Viviano Codazzi Paintings & Artwork for Sale | Viviano Codazzi Art Value Price Guide

Nov. 28, 2024
Viviano Codazzi (Bergamo 1604-Roma 1670) - Architectural capriccio with mythological figures
Est: €9,000 - €12,000
oil on canvas cm 72.5 x 96 According to an oral opinion given to the owner by Professor Giancarlo Sestieri, the work is attributable to Viviano Codazzi for the landscape and to Johann Heinrich Schoenfeld for the figures.
Finarte
Nov. 25, 2024
Attributed to VIVIANO CODAZZI (Italy, 1604/06 - 1670). "Capriccio". Oil on canvas. Relined. It presents an old restoration and some losses. The frame presents faults in the gilding.
Est: €10,000 - €12,000
Attributed to VIVIANO CODAZZI (Italy, 1604/06 - 1670). "Capriccio". Oil on canvas. Relined. It presents an old restoration and some losses. The frame presents faults in the gilding. Measurements: 100 x 126 cm; 110 x 136 cm (frame). Painting of Italian school and Baroque period attributed to Viviano Codazzi. The pictorial quality and the theme of the ruins sublimated by means of architectural fantasies leads the experts to deduce the authorship of this great Italian painter. Under a sky covered with wind-laden clouds, a ruinous architecture that condenses attributes of different Greco-Roman temples, of which only the memory and the annotation of some traveler remained, is cut out imposingly. The tall Corinthian columns are eaten away by age and the scars of war. The statues have lost their heads or limbs, and moss grows in every crevice. The lives of the human groups scattered between the lagoon and the porticoes are relaxed. Their clothing is typical of the period to which the painter belongs. The quality of the backlighting and the right chromatic ranges that enhance the architectural beauty and its mystery stand out. Italian Baroque painter born in Valdassina, near Bergamo, Viviano Codazzi specialized in the painting of architecture, covering various genres such as the "quadratura" (decorative genre derived from trompe l'oeil), the painting of ruins or the "capricci", although he also painted several "vedute". He is in fact recognized today as one of the first painters of "vedute", both in its fantastic and realistic aspects, and in fact his work will exert a notable influence on Canaletto and Bernardo Bellotto. He developed a personal language that, in contrast to the heroic character of the landscape derived from the Carracci, imaginatively interprets buildings and ruins, but always respecting verisimilitude, playing with lighting to obtain typically baroque expressive effects, which enhance the appearance of the ancient-looking buildings, populated by small popular characters. Codazzi grew up in Rome, where his family moved to in 1605, and as an adult he settled in Naples around 1633. There he trained as a disciple of Cosimo Fanzago, and his style matured, focusing on architectural painting. In Naples he worked on commissions such as those for the Certosa di San Martino, obtained through Cosimo Fanzago, also born in Bergamo. His major project in Naples was a series of four large canvases depicting scenes from Ancient Rome for the Buen Retiro Palace in Madrid, including one depicting gladiatorial combat in the Colosseum. Since he was a painter who specialized in architectural painting, the figures in this series were made by Domenico Gargiulo. In fact, this type of collaboration would be a constant in his career. Gargiulo was his main collaborator in Naples, but after returning to Rome following the Masaniello revolt in 1647, Codazzi will work with the Bamboccianti, mostly Dutch painters, and especially with Michelangelo Cerquozzi and Jan Miel. He also collaborated with Filippo Lauri, Adrien van der Cabel and Vicente Giner, already in the 1660s. The Bamboccianti, painters gathered around the figure of Pieter van Laer "Bamboccio", will exert a notable influence on Codazzi's mature style. He had several disciples and faithful followers, among them Ascanio Luciano and Andrea di Michele, in Naples, and also his son Niccolò Codazzi, Vicente Giner (who settled in Spain) and Domenico Roberti. Within his production it is worth mentioning for its originality his representation of the "Basilica of St. Peter" (1636), an unusual work within the genre of the "veduta". Painted in Naples, this painting shows the old entrance to the Vatican palace, destroyed when the Sala Regia and Bernini's colonnade were built, as well as two bell towers based on an engraving of the architect Martino Ferabosco's project, which was never built. One of his best known works is the representation of the Masaniello revolt in the Piazza del Mercato in Naples, with figures by Cerquozzi, which he made for Cardinal Bernardino Spada in 1648 (now in the Galleria Spada in Rome). Apart from these singular works, most of his paintings are medium format paintings, starring architectures in landscape settings. Works by Viviano Codazzi are currently held in the Museo del Prado, the Louvre, the Bowes Museum in County Durham (U.K.), the Indiana University Art Museum, the Minneapolis Institute of Art and the Walters Art Museum, among other public and private collections.
Setdart Auction House
Sep. 26, 2024
VIVIANO CODAZZI, 1604 BERGAMO – 1670 ROM, KREIS DES
Est: €5,000 - €7,000
ARCHITEKURCAPRICCIO MIT FIGUREN Öl auf Leinwand. Doubliert. 76 x 63 cm. In dekorativem Rahmen. Blick auf einen, fast gänzlich im Schatten liegenden Gebäudekomplex, in den rechtsseitig eine hohe Treppe führt, an der drei Figuren erkennbar sind. In einem diagonalen Lichtstreifen besonders erkennbar eine an die Wand des Gebäudes angelehnte hohe Leiter und davor zwei Männer im Gespräch. Am oberen rechten Rand, auf der Mauer dieses Gebäudekomplexes stehend, drei größere bewachsene Blumenkästen unter blauem Himmel mit weißen Wolkenformationen. Malerei in der typischen Manier des Künstlers und seines Kreises mit starker Hell-Dunkel-Konzentrierung. (14111212) (18)
Hampel Fine Art Auctions
Sep. 25, 2024
Attributed to VIVIANO CODAZZI (Italy, 1604/06 - 1670). "Capriccio". Oil on canvas. Relined. It presents an old restoration and some losses. The frame presents faults in the gilding.
Est: €10,000 - €12,000
Attributed to VIVIANO CODAZZI (Italy, 1604/06 - 1670). "Capriccio". Oil on canvas. Relined. It presents an old restoration and some losses. The frame presents faults in the gilding. Measurements: 100 x 126 cm; 110 x 136 cm (frame). Painting of Italian school and Baroque period attributed to Viviano Codazzi. The pictorial quality and the theme of the ruins sublimated by means of architectural fantasies leads the experts to deduce the authorship of this great Italian painter. Under a sky covered with wind-laden clouds, a ruinous architecture that condenses attributes of different Greco-Roman temples, of which only the memory and the annotation of some traveler remained, is cut out imposingly. The tall Corinthian columns are eaten away by age and the scars of war. The statues have lost their heads or limbs, and moss grows in every crevice. The lives of the human groups scattered between the lagoon and the porticoes are relaxed. Their clothing is typical of the period to which the painter belongs. The quality of the backlighting and the right chromatic ranges that enhance the architectural beauty and its mystery stand out. Italian Baroque painter born in Valdassina, near Bergamo, Viviano Codazzi specialized in the painting of architecture, covering various genres such as the "quadratura" (decorative genre derived from trompe l'oeil), the painting of ruins or the "capricci", although he also painted several "vedute". He is in fact recognized today as one of the first painters of "vedute", both in its fantastic and realistic aspects, and in fact his work will exert a notable influence on Canaletto and Bernardo Bellotto. He developed a personal language that, in contrast to the heroic character of the landscape derived from the Carracci, imaginatively interprets buildings and ruins, but always respecting verisimilitude, playing with lighting to obtain typically baroque expressive effects, which enhance the appearance of the ancient-looking buildings, populated by small popular characters. Codazzi grew up in Rome, where his family moved to in 1605, and as an adult he settled in Naples around 1633. There he trained as a disciple of Cosimo Fanzago, and his style matured, focusing on architectural painting. In Naples he worked on commissions such as those for the Certosa di San Martino, obtained through Cosimo Fanzago, also born in Bergamo. His major project in Naples was a series of four large canvases depicting scenes from Ancient Rome for the Buen Retiro Palace in Madrid, including one depicting gladiatorial combat in the Colosseum. Since he was a painter who specialized in architectural painting, the figures in this series were made by Domenico Gargiulo. In fact, this type of collaboration would be a constant in his career. Gargiulo was his main collaborator in Naples, but after returning to Rome following the Masaniello revolt in 1647, Codazzi will work with the Bamboccianti, mostly Dutch painters, and especially with Michelangelo Cerquozzi and Jan Miel. He also collaborated with Filippo Lauri, Adrien van der Cabel and Vicente Giner, already in the 1660s. The Bamboccianti, painters gathered around the figure of Pieter van Laer "Bamboccio", will exert a notable influence on Codazzi's mature style. He had several disciples and faithful followers, among them Ascanio Luciano and Andrea di Michele, in Naples, and also his son Niccolò Codazzi, Vicente Giner (who settled in Spain) and Domenico Roberti. Within his production it is worth mentioning for its originality his representation of the "Basilica of St. Peter" (1636), an unusual work within the genre of the "veduta". Painted in Naples, this painting shows the old entrance to the Vatican palace, destroyed when the Sala Regia and Bernini's colonnade were built, as well as two bell towers based on an engraving of the architect Martino Ferabosco's project, which was never built. One of his best known works is the representation of the Masaniello revolt in the Piazza del Mercato in Naples, with figures by Cerquozzi, which he made for Cardinal Bernardino Spada in 1648 (now in the Galleria Spada in Rome). Apart from these singular works, most of his paintings are medium format paintings, starring architectures in landscape settings. Works by Viviano Codazzi are currently held in the Museo del Prado, the Louvre, the Bowes Museum in County Durham (U.K.), the Indiana University Art Museum, the Minneapolis Institute of Art and the Walters Art Museum, among other public and private collections.
