Lot 35
  • 35

ANTONIO JOLI | Venice, the Bacino di San Marco looking east with the Punta della Dogana and San Giorgio Maggiore

250,000 - 350,000 GBP
350,000 GBP
bidding is closed


  • Antonio Joli
  • Venice, the Bacino di San Marco looking east with the Punta della Dogana and San Giorgio Maggiore
  • signed lower left, on the casket: iolli 
  • oil on canvas


Anonymous sale ('The Property of a Gentleman'), London, Christie's, 2 December 1983, lot 111; With Galerie Gismondi, Paris (according to Toledano, under Literature);

Anonymous sale, ('The Property of a Gentleman'), London, Sotheby's, 10 July 2002, lot 78, where acquired by the present collector for £260,000.


R. Middione, Antonio Joli, Bergamo 1995, p. 68, under no. 12 (with incorrect dimensions); R. Toledano, Antonio Joli, Turin 2006, p. 193, no. V.I.6, reproduced.

Catalogue Note

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. The large number of extant versions of this design implies it was probably Joli's most popular view of Venice. This is one of only three signed versions, and is probably the most successful due to its extremely high quality and the way the light is beautifully rendered. The artist is known to have repeated the composition, with alterations in the format and size, on at least seven other occasions: these include one of four large views painted for Philip Dormer Stanhope, 4th Earl of Chesterfield, and sold in these Rooms, 22 February 1956, lot 160 (118 x 124.5 cm.) and later sold as one of a pair, London, Christie's, 3 July 2012, lot 33; a more panoramic view sold in these Rooms, 7 December 2005, lot 58 (55.3 x 167.7 cm.); a signed canvas sold in these Rooms, 6 July 1988, lot 54 (43 x 69.5 cm.); another signed canvas sold in these Rooms 17 April 1996, lot 628 (59.3 x 101 cm.); a canvas last recorded with Agnew's (75 x 81.3 cm.); a canvas sold New York, Christie's, 24 January 2003, lot 161 (67.3 x 101.5 cm.); and a canvas of almost square format sold London, Christie's, 5 December 2012, lot 254 (130 x 145 cm.).

The lack of dated examples makes a clear chronology difficult but the aforementioned Stanhope picture was almost certainly painted in London in the 1740s. Toledano proposes a similar date of execution for the present work.