.jpg?w=1)
Lot Essay
Joli, the most widely travelled of the great view painters of the eighteenth century and the only Italian view-painter of note to work in England both before and during Canaletto's visit. He almost certainly knew Canaletto and both artists were patronised by the Duke of Richmond. Joli arrived in London from Venice by way of Dresden in 1743/4 and left for Madrid in 1749/50. Between 1744 and 1748, he is recorded as a painter of theatrical scenery and possibly also assistant manager at the King's Theatre in the Haymarket. He also executed a number of decorative schemes, notably that which survives in the hall of the Richmond home of the theatre's manager, John James Heidegger, a Gentleman of the Bedchamber to George II, showing views around the world. (E.Croft-Murray, Decorative Painting in England 1537-1837, II, Feltham, 1970, p.226 and pls. 35-6), and views of London and Richmond.
Other British patrons of the artist included Philip Stanhope, 4th Earl of Chesterfield who commissioned him to paint a series of views of Venice and Rome for Chesterfield House and John, Lord Brudenell for whom he painted a large set of views of towns he had visited on the Grand Tour. Joli's period in London gave him a good understanding of English taste in art and ensured him extensive patronage from British Grand Tourists after his return to Italy in 1754.
Joli's views of the City of London are of three distinct types, the main difference being in the foreground. In three of them (that in the Metropolitan Museum of Art, New York, that sold at Sotheby's, 12 July 1989, lot 90, and that in the exhibition Canaletto & England, Gas Hall Exhibition Gallery, Birmingham, 14 Oct. 1993-9 Jan. 1994, p.102, no. 41, illustrated in colour), the view is seen through imaginary Ionic arcades. Several (including that sold at Sotheby's, 13 July 1977, lot 17, that exhibited at Colnaghi, London, Pictures from the Grand Tour, 14 Nov.-16 Dec. 1978, no. 31, and that illustrated in A. Corboz, Canaletto. Una Venezia immaginaria, Milan, 1985, I, p.109, fig 113) are taken from the terrace of Somerset House and are thus related to Canaletto's depictions of the same view (for which see, for instance, W.G. Constable, Canaletto, Oxford, 1962, under no. 428). In the present picture and a larger version sold at Christie's, 10 December 1993, lot 67, the viewpoint is nearer the south bank of the river. A smaller version was in the Pierre Jeunnerat collection.
What was presumably a depiction of this view was among the first works executed by Joli in England. A 'piece of perspective....painted y/se Length ways of y/se cloath...per Traverso' showing a 'View of St. Pauls...a beautiful picture and veramente di buon gusto' is recorded in a letter from Owen MacSwinney to the 2nd Duke of Richmond as having been painted for Richmond House, Whitehall in 1744, two years before Canaletto's arrival in England and adoption by the same patron. (E.Croft-Murray, op. cit., p. 226).
Other British patrons of the artist included Philip Stanhope, 4th Earl of Chesterfield who commissioned him to paint a series of views of Venice and Rome for Chesterfield House and John, Lord Brudenell for whom he painted a large set of views of towns he had visited on the Grand Tour. Joli's period in London gave him a good understanding of English taste in art and ensured him extensive patronage from British Grand Tourists after his return to Italy in 1754.
Joli's views of the City of London are of three distinct types, the main difference being in the foreground. In three of them (that in the Metropolitan Museum of Art, New York, that sold at Sotheby's, 12 July 1989, lot 90, and that in the exhibition Canaletto & England, Gas Hall Exhibition Gallery, Birmingham, 14 Oct. 1993-9 Jan. 1994, p.102, no. 41, illustrated in colour), the view is seen through imaginary Ionic arcades. Several (including that sold at Sotheby's, 13 July 1977, lot 17, that exhibited at Colnaghi, London, Pictures from the Grand Tour, 14 Nov.-16 Dec. 1978, no. 31, and that illustrated in A. Corboz, Canaletto. Una Venezia immaginaria, Milan, 1985, I, p.109, fig 113) are taken from the terrace of Somerset House and are thus related to Canaletto's depictions of the same view (for which see, for instance, W.G. Constable, Canaletto, Oxford, 1962, under no. 428). In the present picture and a larger version sold at Christie's, 10 December 1993, lot 67, the viewpoint is nearer the south bank of the river. A smaller version was in the Pierre Jeunnerat collection.
What was presumably a depiction of this view was among the first works executed by Joli in England. A 'piece of perspective....painted y/se Length ways of y/se cloath...per Traverso' showing a 'View of St. Pauls...a beautiful picture and veramente di buon gusto' is recorded in a letter from Owen MacSwinney to the 2nd Duke of Richmond as having been painted for Richmond House, Whitehall in 1744, two years before Canaletto's arrival in England and adoption by the same patron. (E.Croft-Murray, op. cit., p. 226).