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Antonio Joli Sold at Auction Prices

Architecture painter, Painter, Bühnenmaler, b. 1700 - d. 1777

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  • Studio of Antonio Joli (Modena circa 1700-1777 Rome) Isola
    Dec. 09, 2015

    Studio of Antonio Joli (Modena circa 1700-1777 Rome) Isola

    Est: -

    Studio of Antonio Joli (Modena circa 1700-1777 Rome) Isola Bella, Lake Maggiore, with the Isola Madre in the distance

    Bonhams
  • ANTONIO JOLI | Naples from the West; and The Gulf of Pozzuoli
    Jul. 08, 2015

    ANTONIO JOLI | Naples from the West; and The Gulf of Pozzuoli

    Est: £250,000 - £350,000

    a pair, both oil on canvas

    Sotheby's
  • ANTONIO JOLI | Rome, a view of the Tiber with the Castel Sant'Angelo and Saint Peter's Basilica
    Jun. 04, 2015

    ANTONIO JOLI | Rome, a view of the Tiber with the Castel Sant'Angelo and Saint Peter's Basilica

    Est: $300,000 - $400,000

    oil on canvas

    Sotheby's
  • Joli, Antonio: Antichità di Pesto
    May. 28, 2015

    Joli, Antonio: Antichità di Pesto

    Est: €300 - €400

    nach. Antichità di Pesto - Ansichten der Umgebung von Peastum. 6 (von 10) Radierungen von Filippo Morghen. Je ca. 27,5 x 38,5 cm. 1765. Nagler (Morghen) aus 10. Wz. Fleurs-de-lis im Doppelkreis. Die Nummern 1-6 einschließlich dem Titelblatt aus einer insgesamt zehnteiligen Folge nach den Zeichnungen Antonio Jolis. Ganz ausgezeichnete, kräftige und meist nuancierte Drucke mit breitem bzw. mit dem vollen Schöpfrand, links mit den Spuren einer alten Albumbindung. Mit der üblichen leichten vertikalen Mittelfalte, schwache Trockenfältchen, geringfügige Gebrauchsspuren, schwach fleckig, das Titelblatt mit einer kräftigen Quetschspur links im weißen Rand, sonst sehr gut erhalten.

    Bassenge Auctions
  • Joli, Antonio: Anfiteatro per gli Spettacoli delle Festede' Tori
    May. 28, 2015

    Joli, Antonio: Anfiteatro per gli Spettacoli delle Festede' Tori

    Est: €3,500 - €4,500

    Anfiteatro per gli Spettacoli delle Festede' Tori eretto l'anno 1750. Kupferstich und Radierung. 44 x 66,5 cm. Antonio Joli, wegen seiner Veduten- und Landschaftsgemälde der Umgebung Neapels als der Neapolitanische Canaletto bekannt, lernte in Rom bei Giovanni Paolo Pannini und machte dort auch die Bekanntschaft mit dem Opernsänger Carlo Broschi, gen. Farinelli. Früh knüpfte er Bekanntschaft mit den Galli-Bibiena. Neben seinen Veduten schuf er Bühnenbildentwürfe für Theater in Venedig und Modena, 1749 bis 1754 ist er auf Empfehlung Farinellis am Hof des spanischen König Ferdinand IV. tätig. In dieser Zeit entsteht eine radierte Folge mit Ansichten aus der Umgebung Madrids, zu der auch vorliegendes Blatt zählt. Ganz ausgezeichneter, lebendiger Druck mit schmalem Rand um die Plattenkante. Geringfügig fleckig, vereinzelt kleine Randeinrisse, diese hinterlegt, leichte vertikale Mittelfalte, diese oben und unten hinterlegt sowie mit winzigen Spuren einer alten Fadenheftung, kleines geschlossenes Löchlein im Himmel links, sonst sehr schönes Exemplar. Von großer Seltenheit.

