

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American, 19th century : In our opinion, this work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

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Apocryphal : Of doubtful authenticity.