Antonio Joli De Dipi

Lot Description Antonio Joli (Modena c. 1700-1777 Naples) View of the Bay of Naples oil on canvas 30½ x 42½ in. (77.5 x 108 cm.) Provenance with Frost & Reed, London, 1970. Oscar and Dorothy Hammerstein; (+), Sotheby's, New York, 14 January 1988, lot 45, where purchased by the father of the present owners. Pre-Lot Text PROPERTY FROM A PRIVATE COLLECTION Literature N. Spinosa and L. di Mauro, Vedute napoletane del Settecento, Naples, 1989, p. 193, no. 74, fig. 78 (with erroneous date listed for Sotheby's sale). S. Cassani, ed., All'ombra del Vesuvio: Napoli nella veduta europea dal Quattrocento all'Ottocento, exhibition catalogue, Naples, 12 May-29 July, 1990, pp. 51, 400 (with erroneous date listed for Sotheby's sale). L. Salerno, I Pittori di vedute in Italia (1580-1830), Rome, 1991, p. 253, under no. 39. R. Middione, Antonio Joli, Soncino, 1995, p. 116, under no. 39 (with erroneous date listed for Sotheby's sale). M. Manzelli, Antonio Joli: Opera pittorica, Venice, 1999, p. 79, no. 35 (with erroneous date listed for Sotheby's sale). R. Toledano, Antonio Joli: Modena 1700-1777 Napoli, Turin, 2006, p. 302, N.II.2. View Lot Notes › This elegant view is by Antonio Joli, the celebrated painter of vedute and capricci, who traveled widely throughout Italy, England and Spain, before settling in Naples, where he became painter to Charles VII of Naples (1716-1788). When the latter succeeded to the Spanish throne in 1759, Joli continued to work for his successor, Ferdinand IV (1751-1825). This painting, like many others executed by Joli for the Bourbon court, was no doubt originally intended to testify to the beauty of the Neapolitan landscape and the tranquility of life under Bourbon rule. In the present picture, for instance, a Bourbon King, probably Ferdinand IV, can be seen at center in the foreground; a Capuchin monk kneels before him, and all around them horses, dogs, and well-dressed figures enjoy the pleasant grounds. Between 1738 and 1748 Charles VII of Naples built a royal palace at Portici, a town at the foot of Mount Vesuvius about eight kilometers southeast of Naples. It is from the gardens of this palace that the present view is taken, through a group of statuesque oak trees, probably at an altitude of about 150 to 200 meters. The city of Naples in the background, painted with meticulous attention to topographical detail, helps clarify the dating of the painting. The Topographical map of the city of Naples by Giovanni Carafa, Duke of Noja, which inspired paintings by a number of contemporary artists and from which Joli was certainly working, was published after the Duke's death in 1768. At that point, however, the map still included several topographical errors that were not corrected until it was reissued in 1775. The present lot repeats these errors and can thus be dated to the intervening years (see M. Furnari, 'Urbis Neapolitanae Delineatio' in S. Cassani, op. cit., p. 51). Toledano supports this dating between 1768 and 1775, citing an "atmospheric sensibility" that characterizes the last phase of Joli's career. He notes in particular the poetic sfumato of the finely detailed view of the city in the background, which evokes a misty Neapolitan afternoon (R. Toledano, op. cit., p. 301). Including the present lot, six versions of this composition are known, all considered autograph. The other five are in the Museo di San Martino, Naples (inv. 23925); the Banca Intesa collection, Rome; a private collection, Florence; with Sestieri, Rome; and in an Anonymous sale, Christie's, Milan, 25 May 2011 (EUR 605,600). The last picture, considerably earlier than the other five, is signed and dated '1760'. The various versions diverge slightly in their arrangements of the foreground figures, though all include the Bourbon King and kneeling monk. They also differ, as Middione notes, in the portrayal of the trees; in the present lot, for instance, the lack of leaves may signify that the view represents a moment in late autumn or winter. Dorothy Hammerstein, who owned this painting in the 1970s and 1980s, was a renowned interior designer and the wife of Oscar Hammerstein, of the wildly successful musical theater writing team Rodgers and Hammerstein. Together Richard Rodgers and Oscar Hammerstein composed the music and lyrics to some of the most iconic works of the golden age of musical theatre, including Oklahoma! (1943), Carousel (1945), South Pacific (1949), The King and I (1951), and The Sound of Music (1959).

