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

Jul. 02, 2026
Viviano Codazzi 1604 Valsassina-1670 Roma, cerchia di Capricci con architetture e figure
Est: €6,000 - €8,000
coppia di dipinti olio su tela
Cambi Casa d'Aste
May. 27, 2026
VIVIANO CODAZZI
Est: €7,000 - €12,000
(Bergamo, 1604 circa - Roma, 1670) DOMENICO GARGIULO detto MICCO SPADARO (Napoli, 1609/1612 - 1675) Villa di campagna con figure sotto un portico Olio su tela, cm 115,7X166,9 L'opera è corredata da certificato CAS (Certificato di Avvenuta Spedizione). The painting is accompanied by a CAS certificate (Certificate of Shipment Completion). Provenienza: Collezione privata Bibliografia: B. Daprà, in Ritorno al Barocco. Da Caravaggio a Vanvitelli, catalogo della mostra a cura di N. Spinosa, Napoli 2009, p. 341, n. 1.193 G. Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Foligno 2015, I, p. 336, n. 70 Attribuito nel 2008 da Nicola Spinosa a Viviano Codazzi e Domenico Gargiulo, il dipinto come suggerito da Brigitte Daprà potrebbe essere una delle rare riprese dal vero dell'artista, in cui si conferma la sua attenzione alla realtà. Si osservino, ad esempio, le consunzioni dei muri, descritti con tinte smorzate ma la cui contrapposizione conferisce un incisivo effetto di profondità spaziale. Così è stata segnalata la singolarità delle tre sculture antistanti il portico che non è dato ritrovare in altre opere dell'artista. Le figure e il fondale paesistico, invece, si riconoscono a Domenico Gargiulo, artista che più volte collaborò con il bergamasco durante il suo soggiorno napoletano, suggerendo una datazione alla seconda metà degli anni Trenta, in analogia con le tele raffiguranti Portico con adorazione dei pastori e Portico rustico in legno e muratura pubblicati da Giuliano Briganti nel 1983 e successivamente da Marshall (cfr. Briganti 1983, p. 692, n. 38; p. 770, n. 90; Marshall 1993, p. 86, VC13; p. 90, VC17). L'opera è corredata da una scheda critica di Nicola Spinosa. Bibliografia di riferimento: G. Briganti, L. Laureati, L. Trezzani, I Pittori Bergamaschi Dal XIII al XIX Secolo, Il Seicento I, Bergamo 1983 D. R. Marshall, Viviano e Niccolò Codazzi e la fantasia architettonica barocca, Milano 1993, ad vocem G. Sestieri e G. Daprà, Domenico Gargiulo detto Micco Spadaro, Paesaggista e 'cronista' napoletano, Milano 1994, ad vocem
Wannenes Art Auctions
May. 27, 2026
VIVIANO CODAZZI
Est: €10,000 - €15,000
(Bergamo, 1604 circa - Roma, 1670) Capricci architettonici con figure Olio su tela, cm 111,5X151,5 (2) Provenienza: Collezione privata Ricondotte al catalogo di Viviano Codazzi da Alessandro Agresti, le tele si datano intorno al 1660, pertanto alla piena maturità dell'artista e alla sua attività romana dopo il non breve soggiorno napoletano. Un altro aspetto messo in luce dallo studioso è la rarità di opere a pendant giunte fino a noi e di come l'autore a Roma sviluppi la propria arte smorzando il forte naturalismo che caratterizza le opere partenopee, accentuando il carattere classicista attraverso una pacatezza formale di straordinario equilibrio compositivo. Questi caratteri, in cui l'essenzialità della visione architettonica diventa preponderante, sarà un ammaestramento prezioso per tutti gli artisti successivi che si dedicheranno al genere del capriccio nella sua evoluzione settecentesca. Le opere sono corredate da una scheda critica di Alessandro Agresti. Bibliografia di riferimento: D. R. Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Roma 1993, ad vocem G. Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Foligno 2015, I, pp. 290-369
Wannenes Art Auctions
Mar. 25, 2026
VIVIANO CODAZZI (Bergamo, c.1604 – Rome, 1670) - Coastal Caprice with Monumental Building, Fountain and Figures
Est: €35,000 - €40,000
Oil on canvas. Dimensions: 126 × 188 cm. The work presents an architectural whimsy in a coastal setting, where a large monumental building dominates the composition alongside a fountain and various figures that enliven the scene. This type of imaginary landscape, in which classical or monumental architecture is combined with natural elements and small figures, was especially prized in 17th-century Italian painting. The painting is related to the style of Viviano Codazzi, one of the leading specialists in painted architecture of the Italian Baroque. Active primarily in Rome and Naples, Codazzi developed a pictorial language centered on expansive architectural settings, inspired by classical antiquity or imaginary constructions, which served as a scenic backdrop for small human figures. He frequently collaborated with other figure painters, integrating architecture and narrative scene within large-scale compositions. In this type of work, architecture takes center stage, organizing the pictorial space through monumental perspectives and expansive plazas or terraces opening onto the landscape or the sea—characteristics typical of the Baroque taste for architectural scenography. Lot in international warehouse (within the EU). Intra-EU shipment: no import duties apply within the EU. An export permit from the country of origin may be required.
