安東尼奧·約利

Monsieur Claude Lebel;
By whom sold, London, Sotheby's, 9 December 1981, lot 74;
With Richard Green, London, from whom acquired by the present collector.

M. Manzelli, Antonio Joli, Venice 1999, p. 90, cat. no R3, reproduced fig. 57 (though erroneously listed in the catalogue entry as reproduced fig. 56);
R. Toledano, Antonio Joli, Turin 2006, p. 155, cat. no. R.VIII.9, reproduced.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work was probably restored in London in the 50s or 60s. The retouches have discolored and are visible to the naked eye in the upper center sky, in the left sky, and in a few spots in the river below. The details are strong throughout the architecture and city. The restorations that do exist are minimal for a work of this scale and period. It is recommended that the picture be lightly cleaned and the restorations be applied more accurately, but the condition is very good for a work of this scale and period.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This beautiful view of the Tiber looking west towards Castel Sant'Angelo and the Basilica of Saint Peter's was painted by Antonio Joli, one of the eighteenth century's best-traveled artist.  Two of Rome's most famous and remarkable structures tower over the rest of the Eternal City, as figures gently go about their day, both on the gently flowing river and along the bridge, decorated with Bernini's marble statues, which bisects the composition. Wrapped in the warm glow of Rome's light, the painting would have appealed as much to eighteenth-century grand tourists as it does to a contemporary viewer. 

Such was the popularity and success of the design that Joli repeated it several times. The best, though not necessarily prime, version is perhaps the signed work of broadly similar format and dimensions as the present painting in Temple Newsam, Leeds, England, commissioned around 1744 in England directly from Joli by Henry Ingram (1691-1761), seventh Viscount of Irwine.¹ A further version, formerly in the collection of Evelyn Waugh, is known to have been painted after Joli had moved to Madrid as it is signed Jolli/Madrid.² Presumably several of the versions were thus based on drawings that the artist took with him around Europe. In each different version the artist varied the mood of the sky and the arrangement of the staffage, though the boatman ferrying two figures lower center seems to be a constant.

A smaller version was sold New York, Sotheby's, 28 January 2010, lot 222, for $400,000. 

1. See Toledano, under Literature, p. 147, cat. no. R.VIII.1, reproduced.
2. Ibid., p. 151, cat. no. R.VIII.5.