Setdart Auction House
Sep. 19, 2024
Viviano Codazzi (Bergamo 1603/04 o 1606 - Roma 1670) attribuito
Est: €2,200 - €3,200
Viviano Codazzi (Bergamo 1603/04 o 1606 - Roma 1670) attribuito Rovine con personaggi Olio su tela 67 x 57 cm Viviano Codazzi (Codacci, Codazzo, Codozo, Codagora, Codaora, Codahorra) è ritenuto uno dei padri del rovinismo italiano. Bergamasco di nascita, la sua carriera artistica si svolse tra Napoli e Roma. Risulta operare allUrbe dal 1620 al 1634, momento in cui la sua attività si concentrò sulla fusione del vedutismo di Scorza e Tassi con il realismo caravaggesco e dei bamboccianti. Collaborò principalmente con Cerquozzi, François Perrier e Jan Miel. Nel 1634 si stabilì a Napoli, ove strinse amicizia con Domenico Gargiulo detto Micco Spadaro, suo fedele collaboratore. Le opere del periodo napoletano sono molto varie e nacquero da molteplici influenze culturali. Da un lato Codazzi seguì la tradizione della prospettiva e del quadraturismo rinascimentali, dall'altro amò la veduta ideata, magica e fiabesca, dal gusto preromantico sviluppata a Roma dai pittori fiamminghi, tedeschi e francesi, che vide come maggiori rappresentanti B. Breenbergh e C. van Poelenburg. Più marcati sono gli influssi del vedutismo realistico dei bamboccianti e soprattutto quello eroico-tragico di Salvator Rosa. Tornò a Roma intorno al 1648, dove rimase stabilmente fino alla morte. Oltre che sul figlio Niccolò Codazzi, la sua influenza si palesò in A. Tassi, F. Gagliardi, A. Salucci, G. Ghisolfi, L. Coccorante, A. M. Costa, G. Greco, Lemarie e Soria. Tale è stata la sua centralità nel tema della veduta rovinistica che anche maestri come Pannini, Canaletto e Bellotto dichiarano di aver attinto nozioni dalla sua arte. Viviano Codazzi (Bergamo 1603/04 or 1606 - Rome 1670) attributed Ruins with Figures Oil on canvas 67 x 57 cm
Lucas Aste
Sep. 07, 2024
Viviano Codazzi
Est: €6,000 - €12,000
(Um 1604 Valsassina bei Bergamo - 1670 Rom) Umkreis Die Hochzeit zu Kana Szenische Darstellung der Erzählung aus dem Johannes-Evangelium (Joh. 2,1-12), bei der Christus Wasser in Wein verwandelt. Im Hof einer antiken römischen Palastarchitektur hat sich die Hochzeitsgesellschaft zum Bankett an einem langen Tisch versammelt, an den auch Christus und seine Jünger eingeladen worden sind; während auf der linken Bildseite Bedienstete die großen Weingefäße bereiten, spielen gegenüber Musiker auf. Der Architekturmaler Viviano Codazzi schilderte neben realen Veduten auch phantasievolle Ruinenmotive, Idealarchitekturen und Capricci, die er in Landschaften komponierte. Der zunächst in Neapel tätige und seit 1647 in Rom ansässige Maler gehörte zu den besten und einflussreichsten Künstlern auf diesem Gebiet. Codazzi wirkte prägend auf zahlreiche Maler wie Alessandro Salucci; zu seinen Nachfolgern zählt neben seinem Sohn Niccolò Codazzi, der ganz in dessen Tradition malte, eine Reihe weiterer bekannter europäischer Maler; in Rom arbeitete er überdies mit einer Vielzahl niederländischer und flämischer Maler zusammen. Öl/Lwd., doubl.; 72 cm x 114 cm. Rahmen. Circle of Viviano Codazzi (circa 1604 - 1670). Oil on canvas, relined.
Kunstauktionshaus Schloss Ahlden
Jun. 27, 2024
Viviano Codazzi, 1604 Bergamo – 1670 Rom
Est: €22,000 - €28,000
ARCHITEKTURCAPRICCIO MIT FIGURENSTAFFAGE Öl auf Leinwand. Doubliert. 96 x 130 cm. In profiliertem Holzrahmen. In einem ovalen dunklen Ausschnitt die Darstellung eines ruinösen Kirchenbaues mit korinthischen Kapitellen und vegetabilem Bewuchs. Zentrale Darstellung von zwei Staffagefiguren. Literatur: David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rom 1993, S. 197. (1391843) (13) Viviano Codazzi, 1604 Bergamo – 1670 Rome ARCHITECTURE CAPRICCIO WITH FIGURAL STAFFAGE Oil on canvas. Relined. 96 x 130 cm. Literature: David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rome 1993, p. 197.
Hampel Fine Art Auctions
May. 29, 2024
Attributed to VIVIANO CODAZZI (Italy, 1604/06 - 1670). "Capriccio". Oil on canvas. Relined. It presents an old restoration and some losses. The frame presents faults in the gilding.
Est: €12,000 - €15,000
Attributed to VIVIANO CODAZZI (Italy, 1604/06 - 1670). "Capriccio". Oil on canvas. Relined. It presents an old restoration and some losses. The frame presents faults in the gilding. Measurements: 100 x 126 cm; 110 x 136 cm (frame). Painting of Italian school and Baroque period attributed to Viviano Codazzi. The pictorial quality and the theme of the ruins sublimated by means of architectural fantasies leads the experts to deduce the authorship of this great Italian painter. Under a sky covered with wind-laden clouds, a ruinous architecture that condenses attributes of different Greco-Roman temples, of which only the memory and the annotation of some traveler remained, is cut out imposingly. The tall Corinthian columns are eaten away by age and the scars of war. The statues have lost their heads or limbs, and moss grows in every crevice. The lives of the human groups scattered between the lagoon and the porticoes are relaxed. Their clothing is typical of the period to which the painter belongs. The quality of the backlighting and the right chromatic ranges that enhance the architectural beauty and its mystery stand out. Italian Baroque painter born in Valdassina, near Bergamo, Viviano Codazzi specialized in the painting of architecture, covering various genres such as the "quadratura" (decorative genre derived from trompe l'oeil), the painting of ruins or the "capricci", although he also painted several "vedute". He is in fact recognized today as one of the first painters of "vedute", both in its fantastic and realistic aspects, and in fact his work will exert a notable influence on Canaletto and Bernardo Bellotto. He developed a personal language that, in contrast to the heroic character of the landscape derived from the Carracci, imaginatively interprets buildings and ruins, but always respecting verisimilitude, playing with lighting to obtain typically baroque expressive effects, which enhance the appearance of the ancient-looking buildings, populated by small popular characters. Codazzi grew up in Rome, where his family moved to in 1605, and as an adult he settled in Naples around 1633. There he trained as a disciple of Cosimo Fanzago, and his style matured, focusing on architectural painting. In Naples he worked on commissions such as those for the Certosa di San Martino, obtained through Cosimo Fanzago, also born in Bergamo. His major project in Naples was a series of four large canvases depicting scenes from Ancient Rome for the Buen Retiro Palace in Madrid, including one depicting gladiatorial combat in the Colosseum. Since he was a painter who specialized in architectural painting, the figures in this series were made by Domenico Gargiulo. In fact, this type of collaboration would be a constant in his career. Gargiulo was his main collaborator in Naples, but after returning to Rome following the Masaniello revolt in 1647, Codazzi will work with the Bamboccianti, mostly Dutch painters, and especially with Michelangelo Cerquozzi and Jan Miel. He also collaborated with Filippo Lauri, Adrien van der Cabel and Vicente Giner, already in the 1660s. The Bamboccianti, painters gathered around the figure of Pieter van Laer "Bamboccio", will exert a notable influence on Codazzi's mature style. He had several disciples and faithful followers, among them Ascanio Luciano and Andrea di Michele, in Naples, and also his son Niccolò Codazzi, Vicente Giner (who settled in Spain) and Domenico Roberti. Within his production it is worth mentioning for its originality his representation of the "Basilica of St. Peter" (1636), an unusual work within the genre of the "veduta". Painted in Naples, this painting shows the old entrance to the Vatican palace, destroyed when the Sala Regia and Bernini's colonnade were built, as well as two bell towers based on an engraving of the architect Martino Ferabosco's project, which was never built. One of his best known works is the representation of the Masaniello revolt in the Piazza del Mercato in Naples, with figures by Cerquozzi, which he made for Cardinal Bernardino Spada in 1648 (now in the Galleria Spada in Rome). Apart from these singular works, most of his paintings are medium format paintings, starring architectures in landscape settings. Works by Viviano Codazzi are currently held in the Museo del Prado, the Louvre, the Bowes Museum in County Durham (U.K.), the Indiana University Art Museum, the Minneapolis Institute of Art and the Walters Art Museum, among other public and private collections.
