Anonymous sale ("The Property of a Lady"), London, Christie's, April 9, 1990, lot 84, for £320,000;
Anonymous sale, ("Property from a Private Collection"), London, Sotheby's, July 7, 2005, lot 52;
Whereby acquired by the present owner.

M. Manzelli, Antonio Joli opera pittorica, Sonico 1999, p. 90, cat. no. R. 6, reproduced in color, plate XXVI;
R. Toledano, Antonio Joli, Turin 2006, p. 160, cat. no. R. VIII. 14, reproduced.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting is in excellent condition in the lower half, which includes all of the buildings, architecture and the river. There are hardly any restorations here except for a few small areas of possible thinness in the water of the river. Although the restorations in the sky are not clearly visible under ultraviolet light they are visible to the naked eye and can be found in the upper right sky next to the cloud at the top of the picture, in the lower center above the dome of St Peter's and in the upper left sky. These restorations each measure approximately two by three inches and have all darkened and should be reexamined. If this painting were to be properly cleaned and the few isolated areas of retouching in the sky diligently and accurately restored, the image would improve noticeably.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The View of the Tiber with the Castel Sant'Angelo was one of Joli's most popular views and was repeated by the artist on a number of occasions, though he introduced differences in the format, viewpoint, and staffage of each representation (see literature, Manzello 1999, cat. nos. R. 1-22). Joli's views of this particular site tend to fall into two categories: those in which the wall on the left bank is straight, and those in which he introduces a sharp kink or point, as here. Both compositions have their functions: the first creates a cleaner perspectival line, leading our eye directly to the cupola of St. Peter's Basilica on the horizon, while the second adds movement to the left side of the composition, giving a platform for figures to lean over the balustrade and interact with the scene around them. Despite these categorical differences, parallels can be found in the details of the multiple variants of this composition, particularly the boat lower center with a gondolier and two seated figures, which reappears almost identically in the majority of Joli's versions of the subject.