    Bassenge Auctions
  • Joli, Antonio: Blick auf Neapel
    May. 30, 2014

    Joli, Antonio: Blick auf Neapel

    Est: €250,000 - €280,000

    Neapel: Blick auf die Stadt vom Meer. Öl auf Leinwand, doubliert. 67,5 x 175 cm. Um 1740. Leicht vergißt man, dass Neapel einst zu den bedeutendsten Metropolen Europas zählte. "An Größe und Zahl ihrer Bewohner ist Neapel die drittgrößte Stadt Europas, doch von ihrer Lage und ihrem glanzvollen Auftritt könnte sie sehr wohl die Königin des Mittelmeers sein" schrieb John Chetwode Eustace im Jahr 1813. Als königliche Residenzstadt des reichsten der italienischen Staaten durchlebte Neapel zu diesem Zeitpunkt bereits seit knapp 80 Jahren ein goldenes Zeitalter. Diese Aera begann 1734 mit dem Ende der unpopulären österreichischen Vorherrschaft und der Besteigung Karls VII. auf den Thron der Königreiche Neapel und Sizilien, dem ersten der Bourbonischen Herrscher und späteren Carl III. von Spanien. In dieser Periode entstanden das Teatro di San Carlo sowie die Paläste von Caserta, Portici und Capodimonte. Die Entdeckungen von Pompeii und Herculaneum und die Gründung des bedeutenden Museum Archeologico fallen ebenfalls in diese Zeit. Die Musik und die Künste blühten, und die Reisenden, die ihre Grand Tour über Rom hinaus gen Süden führte, wurden für ihren Besuch von Neapel reich belohnt. Bewohner der Stadt wie der englische Gesandte Sir William mit Lady Hamilton empfingen Besucher wie den Kaiser Joseph II, Casanova, Wolfgang Amadeus Mozart, Angelica Kauffmann, Joseph Wright of Derby, Jacques Louis David, Elizabeth Vigée-Lebrun, die die Stadt als "lanterne magique ravissante" beschrieb, und Goethe, der behauptete "niemand der einmal Neapel gesehen hat, kann jemals wirklich unglücklich sein". Das ultimative Portrait Neapels in seiner Glanzzeit schlechthin schuf Antonio Joli. Dessen über mehrere Jahrzehnte hinweg gemalten Ansichten der Stadt machen ihn für Neapel zu dem, was sein (fast exakter) Zeitgenosse Canaletto für Venedig war. Wie die meisten bedeutenden Vedutenmaler dieser Stadt war übrigens auch Joli kein Neapolitaner durch Geburt. Joli stammte ursprünglich aus Modena, einer Stadt, die ungleich Venedig oder Rom nicht unbedingt für ihre Vedutenmaler bekannt war. Nach anfänglichen Studien bei einem lokalen Meister in Modena arbeitete Joli, wie der Historiker Girolamo Tiraboschi (1731-1794) zu berichten weiß, bis 1725 in Rom bei Giovanni Paolo Pannini (1691-1765).i Dabei dürfte er insbesondere mit der Malerei von imaginärer Architektur und Capricci vertraut geworden sein, aber Pannini war gleichzeitig auch der herausragende Ansichtenmaler Roms. Während der folgenden drei Jahrzehnten entwickelte sich Joli zu dem am weit gereistesten italienischen Vedutenmaler des 18. Jahrhunderts. Hierin unterscheidet er sich deutlich von Canaletto, der eine deutliche Abneigung hatte, je seine Geburtsstadt zu verlassen. Ebenfalls im Gegensatz zu Canaletto, der die Ausführung von Bühnenbildern zugunsten der Vedutenmalerei vollkommen aufgab, behielt Joli die Entwurfstätigkeit für das Theater bei, für die er bis zum Ende seiner Laufbahn regelmäßig Aufträge erhielt. So ist Joli zunächst auch als Theatermaler im Jahr 1732 in Venedig dokumentiert, wo er sich bis 1740 aufhielt. Er könnte Dresden besucht haben vor den reichen Schaffensphasen in London 1744-1749 und Madrid 1749-1754. Nach seiner Rückkehr nach Venedig trat er 1756 eine Reise nach Süditalien und Sizilien mit seinem wichtigsten Förderer John Montagu, Lord Brudenell (1735-1770) an. Für Lord Brudenell schuf Joli eine einzigartige Serie von wenigstens 38 Ansichten aus Süditalien, Florenz, Sizilien, Malta und Südfrankreich. Unter diesen befand sich eine Gruppe von Ansichten von Neapel, wo Jolis Aufenthalt das erste Mal für den 21. April 1759 dokumentiert ist.ii Von einem kurzen Besuch in Venedig am 28. Dezember 1761 abgesehen, hielt sich Joli fortan in Neapel auf. Tatsächlich musste Joli lang vor seinem ersten in den Archivalien dokumentierten Aufenthalt mit Neapel vertraut gewesen sein. Er wird sogar in den Inventaren des bedeutenden venezianischen Kunstsammlers Feldmarschall Johann Matthias von der Schulenburg seit 1738 als "napoletano" apostrophiert.iii Einer der ersten Hinweise auf Joli als Maler von Veduten datiert vom 30. Mai 1736, als Schulenburg dem Künstler 16 zecchini für eine Neapel-Ansicht zahlte.iv Dieses Gemälde verblieb im Besitz der Familie Schulenburg in Berlin und später in Hehlen bevor es am 28. Februar 1990 bei Sotheby's, London (Los 85) versteigert wurde.v Obwohl nicht in perfekter Erhaltung dokumentiert dieses genau datierbare Werk die herausragenden Fähigkeiten Jolis bereits zu diesem frühen Zeitpunkt seiner Laufbahn als Vedutenmaler. In späteren Werken ist die Qualität der Ausführung oft durch die Heranziehung von Werkstattmitarbeitern beeinträchtigt wie insbesondere an den zahlreichen Versionen mit der Darstellung des Campo Vaccino deutlich wird. Vorliegendes, erst kürzlich in Privatbesitz wieder entdecktes Werk steht der Version aus der Sammlung Schulenberg sehr nahe, wenngleich es weit eindrucksvoller im Format als auch in der Erhaltung ist.vi Während die Ansammlung der Schiffe eine völlig andere ist, stimmt die Wiedergabe der Topographie bis hin zur Flagge auf dem äußersten rechten Turm mit dem schwarzen Doppelkopfadler des Heiligen Römischen Reiches (passend nur bis 1734) bei beiden Werken überein. Zeitlich dürfte unser Gemälde daher nicht weit von der Schulenburg Version entfernt sein. Das Werk ist eines der wirklichen Meisterwerke des Künstlers aus seiner frühen Schaffensphase, das die Bemerkung des Grafen Carl Gustav Tessin in einem Brief aus Wien vom 16. Juni 1736 "Joli fait assés bien les vües et l'architecture" mehr als nur rechtfertigt.vii Es ist die herrliche Lage Neapels in der geschwungenen Bucht, im Schatten des Vesuv, die dieser Komposition ihren einzigartigen Charakter verleiht, und es ist überraschend, dass Joli diese großartigste aller Neapelansichten, nämlich von Seeseite aus, nicht öfter gemalt hat. Diese Ansicht findet sich als Hintergrund bei den drei Darstellungen des "Aufbruchs von Karl VII von Neapel vom Meer aus gesehen"viii, eine weitere, etwas uninspirierte Version mit Werkstattbeteiligung aus den königlich bourbonischen Sammlung befindet sich in Caserta.ix Nur eine einzige weitere, eng verwandte Fassung ist bekannt: Sie wurde bei Sotheby's, London, am 7. Dezember 1988 (Los 142) versteigert und befindet sich jetzt in einer neapolitanischen Privatsammlung. Das Format ist nicht ganz so horizontal gestreckt und am rechten Rand ist die Komposition verkürzt.x Es gibt einen auffälligen topographischen Unterschied bei dem Wappen über dem Darsena links vom Castel Nuovo. In der Forschung wird dieses Werk deutlich später datiert, die Entstehung dürfte nach 1754 liegen. Leider gibt es keine Hinweise zu der frühen Provenienz dieses Gemäldes oder dem von Vanvitelli (siehe die folgende Losnummer), die beide seit den 1920er Jahren vereint waren. Beide Werke zeigen bedeutende Häfen Süditaliens von der Seeseite und sie entsprechen einander vollkommen im Format. Obwohl es denkbar ist, dass ein späterer Sammler beide Gemälde unabhängig voneinander erworben und zu einem Paar ergänzt hat, sollte die Möglichkeit, dass Joli sein Gemälde als Ergänzung zu der bereits bestehenden Ansicht von Vanvitelli gemalt hat, nicht ausgeschlossen werden. Weitere Recherchen in frühen Sammlungsinventaren könnten darüber Aufschluß geben. Charles Beddington i. G. Tiraboschi, Notizie de'Pittori, Scultori, Inciscori e Architetti nati negli stati dell'S.mo signor Duca di Modena, Modena 1786. ii. R. Toledano, Antonio Joli, Turin 2006, Nrn. N.VI.7, N.VIII-XIV, N.XIX.1, N.XX.1, N.XXIV und N.XXVII.6-7, sämtlich mit Abbildungen. iii. A. Binion, La Galleria scomparsa del maresciallo von der Schulenburg: Un mecanate nella Venezia del Settecento, Mailand 1990, S. 211. iv Binion 1990, S. 150. v Toledano 2006, S. 298, Nr. N.I.1 mit Abb. vi Das Gemälde der Schulenburg Sammlung misst 64 x 167 cm. vii zit. bei Toledano 2006, S. 26. viii Toledano 2006, S. 343-345, Nrn. N.XVI.1-3, sämtlich mit Abbildungen. ix Toledano 2006, S. 300, no. N.I.3 mit Abbildung. x Toledano 2006, S. 299, no. N.I.2 mit Abbildung. Die Maße sind 82,5 x 175 cm. - Provenienz: Auktion, Jacob Hecht, Berlin, zwischen 1925 und 1929 (gedrucktes Auktionsetikett verso auf dem Keilrahmen; das Auktionshaus Jacob Hecht existierte lediglich für fünf Jahre). Wohl auf der Auktion von der Familie der jetzigen Besitzer erworben.

    Bassenge Auctions
  • Antonio Joli, ca. 1700 - 1777
    Dec. 12, 2013

    Antonio Joli, ca. 1700 - 1777

    Est: €80,000 - €120,000

    FANTASTISCHES RÖMISCHES ARCHITEKTURCAPRICCIO MIT SZENE AUS DEM LEBEN DER KLEOPATRA Öl auf Leinwand. 135 x 98 cm. Der Maler schuf hier - ganz in der Auffassung der idealen römischen Architekturlandschaft - ein Werk, das zwar in der Tradition von Panini steht, jedoch ganz eigencharakteristisch im Gegenzug zu Panini wohl Wert auf genaue Wiedergabe der vermeintlich intakten Bauwerke Roms legte und zudem auch die Figurenstaffage in die römische Zeit versetzte, während bei Panini die Capricci in der Regel als ruinöse Bauwerke vorgestellt waren. Im Zentrum der Darstellung ein Obelisk - wie die Architektur dahinter von rechts beleuchtet, die Schattenseite dem Betrachter zugewandt, mit darauf leuchtend hellem Relief mit Kriegstrophäen. Der Schauplatz umgeben von einem dahinter stehenden, hohen Triumphbogen, getragen von ionischen Säulen, bogenbrückenartig überwölbt von einer Stufenbalustrade mit darauf im Licht beleuchteten Figuren. Links mächtiger, achtsäuliger Portikus mit davor liegenden Treppenstufen. Seitlich eine gesockelte Statue. Im Torbogen ein Reiterdenkmal, wiederum hinterfangen von weiterer Bogen- und Säulenarchitektur. Der Obelisk auf dem gemauerten Tempelvorplatz umgeben von zahlreichen Figuren - entsprechend der Bildabsicht des Künstlers - antik gekleidet, links hervorgehoben eine Gruppe, in deren Zentrum eine Frau mit Krone steht, daneben ein behelmter Herrscher. Beide halten die Hände ineinander, wobei es sich hier wohl um die ägyptische Könign Kleopatra handelt, hier gemeinsam mit Marc Antonius, dem sie die Statue der Venus zeigt, die Cäsar für sie im Venus-Tempel einst errichten ließ. Solche auf tatsächliche oder vermeintliche Geschichtsereignisse der Antike hinweisende Capricci wurden im Umkreis von Panini häufig gemalt, bekannt hierbei etwa der „Brand von Troja". Expertise: Dem Gemälde ist eine Expertise von Ferdinando Arisi beigegeben. (951181) Antonio Joli, circa 1700 - 1777 Fantastical architectural capriccio with a scene from Cleopatra's life Oil on canvas. 135 x 98 cm. Expert's report: A report by Ferdinando Arisi is enclosed.

    Hampel Fine Art Auctions
  • Antonio Joli (Modena 1700 - Napoli 1777) "Archittetture con figure"
    Dec. 02, 2013

    Antonio Joli (Modena 1700 - Napoli 1777) "Archittetture con figure"

    Est: €18,000 - €22,000

    Antonio Joli (Modena 1700 - Napoli 1777) "Archittetture con figure" olio su tela, cm 102x70, in cornice dorata

    Cambi Casa d'Aste
  • Circle of Antonio Joli (Modena circa 1700-1777 Rome)
    Oct. 30, 2013

    Circle of Antonio Joli (Modena circa 1700-1777 Rome)

    Est: £5,000 - £7,000

    View of Whitehall, with the Banqueting House and the Holbein Gate oil on parchment, laid down on panel 22.5 x 32.7cm (8 7/8 x 12 7/8in).