Setdart Auction House
Apr. 17, 2024
Viviano Codazzi (follower of)(Valsassina 1604-Rome 1670)Architectural interiors
Est: €6,000 - €8,000
Viviano Codazzi (follower of) (Valsassina 1604-Rome 1670) Architectural interiors pair of oils on canvas 130x107 cm with frame 168.5x145.5 cm; 131x106 cm - with frame 168.5x145.5 cm This pair of elegant imaginary views of two loggias of elegant buildings is animated by characters, painted with extreme skill, dressed in arms. The vaults and walls are adorned with precious polychrome marbles and diaphanous volutes and garlands. The stylistic references of our painter can be found in the works of Agostino Tassi, but above all in Viviano Codazzi, the great master of quadraturism, and his son Niccolò. Almo del Sarto report
Casa d'aste ARCADIA
Mar. 22, 2024
VIVIANO CODAZZI
Est: CHF7,000 - CHF10,000
VIVIANO CODAZZI (Bergamo 1604–1670 Rome) Capriccio with figures in a set of ruins. Oil on canvas. 55.3 × 71 cm. Provenance: Private collection, Switzerland. --------------- VIVIANO CODAZZI (Bergamo 1604–1670 Rom) Capriccio mit Figuren in einer Ruine. Öl auf Leinwand. 55,3 × 71 cm. Provenienz: Schweizer Privatbesitz. Die Figuren dürften wohl von Domenico Gargiulo (1609/10–1675) oder einem in der Nähe von Salvator Rosa (1615–1673) anzusiedelnden Künstler stammen. ---------------
Koller Auctions
Mar. 21, 2024
Viviano Codazzi
Est: €20,000 - €30,000
Valvassina 1604 - Rome 1670, 52x69 cm., "Capriccio con marina", oil on canvas, framed Literature: Giancarlo Sestieri, Il Capriccio Architettonico in Italia nei secoli XVII e XVIII, Roma, 2015, I, pag. 290-369-356-357 e fig. 105 Il dipinto è corredato da una perizia di Giancarlo Sestieri e da una scheda critica di Antonio Vannugli
Colasanti Casa d'Aste
Mar. 20, 2024
VIVIANO CODAZZI
Est: CHF2,000 - CHF3,000
Viviano Codazzi (Valsassina 1604–1670 Rom) Nachfolger d.18.Jhs. Ruinen mit Staffage. Öl auf Leinwand. 89,5x140 cm. Gerahmt. - Doubliert.
Schuler Auktionen
Feb. 14, 2024
Viviano Codazzi (1603 - 1672), a pair of architectural capriccio
Est: £6,000 - £8,000
Viviano Codazzi (1603 - 1672) a pair of architectural capriccio'sÂ Oil on canvasÂ A native of the Northern city of Bergamo, Viviano Codazzi is known to have travelled to Rome as early as 1620. In 1634 he moved to Naples and remained there until 1647. Codazzi specialised in realistic landscape painting and often collaborated with Michelangelo Cerquozzi in painting views of monuments and architectural fantasy, the staffage being painted by Cerquozzi.Â Â Codazzi was to receive many lucrative commissions throughout his life, some of the most important being the mural architectural settings for frescoes on the walls of the churches of Santi Apostoli, San Paolo Maggiore and San Martino. He also executed numerous genre scenes and some religious subjects.Â Â Provenance:Â Collection PÃ©rez de Vargas, Counts de la Quinteria, since the 19th Century;Â Illustrisima Sra. DoÃ±a Maria Carmen del Valle, 1960s;Â The property of a Spanish Noble familyÂ Â Dimensions: 24 in. (H) x 28.75 in. (W)
Sloane Street Auctions
Jan. 12, 2024
Roman painter of the 18th century
Est: €2,500 - €3,500
ROMAN PAINTER OF THE 17th/18th CENTURY School of VIVIANO CODAZZI (Valsassina, 1604 – Rome, 1672) Architectural Capriccio with figures and martyrdom of saints Oil on shaped canvas, cm. 100 x 116 The canvas depicts a beautiful view with architecture inspired by the classic Roman ones populated by soldiers and travellers. The full-bodied pictorial material, the particular tone of warm colors, the way of highlighting, are in fact characteristics of Viviano Cadozzi's school. ADDITIONAL PHOTOS AND INFORMATION CAN BE REQUESTED BY EMAIL. Indicative shipping costs in Italy: 150€ and Europe: 300€. WE SHIP WORLDWIDE, WRITE US AN EMAIL FOR A PRECISE ESTIMATE OF THE TRANSPORT COSTS. Tags: Pittore Romano Del Xviii Secolo. Pintor romano del siglo XVIII.. Peintre romain du XVIIIe siècle. Römischer Maler des 18. Jahrhunderts.
Unicart Auctions
Dec. 19, 2023
Viviano Codazzi (Valsassina, 1604 - Roma, 1670) Consesso di filosofi sulla scalinata di un tempio olio su tela cm 52x65; con cornice cm 67x84
Est: €5,000 - €6,500
Viviano Codazzi (Valsassina, 1604 - Roma, 1670) Consesso di filosofi sulla scalinata di un tempio olio su tela cm 52x65; con cornice cm 67x84Corredata da asseverazione di autenticità rilasciata dal Dott. Armin Silbernagl
Gliubich Casa d'Aste
Dec. 11, 2023
CIRCLE OF VIVIANO CODAZZI (1606-1670) An Italian landscape with ruins
Est: €6,000 - €8,000
old label (on the reverse) oil on canvas 103 x 126.5 cmancienne étiquette (au verso) huile sur toile 103 x 126,5 cm
Hermitage Fine Art
Nov. 30, 2023
Viviano Codazzi 1604 Valsassina-1670 Roma, cerchia di Vedute con architetture e personaggi
Est: €7,000 - €8,000
coppia di dipinti
Cambi Casa d'Aste
Sep. 28, 2023
Viviano Codazzi, 1604 Bergamo – 1670 Rom Nachfolge der zweiten Hälfte des 17.Jh.
Est: €6,000 - €8,000
ARCHITEKTURCAPRICCIO Öl auf Leinwand. 91 x 124 cm. Verso mit handschriftlicher Expertise von 1939. In ornamental verziertem Rahmen. Vor einer Ruinenarchitektur, deren vegetabiler Bewuchs einerseits das Alter der Gebäude unterstreicht und andererseits den Sieg der Natur über das Menschengeschaffene herausstellt, sieht man einige Personen im Boulespiel begriffen. Ein Durchblick lässt Gebäude wie die Trajanssäule und den Tempel des Hercules Victor erkennen. Literatur: Vgl. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque architectural fantasy, Mailand 1993. (1370746) (2) (13)
Hampel Fine Art Auctions
Jul. 06, 2023
Viviano Codazzi (Valsassina, 1604 - Roma, 1670) Filosofi sulla scalinata di un tempio indicano una fontana olio su tela cm 52x65; con cornice cm 67x84
Est: €5,000 - €6,500
Viviano Codazzi (Valsassina, 1604 - Roma, 1670) Filosofi sulla scalinata di un tempio indicano una fontana olio su tela cm 52x65; con cornice cm 67x84Corredata da asseverazione di autenticità rilasciata dal Dott. Armin Silbernagl
Gliubich Casa d'Aste
Jun. 20, 2023
VIVIANO CODAZZI
Est: €8,000 - €10,000
Viviano Codazzi (Valsassina, Italia, 1604-Roma, 1670) Vista de arco de triunfo con figuras. Óleo sobre lienzo. Reentelado. El género de la vista del paisaje con ruinas o monumentos clásicos, reales o inventados, tuvo un gran éxito en el período barroco y fue muy influyente en los siglos posteriores. Viviano Codazzi dejó su ciudad natal de Bérgamo para emigrar a Nápoles, donde se formó como pintor con Cosimo Fanzago. En Nápoles también trabajó con Domenico Gargiulo para crear paisajes de naturaleza legendaria y evocadora, mientras Gargiulo se especializó en figuras, Codazzi se centró en perspectivas arquitectónicas y paisajes con ruinas. Posteriormente, debido al conflictivo ambiente político de Nápoles, se traslada a Roma, donde trabaja como pintor de arquitectura y paisajismo junto a Antoine Gobau, Michelangelo Cerquozzi, Jan Miel, Filippo Lauri y Vicente Giner. Allí entró en contacto con el círculo de pintores holandeses, los llamados "bamboccianti", dirigidos por Pieter van Laer, que ejercieron una considerable influencia sobre él. Las vistas de Codazzi, tendrían una poderosa influencia en la siguiente generación de paisajistas, los "vedutistas" como Canaletto y Bernardo Bellotto. Desarrolló un lenguaje personal que, frente al carácter heroico del paisaje derivado de los Carracci, interpreta con imaginación edificios y ruinas, pero siempre respetando la verosimilitud, jugando con la iluminación para obtener efectos expresivos típicamente barrocos que realzan la apariencia de lo antiguo, edificios clásicos poblados por pequeñas figuras populares. Procedencia: Setdart Subastas, Barcelona. Colección particular, Lleida. 66 x 49,5 cm.
