Pietro Antoniani

In the possession of Saam and Lily Nijstad by circa 1950.

's-Hertogenbosch, Noordbrabants Museum, 19 May-22 July 1984, Heino (Overijssel), Kasteel 't Nijenhuis, 4 August-30 September 1984, Haarlem, Frans Halsmuseum, 13 October-25 September 1984, Herinneringen aan Italië, Kunst en toerisme in de 18de eeuw, no. 167.

B.V[ermet], in R. De Leeuw (ed), Herinneringen aan Italië, Kunst en toerisme in de 18de eeuw, exhibition catalogue, Zwolle 1984, p. 218, reproduced, as by Antonio Joli, but the attribution questioned in the text.

The canvas has a recent relining which is still taut and effective. The painting is offered in a later wooden painted gold frame in good condition. The clean paint surface is a little pressed along the centre of the composition but otherwise appears to the naked eye to be in good conidtion under a thick and slightly discoloured varnish. Inspection under UV light reveals some retouching to the left edge over some frame abrasion and some minor retouchings in the foreground lower centre.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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Bernard Vermet, author of the catalogue entry for this picture in the 1984 exhibition catalogue, rightly questioned the attribution to Joli, suggesting that it was closer in style to Tommaso Ruiz.  It is, however, a highly characteristic work by Antoniani, of whom an almost identical view, differing only in the disposition of boats in the bay, on a canvas of very similar size, was sold in London at Christie's, 8 July 1988, lot 101, for £19,000.

Little is known of Antoniani's life other than he was Milanese by birth, but it is commonly supposed that he was a pupil of Antonio Joli in Naples.  By the 1770s he seems to have had a flourishing business selling Neapolitan vedute to English Grand Tourists. 

We are most grateful to Charles Beddington for confirming the attribution to Antoniani after first-hand inspection of the painting.

This was one of the first Old Master paintings that Saam and Lily acquired for their collection, in circa 1950.