Antonio Joli (Modena 1700-1777 Naples) The Bacino di San Marco, Venice, with the Punta della Dogana and San Giorgio Maggiore oil on canvas 51 x 57 1/8 in. (129.8 x 145 cm.) John Corley, Gray's Inn; his sale (+), Christie's, London, 17 and 19 February 1866, first day, lot 93, as 'Occhiali' (20 gns. to Anthony), or lot 216, as 'Guardi' (35 gns. to Anthony). The Hon. Charles Morrison, M.P.; Christie's, London, 15 October 1971, lot 83, as 'Venetian School, 18th Century' (800 gns.). THE PROPERTY OF A GENTLEMAN (LOTS 166 & 254) Born in Modena, Joli enjoyed a highly successful career as a painter of vedute and capricci , working first in Italy and subsequently in England and Spain. The present work is a version of a composition painted by the artist on a number of occasions, notably for Philip Dormer Stanhope, 4th Earl of Chesterfield (Christie's, London, 3 July 2012, lot 33) and John James Heidegger (see R. Toledano, Antonio Joli, Turin, 2006, p. 188, no. V.I.1), commissions that attest to the popularity of Joli's work with British patrons. Visible to the left is the Punta della Dogana, one of the points of arrival into the city from the Giudecca, with the Ducal Palace and the buildings along the Riva degli Schiavoni in the distance, while on the right is the church of San Giorgio Maggiore. Ralph Toledano has suggested that Joli first devised this composition during his stay in Venice, between 1732 and 1742, and records a version closely related to the present work, formerly with Thomas Agnew and Sons (op. cit., pp. 188 and 190, no. V.I.3).

Lot Description Antonio Joli (Modena 1700-1777 Naples) A View of San Giorgio Maggiore, Venice, with the Punta della Dogana in the foreground; and A view of the Bucintoro anchored in front of San Nicolò al Lido, Venice, for the ceremony of the 'Sposalizio del Mare' oil on canvas, shaped 47¼ x 49 in. (120 x 124.5 cm.) a pair (2) Provenance Painted for Philip Stanhope, 4th Earl of Chesterfield (1694-1773), as overdoors in the French Room at Chesterfield House, together with three more paintings by Joli, circa 1747; mentioned in the inventory of Chesterfield House, 1815. Brantingham Thorpe Hall, Yorkshire, before 1866. Anonymous sale [The Property of a Lady]; Sotheby's, London, 22 February 1956, lot 160 (£1,350 to W. Sabin), as 'A View of San Michele di Murano with the Bucintoro'. Pre-Lot Text PROPERTY FROM A DISTINGUISHED PARISIAN PRIVATE COLLECTION Literature E. Croft-Murray, Decorative Painting in England, 1537-1837, II, London, 1970, p. 226, no. 3. F. Russell, 'Canaletto and Joli at Chesterfield House', The Burlington Magazine, CXXX, August 1988, pp. 627-30. R. Middione, Antonio Joli, Cremona, 1995, pp. 23 and 68. M. Manzelli, Antonio Joli: Opera pittorica, Venice, 1999, p. 100, no. V.8 and p. 103, no. V.14, figs. 73, 75. R. Toledano, Antonio Joli, Turin, 2006, pp. 189 and 195, nos. V.I.2 and V.II. View Lot Notes › These views of Venice, the former showing San Giorgio Maggiore with the Punta della Dogana, one of the points of arrival into the city from the Giudecca, and the latter, more intimate view of San Nicolò al Lido with the Bucintoro, were painted by Joli as overdoors for one of the most sophisticated interiors of the period, at Chesterfield House. This home of the Earls of Chesterfield was, with Norfolk House, Spencer House and Lansdowne House, one of the series of new London mansions that were among the most spectacular achievements of mid-eighteenth-century architecture in Britain. Antonio Joli, born at Modena, worked in Perugia, Rome and Venice before coming to London, where he was employed as a scene painter at the King's Theatre in the Haymarket between 1744 and 1748. He had left England by 1750, although he would continue to work for British patrons, both in Spain and at Naples. During his London years Joli found a ready market both for variants of Italian views, which he had already developed, and for views of London, the popularity of some of which is attested by the number of versions he himself