View full screen - View 1 of Lot 100. ANTONIO JOLI | A VIEW OF GENOA FROM THE EAST, WITH THE PONTE DI SANT’AGATA, THE BORGO DEGLI INCROCIATI AND THE TORRENTE BISAGNO IN THE FOREGROUND, THE MURA DELLA ZERBINO AND THE MURA DI MONTESANO BEYOND.
100

ANTONIO JOLI | A VIEW OF GENOA FROM THE EAST, WITH THE PONTE DI SANT’AGATA, THE BORGO DEGLI INCROCIATI AND THE TORRENTE BISAGNO IN THE FOREGROUND, THE MURA DELLA ZERBINO AND THE MURA DI MONTESANO BEYOND

Estimate:

20,000

to
- 30,000 USD

Property from a Private Collection, Pennsylvania

ANTONIO JOLI | A VIEW OF GENOA FROM THE EAST, WITH THE PONTE DI SANT’AGATA, THE BORGO DEGLI INCROCIATI AND THE TORRENTE BISAGNO IN THE FOREGROUND, THE MURA DELLA ZERBINO AND THE MURA DI MONTESANO BEYOND

ANTONIO JOLI | A VIEW OF GENOA FROM THE EAST, WITH THE PONTE DI SANT’AGATA, THE BORGO DEGLI INCROCIATI AND THE TORRENTE BISAGNO IN THE FOREGROUND, THE MURA DELLA ZERBINO AND THE MURA DI MONTESANO BEYOND

Estimate:

20,000

to
- 30,000 USD

Lot sold:

22,500

USD

Property from a Private Collection, Pennsylvania

ANTONIO JOLI

Modena 1700 - 1777 Naples

A VIEW OF GENOA FROM THE EAST, WITH THE PONTE DI SANT’AGATA, THE BORGO DEGLI INCROCIATI AND THE TORRENTE BISAGNO IN THE FOREGROUND, THE MURA DELLA ZERBINO AND THE MURA DI MONTESANO BEYOND


oil on canvas

canvas: 22 by 35⅜ in.; 55.6 by 89.7 cm.

framed: 28½by 42 in.; 72.4 by 106.7 cm.

This painting has had a recent relining. The painting has a slight yellowed varnish, much of the detail in the foreground and the buildings is well retained. In the distant landscape and in the sky there appears to be recent overpaint, which has been broadly applied. There is a vertical tear that has been restored, ⅓ cm from the upper left of center. The painting appears to be in an old, possibly original frame circa 1800 with amthemium motifs in metal in the corners.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

Rendered with remarkable detail and a great attention to topographical accuracy, this newly discovered veduta of the Italian port city of Genoa is one of only two views of the city known by Antonio Joli, one of the most admired vedute painters of the eighteenth century. Small figures and animals populate this sprawling vista, which looks westward from the east and includes a number or recognizable historical and architectural monuments, some of which no longer stand today.


At the far right is the old bridge of the Ponte di Sant’Agata. It crosses over the Bisagno river, reaching the Borgo degli Incrociati, a neighborhood of medieval buildings lining the western shore, including the Church of Diecimila Martiri Crocifissi, whose steepled building is seen to the left of the bridge entrance. On the top of the hill beyond appears the Mura dello Zerbino, one of the many ancient walls that once helped to defend the city of Genoa. It bordered the gardens surrounding the Villa Durazzo, known today as the Villa Gropallo. Built from 1599-1603, the villa is the small building rising from behind the center of these walls, and it is towered over by the large building of the Fondazione Fieschi to the right. To its right rises the Monte Peralto, atop which sits the Forte Sperone, a fortification of the city first erected in the fourteenth century. Running down the left of the hill at center is the Mura di Montesano, to the left of which are visible the faint outlines of the Church of Santa Maria Assunta di Carignano as well as the Cathedral of San Lorenzo. 


The present painting compares closely in size to another view of Genoa by Joli, suggesting that the two may have once been pendants or were part of the same set.1 While the early provenance of both paintings is unknown, they compare stylistically with the set of over forty canvases commissioned from Joli by his important patron John Montague, Lord Brudenell, to capture views of the cities that he visited on his Grand Tour. Lord Brudenell is recorded as visiting Genoa from December 1754 - January 1755.


We are grateful to Dr. Ralph Toledano for endorsing the attribution on the basis of photographs.  We are also grateful to Gianfranco Curatolo for his help with the topography depicted.


1. Private collection, oil on canvas, 56.2 by 90.6 cm. See R. Toledano, Antonio Joli: Modena 1700-1777 Napoli, Turin 2006, cat. no. V.V.X, reproduced.