    Bonhams
  • Antonio Joli (Modena 1700-1777 Naples)
    Jul. 02, 2013

    Antonio Joli (Modena 1700-1777 Naples)

    Est: -

    Antonio Joli (Modena 1700-1777 Naples) The gardens of Palazzo Barberini, Rome, with elegantly dressed figures watching a game of 'Palla a Bracciale' oil on canvas 25 x 35¾ in. (63.8 x 90.8 cm.) inscribed on an old label on the reverse: 'Green Drawing Room Pictures,[...] Picture of the Drago Palace & Barberini Palace gardens in foreground - game of Pal[la] going on - by Vanvitelli delle [...]hi[...] 1736 Bought in Rome by Mr & Mrs H. Ol[mius?] [...]05 as a souvenir of their stay in the del Dra[go] [w]hich was the American Embassy.'

    Christie's
  • ANTONIO  JOLI
    Jan. 31, 2013

    ANTONIO  JOLI

    Est: $200,000 - $300,000

    MODENA  1700  -  1777  NAPLES ROME,  A  VIEW  OF  THE  FORUM  WITH  THE  CAMPO  VACCINO,  THE  CHURCH  OF  SANTA  FRANCESCA  ROMANA  AND  THE  COLOSSEUM oil  on  canvas 47  3/4    by  66  3/8    in.;  121.5  by  168.5  cm.

    Sotheby's
  • Antonio Joli (Modena c. 1700-1777 Naples)
    Jan. 30, 2013

    Antonio Joli (Modena c. 1700-1777 Naples)

    Est: $400,000 - $600,000

    Antonio Joli (Modena c. 1700-1777 Naples) View of the Bay of Naples oil on canvas 30½ x 42½ in. (77.5 x 108 cm.)

    Christie's
  • Antonio Joli (Modena 1700-1777 Naples)
    Dec. 05, 2012

    Antonio Joli (Modena 1700-1777 Naples)

    Est: £50,000 - £80,000

    Antonio Joli (Modena 1700-1777 Naples) The Bacino di San Marco, Venice, with the Punta della Dogana and San Giorgio Maggiore oil on canvas 51 x 57 1/8 in. (129.8 x 145 cm.)

    Christie's
  • Joli, Antonio - Nachfolger - Vulkankrater bei Pozzuoli
    Nov. 19, 2011

    Joli, Antonio - Nachfolger - Vulkankrater bei Pozzuoli

    Est: - €1,500

    Joli, Antonio - Nachfolger-Vulkankrater bei Pozzuoli-(Ca. 1700-1777) Passanten sowie weidende Schafherde mit Hirten am Rand des Kraters, wohl der Monte Nuovo, weiter Blick auf die Meeresbucht, links im Hintergrund Pozzuoli, rechts Miseno. Öl/Lwd., doubl. 47 x 55 cm. - Links kleinere Läsuren.

    Kunstauktionshaus Schlosser
  • Antonio Joli (Modena 1700-1777 Napoli)
    May. 25, 2011

    Antonio Joli (Modena 1700-1777 Napoli)

    Est: €400,000 - €600,000

    Antonio Joli (Modena 1700-1777 Napoli) Veduta di Napoli dal Vesuvio olio su tela 145,5x258 cm. Iscritto "Veduta presa dal Salva (?)/Sul Monte Vesuvio/Ant.o Joli 1760" in basso a destra

    Christie's
  • ANTONIO JOLI AND STUDIO
    Jan. 27, 2011

    ANTONIO JOLI AND STUDIO

    Est: $80,000 - $120,000

    ANTONIO JOLI AND STUDIO MODENA CIRCA 1700 - 1777 NAPLES VIEW OF THE PIAZZA MONTECAVALLO WITH THE PALAZZO DEL QUIRINALE oil on canvas 26 1/2 by 38 in.; 67.3 by 96.5 cm.

    Sotheby's
  • AFTER ANTONIO JOLI (Italian 1700-1777) Capriccio with a view of the Thames and St. Paul's, oil on canvas, unsigned. Metal plaque with title and attribution. Contained in gilt gessoed frame. Condition: old reline, areas of repair and overpaint.
    Sep. 25, 2010

    AFTER ANTONIO JOLI (Italian 1700-1777) Capriccio with a view of the Thames and St. Paul's, oil on canvas, unsigned. Metal plaque with title and attribution. Contained in gilt gessoed frame. Condition: old reline, areas of repair and overpaint.

    Est: $5,000 - $7,000

    AFTER ANTONIO JOLI (Italian 1700-1777) Capriccio with a view of the Thames and St. Paul's, oil on canvas, unsigned. Metal plaque with title and attribution. Contained in gilt gessoed frame. Condition: old reline, areas of repair and overpaint. Dimensions: 40 1/4'' X 30 3/4'', frame 48 1/2'' X 39''. Provenance: purchased at Sothebys' circa 1998.

    Dargate Auction Galleries
  • FILIPPO MORGHEN (1730-1807), after Antonio Jolli
    Aug. 08, 2010

    FILIPPO MORGHEN (1730-1807), after Antonio Jolli

    Est: £250 - £350

    FILIPPO MORGHEN (1730-1807), after Antonio Jolli (1700-1777) 'Veduta generale degli avanzi di Pesto dalla parte di ponente', handcoloured engraving, 28cm x 38cm, and four other Italian studies. (5)

    Lots Road Auctions
  • Antonio Joli (Modena 1700-1777 Naples)
    Jul. 06, 2010

    Antonio Joli (Modena 1700-1777 Naples)

    Est: £400,000 - £600,000

    Antonio Joli (Modena 1700-1777 Naples) View of Piazza del Popolo, Rome; and View of the Ponte Sant'Angelo and Castel Sant'Angelo, with Saint Peter's Basilica beyond, Rome oil on canvas, shaped 47¼ x 49 1/8 in. (120 x 125.5 cm.) a pair (2)

    Christie's
  • Antonio Joli (Modena circa 1700-1777 Naples)
    Jul. 06, 2010

    Antonio Joli (Modena circa 1700-1777 Naples)

    Est: £800,000 - £1,200,000

    Antonio Joli (Modena circa 1700-1777 Naples) Four views of London: The Thames looking towards St. Pauls; The Thames looking towards Westminster; Covent Garden; and The Privy Garden, Whitehall oil on canvas 17¼ x 28 5/8 in. (43.8 x 72.7 cm.) in the original carved and gilded frames a set of four (4)

    Christie's
  • ATTRIBUTED TO ANTONIO JOLI
    Jun. 03, 2010

    ATTRIBUTED TO ANTONIO JOLI

    Est: $80,000 - $120,000

    ATTRIBUTED TO ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES ARCHITECTURAL CAPRICCIO WITH FIGURES AMONG CLASSICAL RUINS BY AN INLET; ARCHITECTURAL CAPRCCIO WITH FIGURES UNDER A RUINED COLONNADE Quantity: 2 a pair, both oil on canvas each: 29 1/4 by 38 3/4 in.; 74.3 by 98.4 cm.

    Sotheby's
  • ANTONIO JOLI
    Jan. 28, 2010

    ANTONIO JOLI

    Est: $400,000 - $600,000

    ROME, A VIEW OF THE TIBER WITH THE PONTE AND CASTEL SANT'ANGELO, ST. PETER'S BASILICA AND THE VATICAN BEYOND

    Sotheby's
  • ANTONIO JOLI
    Jan. 28, 2010

    ANTONIO JOLI

    Est: $40,000 - $60,000

    MONASTERY DI SAN MARTINO, NAPLES

    Sotheby's
  • ANTONIO JOLI
    Jan. 28, 2010

    ANTONIO JOLI

    Est: $40,000 - $60,000

    THE DEATH LEAP OF MARCUS CURTIUS inscribed on the reverse: Joli Fecυt 1762/ P S Eccυza francavilla a Napoli

    Sotheby's
  • Antonio Joli (Modena c. 1700-1777 Naples)
    Jan. 27, 2010

    Antonio Joli (Modena c. 1700-1777 Naples)

    Est: $300,000 - $500,000

    Antonio Joli (Modena c. 1700-1777 Naples) An architectural capriccio with soldiers and other figures in an open portico, a courtyard and palace beyond inscribed with inventory number '65.' (upper left) oil on canvas 46¾ x 46½ in. (118.7 x 118.2 cm.)