executed. Joli's work for the stage led directly to the only extant decorative scheme he painted in London, in the hall of no. 4, Maids of Honour Row, Richmond, then owned by John James Heidegger, manager of the opera at the King's Theatre, and more recently by Edward Croft-Murray, the first scholar to pay due attention to the artist. Joli's work at Richmond is relatively modest in scale. His first scheme, on a more ambitious scale, was for the hall of Richmond House, Whitehall, which is referred to in correspondence of 1744 between the 2nd Duke of Richmond and the Irish impresario Owen McSwiney, who had long been resident in Venice and was in 1746 to be instrumental in the Duke's employment of Canaletto, who arrived in London in that year. One must assume that Joli's work at Richmond House was seen by Philip Dormer Stanhope, 4th Earl of Chesterfield, the diplomat and politician who is best known to posterity for the letters he showered upon his natural son, Philip Stanhope. The Earl was a man of the most refined taste. He took a close, and indeed, exacting interest in every aspect of the decoration of Chesterfield House, begun in 1746 to the design of the architect Isaac Ware. Work on the foundations was well under way by the ensuing summer and at least some of the major rooms were finished by the end of March 1749. Arguably the most exceptional room on the ground floor of Chesterfield House was the Ante Room, which by at least 1815 was known as the French Room (fig. 1). This name was due not to the five overdoors supplied by Joli, three views of Venice and two views of Rome, but to the character of the boiseries into which these were intended to fit, which were indeed in the French style, deriving, as T.H. Lunsingh Scheurleer noted, from a design by Nicolas Pineau published in 1727 (see S. Medlam, letter, The Burlington Magazine, CXXXI, March 1989, p. 223). Chesterfield clearly knew that pictures would have to be commissioned as overdoors for Pineau's scheme, in accordance with French practice. Joli's canvases were removed at some stage prior to the occupation of the house by Michael Bass, 1st Lord Burton and carved decorative panels, visible in early photographs (e.g. Russell, op. cit., fig. 64), were substituted. After the demolition of Chesterfield House the boiseries were adapted for installation in an octagonal room at Whitburn Hall; since 1971 these have been in the Bowes Museum, Barnard Castle, County Durham (see Medlam, loc. cit.). The largest of Joli's canvases for Chesterfield House represents the Piazza San Marco (private collection, illustrated in Russell, op. cit., fig. 65), and was complemented by companion pairs of Venice and Rome. The two Roman views represent readily identifiable subjects -- the Piazza del Popolo and the Ponte Sant'Angelo with the Castel Sant'Angelo -- and were recently sold from the collection of Maria Angiolillo (Christie's, London, 6 July 2010, lot 44; fig. 2). When Lord Chesterfield came to require additional overdoors and an overmantel for two rooms on the first floor, he turned to Canaletto (see Russell, op. cit., pp. 627-30), perhaps because Joli had already left London.

Antonio Joli (Modena 1711-1777 Neapel) Crypta Neapolitana mit Hofequipage („La grotta di Pozzuoli“) Öl auf Leinwand 30 × 49 cm wohl um 1763 Rückseitig bezeichnet: A. Watteau Auf Keilrahmen bezeichnet: A. Joli 63 Provenienz: In den 1960er-Jahren vom Vater der derzeitigen Besitzererworben; seither Österreichischer Familienbesitz. Literatur: vgl. / cf. Toledano, Ralph: Antonio Joli, Turin 2006, S.364ff.; Briganti, Giuliano: Gaspar van Wittel. L’’opera completa,Mailand 1996, S. 272-275. Expertise Dr. Hermann Voss, München, den 9. August 1966, alsAntonio Joli liegt bei. Wir danken Herrn Ralph Toledano für seine Stellungnahme anhandFotos: "...I consider it to be by Joli upon photographs" (Email,16. Juli 2009). We are grateful to Mr Ralph Toledano for his statement: "...Iconsider it to be by Joli upon photographs" (Email, 16th July2009).

