Name: PIETRO ANTONIANI (MILAN 1740-1805)
Brand: The Grotto of Pozzuoli, Naples; The Torre del Greco with the eruption of Mount Vesuvius beyond; The Riviera di Chiaia, Naples, from the Convento di Sant Antonio, with Vesuvius beyond; and The Bay of Naples from the Punta di Posillipo
Price: 60000.00 USD
Availability: SoldOut

PIETRO ANTONIANI (MILAN 1740-1805)
The Grotto of Pozzuoli, Naples; The Torre del Greco with the eruption of Mount Vesuvius beyond; The Riviera di Chiaia, Naples, from the Convento di Sant Antonio, with Vesuvius beyond; and The Bay of Naples from the Punta di Posillipo
oil on canvas
each 12³⁄₈ x 19 in. (31.5 x 48.2 cm.)
each with the original signature and inscription transcribed on the relined canvas: the first inscribed 'Veduta di Napoli. da Possillipo / sine a Portica. / Pietro Antoniani. Pin^xt/ Milanese' (on the reverse); the second inscribed 'Veduta della Torre della / Nunziata sine a Napoli. / Coll Eruzione del 1760 allo / fatde del Vessuvio. / Pietro Antoniani Pin^xt/ Milanese' (on the reverse); the third inscribed 'Grotta / Che da Napoli vi a / Puozzolo./ Pietro Antoniani. Pin^xt/ Milanese' (on the reverse); the fourth inscribed 'Veduta dalla punta di possillipo. / Del Lazaretto. Isola di Nissita. / Puozzolo. Baja. Capo Miseno. / Isola Procida ed Ischia / Pietro Antoniani / Milanese' (on the reverse)
a set of four

Private collection, Brazil.

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Lot Essay

The little we know about the life of Pietro Antoniani is based on a text by the Abbot Pietro Zani: 'pittor di vedute pittor di marine: Patria, Milanese: Merito, bravissimo: operava 1775' ('Painter of views, marine painter. Homeland: Milanese. Merit: Very good. Worked: 1775'; P. Zani, Enciclopedia metodica critico-ragionata delle belle arti, Parma, 1817-1824, cited in N. Spinosa and L. Di Mauro, Vedute napoletane del Settecento, Naples, 1993, p. 204). Antoniani is believed to have trained under Antonio Joli, whose paintings clearly served as a source of inspiration for the younger artist. Typically executed on a small scale, Antoniani's works were popular among British visitors to Naples. He often painted pairs or series for these tourists, such as the four pictures signed and dated 1776, formerly in the collection of Sir Joseph Weld at Lulworth Manor and sold Christie's, London, 12 December 1980, lot 99.

A very similar view of the Riviera di Chiaia was sold as part of another set of four views by Antoniani in these Rooms, 1 May 2019, lot 44, while a comparable view from the Punta di Posillipo was one of a pair of paintings sold Sotheby's, London, 7 December 2006, lot 245. No comparable views of the Torre del Greco with the eruption of Mount Vesuvius or the Crypta Neapolitana by Antoniani have appeared at auction in recent years.

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Condition report

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The condition of lots can vary widely and the nature of the lots sold means that they are unlikely to be in a perfect condition. Lots are sold in the condition they are in at the time of sale.

Please note the condition reports are as the paintings are displayed in the catalogue left to right and top to bottom.
The first:
The canvas is reinforced on the reverse with a glue lining, onto which has been transcribed the description and artist’s signature. The paint is stable on the support and the varnish slightly yellowed and dull. A fine craquelure is visible in natural light. Slightly discolored lines of retouching to address earlier frame abrasion are visible along the upper and right edge. Inspection under ultraviolet light reveals further retouching to address frame abrasion along the left and lower edges. Otherwise, the painting appears to be free of later intervention. The painting is in overall excellent condition and can be displayed in its current state, but its appearance would likely be enhanced with a more saturating varnish.
The second:
The canvas is reinforced on the reverse with a glue lining, onto which has been transcribed the description and artist’s signature. The paint is stable on the support and the varnish slightly yellowed and dull. A fine craquelure is visible in natural light. Slightly discolored lines of retouching to address earlier frame abrasion are visible along the edges. Inspection under ultraviolet light confirms this and suggests the painting is otherwise free of later intervention. The painting is in overall excellent condition and can be displayed in its current state, but its appearance would likely be enhanced with a more saturating varnish.
The third:
The canvas is reinforced on the reverse with a glue lining, onto which has been transcribed the description and artist’s signature. The paint is stable on the support and the varnish slightly yellowed and dull. A fine craquelure is visible in natural light. Slightly discolored lines of retouching to address earlier frame abrasion are visible along the left, top and right edges, with frame abrasion visible along the lower edge. Inspection under ultraviolet light confirms this and suggests that, aside from a handful of fine dots of retouching in the sky measuring less than ½ x ¼ inch, the painting is free of later intervention. The painting is in overall very fine condition and can be displayed in its current state, but its appearance would likely be enhanced with a more saturating varnish.
The fourth:
The canvas is reinforced on the reverse with a glue lining, onto which has been transcribed the description and artist’s signature. The paint is stable on the support and the varnish slightly yellowed and dull. A fine craquelure is visible in natural light. Slightly discolored lines of retouching to address earlier frame abrasion are visible along the edges. Inspection under ultraviolet light confirms this and suggests the painting is otherwise free of later intervention. The painting is in overall excellent condition and can be displayed in its current state, but its appearance would likely be enhanced with a more saturating varnish.

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