    Christie's
  • Antonio Joli (Modena 1700 -1777 Napoli) Die
    Mar. 31, 2009

    Antonio Joli (Modena 1700 -1777 Napoli) Die

    Est: €120,000 - €150,000

    Antonio Joli (Modena 1700 -1777 Napoli) Die Peterskirche und der Petersplatz in Rom; veduta di San Pietro a Roma e il colonnato del Bernini, ╓l auf Leinwand, 73 x 118,7 cm, gerahmt, (Wo)

    Dorotheum
  • JOLI, ANTONIO
    Sep. 15, 2008

    JOLI, ANTONIO

    Est: CHF15,000 - CHF25,000

    JOLI, ANTONIO (Modena circa 1700 - 1777 Naples ) View of a castle complex, probably Monte Castello. Oil on canvas. 18 x 25.3 cm. Prof. Ralph Toledano has examined the painting in the original and considers it to be by Antonio Joli, produced between 1725 and 1730. JOLI, ANTONIO (Modena um 1700 - 1777 Neapel) Ansicht auf eine Burganlage, wohl Monte Castello. Öl auf Leinwand. 18 x 25,3 cm.

    Koller Auctions
  • The Isola dei Pescatori, Lake Maggiore
    Jul. 11, 2008

    The Isola dei Pescatori, Lake Maggiore

    Est: £5,000 - £8,000

    Circle of Antonio Joli (Modena c. 1700-1777 Naples) The Isola dei Pescatori, Lake Maggiore oil on canvas, unframed 18½ x 25 in. (47 x 63.5 cm.)

    Christie's
  • Ription Antonio Joli (Modena c. 1700 - 1777
    Apr. 15, 2008

    Ription Antonio Joli (Modena c. 1700 - 1777

    Est: €40,000 - €60,000

    Ription Antonio Joli (Modena c. 1700 - 1777 Naples) Oriental figures in a river landscape with ruins, a fortified borgo beyond, Oil on canvas, 68x87cm, framed, (Wo) We thank Dario Succi for confirming the attribution and for suggesting a date of circa 1735 for the present composition. This would imply the painting was executed during Joli's first stay in Venice between 1732 and 1742.

    Dorotheum
  • Caprice fluvial bordé de palais
    Jun. 20, 2007

    Caprice fluvial bordé de palais

    Est: €10,000 - €15,000

    ENTOURAGE D'ANTONIO JOLI (MODENE VERS 1700-1777 NAPLES) Caprice fluvial bordé de palais Huile sur toile 62 x 172,2 cm. (24½ x 67¾ in.)

    Christie's
  • Vedute di Madrid: Anfiteatro per gli Spettacoli delle Feste de Tori eretto l'anno 1750 fuori della porta di Alcala a Madrid
    Mar. 07, 2007

    Vedute di Madrid: Anfiteatro per gli Spettacoli delle Feste de Tori eretto l'anno 1750 fuori della porta di Alcala a Madrid

    Est: £400 - £600

    Antonio Joli (1700-1777) Vedute di Madrid: Anfiteatro per gli Spettacoli delle Feste de Tori eretto l'anno 1750 fuori della porta di Alcala a Madrid etching S. 18 x 27in. (45.7 x 68.5cm.)

    Christie's
  • Antonio Joli (Modena c. 1700-1777 Naples)
    Jul. 06, 2006

    Antonio Joli (Modena c. 1700-1777 Naples)

    Est: £120,000 - £180,000

    The Bay of Naples, from the Posillipo, with the Riviera di Chiaia, the Pizzofalcone barracks, the Castel Sant'Elmo, the Certosa di San Martino, and the Castel dell'Ovo, with Vesuvius beyond; and The Bay of Naples from San Giovanni a Teduccio looking towards the Vomero with the Castel dell'Ovo, the Lanterna del Molo, the Castel Nuovo, called Maschio Angioino, and with the Castel Sant'Elmo and the Certosa di San Martino beyond oil on canvas 21 1/2 x 37 5/8 in. (54.6 x 95.6 cm.) a pair (2)

    Christie's
  • f - ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES
    Jul. 05, 2006

    f - ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES

    Est: £200,000 - £300,000

    THE PROPERTY OF A LADY A VIEW OF PAESTUM IN EVENING LIGHT WITH MERRY TRAVELLERS AND AN ARTIST SKETCHING BELOW A STONE ARCH measurements note 131 by 103.5 cm.; 51 1/2 by 40 3/4 in. inscribed and dated on the reverse of the relining canvas: Vedata. Standi Soto. la. Porta./Dilla Cita di Pesto. Anno Jolli / 1738 oil on canvas PROVENANCE Sir James Gray (c.1708-1773), extraordinary envoy in Naples and later ambassador in Madrid, by 1767; Samuel Ware (1781-1860), Hendon Hall, Middlesex; By descent to his nephew Charles Nathaniel Cumberlege Ware (1807-1888); Thence by family inheritance and descent to the present owner. LITERATURE Catalogue of the Hendon Hall Collection, MS. catalogue of c.1850, no. 35, reproduced in the form of an original watercolour by Frederick Earp (1827-1897); M. McCarthy, "New Light on Thomas Major's 'Paestum' and later English Drawings of Paestum", in Paestum and the Doric Revival 1750-1830, exhibition catalogue, New York, National Academy of Design, 19 February - 30 March 1986, pp. 47-48; R. Middione, Antonio Joli, Soncino 1995, p. 92, under cat. no. 25; J. Ingamells, A Dictionary of British and Irish Travellers in Italy 1701-1800, London 1997, p. 424. ENGRAVED: By Thomas Major (1714/20-1799) for his book on The Ruins of Paestum, otherwise Posidonia, in Magna Graecia, London 1768, p. 43, reproduced (in engraved form) plate III, no. 2, with the caption: "This view was also taken in Presence of his Excellency Sir James Gray, and engraved from a fine painting in his collection". NOTE Though born in Modena, Joli travelled throughout Italy enjoying a successful career as a painter of vedute and capricci, principally aimed at the English Grand Tourists. Joli was one of the first artists to paint views of the three Doric temples at Paestum and a number of paintings of the site, seen from different vantage points, are known. Its popularity as a stop on the Grand Tour was such that Joli found a ready market for his views amongst his English clientele.1 He painted the subject a number of times but the theatrical arch surrounding the present view appears to be unique in his ~uvre. The temples are shown from the East, just as they are in two other panoramic views of Paestum by Joli.2 The introduction here of the arch and of the hole in the ruined wall, which allows us to see the third temple which would otherwise be hidden from view, is an ingenious way to draw us into the picture. The figures conversing in the foreground and the artist sketching lower left also serve the same purpose. The temples were also painted by Joli from the other side and at least two versions of that composition survive.3 Other paintings of Paestum by Joli include views taken from inside the temple structures, indicating that not only did he get very close to the ruins themselves but that he also probably executed a number of drawings in situ.4 As well as being used for his paintings, these drawings probably inspired Filippo Morghen's set of six engravings of views of Paestum (1766) and those produced two years later by Thomas Major, after paintings by Joli in the collection of Sir James Gray in 1767 (see under Engraved below). Sir James Gray (c.1708-1783) travelled extensively to Italy and after a stay of almost a decade in Venice, he was appointed envoy extraordinary at Naples in 1753. He remained in that post until 1759 whereupon he was appointed plenipotentiary minister (until 1764). Whilst in Naples he took a keen interest in archeological excavations at Herculaneum and it may have been at around this time that he commissioned Joli to paint two views of Paestum, one of which was this painting. The views were only engraved in 1768, when Gray was ambassador in Madrid (1767-69), but it is likely that they were commissioned from the artist in the late 1750s, during Gray's sojourn in Naples. The caption on the engraving indicates that Joli drew or painted the scene in Gray's presence, and indeed a nobleman stands beside the artist sketching lower left (presumably Gray and Joli themselves). The inscription on the reverse of this painting, almost certainly transcribed from an old inscription on the original canvas, is reliable except that the date should more plausibly read 1758 (not 1738).5 This painting is next recorded in the celebrated collection at Hendon Hall, Middlesex, an early Georgian house, more recently infamous for being the hotel where the victorious England football team stayed the night before winning the 1966 World Cup. The house was sold by the executors of William, Marquis of Powis, in 1757 to James Clutterbuck, a financier, who acquired it for his friend David Garrick. Though his memorial was erected at Hendon, Garrick apparently never lived there, but he did arrange for his nephew the Rev. Carrington Garrick to live at Hendon, and Hendon Hall and its estate were left on trust for him on Garrick's death. In 1790 the house was sold to John Bond and in 1822 it was sold again to Brian Scotney, who added to the house the portico from the recently demolished Wanstead House, the stone bases and corinthian capitals having previously been taken from Canons after the death of the Duke of Chandos in 1744. Shortly afterwards, it was acquired by Samuel Ware who extended the house by adding a library and drawing room to house the collection. A manuscript catalogue of the collection, listing over 200 paintings and sculptures, including this painting, was produced in 1850 with watercolour illustrations of most of the pictures by Frederick Earp (1827-1897), one of 'The Earps of Brighton', a family of watercolourists. Probably the most celebrated painting in the collection was a ceiling painting An Allegory of the Planets and Continents by Giambattista Tiepolo, gifted to the Metropolitan Museum of Art, New York, by Mr. & Mrs. Charles Wrightsman in 1977. Another painting from the collection, a painting of A Shepherd Boy Pointing at Tobias and the Angel by Abraham Bloemaert, is in The Minneapolis Institute of Arts. The collection covered a wide range of artists including Veronese, Guardi, Boucher and Vernet. It also contained two views of London by Antonio Joli. 1. He painted such views for Lord Brudenell, Sir Thomas Gray and Sir William Hamilton. For the last of these, see C. Knight, "La quadreria di Sir William Hamilton a Palazzo Sessa", in Napoli Nobilissima, 1985, p. 55. 2. One sold, New York, Sotheby's, 24 January 2002, lot 46, and the other sold, London, Sotheby's, 9 December 1987, lot 27 (see M. Manzelli, Antonio Joli: opera pittorica, Venice 1999, cat. nos. W.3 & W.4, the latter reproduced fig. 96). 3. These paintings are in the Norton Simon Museum, Pasadena, and the other was sold, New York, Sotheby's, 7 October 1994, lot 168, and was later with Rob Smeets at the Maastricht TEFAF Fair in 1997 (reproduced in Manzelli, op. cit., cat. no. W.1, colour plate XLVI, and cat. no. W.2, fig. 95 respectively). 4. For a closer view of the temples see the painting formerly with P. & D. Colnaghi Ltd., London, 1978 (Manzelli, ibid., cat. no. W.5, fig. 97). For interior views of the Temple of Neptune see the painting sold, London, Christie's, 22 February 1992, lot 14, and that in Palazzo Reale, Caserta, inv. 1907-386 (ibid., cat. nos. W.6, & W.7, figs. 98-99). 5. The original inscription probably read: Veduta. Stando Sotto. la. Porta./Della Città di Pesto. Ant.nio Jolli / 1758. It was almost certainly mis-transcribed since Joli's other views of Paestum are datable to the late 1750s; see, for example, his painting at Caserta which is signed and dated 1759 (see Middione, under Literature, pp. 92-3, cat. no. 25, reproduced in colour).