Aletheia Subastas
Jun. 14, 2023
Viviano Codazzi (1603-1672), and Domenico Gargiulo, called Micco Spadaro (circa 1609-circa 1675) Figures amongst classical ruins 26 x 37 1/2in (66 x 95.3cm)
Est: $2,000 - $3,000
Viviano Codazzi (1603-1672), and Domenico Gargiulo, called Micco Spadaro (circa 1609-circa 1675) Figures amongst classical ruins oil on canvas 26 x 37 1/2in (66 x 95.3cm)
Bonhams
May. 18, 2023
ANTONIO DE BELLIS (Rodio del Cilento, 1610? ; Napoli, 1656 o 1658) VIVIANO CODAZZI (Bergamo, 1604 circa ; Roma, 1670) e/o ANTONIO DE MICHELE (attivo a Napoli intorno al 1647)
Est: €30,000 - €50,000
La Piscina Probatica Olio su tela, cm 212,5X171 Provenienza: Probabilmente Napoli, Chiesa di San Diego all'Ospedaletto, fino al 1784 Collezione Pagano (cfr. Spinosa 1984 e De Vito 1984), fino al 2016 Bibliografia: N. Spinosa, La pittura napoletana del '600, Milano 1984, fig. 199 (come Antonio de Bellis) G. de Vito, Ritrovamenti e precisazioni a seguito della prima edizione della mostra del '600 napoletano, in: Ricerche sul '600 napoletano. Saggi vari in memoria di Raffaello Causa, 1984, p. 13, illustrato p. 59 fig. 41 (come Antonio de Bellis) N. Spinosa, Civiltà del Seicento a Napoli, catalogo della mostra a cura di R. Causa, G. Galasso, N. Spinosa, Napoli 1984, vol. I, pp. 234-236, n. 248 (citato come Antonio de Bellis a p. 236) B. Daprà, Antonio de Bellis, in Tra luci e ombre: la pittura a Napoli da Battistello Caracciolo a Luca Giordano, catalogo della mostra a cura di D. M. Pagano, L. Rocco, N. Spinosa, Napoli 1996, p. 43, (citato come Antonio e Bellis) N. Spinosa, Il Maestro dell'Annuncio ai pastori, Bartolomeo Bassante, Antonio de Bellis o Bernardo Cavallino? Riflessioni e dubbi sul primo Seicento a Napoli, in Scritti in memoria di Raffaello Causa. Saggi e documenti per la storia dell'arte 1994-1995, Napoli 1996, p. 251, (citato come Antonio de Bellis) S. Causa, La strategia dell'attenzione: pittori a Napoli nel primo Seicento, Napoli 2007, p. 145, fig. 79 (come Antonio de Bellis)- G. Wiedmann, Francesco Guarini e Antonio De Bellis 'tutti discepoli del Cavalier Massimo Stanzione', in Francesco Guarini. Nuovi contributi a cura di G. M. Pavone, Napoli 2012, vol. 1, pag. 57 (citato come Antonio de Bellis) A. Della Ragione, Antonio de Bellis. Opera completa, Napoli 2021, p. 32, fig. 019 N. Spinosa, Il maestro degli Annunci ai pastori e i pittori dal tremendo impasto (Napoli 1625 ; 1650), Roma 2021, p. 261, fig. D.42.1 (come Antonio de Bellis) Il gusto della rovina e dell'architettura dipinta si era ampiamente affermato a napoli grazie alle opere di Viviano Codazzi (1604-1670) e a riferimento dell'opera qui presentata l'esempio si ha nelle prospettive architettoniche realizzate dall'artista nella piscina probatica che il Lanfranco dipinse dopo il 1644 per la chiesa dei santissimi Apostoli. Fu proprio questa impresa, come indicato da Stefano Causa, a ispirare il rapporto con la scenografica composizione architettonica del dipinto in esame, in cui la figura della bagnante trova altresì confronto in un disegno per una delle storie di San Carlo Borromeo nella chiesa di San Carlo alle Mortelle, mentre la figura di un apostolo a sinistra con lo sguardo verso l'osservatore si può riconoscere nell'autoritratto del pittore (cfr. de Vito 1984). Per il grande formato e l'imponente disposizione spaziale Riccardo Lattuada suggerisce che la tela fosse destinata quale pala d'altare per la chiesa di san Diego all'Ospedaletto e che sia sopravvissuta al crollo durante il terremoto del 1784. Infatti, alcune fonti raccontano che la chiesa conteneva tele del 'cavalier Massimo, e altre di Andrea Vaccaro, Antonio de Bellis, Michele Fracanzano, scipione da salerno e altri' (cfr. P. Sarnelli, Guida de' forestieri curiosi di vedere e d'intendere le cose più notabili della regal città di Napoli e del suo amenissimo distretto, ritrovata colla lettura de' buoni scrittori, e colla propria diligenza dall'abate Pompeo Sarnelli, Napoli 1685, pp. 253-254). Detto ciò, Antonio De Bellis si può considerare uno dei principali protagonisti della pittura napoletana, espressivo di un abile sentimento pittorico prossimo a quello di Bernardo Cavallino e Andrea Vaccaro. La nostra composizione descrive con acume la scena, avvalorata da un raffinato registro cromatico dai sapienti rimandi tonali, rinvigoriti da una fredda luminosità caravaggesca che modella le figure. L'analisi generale rivela altresi l'influenza di Giuseppe Ribera, con cui il nostro mosse i primi passi ma anche gli echi del Cavallino e di Massimo Stanzione, dimostrando come De Bellis esprima digressioni piu ampie e ricche di riferimenti con i maggiori artisti della sua epoca e nel corso degli anni Quaranta dovette godere di buona fama. Per quanto riguarda la datazione si puo collocare in questi anni per le analogie con la Madonna del Rosario e anime del Purgatorio conservata al Museo Diocesano di Napoli che, collocabile alla meta del quinto decennio, mostra anch'essa nella parte inferiore un particolare naturalismo, in cui si leggono ancora chiare le influenze del Maestro degli Annunci e del Vitale ma stemperati dai modi del Cavalier Massimo.
Wannenes Art Auctions
Mar. 31, 2023
Attributed to VIVIANO CODAZZI
Est: CHF7,000 - CHF10,000
Attributed to VIVIANO CODAZZI (Bergamo 1604–1670 Rome) Pair of works: landscapes with ruins. Oil on canvas. 60 × 73 cm each. Provenance: European collection. --------------- VIVIANO CODAZZI, zugeschrieben (Bergamo 1604–1670 Rom) Gegenstücke: Ruinenlandschaften. Öl auf Leinwand. Je 60 × 73 cm. Provenienz: Europäische Sammlung. ---------------
Koller Auctions
Dec. 14, 2022
Codazzi Viviano cerchia di, Vedute con architetture e personaggi
Est: €10,000 - €15,000
coppia di dipinti, olio su tela, W. 130 - H. 96 Cm
Cambi Casa d'Aste
Nov. 29, 2022
VIVIANO CODAZZI (BERGAMO 1603/04 O 1606 - ROMA 1670) E BOTTEGA
Est: €3,500 - €4,500
Viviano Codazzi (Bergamo 1603/04 o 1606 - Roma 1670) e bottega Capriccio Olio su tela 96 x 131 cm La tela qui presentata va ricondotta al maestro bergamasco per la sua canonica composizione, che vede una fuga prospettica data dai resti a sinistra. Tra le rovine, tre enigmatiche figure dalle nobili vesti parlano con un anziano e dimesso signore. L’aria è dorata, il sole illumina la campagna circostante e indora le rovine, creando un effetto misto di grandiosità e decadenza. Il dipinto trova adeguati confronti con altre opere pubblicate da Giancarlo Sestieri nel testo Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Foligno 2015, ma anche in Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, D.R. Marshall, Roma 1993. Viviano Codazzi (Codacci, Codazzo, Codozo, Codagora, Codaora, Codahorra) è ritenuto uno dei padri del rovinismo italiano. Bergamasco di nascita, la sua carriera artistica si svolse tra Napoli e Roma. Risulta operare all’Urbe dal 1620 al 1634, momento in cui la sua attività si concentrò sulla fusione del vedutismo di Scorza e Tassi con il realismo caravaggesco e dei bamboccianti. Collaborò principalmente con Cerquozzi, François Perrier e Jan Miel. Nel 1634 si stabilì a Napoli, ove strinse amicizia con Domenico Gargiulo detto Micco Spadaro, suo fedele collaboratore. Le opere del periodo napoletano sono molto varie e nacquero da molteplici influenze culturali. Da un lato Codazzi seguì la tradizione della prospettiva e del quadraturismo rinascimentali, dall'altro amò la veduta ideata, magica e fiabesca, dal gusto preromantico e sviluppata a Roma dai pittori fiamminghi, tedeschi e francesi, che vede come maggiori rappresentanti B. Breenbergh e C. van Poelenburg. Più marcati sono gli influssi del vedutismo realistico dei bamboccianti e soprattutto quello eroico-tragico di Salvator Rosa. Tornò a Roma intorno al 1648, dove rimase stabilmente fino alla morte, salvo brevi assenze, che lo colse il 5 novembre del 1670. Oltre che sul figlio Niccolò Codazzi, la sua influenza si palesò in A. Tassi, F. Gagliardi, A. Salucci, G. Ghisolfi, L. Coccorante, A. M. Costa, G. Greco, Lemarie e Soria. Tale è stata la sua centralità nel tema della veduta rovinistica che anche maestri come Pannini, Canaletto e Bellotto dichiarano di aver attinto nozioni dalla sua arte. Viviano Codazzi (Bergamo 1603/04 o 1606 - Rome 1670) and workshop Capriccio Oil on canvas 96 x 131 cm This canvas can be traced back to the Bergamo master for its canonical composition, which sees a perspective escape given by the remains on the left. Among the ruins, three enigmatic figures in noble robes speak with an elderly and humble gentleman. The air is golden, the sun illuminates the surrounding countryside and gilds the ruins, creating a mixed effect of grandeur and decadence. The painting finds adequate comparisons with other artworks published by Giancarlo Sestieri in the text The architectural Capriccio in Italy in the seventeenth and eighteenth centuries, Foligno 2015, but also in Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, D.R. Marshall, Rome 1993.
Lucas Aste
Nov. 28, 2022
VIVIANO CODAZZI (BERGAME VERS 1604-1670 ROME) Marchands sur les marches d'u
Est: €15,000 - €25,000
VIVIANO CODAZZI (BERGAME VERS 1604-1670 ROME) Marchands sur les marches d'un palais huile sur toile, sur sa toile d'origine, un léger manque 98 x 133 cm. (38 1/2 x 52 3/8 in.)
