With Richard Green, London;
Private collection, Portugal;
With Dickinson, London;
From whom acquired by the present owner.

R. Toledano, Antonio Joli, Modena 1700-1777 Napoli, Turin 2006, p. 311, N.V.2 and p. 381, N.XXXIII.1, respectively, both reproduced (who notes them as having an indistinct description on the reverse, which is no longer visible i:  Veduta di Napoli da ...Chiaia / Ant Joli; and Veduta da ... / Ant. Joli).

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. The condition of both of these works is particularly good. Both of the paintings have been cleaned. The glue linings are possibly earlier, but they are effective nonetheless. The only noticeable retouches in either picture are in the lower left sky of the view of Naples, but there is no abrasion or weakness throughout the architecture, landscape and maritime subjects of both pictures. The skies are also in beautiful state.
"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."

Antonio Joli settled in Naples in about 1755 serving as court painter to Charles VII, King of Naples (later Charles III of Spain), as well as receiving commissions from an array of wealthy aristocrats who came through the city as part of the Grand Tour. He trained as a scene painter in Modena and Perugia and studied the vedute of Canaletto and Bellotto while working in Venice.  However, it was in Naples that he enjoyed his greatest success, and his early training served him well.  His paintings of Naples and the surroundings combine a remarkable topographical accuracy with a flair for the dramatic viewpoint.  

In the view of Naples from the West we see the coastline of Chiaia, still a picturesque suburb, with Castel Sant' Elmo glowing in the sun on the hill above, the Castel dell'Ovo stretching out into the water at the right and Vesuvius beyond. It is a brilliant, sunny day, with the li🍎ght gleaming off the water, though perhap🧜s a hint of disquiet in the bank of clouds rising above Vesuvius.   

The pendant, the Gulf of Pozzuoli, which is west of Naples, is a more unusual view.  It derives from a painting by Tommaso Ruiz, dated 1749, but here Joli takes some liberties with the actual setting to make a more coherent composition (see Literat🐈ure).  He shows almost the entire gulf with the island of Procida to the left, Capo Miseno in the center and Ischia and Capri in the distance.