    Sotheby's
  • ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES
    Jul. 05, 2006

    ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES

    Est: £100,000 - £150,000

    THE PROPERTY OF A PRIVATE COLLECTOR ROME, A VIEW OF THE CAMPO VACCINO measurements note 37.5 by 71 cm.; 14 3/4 by 28 in. oil on canvas PROVENANCE Anonymous sale, New York, Sotheby's, 9 June 1983, lot 64, where acquired by a private collector; Sold by the above ("The Property of a Gentleman"), London, Sotheby's, 13 December 2001, lot 78, where acquired by the present owner. LITERATURE M. Cinotti, Catalogo della pittura italiana dal '300 al '700, Milan 1985, p. 203; M. Manzelli, Antonio Joli: opera pittorica, Venice 1999, p. 94, no. R.29; C. Beddington, "Review of Antonio Joli: opera pittorica by M. Manzelli", in The Burlington Magazine, vol. CXLII, no. 1171, October 2000, p. 640. NOTE This view of the Campo Vaccino in Rome was one of Joli's most popular and it is frequently represented in his oeuvre, though normally on a much larger scale; indeed the small dimensions of this work would appear to be unique. In Joli's day the Roman Forum was known as the 'Campo Vaccino' - literally 'Cattle Field' - due to its function as a resting-place for cattle and ox-carts with which peasants brought their wares to sell (this persisted from the end of the 16th century until as late as 1873). The numerous versions of this view which have survived, not only by Joli but by other vedutisti such as Gian Paolo Panini, attest to the popularity of it amongst the artists' clientele. The buildings, from left to right, can be identified as: the temple of Antoninus and Faustina (later transformed into the church of San Lorenzo in Miranda); the Basilica of Maxentius or of Constantine (begun by Maxentius in 306-312 A.D. and completed by the latter); the church of Santa Francesca Romana (built in the 10th century, with the romanesque campanile added in the 12th century) and the Colosseum beyond; the Arch of Titus in the centre and the Arch of Constantine behind it; the church of Santa Maria Liberatrice (built in 1617, refurbished during the following century, and remaining in situ until it was demolished in 1899 to bring to light the remains of Santa Maria Antiqua which lay beneath); the three free-standing columns of the temple of Castor and Pollux (erected in 484 B.C.); and finally three of the eight remaining columns of the temple of Saturn (completed in 497 B.C.).

    Sotheby's
  • ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES
    Jul. 05, 2006

    ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES

    Est: £120,000 - £180,000

    THE PROPERTY OF A LADY ROME, A VIEW OF THE COLOSSEUM AND THE ARCH OF CONSTANTINE, WITH AN ARTIST SKETCHING IN THE RIGHT FOREGROUND measurements note 98.8 by 149.1 cm.; 39 by 58 3/4 in. oil on canvas NOTE The unusual subject of this painting stands this work apart from Joli's other views of Rome: only two other versions of this composition are known by the artist.1 An autograph replica of the right section of the composition was in the collection of the Earl of Harewood and another, of inferior quality and therefore probably with some studio participation, was offered in these Rooms on 22 April 2004, lot 125.2 This scenographic view of the Colosseum would have appealed to an English clientele and Joli may have painted it during his English sojourn, between 1744 and 1748. The topographical accuracy of the buildings depicted would suggest that Joli composed the view using earlier drawings executed in situ whilst in Rome, where he is documented as a member of the Accademia di San Luca in 1719. The main subject of this painting is the Flavian amphitheatre or Colosseum, as it has come to be known since medieval times due to its colossal dimensions. The largest surviving monument from Roman times, it was begun by Vespasian in 72 A.D. and was completed by Titus eight years later. The inauguration ceremony, during which hundreds of gladiators and thousands of animals died, apparently lasted 100 days. Over the centuries the structure fell into disrepair, after being struck by lightning and hit by earthquakes. From the 15th century the Colosseum was regularly pillaged and its travertine used to construct other buildings in Rome, such as Palazzo Venezia, the Cancelleria, Saint Peter's Basilica, and the Porto di Ripetta (in the case of the last of these, three whole arches were used after an earthquake of 1703 caused them to fall). It was not until Pope Benedict XIV declared the monument sacred in the mid-18th century, that the pillaging ceased and the Colosseum retained its appearance: indeed its form in Joli's painting is very close to that which it has today, over 150 years later. To the right of the Colosseum lies the Arch of Constantine, dedicated to the Romans by the Senate in 315 A.D. to commemorate Constantine's victory over Maxentius in the battle of the Milvian bridge. Unlike the Colosseum, it did not suffer at the hands of over-zealous architects in the previous centuries and was restored in the 1700s, making it one of the best-preserved monuments of ancient Rome. 1. One sold, New York, Christie's, 24 January 2003, lot 57, where erroneously described as by Hendrik Frans van Lint; the other sold, London, Sotheby's, 8 December 2004, lot 52. 2. The Harewood picture was sold, London, Christie's, 2 July 1965, lot 92.