Christie's
Nov. 24, 2022
Viviano Codazzi 1604 Valsassina-1670 Roma, cerchia di
Est: €20,000 - €30,000
.
Cambi Casa d'Aste
Nov. 09, 2022
Viviano Codazzi and Domenico Gargiulo, called Micco Spadaro
Est: €30,000 - €40,000
(Bergamo 1604–1670 Rome) and (Naples 1609/10 – ?1675) Elegant figures on the terrace of a palace by a harbour, oil on canvas, 102.5 x 130.5 cm, framed Provenance: Private collection, France; art market, France; where acquired by the present owner We are grateful to David R. Marshall for suggesting the attribution on the basis of photographs and for his help in cataloguing the present lot. This harbour scene by Viviano Codazzi dates to his early artistic production in Naples, before his move to Rome in 1648. This painting was probably painted in the late 1640s. Comparable works, several signed and dated in the 1640s and 1650s, can be found in David R. Marshall, Viviano and Niccolò Codazzi, Milan, 1993, pp. 94-143. Viviano Codazzi’s interest in architecture and his attention to linear perspective probably resulted from early experiences working on decorative painted architecture, known as quadratura. Established in Naples by 1633 Codazzi was engaged in painting architecture in paintings and architectural decoration. This included work at the Certosa di San Martino and an important set of four paintings of scenes of ancient Roman life commissioned by the Spanish viceroy for the Buen Retiro palace in Madrid based on engravings with figures by Gargiulo of circa 1638. At around this time Codazzi developed the genre of easel paintings of imaginary architecture to supply the growing demand for framed pictures to decorate rooms in palaces. As a painter of architecture, he needed a specialist figure painter to provide the figures that brought his settings to life, and for this he turned again to Domenico Gargiulo, a collaboration that continued for a couple of years after Codazzi’s move to Rome in 1648. Their manner was continued in Naples by his two closest followers, Ascanio Luciano and Antonio di Michele. As a painter trained in quadratura Codazzi could invent buildings and did not need to observe them from life, although there are important exceptions, such as the View of Poggioreale in Besançon. He elaborated buildings that are notionally palaces, but which are in fact inventions that employ a repertory of forms subject to innumerable variations. The most important of these is the portico consisting of arches supported on columns forming either a single cell, as here, or elaborated into a complex multi-celled structure. These would be applied to palace-type facades. These structures are normally constructed in receding one-point perspective on one side of the picture, as here. Because of this process Codazzi is unusual among architectural painters in that he rarely repeated himself, and each work that emerges often has surprising new details or combinations of elements. An example here is the detailing of the platform and steps in front of the portico, especially the inverted pyramid keystone. Another unusual detail that reveals the constructed, imaginary nature of the architecture is the way the second storey is only one bay wide, unlikely in a real building, and rises above a single storey building with a tiled roof. This lower storey breaks forward in the middle ground to form a kind of open loggia articulated at the front with a type of serliana: that is, arched bays separated by rectangular bays with a square opening above. The round window beneath the portico and the light grey colouring of the walls is often found in Codazzi’s Neapolitan works. Other characteristic Codazzi touches include the fancy ironwork of the railings and the supporting brackets beneath the window openings. The figures, including the statues, are by Domenico Gargiulo, who places them artfully in the spaces provided by Codazzi. Typical Gargiulo figures are the group of three figures, some wearing black, engaged in conversation; the solitary man with a hat and slashed sleeves; the woman and child going up the steps; the pair of figures peering over the parapet; and the fisherman wearing trousers and pointing with both hands. The scene of shipping, with a galley and sailing ships, as well as the vegetation and the sky are also in Gargiulo’s style rather than Codazzi’s.
Dorotheum
Sep. 22, 2022
Viviano Codazzi, 1604 Bergamo – 1670 Rom
Est: €25,000 - €40,000
Säulentempel am Ufer mit Figurenstaffage Öl auf Leinwand. 52 x 69 cm. Verso auf der Leinwand frühe Bezeichnungsaufschrift „Viviano“. Beigegeben eine Expertise von Antonio Vannugli, Roma/Lucignano Val di Chiana, 19. Juli 2016. Mit ausführlicheren Literaturangaben. In der beigegebenen Literatur lautet die Titelbezeichnung „Porto dorico.“ Gezeigt ist in der linken Bildseite eine antike Tempelfront mit sechs kannelierten Säulen, die ein Gebälk tragen, ohne Giebel und mit teilweise fehlenden Steinblöcken. Eine breite Treppenanlage führt zum Meeresgewässer herunter, das sich rechts bis zum überwölkten Horizont erstreckt. Ein vierseitiges Kuppelgebäude steht dahinter im Licht. Zwischen den Säulen nobel gekleidete Männer im Gespräch und ein Hündchen, an den Ufertreppen Arbeiter, und Fischer neben einem Kahn. Die Darstellung besticht durch die gekonnte Lichtwirkung, die besonders im Bereich der Säulen sonnenbeschienene und verschattete Partien aufweist. Auch die Wolkenbildung entspricht dieser verlebendigenden Stilistik. Viviano Codazzi ist wohl der bedeutendste Veduten- und Architekturmaler des 17. Jahrhunderts in Italien, noch lange vor den späteren Vedutisten wie Canaletto u.a. Das Oeuvre des Freskanten und Barockmalers zeigt, dass sich dieser Künstler überwiegend der Darstellung antiker Tempelansichten, Veduten und fantastischer Architekturen gewidmet hat. Als Spezialist auf diesem Gebiet erfuhr Codazzi lange Zeit nur wenig Beachtung, obgleich er in seinen Wirkungsjahren bereits als der vielleicht Größte unter den Malern der perspektivischen Architekturmalerei gewürdigt wurde, ja sogar als „quasi il Vitruvio die questa classe di pittori“ (Luigi Lanzi, 1732-1810). Der bedeutende Kunstwissenschaftler Roberto Longhi (1890-1970) erkannte in Codazzi einen „Caravaggio und Canaletto zugleich“. Inzwischen gilt als gesichert, dass Codazzi als der eigentliche Begründer der realistischen Vedute war, wie sie erst ab einer Generation später durch die Vedutisten wie A. Canale, Marieschi oder Bellotto, aber auch Claude Lorrain dann zur neuen Gattung gebracht wurde. Die Staffagefiguren in seinen Bildern sind oft von Kollegen geschafffen. Es wird vermutet, dass der Einfluss nordeuropäischer Maler wie Bartholomeus Breenbergh oder Van Poelenburg für die klassizistische Auffassung der Architekturen bei Codazzi mitverantwortlich waren. A.R. Literatur: Das Gemälde ist in der Literatur aufgeführt und abgebildet: Ciancarlo Sestieri, Capriccio architettonico in tItalia nel XVII e XVIII secolo, Rom 2015, Nr. 105 mit Abb. Vgl. Luigi Lanzi, Storia pittorica della Italia. Dal risorgimento delle Belle Arti fin presso al fin del XVIII secolo, Bassano 1809. Vgl. Giuliano Briganti, Viviano Codazzi, in: I pittori bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983, S. 643-741. Vgl. Rossella Pantanella, Viviano Codazzi, in: La pittura di paesaggio in Italia. Il Seicento, Katalog, Mailand 2004, S. 266-268. (1331001) (2) (11) Viviano Codazzi, 1604 Bergamo – 1670 Rome SEASHORE WITH COLONNADED TEMPLE AND FIGURE STAFFAGE Oil on canvas. 52 x 69 cm. Early inscription with artist's name “Viviani” on the back of the canvas. Accompanied by an expert’s report by Antonio Vannugli, Roma/ Lucignano Val di Chiana, 19 July 2016, including further detailed references. In the accompanying literature, it is titled as “Porto dorico”. Viviano Codazzi is probably the most important veduta and architectural painter of the 17th century in Italy, active long before the later veduta painters like Canaletto and others. The notable art historian Roberto Longhi (1890 – 1970) recognized in Codazzi a “Caravaggio and Canaletto at the same time”. It is now certain that Codazzi was the actual pioneer of the realistic veduta, which was not taken up as a new genre until a generation later by veduta painters such as A. Canale, Marieschi or Bellotto, but also Claude Lorrain. Literature: The painting is listed and illustrated in the literature: Ciancarlo Sestieri, Capriccio architettonico in Italia nel XVII e XVIII secolo. Rome 2015, no. 105 with ill. cf. Luigi Lanzi, Storia pittorica della Italia. From the risorgimento delle Belle Arti fin presso al fin del XVIII secolo, Bassano 1809. cf. Giuliano Briganti, Viviano Codazzi, in: I pittori bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983, pp. 643-741. cf. Pantanella, Rossella, Viviano Codazzi, in: Cat. La pittura di paesaggio in Italia. Il Seicento, L. Trezzani (ed.), Milan 2004, pp. 266-268.
