Viviano Codazzi

LOT 273 VIVIANO CODAZZI BERGAMO 1604 - 1670 ROME A CAPRICCIO OF THE EXTERIOR OF AN ELABORATE PALACE WITH SAINT PETER HEALING THE LAME; A CAPRICCIO OF THE INTERNAL COURTYARD OF A RUINED PALACE WITH THE MIRACLE OF SAINT PAUL Quantity: 2 a pair, both oil on canvas each: 128 by 151 cm.; 50 3/8 by 59 1/2 in.

LOT 215 THE PROPERTY OF A GENTLEMAN VIVIANO CODAZZI BERGAMO 1604 - 1670 ROME AN ARCHITECTURAL CAPRICCIO WITH CHRIST CURING A LEPER signed with monogram lower right: VC oil on canvas 40,000—60,000 GBP 99 by 135.5 cm.; 39 by 53 3/8 in. We are grateful to Dr. David Ryley Marshall for endorsing theattribution on the basis of photographs.

VIVIANO CODAZZI BERGAMO 1604 - 1670 ROME AN ARCHITECTURAL CAPRICCIO WITH FIGURES AMONGST CLASSICAL RUINS, ALIGHTHOUSE BEYOND 18,000—25,000 GBP 97 by 133 cm. 38 1/8 by 52 1/4 in. oil on canvas, unlined Description inscribed on the reverse: R.t. Sacrista oil on canvas, unlined We are grateful to Dr. David Marshall for endorsing theattribution to Codazzi following first-hand inspection of thepainting. The figures are by another, as yet unidentified,hand.

Viviano Codazzi Bergamo c. 1604-1670 Rome and Adriaen van derCabel Rijswijk 1630/31-1705 Lyon A capriccio with figures beneath a Doric colonnade, a bay and theTorre di San Vincenzo, Naples beyond oil on canvas, oval 18½ x 26 in. 47 x 66 cm. Lot Notes We are grateful to Prof. David R. Marshall for confirming theattribution to Viviano Codazzi and Adriaen van der Cabel, on thebasis of photographs (private communication, 1 October 2008). He dates this painting to the 1660s, relating it to a group ofcollaborative works of this subject (see D.R. Marshall, Viviano andNiccolò Codazzi, Milan, 1993, pp. 290-99, nos. VC166, VC167 andVC170). In this view van der Cabel appears to have had a greaterdegree of involvement in the landscape than usual, filling out thepainting around Codazzi's architecture.

oil on canvas LITERATURE AND REFERENCES G. Briganti, L. Trezzani, L. Laureati, "Viviano Codazzi," in I Pittori Bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983, p. 704, cat. no. 128, reproduced p. 736; D.R. Marshall, Viviano and Niccolo Codazzi and the Baroque Architectural Fantasy, Milan 1993, p. 324, cat. no. VC 191, reproduced (as whereabouts unknown and with the subject as "Christ and his Apostles"). CATALOGUE NOTE Although it was known to both Giuliano Braganti and David Marshall (see literature), the present painting, which may be dated to the 1660s, has been untraced for quite some time. It is one of about a dozen collaborations between Viviano Codazzi and Filippo Lauri, whose first documented painting with Codazzi is the impressive Arsenal at Civitavecchia , dated 1668 . (It is, however, generally agreed that the two artists, who were both in Rome by the 1650s, worked together much earlier than that.)1 The architectural elements of the palace in the present composition are rather unique in Codazzi's oeuvre. In the majority of the artist's palaces, the projecting pavilions are set off the from the main structure by an arcade; however, here, the pavilions are grafted right on to the central block of the building. Also quite unusual for Codazzi are the round windows with square frames, and the urns within niches.2 Another version of the present painting by a follower of Codazzi was sold, London, Christie's, May 19, 1989, lot 54. 1. See D. Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fancy, Milan 1993, p. 309. 2. op. cit., p. 324