    Sotheby's
  • ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES
    Jan. 26, 2006

    ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES

    Est: $600,000 - $800,000

    PROPERTY SOLD BY THE ORDER OF THE TRYON PALACE COMMISSION TO BENEFIT THE ACQUISITION FUND FOR TRYON PALACE HISTORIC SITES & GARDENS CAPRICCIO OF THE RIVER MENAM, WITH THE FRENCH AMBASSADOR APPROACHING THE KING OF SIAM'S PALACE, WITH THE WHITE PORCELAIN PAGODA NEAR NANJING, CHINA measurements note canvas only: 38 1/2 by 52 1/2 in.; 98 by 133.5 cm. canvas and mirror: 64 by 52 1/2 in.; 162.5 by 133.5 cm. oil on canvas PROVENANCE With G. Oliver & Sons, Guildford, Surrey, by whom sold in 1951 to French & Co., Inc., New York, from whom acquired in 1957 by the present owners. LITERATURE G. Z. Thomas, "A picture worth a thousand words," Antiques Magazine, November 1965; "Collector's Notes," Antiques Magazine, February 1967. NOTE This Capriccio of the River Menam is quite unusual in the artist's oeuvre, whose work consists mostly of views of Naples, Venice, Madrid, Rome and London, with an occasional architectural capriccio. The well-traveled Joli had visited and worked in all of these places and had first hand knowledge of the sites that he portrayed. However, this composition, although topographical in nature, has an element of fantasy and the exotic which is unique among his vedute. Having no first-hand knowledge of Asia himself, Joli based his view on the printed sources that were available to him. The Austrian architect Johann Bernhard Fischer von Erlach had published in 1721 his multi-volumed Entwurff einer historischen Architektur, a world history of architecture. One engraving (vol. III, plate X; see Fig. 1) depicts the Royal Palace of Siam along the River Menam. Fischer von Erlach (himself amalgamating his engraving from images in the Voyage de Siam, (1688), chose to depict an historical event, the arrival of a French Embassy to Siam in October of 1685. An attempt was made to give control of Siam to the French, apparently with the complicity of the Thai King Narai's advisor, the Greek adventurer Constantine Phaulkon. Phaulkon was later killed and the French were driven from the country. As if to reinforce the exoticism of the composition even further, Joli has interpolated another more famous Asian architectural form and one that would have been the most familiar to 18th Century Europeans. At the left of the composition is a depiction of the famous White Porcelain Pagoda, from the Baoen si Temple, outside Nanjing, China. This tower was the first such known in Europe when it was published in Jan Nieuhof's An Embassy from the East India Company (Amsterdam 1665, see Fig. 2), and later again by Fischer von Erlach (vol. III, plate XII). While it is difficult to date this picture stylistically, the elablorate gilt chinoiserie mirror in which the painting acts as a trumeau may furnish a clue. The motifs on the mirror as well as its construction suggest that it is German, and thus the painting may have been commissioned by a German patron during Joli's sojourn there, just before 1744. Another version of the composition, with differences in staffage and other details, is in an American private collection (see R. Middione, Antonio Joli, Sondino ca. 1995, cat. no. 5; and M. Manzelli, Antonio Joli, Venice ca. 1999, p. 128, cat. no C.13). We are grateful to Ralph Toledano who has noted that this painting or the other version may be identifiable with a picture formerly at Stowe (see J. Seeley, Stowe, A Description of the House and Gardens of the most Noble and Puissant Prince George Grenville Nugent Temple, Marquis of Buckingham, by 1797, p.53, where the author describes in the "Drawing Room", a "View of Pekin, by Jolli"). Based on photographs, Professor Toledano will include the present painting in his forthcoming monograph on Joli.

    Sotheby's
  • ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES
    Dec. 07, 2005

    ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES

    Est: £180,000 - £250,000

    PROPERTY FROM A PRIVATE COLLECTION VENICE, A VIEW OF THE BACINO DI SAN MARCO FROM THE ENTRANCE OF THE GIUDECCA, WITH THE PUNTA DELLA DOGANA AND THE CHURCH OF SAN GIORGIO MAGGIORE measurements note 55.2 by 167.8 cm.; 21 3/4 by 66 in. oil on canvas, in its original George II carved and gilt wood frame PROVENANCE Anonymous sale, London, Christie's, 24 May 1991, lot 81, where acquired by the present owner. EXHIBITED Padua, Palazzo della Ragione, Luca Carlevarijs e la veduta veneziana del Settecento, September - December 1994, no. 96. LITERATURE D. Succi, in Luca Carlevarijs e la veduta veneziana del Settecento, exhibition catalogue, Padua, Palazzo della Ragione, September - December 1994, p. 281, cat. no. 96, reproduced in colour pp. 284-5; M. Manzelli, Antonio Joli opera pittorica, Venice 1999, p. 102, cat. no. V.11, reproduced in colour plate XXXVIII. NOTE This veduta of the Bacino di San Marco is an impressive example of the kind of panoramic views which made Antonio Joli one of the most sought-after vedutisti of the 18th Century. Joli was extremely well-travelled and is known to have worked in a number of Italian cities (Modena, Perugia, Venice, Rome and Naples), as well as in Dresden, London (1744-48) and Madrid (1750-54). He is first recorded in Venice in the spring of 1732 and remained in the city for ten years. He made a name for himself there as a scenografo designing sets for theatrical and musical performances as well as for festivals in Venice, Modena and Padua. His success in this vein no doubt brought in its train a demand from clients for easel paintings, particularly views of the city, and in this he was to draw heavily upon the work of his contemporary Canaletto, whom he may have met in Venice in 1735. After departing from the city in 1742 Joli only returned to Venice in 1754 and remained for one year, during which he was elected a founder-member of the Accademia, before leaving for Madrid. This composition of the Bacino di San Marco, to judge from the number of extant versions, was probably the most popular amongst Joli's views of Venice although he usually painted it with a much narrower viewpoint (compare, for example, the signed painting published by R. Middione, Antonio Joli, Bergamo 1995, pp. 68-9, cat. no. 12, reproduced, and the variant of it, also signed, sold in these rooms, 10 July 2002, lot 78). The elongated format of the present painting, probably due to the fact that the canvas was intended as an overdoor, is particularly suited to a more panoramic view of the same site. What might at first glance appear to be a topographical view of the Bacino is, in fact, a slightly distorted representation in which the viewpoint is taken as if the artist were in the middle of the lagoon at the entrance to the Giudecca. The buildings in the distance on the Riva degli Schiavoni have also been stretched in order to create what appears to be an harmonious and apparently faithful representation of the Bacino. The wall and two medieval towers at extreme right, next to San Giorgio Maggiore and to the convent of San Giovanni Battista, were considered by Succi (see Literature) to be the artist's own fantasy. Manzelli (see Literature), by contrast, did not consider this to be a capriccio view and identified the towers as once having belonged to Palazzo Dandolo delle Torri, apparently destroyed in the early 19th Century. Indeed the two medieval towers forming part of the walled garden behind the convent of San Giovanni Battista are visible in Jacopo de' Barbari's bird's-eye view of Venice woodcut of 1500 as well as in a map of the city of 1572 (the latter published in J. Goss, Braun & Hogenberg's The City of Maps of Europe, London 1991, pp. 116-7, reproduced in colour plate 55). Although Succi dates this painting to the mid-1750s, after Joli's return to Venice from Madrid, it is more likely that it dates from his English sojourn in the previous decade (as Manzelli also believes). The painting's George II carved and gilt wood frame, almost certainly original due to the painting's unusually elongated format, would also suggest a date in the 1740s and an English provenance.

    Sotheby's
  • PROPERTY FROM A PRIVATE COLLECTION ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES ROME, A VIEW OF
    Jul. 07, 2005

    PROPERTY FROM A PRIVATE COLLECTION ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES ROME, A VIEW OF

    Est: £250,000 - £350,000

    PROPERTY FROM A PRIVATE COLLECTION ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES ROME, A VIEW OF THE TIBER WITH THE PONTE AND CASTEL SANT'ANGELO, ST. PETER'S BASILICA AND THE VATICAN BEYOND oil on canvas PROVENANCE Anonymous sale ("The Property of a Lady"), London, Christie's, 9 April 1990, lot 84, where acquired for £320,000 by the present owner. LITERATURE AND REFERENCES M. Manzelli, Antonio Joli opera pittorica, Soncino 1999, p. 90, cat. no. R. 6, reproduced in colour plate XXVI. CATALOGUE NOTE The fact that the View of the Tiber with the Castel Sant'Angelo exists in a number of variants in Joli's oeuvre - Manzelli lists twenty-two in all - attests to the great popularity of this view. Joli painted the site on a number of occasions, introducing slight changes in the format, viewpoint and staffage of each representation. For a fuller discussion of Joli's treatments of the subject see the note to lot 50 in this sale. The view is taken on the bend of the River Tiber at the Ponte and Castel Sant'Angelo looking West towards St. Peter's Basilica and the Vatican. The bridge was first built under Hadrian to link the Castel Sant'Angelo, built on one bank, with the rest of Rome on the other. Building on the Castel began in 123 A.D. and though it was first intended as Hadrian's mausoleum, it went on to serve as a prison, papal residence and stronghold in the ensuing centuries: today it is a public musem. The Ponte Sant'Angelo was first erected in 133-134 A.D. but was substantially altered in the 16th century under Pope Clement VII. In 1668, under the auspices of Pope Clement IX, the sculpted angels holding symbols of the Passion, designed by Gian Lorenzo Bernini and sculpted by his pupils, were installed. Just beyond the Castel Sant'Angelo, on the same bank, is the church of S. Maria in Traspontina which had been demolished in 1564 and rebuilt in 1566 to make way for the Castel Sant'Angelo's pentagonal fortified walls. To the left of it, along the riverbank, is the complex of the Ospedale di S. Spirito in Sassia with the campanile of its church, designed by Baccio Pontelli in 1471, just visible above it. On the horizon beyond rises the Basilica of St. Peter's, with its famous cupola designed by Michelangelo, and the Vatican complex; their appearance remains largely unchanged today despite the construction of Via della Conciliazione in 1936-50 which led to the destruction of much of the borghi of S. Spirito and S. Angelo. This panoramic view is topographical but Joli delights in populating his scenes with lively figures, both on the river and on its banks, and this is what gives each rendition its individuality: here merchants load their wares on a small trading vessel, a gondolier takes two ladies on a trip down the river, citizens and tourists of Rome cross the Ponte Sant'Angelo and point at the sites, and all this is imbued with the golden light that so inspired vedutisti to paint Rome in all her true colours.