Hampel Fine Art Auctions
Sep. 22, 2022
Viviano Codazzi (1604 – 1670) in Zusammenarbeit mit Filippo Lauri
Est: €50,000 - €90,000
BLICK ÜBER DEN TIBER MIT DER KIRCHE SAN GIOVANNI DEI FIORENTINI Öl auf Leinwand. 74 x 100 cm. In vergoldetem Rahmen mit Rocaillen. Das Gemälde bereits 1955 erstmals durch Giuliano Briganti als ein Werk des Codazzi anerkannt und 1983 veröffentlicht. Vergleiche, sowohl aus dem Werk des Codazzi als auch des Lauri, wie etwa das Gemälde „Opfer von Kain und Abel“ bieten sich an. Wie häufig in der Malerei der Zeit und in den entsprechenden Themen, handelt es sich auch hier um eine Zusammenarbeit zweier Maler, wobei Codazzi hier Architektur und Hintergrund und Lauri die Figurenstaffage geschaffen hat. Gezeigt ist ein im Spätlicht von links beleuchteter Palast mit zwei Loggia-Risaliten, durch deren Bögen die Fensterfassade zu sehen ist. Die Loggien getragen von mächtigen Rundsäulen mit ionischen Kapitellen über einer Treppenanlage. Im oberen Geschoss ein geöffnetes Fenster mit zwei Personen. An der langen mittleren Zugangstreppe mehrfigurige Szenerie: Jesus vor den Aposteln, von denen einige einen Bottich herangetragen haben. Dabei dürfte es sich um die Szene der bevorstehenden Hochzeit zu Kana handeln. Rechts im Bild einige weitere, auf den Stufen sitzende Gestalten sowie zwei Männer im Gespräch. Links der verschattet stehende Springbrunnen mit hoher Brunnenschale, davor zwei Esel neben abgestelltem Gepäck und Gefäßen. Das Gemälde insgesamt in hervorragender, den beiden genannten Künstlern entsprechenden, Malqualität. Bei genauerer Sichtung des Gemäldes wird deutlich, dass die Figuren nach Fertigstellung der architektonischen Elemente eingefügt wurden, da die vorbereitenden Untermalungen zum Teil noch erkennbar sind. Literatur: Das Gemälde in der Literatur mehrfach genannt und abgebildet: Giuliano Briganti, Ludovica Trezzani, Laura Laureati, Viviano Codazzi, in: I Pittori Bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983, S. 704, Nr. 128; S. 736, Abbildung 2. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque architectural fantasy, Mailand-Rom 1993, S. 324, VC 191. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rom 2015, I, S. 363, Abbildung 117. (12901426) (11) Viviano Codazzi (1604 – 1670) in collaboration with Filippo Lauri (1623 – 1694) PALACE ARCHITECTURE WITH ADJOINING GARDEN, FOUNTAIN AND BIBLICAL SCENE Oil on canvas. 74 x 100 cm. Literature: The painting is mentioned several times in specialised literature and illustrated in: Giuliano Briganti, L. Trezzani, L. Laureati, V. Codazzi, in: I Pittori Bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983, p. 704, no. 128; p. 736, ill. 2. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Milan/Rome 1993, p. 324, VC 191. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rome 2015, I, p. 363, ill. 117.
Hampel Fine Art Auctions
Sep. 20, 2022
Viviano Codazzi (Bergamo 1603/04 o 1606 - Roma 1670) bottega di
Est: €400 - €600
Viviano Codazzi (Bergamo 1603/04 o 1606 - Roma 1670) bottega di Rovine con personaggi Olio su tela 45 x 35 cm Viviano Codazzi (detto anche Codacci, Codazzo, Codozo, Codagora, Codaora, Codahorra) è ritenuto uno dei padri del rovinismo italiano. Bergamasco di nascita, la sua carriera artistica si svolse tra Napoli e Roma. Risulta operare nell’Urbe dal 1620 al 1634, periodo in cui la sua attività si concentrò nel fondere il vedutismo di S. Scorza e A. Tassi con il realismo caravaggesco e dei bamboccianti, collaborando principalmente con Cerquozzi, François Perrier e Jan Miel. Nel 1634 si stabilì a Napoli, ove strinse amicizia con il suo fedele collaboratore Domenico Gargiulo, detto Micco Spadaro. Le opere del periodo napoletano sono molto varie e nacquero da molteplici influenze culturali. Se da un lato Codazzi seguì la tradizione della prospettiva e del quadraturismo rinascimentali, dall'altro il pittore amò la "veduta ideata", magica e fiabesca dal gusto preromantico sviluppatasi a Roma da pittori fiamminghi, tedeschi e francesi, che vide in B. Breenbergh e C. van Poelenburg i maggiori rappresentanti. Ultimi, ma più marcati, sono gli influssi del vedutismo realistico dei bamboccianti, soprattutto quello eroico-tragico di Salvator Rosa. Codazzi tornò a Roma intorno al 1648, dove risiedette stabilmente, salvo brevi assenze, fino alla morte, che lo colse il 5 novembre del 1670. La sua influenza, oltre che sul figlio Niccolò Codazzi, si palesò nello stile di A. Tassi, F. Gagliardi, A. Salucci, G. Ghisolfi, L. Coccorante, A. M. Costa, G. Greco, Lemarie e Soria. Tale fu la sua centralità nel tema della veduta rovinistica che anche maestri come Pannini, Canaletto e Bellotto, dichiararono di aver attinto nozioni dalla sua arte. La tela qui presentata va ricondotta al maestro bergamasco per la sua canonica composizione, che vede un susseguirsi di arcate e resti che, prospetticamente, si perdono sino al piccolo portale posto sul fondo. Viviano Codazzi (Bergamo 1603/04 or 1606 - Rome 1670) workshop Ruins with characters Oil on canvas 45 x 35 cm
Lucas Aste
Jun. 30, 2022
Viviano Codazzi, 1604 Bergamo – 1670 Rom
Est: €135,000 - €180,000
ARCHITEKTUR CAPRICCIÖl auf Leinwand. Doubliert. Jeweils ca. 130 x 183 cm. In vergoldetem vegetabil gestaltetem Rahmen. Beigegeben jeweils ein Gutachten von Professor Giancarlo Sestieri 07.01.2019. Sestieri schreibt beide Gemälde zur Gänze Viviano Codazzi als Werke seiner Reifephase zu. Jeweils mit klassischer Architektur mit eingestellten Skulpturen und Reliefs sowie vegetabilem Bewuchs in Braun-Camaieu mit eingestellten martialischen Staffage-Figuren in antikisierender Gewandung. Jeweils mit nach rechtshin tieferliegender Landschaft. Durch ihre gleichausgerichteten Architekturelemente ist eine nachträgliche Marriage als Paar augenscheinlich, wenngleich die beiden Gemälde aus derselben Periode stammen mögen. (†) (13220019) Viviano Codazzi, 1604 Bergamo – 1670 Rome ARCHITECTURE CAPRICCIOil on canvas. Relined. Each ca. 130 x 183 cm. Accompanied by an expert’s report by Professor Giancarlo Sestieri dated 07.01.2019, in which Sestieri attributed both paintings in their entirety to Viviano Codazzi as works of his mature phase. (†)
Hampel Fine Art Auctions
Jun. 24, 2022
ATTRIBUÉ À VIVIANO CODAZZI (1604-1670) Caprice avec une architecture antique
Est: €3,500 - €4,500
ATTRIBUÉ À VIVIANO CODAZZI (1604-1670) Caprice with an ancient architecture On its original canvas. Inscription at the bottom center ... Cass... Inscription on the reverse Parque Castello V.C. H_75,5 cm L_101 cm Caprice avec une architecture antique Sur sa toile d’origine. Inscription en bas au centre … Cass… Inscription au revers Parque Castello V.C. H_75,5 cm L_101 cm
Pierre Bergé & Associés
May. 08, 2022
VIVIANO CODAZZI (VERS 1604 -1670) ET DOMENICO GARGIULO, DIT MICCO SPADARO (VERS 1609-1610 -AP. 1675)
Est: €30,000 - €40,000
VIVIANO CODAZZI (VERS 1604 -1670) ET DOMENICO GARGIULO, DIT MICCO SPADARO (VERS 1609-1610 -AP. 1675) Villa de campagne avec personnages sous un portique Toile (Restaurations anciennes) 116 x 166 cm Bibliographie: Nicola Spinosa, catalogue de l’Exposition Ritorno al Barocco. Da Caravaggio a Vanvitelli, Naples 2009-2010, Electa, 2009. Notre toile est caractéristique de la fructueuse collaboration entre Viviano Codazzi pour l’architecture,les « perspectives », et Domenico Gargiulo pour les figures. Le premier, formé à Rome dans l’entourage des « Bamboccianti » et d’Agostino Tassi, séjourne à Naples de 1634 à 1647 (il y retourne ponctuellement en 1653), puis travaille à Rome. Il participe au décor de la Chartreuse de San Martino, prend part également, avec Aniello Falcone et son élève Domenico Gargiulo, à la réalisation d’une série de quatre grandes toiles représentant des scènes de la Rome antique pour le palais du Buen Retiro à Madrid (aujourd’hui au musée du Prado). Il est le précurseur du védutisme de Canaletto et Belloto, et du genre des « caprice ». Notre tableau peut être daté du début des années 1640, par comparaison avec « Villa avec porche rustique et baldaquin aux colonnes salomonique » (Naples, Musée de Capodimonte, exposé au Palais Royal) et la célèbre « Fête à la Villa de Poggioreale » du Musée des Beaux-Arts de Besançon qui comportent cette même définition claire des structures, des plans de lumière et des tâches chromatiques géométriques. Le portique de la villa au premier plan, sûrement une résidence aristocratique de campagne, avec des arcs reposant sur de puissants piliers, à la place des colonnes habituelles, est gardé par des chiens sculptés en pierre. Au second plan, l’œil découvre l’une des nombreuses bâtisses typiques de l’arrière-pays napolitain, avec des fenêtres grandes ouvertes ; sur le rebord d’une d’entre-elles ont été posés deux vases de plantes fleuries. À droite, les collines descendent en pente douce vers une rivière. L’ensemble est animé, comme dans la réalité quotidienne, par les figures d’un mendiant, d’une famille d’humbles paysans, par des nobles élégants qui discutent paisiblement sous le porche. Un certificat du professeur Nicola Spinosa daté du 3 juillet 2008 sera remis à l’acquéreur.
