88
88
Antonio Joli
ROME, A VIEW OF THE FORUM WITH THE CAMPO VACCINO, THE CHURCH OF SANTA FRANCESCA ROMANA AND THE COLOSSEUM
Estimate
200,000300,000
JUMP TO LOT
88
Antonio Joli
ROME, A VIEW OF THE FORUM WITH THE CAMPO VACCINO, THE CHURCH OF SANTA FRANCESCA ROMANA AND THE COLOSSEUM
Estimate
200,000300,000
JUMP TO LOT

Details & Cataloguing

Important Old Master Paintings and Sculpture

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Antonio Joli
MODENA 1700 - 1777 NAPLES
ROME, A VIEW OF THE FORUM WITH THE CAMPO VACCINO, THE CHURCH OF SANTA FRANCESCA ROMANA AND THE COLOSSEUM

Provenance

Anonymous sale, London, Christie's, 29 March 1968, lot 115, for £3,800 gns to Leger;
With the Leger Gallery, London, 1968;
Anonymous sale, London, Christie's, 30 November 1973, lot 20;
Private collection, Italy.

Exhibited

London, The Antique Dealers Fair, June 1968.

Literature

Catalogo Bolaffi della pittura italiana del '600 e del '700, n. 1, Turin 1974, p. 109;
M. Manzelli, Antonio Joli. Opera pittorica, Venice 1999, p. 94, cat. no. R. 28, reproduced fig. 65;
R. Toledano, Antonio Joli, Turin 2006, p. 131, cat. no. R.I.5, reproduced (with incorrect measurements).

Catalogue Note

This charming view of the Roman Forum was one of Joli's most popular and successful compositions. Known as the 'Campo Vaccino' since the end of the sixteenth century due to the herds of cows that grazed there, peasants sold their produce and watered their animals in the Forum until the mid-nineteenth century. The design, however, is framed by monuments from the Forum's more glorious past: from left to right we see the temple of Antoninus and Faustina, the Basilica of Maxentius, the church of Santa Francesca Romana with the Colosseum behind, the Arch of Titus, the Palatine Hill and the Farnese gardens, erected under Pope Paul III, and to the right the church of Santa Maria Liberatrice, which was to be demolished in 1899.

Born in Modena, Joli was to travel extensively throughout Italy and Europe. His formative years were spent in the studio of Gian Paolo Panini in Rome where he developed his interest in view painting. The master's influence can be felt in the present work for Panini himself painted this view a number of times, the best example of which is his signed and dated painting from 1735 in the Detroit Institute of Art which is taken from a lower view point.1

We are grateful to Dr Ralph Toledano for endorsing the attribution on the basis of photographs. Dr Toledano does not exclude some studio participation.



1. See F. Arisi, Gian Paolo Panini e i fasti della Roma del '700, Rome 1986, p. 346, cat. no. 229, reproduced.

Important Old Master Paintings and Sculpture

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New York