    Sotheby's
  • PROPERTY FROM A PRIVATE COLLECTION ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES ROME, A VIEW OF
    Jul. 07, 2005

    PROPERTY FROM A PRIVATE COLLECTION ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES ROME, A VIEW OF

    Est: £600,000 - £800,000

    PROPERTY FROM A PRIVATE COLLECTION ANTONIO JOLI MODENA CIRCA 1700 - 1777 NAPLES ROME, A VIEW OF THE PIAZZA DEL POPOLO; ROME, A VIEW OF THE TIBER WITH THE PONTE AND CASTEL SANT'ANGELO, ST. PETER'S BASILICA AND THE VATICAN BEYOND a pair, both oil on canvas, in English gilt pinewood and plaster frames dating from circa 1840 Quantity: 2 PROVENANCE Thomas Henry Allen Poynder (1814-1873), of Hartham Park, Wiltshire, from 1855 when Thomas Poynder took a fifteen year lease of Hartham from Lord Methuen; Thence by descent to his grandson, Sir John Dickson-Poynder, Bart., later 1st Baron Islington, GCMG, GBE, DSO (1866-1936), Hartham Park, Wiltshire, until 1922 and then probably at Rushbrooke Hall, Suffolk; Thence by inheritance to his widow, Anne Dundas, later Lady Islington (1869-1958), Rushbrooke Hall, Suffolk, and then possibly at Dyrham Park, Gloucestershire; Thence by family descent. EXHIBITED Bristol, Bristol City Art Gallery, c. 1958-1961 (on loan) LITERATURE AND REFERENCES Messrs. Winkworth & Co, 12 Curzon Street, Mayfair, W, An Inventory of the Fixtures, Furniture, Pictures, Ornaments & Effects upon the Premises, Hartham, Corsham, Wiltshire. The Property of The Right Hon.ble Lord Islington, MS. dated August 1910, volume II, p. 405, as hanging in the Drawing Room, under 'Pictures': "Pair of oil paintings by G. Vanvitel 1647/ in massive carved gilt frames/ *"Dagli Occhiali"/ "Views of Rome". CATALOGUE NOTE This fine pair of Roman views by Antonio Joli are precisely the kind of pictures which would have been commissioned and collected by the British aristocracy travelling to Italy on the Grand Tour. Although the early provenance for this pair of pictures is not known, the fact that they are in matching English gilt frames, datable to circa 1840, suggests that they may indeed have been painted for a British patron. The View of the Tiber with the Castel Sant'Angelo was one of Joli's most popular views and was repeated by the artist on a number of occasions, though he introduced differences in the format, viewpoint, and staffage of each representation (see M. Manzelli, Antonio Joli opera pittorica, Venice 1999, pp. 89-93, cat. nos. R.1-22, reproduced figs. 54-63 and colour plates XXVI-XXVIII). Joli's views of this particular site tend to fall into two categories: those in which the wall on the left bank is straight, and those in which he introduces a sharp kink or point (for an example of the latter see lot 52 in this sale). Both compositions have their functions: the first creates a cleaner perspectival line, leading our eye directly to the cupola of St. Peter's Basilica on the horizon, whilst the second adds movement to the left side of the composition, giving a platform for figures to lean over the balustrade and interact with the scene around them. Whilst parallels for the smaller figures and boats can be found in other variants of the composition - particularly the boat lower centre with a gondolier and two seated figures, which reappears almost identically in the majority of Joli's versions of the subject - other details remain unique to this particular representation: the yacht lower left, for example, does not appear in any other variant and adds interest to the foreground area (even though its presence is entirely fantastical, for it could never pass beneath the Ponte Sant'Angelo). By contrast, only a couple of variants of the View of Piazza del Popolo are known to exist in Joli's oeuvre, despite it being one of the most recognisable squares in Rome and one of the most-painted by vedutisti. Except for Joli's shaped canvas, conceived as part of a set of views of Rome and Venice painted for Philip Dormer Stanhope, 4th Earl of Chesterfield (Manzelli, op. cit., p. 96, cat. no. R. 39, reproduced fig. 66), the only other known panoramic view of Piazza del Popolo by the artist is a signed and dated canvas of 1759, formerly with Galleria Apolloni, Rome (Manzelli, ibid., p. 96, cat. no. R. 40; reproduced in R. Middione, Antonio Joli, Soncino 1995, p. 26, fig. 11). That painting was considered by Briganti to have been based on Giovanni Paolo Panini's view of the same site, dated to circa 1725 or slightly earlier, which was in the collection of Alberto di Castro in Rome (reproduced in F. Arisi, p. 300, cat. no. 152). A direct comparison with Panini's painting shows, however, that Joli's views have much more in common with those of his contemporary Gaspar van Wittel, called Vanvitelli, whose less populated representations of Piazza del Popolo come much closer to Joli's, both in terms of viewpoint and composition, and indeed this pair of paintings was once considered to be by Vanvitelli (see under Literature below; for Vanvitelli's representations see G. Briganti, Gaspar van Wittel, ed. L. Laureati and L. Trezzani, Milan 1996, pp. 132-6, cat. nos. 1-15, most of them reproduced). Provenance Though it is not known with any certainty when these two pictures entered the Poynder collection, it is reasonable to assume that they were already at Hartham Park when Sir John Poynder-Dickson inherited it but they were certainly there in 1910 when a manuscript inventory lists them, under the erroneous attribution of Vanvitelli, as hanging in the Drawing Room (see Literature below). Sir John Dickson-Poynder was a distinguished politician and colonial administrator. In 1884, he succeeded his uncle, Sir Alexander Dickson, as 6th Baronet and on inheriting his maternal grandfather's property in 1888, he assumed by royal licence the additional surname of Poynder. He settled down at Hartham Park in Wiltshire (fig. 1) where the Poynder lands were extensive and in 1892, was elected as the conservative member for the Chippenham division. He married Anne Dundas in 1896 and they lived together at Hartham during the early years of their marriage. In 1910, he was appointed Governor-General of New Zealand, a post he held for two years and in the same year was created Baron Islington of Islington. Hartham was leased in 1855 from Lord Methuen of Corsham Court. Whilst maintaining Hartham until 1922, the Islingtons were also the tenants of Glynde Place in Sussex from 1917 to 1923 and Home House at 20, Portman Square in London between 1920 and 1926. They also bought Rushbrooke Hall in Suffolk, which Lord Islington purchased for £15,000 in 1922, in response to an appeal made in Country Life in which the building was said to be under threat of demolition by its over-zealous owner. Lady Islington inherited the paintings after her husband's death on 6 December 1936 but we do not know where they might have hung. After selling Rushbrooke Hall to Victor Rothschild for £37,500, Lady Islington moved at least twice: She leased Dyrham Park near Bath for ten years (1938-48), bought (and briefly lived in) Hilmarton Manor, near Calne in Wiltshire, and then moved back to her London property in Hyde Park Gardens, where she remained until her death in August 1958. Lady Islington was one of the most admired 'leaders of fashionable taste' and, along with Nancy Lancaster, Elsie de Wolfe and Sybil Colefax, belonged to a group known as ' the Lady Decorators'.