HVMC - Hôtel des Ventes de Monte-Carlo
May. 01, 2022
School of VIVIANO CODAZZI, (Italian, 1604-1672), Fall of Simon Magus, oil on canvas, 21 x 41 in., frame: 24 1/2 x 44 1/2 in.
Est: $5,000 - $8,000
School of VIVIANO CODAZZI (Italian, 1604-1672) Fall of Simon Magus oil on canvas
Grogan & Company
Jan. 26, 2022
Italian school of the 17th century. Circle of VIVIANO CODAZZI (Bergamo, ca. 1604 - 1670). "Caprice". Oil on canvas. Relined in the 19th century. Frame of the 19th century.
Est: €6,000 - €8,000
Italian school of the 17th century. Circle of VIVIANO CODAZZI (Bergamo, ca. 1604 - 1670). "Caprice. Oil on canvas. Re-drawn in the 19th century. Frame of the 19th century. Measurements: 86,5 x 107 cm; 107 x 130 cm (frame). This "Capricho", close to the circle of Viviano Codazzi, offers us a panoramic landscape constructed from the reproduction of several monuments of classical style, to which the romantic concept of the ruin is added. It shows an idealised landscape in which a series of ruins of clear Roman influence stand out, such as the remains of an arch on the left of the composition, porticoed colonnades at the front, etc. The genre of the landscape view with ruins or classical monuments, real or invented, enjoyed great success in the Baroque period and was widely influential in later centuries. Viviano Codazzi left his native city of Bergamo to emigrate to Naples, where he trained as a painter with Cosimo Fanzago. In Naples he also worked with Domenico Gargiulo to create landscape views of a legendary and evocative nature. Gargiulo specialised in figures, while Codazzi focused on architectural perspectives and landscapes with ruins. Later, owing to the conflictive political atmosphere in Naples, he moved to Rome, where he worked as an architectural and landscape painter alongside Antoine Gobau, Michelangelo Cerquozzi, Jan Miel, Filippo Lauri and Vicente Giner. In Rome he came into contact with the circle of Dutch painters, the so-called "bamboccianti", led by Pieter van Laer, who had a considerable influence on him. In Rome he worked with both fantastic and realistic landscapes, and one of his best-known works in this respect is Saint Peter's Basilica, one of the last depictions of the famous building before Bernini's interventions and the creation of his magnificent colonnade. Codazzi's views, which despite being imaginative always retain a certain degree of verisimilitude, had a powerful influence on the next generation of landscape painters, the "vedutists" such as Canaletto and Bernardo Bellotto. He developed a personal language which, in contrast to the heroic character of the landscape derived from the Carracci, imaginatively interprets buildings and ruins, but always respecting verisimilitude, playing with the lighting to obtain typically Baroque expressive effects that enhance the appearance of the ancient-looking buildings, populated by small, popular figures.
Setdart Auction House
Jan. 26, 2022
Italian school of the 17th century. Circle of VIVIANO CODAZZI (Bergamo, ca. 1604 - 1670). "Interior of the temple". Oil on canvas. Relined in the 19th century. Frame of the 19th century.
Est: €6,000 - €8,000
Italian school of the 17th century. Circle of VIVIANO CODAZZI (Bergamo, ca. 1604 - 1670). "Interior of a temple". Oil on canvas. Re-drawn in the 19th century. Frame of the 19th century. Measurements: 86,5 x 107 cm; 107 x 130 cm (frame). This "Capricho", close to Viviano Codazzi's circle, offers us an architectural view contextualised in the interior of a magnificent temple. The spatial understanding is based on a firm mastery of the linear perspective of Renaissance heritage, while its rigour is softened by the atmospheric and intuitive study that the free movement of the figures in space helps to create. Viviano Codazzi left his native city of Bergamo to emigrate to Naples, where he trained as a painter with Cosimo Fanzago. In Naples he also worked with Domenico Gargiulo to create landscape views of a legendary and evocative nature. Gargiulo specialised in figures, while Codazzi focused on architectural perspectives and landscapes with ruins. Later, owing to the conflictive political environment in Naples, he moved to Rome, where he worked as an architectural and landscape painter alongside Antoine Gobau, Michelangelo Cerquozzi, Jan Miel, Filippo Lauri and Vicente Giner. In Rome he came into contact with the circle of Dutch painters, the so-called "bamboccianti", led by Pieter van Laer, who had a considerable influence on him. In Rome he worked with both fantastic and realistic landscapes, and one of his best-known works in this respect is Saint Peter's Basilica, one of the last depictions of the famous building before Bernini's interventions and the creation of his magnificent colonnade. Codazzi's views, which despite being imaginative always retain a certain degree of verisimilitude, had a powerful influence on the next generation of landscape painters, the "vedutists" such as Canaletto and Bernardo Bellotto. He developed a personal language which, in contrast to the heroic character of the landscape derived from the Carracci, imaginatively interprets buildings and ruins, but always respecting verisimilitude, playing with the lighting to obtain typically Baroque expressive effects that enhance the appearance of the ancient-looking buildings, populated by small, popular figures.
Setdart Auction House
Dec. 16, 2021
Codazzi, Viviano (Kreis)
Est: €300 - €500
Codazzi, Viviano (Kreis) Bergamo 1604 - Rom 1670 49 x 76 cm,o.R. Ancient ruin, probably the Basilica of Maxentius. Oil/canvas, relined.
Nagel Auction
Dec. 09, 2021
Viviano Codazzi (1604 - 1670) und Jan Miel (1599 - 1664)
Est: €7,000 - €9,000
IN DER WERKSTATT DES BILDHAUERS Öl auf Leinwand. 47 x 37 cm. In profiliertem Holzrahmen. Beigegeben ein Gutachten von Prof. Giancarlo Sestieri, Rom, 16. Mai 2021, in Kopie. Inmitten einer antiken Ruine, die sich vor allem durch drei kannelierte Säulen mit korinthischen Kapitellen auszeichnet, wird neben Fragmenten bekannter antiker Statuen auch ein Mann dargestellt, der seinem Werk, nämlich einer vor ihm platzierten Büste, gegenübersteht. Der Bildhauer zeichnet sich durch seine polychrome Kleidung aus, die ihn von dem Steingrau des Werkstoffes und dem Ocker der Architektur abhebt und mit dem Hier und Jetzt der im Durchblick erscheinenden Landschaft das ausgewählte Kolorit gemein hat. Rest. Literatur: Vgl. Giuliano Briganti, Ludovica Trezzani, Laura Laureati, I bambocciant Rom 1983, S. 90-131. Vgl. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rom 1993, S. 202ff. Vgl. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rom 2015, S. 202ff. (1290672) (13)
Hampel Fine Art Auctions
Dec. 09, 2021
Viviano Codazzi (1604 – 1670) in Zusammenarbeit mit Filippo Lauri (1623 – 1694)
Est: €50,000 - €80,000
BLICK ÜBER DEN TIBER MIT DER KIRCHE SAN GIOVANNI DEI FIORENTINIÖl auf Leinwand. 74 x 100 cm. In vergoldetem Rahmen mit Rocaillen. Dem Gemälde ist eine ausführliche Dokumentation beigegeben, die die Feststellung beinhaltet, dass das Gemälde bereits 1955 erstmals durch Giuliano Briganti als ein Werk des Codazzi anerkannt und 1983 veröffentlicht wurde. In der Dokumentation werden Vergleichsbeispiele genannt, sowohl aus dem Werk des Codazzi als auch des Lauri, wie etwa das Gemälde „Opfer von Kain und Abel“. Wie häufig in der Malerei der Zeit und in den entsprechenden Themen, handelt es sich auch hier um eine Zusammenarbeit zweier Maler, wobei Codazzi hier Architektur und Hintergrund und Lauri die Figurenstaffage geschaffen hat. Gezeigt ist ein im Spätlicht von links beleuchteter Palast mit zwei Loggia-Risaliten, durch deren Bögen die Fensterfassade zu sehen ist. Die Loggien getragen von mächtigen Rundsäulen mit ionischen Kapitellen über einer Treppenanlage. Im oberen Geschoss ein geöffnetes Fenster mit zwei Personen. An der langen mittleren Zugangstreppe mehrfigurige Szenerie: Jesus vor den Aposteln, von denen einige einen Bottich herangetragen haben. Dabei dürfte es sich um die Szene der bevorstehenden Hochzeit zu Kana handeln. Rechts im Bild einige weitere, auf den Stufen sitzende Gestalten sowie zwei Männer im Gespräch. Links der verschattet stehende Springbrunnen mit hoher Brunnenschale, davor zwei Esel neben abgestelltem Gepäck und Gefäßen. Das Gemälde insgesamt in hervorragender, den beiden genannten Künstlern entsprechenden, Malqualität. Bei genauerer Sichtung des Gemäldes wird deutlich, dass die Figuren nach Fertigstellung der architektonischen Elemente eingefügt wurden, da die vorbereitenden Untermalungen zum Teil noch erkennbar sind. Literatur: Das Gemälde in der Literatur mehrfach genannt und abgebildet: Giuliano Briganti, Ludovica Trezzani, Laura Laureati, Viviano Codazzi, in: I Pittori Bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983, S. 704, Nr. 128; S. 736, Abbildung 2. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque architectural fantasy, Mailand-Rom 1993, S. 324, VC 191. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rom 2015, I, S. 363, Abbildung 117. (12901426) (18) Viviano Codazzi (1604 – 1670) in collaboration with Filippo Lauri (1623 – 1694) PALACE ARCHITECTURE WITH ADJOINING GARDEN, FOUNTAIN AND BIBLICAL SCENEOil on canvas. 74 x 100 cm. Literature: The painting is mentioned several times in specialised literature and illustrated in: Giuliano Briganti, L. Trezzani, L. Laureati, V. Codazzi, in: I Pittori Bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983, p. 704, no. 128; p. 736, ill. 2. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Milan/Rome 1993, p. 324, VC 191. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rome 2015, I, p. 363, ill. 117.