Antonio Joli (Modena 1700-1777 Naples) View of Piazza del Popolo, Rome; and View of the Ponte Sant'Angeloand Castel Sant'Angelo, with Saint Peter's Basilica beyond,Rome oil on canvas, shaped 47¼ x 49 1/8 in. (120 x 125.5 cm.) a pair (2) Pre-Lot Text From the Collection of Maria Angiolillo (lots 3, 44 &45) Provenance Painted for Philip Stanhope, 4th Earl of Chesterfield, asoverdoors in the French Room at Chesterfield House, together withthree more paintings by Joli, circa 1747; Mentioned in the inventory of Chesterfield House, 1815. Brantingham Thorpe Hall, Yorkshire, before 1866. Anonymous sale; Sotheby's, London, 22 February 1956, lot161. Literature E. Croft-Murray, Decorative Painting in England, 1537-1837, II,London, 1970, p. 226. F. Russell, 'Canaletto and Joli at Chesterfield House', TheBurlington Magazine, 1988, pp. 627-30. R. Middione, Antonio Joli, Cremona, 1995, pp. 23 and 68. M. Manzelli, Antonio Joli. Opera pittorica, Venice, 1999, p. 93,fig. 66. R. Toledano, Antonio Joli. Modena 1700-1777 Napoli, Turin, 2006, p.157, R.VIII.11 and p. 172, R.IX.1. Lot Notes These views of Rome, one showing the Piazza del Popolo which wasthe tourist's point of arrival in the city and the second, themajestic view from the right hand bend of the Tiber, were paintedby Joli as overdoors for one of the most sophisticated interiors atChesterfield House, which, with Norfolk House, Spencer House andLansdowne House, was one of the series of new London mansions thatwere among the most spectacular achievements ofmid-eighteenth-century architecture in Britain. Antonio Joli, who had been born at Modena, worked in Perugia, inRome and at Venice before coming to London where he was employed asa scene painter at the King's Theatre in the Haymarket between 1744and 1748. He had left England by 1750, although he would continueto work for British patrons, both in Spain and at Naples. Duringhis London years Joli found a ready market both for variants ofItalian views which he had already developed and for views ofLondon, the popularity of some of which is attested by the numberof versions he himself executed. Joli's work for the stage leddirectly to the only extant decorative scheme he painted in London,in the hall off No. 4 Maids of Honour Row, Richmond, then owned byJohn James Heidegger, manager of the opera at the King's Theatre,and more recently by Edward Croft-Murray, the first scholar to paydue attention to the artist. Joli's work at Richmond is relatively modest in scale. His firstscheme on a more ambitious scale was for the hall of RichmondHouse, Whitehall, which is referred to in correspondence of 1744between the 2nd Duke of Richmond and the Irish impresario OwenMacSwinny, who had long been resident in Venice and was in 1746 tobe instrumental in the Duke's employment of Canaletto, who arrivedin London in that year. One must assume that Joli's work atRichmond House was seen by Philip Dormer Stanhope, 4th Earl ofChesterfield, the diplomat and politician who is best known toposterity for the letters he showered upon his natural son, PhilipStanhope. The earl was a man of the most refined taste. He took aclose and indeed exacting interest in every aspect of thedecoration of Chesterfield House, begun in 1746 to the design ofthe architect Isaac Ware: work on the foundations was well underway by the ensuing summer and at least some of the major rooms werefinished by the end of March 1749. Arguably the most exceptional room on the ground floor ofChesterfield House was the Ante Room, which at least by 1815 wasknown as the French Room. This name was due not to the fiveoverdoors supplied by Joli, this pair of views of Rome and threeviews of Venice, but to the character of the boiseries into whichthese were intended to fit, which were indeed of French design,deriving, as Professor T.H. Lunsingh Scheurleer noted, from adesign by Nicolas Pineau published in 1727 (see S. Medlam, letter,The Burlington Magazine, CXXXI, March 1989, p. 223). Chesterfieldclearly knew that pictures would have been commissioned asoverdoors for Pineau's scheme, in accordance with French practice.Joli's canvasses were removed at some stage prior to the occupationof the house by Michael Bass, 1st Lord Burton and carved decorativepanels, visible in early photographs (ie. Russell, fig. 64), weresubstituted. After the demolition of Chesterfield House theboiseries were adapted for installation in an octagonal room atWhitburn Hall: since 1971 these have been in the Bowes Museum (seeMedlam, loc. cit.). For both his Roman views for Chesterfield House Joli recapitulatedexisting compositions and it may well be that his patron wished hisoverdoors to be of very readily identifiable subjects, in partperhaps to prepare the visitor for the collection of old mastersthat was displayed in the adjacent Italian Room. When he neededadditional overdoors and an overmantel for two rooms on the firstfloor he turned to Canaletto (see Russell, loc. cit.), perhapsbecause Joli had already left London.