    Sotheby's
  • PROPERTY OF A GENTLEMAN ANTONIO JOLI 1700-1777 A VIEW OF THE THAMES AT RICHMOND AND CHOLMONDELEY
    Jun. 30, 2005

    PROPERTY OF A GENTLEMAN ANTONIO JOLI 1700-1777 A VIEW OF THE THAMES AT RICHMOND AND CHOLMONDELEY

    Est: £400,000 - £600,000

    PROPERTY OF A GENTLEMAN ANTONIO JOLI 1700-1777 A VIEW OF THE THAMES AT RICHMOND AND CHOLMONDELEY HOUSE, WITH ELEGANT FIGURES ON CHOLMONDELEY HOUSE WALK AND A DISTANT VIEW OF RICHMOND HILL; AND A VIEW OF THE THAMES FROM RICHMOND HILL the former signed l.l.:An Joli a pair, both oil on canvas ENGRAVED: F. Vivares, 1749 PROVENANCE Richard Owen Cambridge (1717-1802), Cambridge House, Twickenham; Archdeacon George Owen Cambridge (1756-1841), his sale, Christie's, 11th May 1824, lots 1 and 2 (when in the Front Parlour), bt. Bursby for £9.15; George Gower, 1st Duke of Sutherland (1758-1833), and thence by descent at Trentham Hall and Stafford House; S.J. Phillips, sold Sotheby's, 16th November 1949, bt. Mitchell; Alice Pleydell-Bouverie, by whose executors sold, Christie's, 25th October 1957, lot 37, bt by the Fine Arts Society; Associated Electrical Industries Ltd., by whom sold, Sotheby's, 3rd April 1968, lot 50, bt. Leggatt, from whom acquired by the family of the present owner EXHIBITED Somerset House, London and the Thames, Paintings of Three Centuries, 6th July-9th October 1977, nos.19 and 20 LITERATURE AND REFERENCES Connoisseur, December 1957, p.259; Ellis Waterhouse, British 18th Century Painters, 1981, p. 197 (one illus.); Mario Manzelli, Antonio Joli, 1999, p.110, L.17 and L.18, illustrated figs. 84 and 85 CATALOGUE NOTE These two charming landscapes illustrate the elegant sophistication of Richmond during the mid-eighteenth century. In the former work Joli has focused on a view of Cholmondeley Walk and the peaceful river activity, and in the latter he has chosen to view the same topography from the raised viewpoint of Richmond Hill. Cholmondeley House was built for George, 3rd Earl of Cholmondeley circa 1740. Situated along the banks of the Thames, it lends its name to the stretch of land reclaimed from the river known as Cholmondeley Walk, which runs alongside the main facade of the house. The house was constructed from part of the outer wall of the destroyed Richmond Palace, and the land for Cholmondeley Walk was acquired from a neighbour in exchange for the 'Great Orchard' of the Old Palace in 1711. In the eighteenth century Richmond attracted the prosperous members of society for its reputed health benefits, and in the present picture Joli has represented elegantly dressed figures promenading along the river. In 1755 Cholmondeley House was acquired by Lord Brooke, who was later created Earl of Warwick. The property then passed to the Hon. Richard Lyttleton, followed by Georginana, Countess Cowper, whose son, John, Earl Spencer purchased the house in 1765. During the 1780s the house came into the possession of William Douglas, 4th Duke of Queensberry, and on his death it was inherited by the Marquis of Hertford. By 1830 the rate book described the once fine property as 'in ruins' and using much of the materials of the old house, the new Queenberry House was built on the eastern part of the estate. Moving east from Cholmondeley House is The Trumpeting House, or Garden Gate House. In 1700 the Hon. Richard Hill, of Hawkstone, Shropshire, acquired a thirty year lease from the Crown for this property. At the time that Joli painted this view the resident was Lewis Way, a barrister of the Inner Temple, Director of the South Sea Company, and President of Guy's Hospital. Moving further east still is Asgill House, named after Sir Charles Asgill (D.1788) for whom the house was built. Charles Asgill was a highly successful banker, and served as Lord Mayor of London in 1757-58. In 1761 he was created a baronet. From Cholmondeley Walk the top of Richmond Hill is visible. From the sixteenth century onwards rich gentlemen had built their houses on the hill overlooking the Thames, and Joli has chosen this prospect for his second view of Richmond. No.3 The Terrace was built for Christopher Blanchard, George III's cardmaker, and Sir Joshua Reynolds was a resident in Wick House which was designed for him by Sir William Chambers. The celebrated view from the top was an inspiration for artists and writers, and was painted by Turner, Martin and others. Sir Walter Scott in his Heart of Midlothian describes the magnificent view in summer. "A huge sea of verdure with crossing and interesting promonteries of massive and tufted groves,... tenanted by numberless flocks and herds, which seem to wander unrestrained, and unbounded, through rich pastures. The Thames, here turretted with villas and there garlanded with forests, moved on slowly and placidly, like the mighty monarch of the scene, to whom all its other beauties were accessories, and bore on his bosom a hundred barks and skiffs, whose white sails and gaily fluttering pennons gave life to the whole." The paintings were almost certainly commissioned by Richard Owen Cambridge, a poet and essayist, who moved from his house at Whitmister in Gloucestershire in 1749 to London having inherited a large fortune from his uncle Richard Owen. In 1751 he moved out of the city to Twickenham and bought a fine villa on the edge of the Thames near Richmond Bridge. The house, which later became known as Cambridge House, was built by Sir Humphrey Lynd in the early seventeenth century, passing to Joyce Countess of Totnes and then to Joseph Ashe. Cambridge bought the house from Wyndham Ashe and lived there for the next fifty years until his death in 1802. He entertained his wide circle of friends there and one of his dinner parties, on 18th April 1775, is colourfully described by Boswell in his Life of Johnson. On his death his property passed to his younger son, George Owen Cambridge, who became Archdeacon of Middlesex. In 1824 the Archdeacon decided to leave Cambridge House and held a sale which included the two views by Joli. The catalogue described the sale as follows: "Collection of Italian, French, Flemish, Dutch and English Pictures formed more than 40 years ago by a gentleman, the father of the present Proprietor, who is removing from his Family Mansion in Twickenham Meadows, close to Richmond Bridge, to another residence, not suited for the reception of so large a collection." The pictures were then acquired by George Leveson-Gower, 1st Duke of Sutherland, the greatest landowner in the kingdom whose standards of living "exceeded everything in this country, no one could vie with it." (Farington). Sutherland was an enthusiastic and knowledgeable art collector, and owner of one of the first private galleries in London. The pictures hung at Trentham Hall in Staffordshire and then at Stafford House in London.

    Sotheby's
  • Antonio Joli (c.1700-1777)
    Jun. 14, 2005

    Antonio Joli (c.1700-1777)

    Est: £400,000 - £600,000

    View of the City of London from the Thames with St. Pauls Cathedral and Old London Bridge, a procession of boats on the river in the foreground; and View of Westminster from the Thames with Westminster Bridge, the Abbey and the Banqueting House, and boats on the river in the foreground the former signed 'A: jolli' (lower left), the latter signed 'jolli' (lower left) oil on canvas 15 x 28 in. (38.1 x 71.1 cm.) a pair (2)

    Christie's
  • Attribuito ad Antonio Joli (Modena 1700-1777 Napoli)
    Dec. 14, 2004

    Attribuito ad Antonio Joli (Modena 1700-1777 Napoli)

    Est: €10,000 - €15,000

    Veduta fantastica con castelli e tempietto circolare in lontananza olio su tela 38.5 x 71 cm. sul retro della cornice antico numero d'inventario '314 fran.'

    Christie's
  • Antonio Joli (Modena c. 1700-1777 Naples)
    Dec. 08, 2004

    Antonio Joli (Modena c. 1700-1777 Naples)

    Est: £80,000 - £120,000

    A capriccio of the Bacino di San Marco, Venice, from the entrance to the Giudecca, with the Punta della Dogana and San Giorgio Maggiore through a vaulted loggia inscribed 'M Lascelle [L]ond' (lower centre, on the crate) oil on canvas 44 x 40 1/4 in. (111.8 x 102.2 cm.)

    Christie's
  • Antonio Joli (Modena c. 1700-1777 Naples)
    Dec. 08, 2004

    Antonio Joli (Modena c. 1700-1777 Naples)

    Est: £120,000 - £180,000

    A capriccio of a classical palace with Alexander at the Tomb of Achilles oil on canvas, oval 45 5/8 x 59 1/2 in. (115.8 x 151.1 cm.) with inscription on the relined canvas, transcribed from the original 'Joli Fe. t 1762 S:Pce Francavilla a Napoli Fac-simile a quello che trovaji dietro la tela antica' and two collection marks of the Infante Don Sebastián Gabriel de Borbón

    Christie's
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