Hampel Fine Art Auctions
Nov. 30, 2021
VIVIANO CODAZZI (Attr.). Oli painting on canvas
Est: €6,000 - €8,000
VIVIANO CODAZZI (Attr.) (Valsassina, 1604. Roma, 1672). Dipinto olio su tela raff. ''ARCHITETTURA CON SCORCIO DI PORTO''. In cornice dorata. Difetti e restauri. Già rintelato e rintelaiato. Mis. Lung. cm. 100 Alt. cm. 74 ca. Val. 6000/8000
Viscontea Casa d'Aste s.r.l.
Nov. 30, 2021
VIVIANO CODAZZI (Attr.). Oli painting on canvas
Est: €7,000 - €9,000
VIVIANO CODAZZI (Attr.) (Valsassina, 1604. Roma, 1672). Dipinto olio su tela raff. ''NOZZE DI CANA''. In cornice dorata. Lievi restauri. Già rintelato e rintelaiato. Mis. Lung. cm. 98 Alt. cm. 74 ca. Val. 7000/9000
Viscontea Casa d'Aste s.r.l.
Nov. 26, 2021
VIVIANO CODAZZI (BERGAMO, 1604 - ROME, 1670), ATTRIBUTED TO AND NAPOLITAN FIGURE PAINTER : LANDSCAPE WITH RUINS AND FIGURES
Est: €5,000 - €7,000
Oil on canvas, cm. 47x63 The canvas bears a partially legible inscription at the bottom centre on the stone between the figures: "VIANO F. / 156."
Bertolami Fine Art s.r.l.
Jul. 11, 2021
Viviano Codazzi "Capriccio" Oil on Canvas, 17th C.
Est: $5,000 - $7,000
Viviano Codazzi (Italian, 1604-1670) oil on canvas, depicting a Classical architectural capriccio, the fantasy landscape with figures by a fountain, bearing Christie's labels on reverse. Image: 15" H x 18.5" W; frame: 21" H x 24.75" W x 2.25" D. Provenance: Christie's, "Important Old Master Paintings, Part II," April 6, 2006; Removed from a private residence at the Pierre Hotel.
Auctions at Showplace
Jul. 11, 2021
Viviano Codazzi "Capriccio" Oil on Canvas, 17th C.
Est: $5,000 - $7,000
Viviano Codazzi (Italian, 1604-1670) oil on canvas, depicting a Classical architectural capriccio, the fantasy landscape with man and dog next to archway, bearing Christie's labels on reverse. Image: 15" H x 18.5" W; frame: 21" H x 24.75" W x 2.25" D. Provenance: Christie's, "Important Old Master Paintings, Part II," April 6, 2006; Removed from a private residence at the Pierre Hotel.
Auctions at Showplace
Jun. 07, 2021
ATTRIBUÉ À VIVIANO CODAZZI (1604 - 1670)
Est: €6,000 - €8,000
ATTRIBUÉ À VIVIANO CODAZZI (1604 - 1670) Caprice with an ancient architecture On its original canvas. H_75,5 cm L_101 cm Inscription at the bottom center ... Cass... Inscription on the reverse side Parque Castello V.C. Caprice avec une architecture antique Sur sa toile d'origine. H_75,5 cm L_101 cm Inscription en bas au centre ... Cass... Inscription au revers Parque Castello V.C.
Pierre Bergé & Associés
Apr. 19, 2021
Viviano Codazzi (Bergamo 1603/04 o 1606 - Roma 1670)
Est: €2,000 - €3,000
Viviano Codazzi (Bergamo 1603/04 o 1606 - Roma 1670) "Veduta di porto con rovine e personaggi" Olio su tela View of the port with ruins and characters" Oil on canvas 49 x 67 cm Viviano Codazzi (Codacci, Codazzo, Codozo, Codagora, Codaora, Codahorra) è ritenuto uno dei padri del rovinismo italiano. Bergamasco di nascita, la sua carriera artistica si è svolta tra Napoli e Roma. Risulta operare all’Urbe dal 1620 al 1634, momento in cui la sua attività si concentra nel fondere il vedutismo di S. Scorza, A. Tassi, con il realismo caravaggesco e dei bamboccianti, collaborando principalmente col Cerquozzi, con François Perrier e con Jan Miel. Nel 1634 si stabilisce a Napoli, ove stringe amicizia con Domenico Gargiulo detto Micco Spadaro, suo fedele collaboratore. Le opere del periodo napoletano sono molto varie, e nascono da molteplici influenze culturali. Da un lato Viviano segue la tradizione della prospettiva e del quadraturismo rinascimentali; dall'altro il pittore ama la "veduta ideata", magica e fiabesca, dal gusto preromantico e sviluppata a Roma dai pittori fiamminghi, tedeschi e francesi, che vede B. Breenbergh e C. van Poelenburg i maggiori rappresentanti. Ultimo, ma forse il più marcato, è l’influsso del vedutismo realistico dei bamboccianti, e soprattutto quello eroico-tragico di Salvator Rosa. Torna a Roma intorno al 1648, dove risiede stabilmente salvo brevi assenze - intorno al '53, forse dal 1659 al '66 - fino alla morte, che lo coglie il 5 novembre del 1670. La sua influenza, oltre che sul figlio Niccolò Codazzi, si palesa in A. Tassi, F. Gagliardi, A. Salucci, G. Ghisolfi, L. Coccorante, A. M. Costa, G. Greco, Lemarie e Soria. Tale è stata la sua centralità nel tema della veduta rovinistica che anche i maestri come Pannini, Canaletto e Bellotto, denunciano di aver attinto nozioni dalla sua arte. La tela qui presentata va ricondotta al maestro bergamasco per la sua canonica composizione, che vede una fuga prospettica data dai resti a destra che si propagano sino al faro in lontananza. A bloccare, anche se solo in parte, la fuga verso l’orizzonte, di fronte a noi si ergono i resti di un colonnato di antico fasto. Tra le rovine tre enigmatiche figure: un filosofo intento allo studio e altre due che dibattono. L’aria è dorata, il sole illumina il mare e indora le rovine creando un effetto misto di antica grandiosità e mesta decadenza. Essa trova adeguati confronti con altre opere pubblicate da Giancarlo Sestieri “Il Capriccio architettonico in Italia nel XVII e XVIII secolo”, Foligno 2015; e D.R. Marshall “Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy”, Roma 1993
Lucas Aste
Mar. 25, 2021
Domenico Gargiulo, genannt Micco Spadaro, 1609/10 - 1675, und Viviano Codazzi, um 1604 - 1670
Est: €40,000 - €60,000
LANDSITZ MIT PORTIKUS UND HÜTTE Öl auf Leinwand. Doubliert. 116 x 166 cm. In gekehltem und vergoldetem Rahmen. Beigegeben eine Expertise von Nicola Spinosa, Neapel, 3. Juli 2008, in Kopie. Großformatiges Gemälde mit von links in den Bildraum hineinragendem Portikus mit vorgesetzten plastisch dargestellten Löwenfiguren. Dahinter ein Landhaus, rechts ein Ausblick in eine Landschaft. Belebt durch bewegte Figurenstaffage, die laut Spinosa von Domenico Gargiulo besorgt wurde, während Viviano Codazzi für die Architketur verantwortlich zeichnet. Es ist eine Entstehungszeit zwischen 1634 und 1647 anzunehmen. Vergleichbar ist etwa eine „Villa con portico e baldacchino con collonne salomoniche“ im Museo di Capodimonte. In seinem Gutachten betont Spinosa den sehr guten Zustand des Gemäldes. Literatur: Vgl. Ausstellungskatalog Micco Spadaro. Napoli ai tempi di Masaniello, Brigitte Daprá (Hrsg.), Neapel 2002, S. 84, Nr. 16. Ausstellungskatalog: Riterno al Barocco da Caravaggio a Vanvitelli, kuratiert von Nicola Spinosa, Neapel, 12. Dezember 2009 - 11. April 2010. (1260096) (13) Domenico Gargiulo, also known as Micco Spadaro, 1609/10 - 1675, and Viviano Codazzi, ca. 1604 - 1670 COUNTRY HOUSE WITH PORTICO AND HUT Oil on canvas. Relined. 116 x 166 cm. In moulded and gilt frame. A copy of the expert‘s report by Nicola Spinosa, Naples, 3 July 2008, is enclosed. His report emphasizes the very good condition of the painting. Literature: Compare exhibition catalogue Micco Spadaro. Napoli ai tempi di Masaniello, Brigitte Daprá (ed.), Naples 2002, p. 84, no. 16. Exhibition catalogue: Riterno al Barocco da Caravaggio a Vanvitelli, curated by Nicola Spinosa, Naples, 12 December 2009 – 11 April 2010.
Hampel Fine Art Auctions