Templum Fine Art Auctions
Mar. 04, 2026
Viviano Codazzi (Valsassina 1604 - Rome 1670) Pair of architectural fantasies
Est: €7,000 - €14,000
The following is the expert opinion of Professor Luigi Salerno, dated December 9, 1982: "The two oil paintings on canvas (each 105 x 112 cm) depicting 'Architectural Fantasies' are, in my opinion, unequivocal works by Viviano Codazzi, a painter born in Bergamo in 1603 or 1604 and died in 1670. (...). The two paintings under examination can be dated very approximately to the period of Codazzi's stay in Naples. He settled in Naples in the 1620s and was active in that city until the revolution of 1647. At that time, he had as a collaborator, who executed the figures in his paintings, Domenico Gargiulo, known as Micco Spadaro, whose hand has been recognized in paintings by Codazzi in the National Galleries of Capodimonte (in Naples) and in the Museum of Besançon. Since the figures in these two paintings are also evidently by Spadaro, they should be dated before 1647, I would say. around 1640. The high quality of these paintings is fully appreciated thanks to their excellent state of preservation. (...). However, it would be inadvisable to separate them, because Codazzi himself was one of the creators of the practice, which later became more widespread, of paintings painted as pendants. Pair of oils on canvas, both 110x116.5 cm - with frame 127x133 cm. Chaucer, 1981, cat. 10 (Codazzi and Gargiulo); Briganti, 1983a, cat. 31, p. 691, repr. p. 718 (Codazzi and Gargiulo); Marshall, 1988, p. 31, note 47, pl. 31a (Luciano); D. R. Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Jandi Sapi, Rome 1993, pp. 463, 464 repr. Declaration of Authenticity (Codazzi and Gargiulo) C. Gasparrini, Gasparrini Autiquari, Rome 1984 Sale William Doyle Galleries Inc., New York, September 24, 1980, Evening Painting Sale, lot 165 (joined with AL 24 as documented in a photograph at the Frick Library); art market, Rome (Galleria Gasparrini, Rome, 1981); from which acquired by the current owner since 1984
Casa d'aste ARCADIA
Jan. 28, 2026
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: €8,000 - €8,500
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
Dec. 11, 2025
Viviano Codazzi 1604 Valsassina-1670 Roma, seguace di Capricci architettonici con figure
Est: €4,000 - €6,000
coppia di dipinti olio su tela
Cambi Casa d'Aste
Dec. 03, 2025
Viviano Codazzi (Bergamo 1603-1672 Rome) An architectural capriccio with the Rape of the Sabine Women; and An architectural capriccio with figures brawling and pillaging (2)
Est: £12,000 - £18,000
Viviano Codazzi (Bergamo 1603-1672 Rome) An architectural capriccio with the Rape of the Sabine Women; and An architectural capriccio with figures brawling and pillaging a pair, oil on canvas 127.2 x 177.6cm (50 1/16 x 69 15/16in). (2)
Bonhams
Nov. 24, 2025
VIVIANO CODAZZI, BERGAMO 1604 - 1670 ROME, CIRCLE OF
Est: €300 - €600
Viviano Codazzi Bergamo 1604 - 1670 Rome, circle of Architectural landscape Oil on canvas 47 x 62 cm, with frame 62 x 77 cm
Tiberius Auctions
Oct. 30, 2025
Attribué à Viviano CODAZZI (1604-1670)
Est: €6,000 - €8,000
Attribué à Viviano CODAZZI (1604-1670) Fantaisie architecturale près d’une rivière. Toile. 52 x 68,5 cm. L’Antiquité et le Classicisme s’immiscent dans ce paysage de rivière: le temple de Vesta accolé à un portique classique occupe le premier plan animé de nombreux personnages. Au second plan, un temple antique et un palais classique dominent la scène. Chantal MAUDUIT, Expert en Tableaux Anciens.
Phidias
Sep. 24, 2025
Attribué à Viviano CODAZZI
Est: €3,000 - €4,000
Attribué à Viviano CODAZZI (Bergame, 1604 - Rome, 1670) L'atelier du sculpteur Huile sur toile (Toile d'origine) 47 x 37 cm Attribué à Viviano CODAZZI (Bergame, 1604 - Rome, 1670) 47 x 37 cm
Artcurial
Sep. 10, 2025
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
Jul. 02, 2025
Circle of Viviano Codazzi (Bergamo 1603-1672 Rome) An architectural capriccio with Christ and the woman taken in adultery
Est: £15,000 - £20,000
Circle of Viviano Codazzi (Bergamo 1603-1672 Rome) An architectural capriccio with Christ and the woman taken in adultery oil on canvas 94.3 x 121.7cm (37 1/8 x 47 15/16in).
Bonhams
Jul. 02, 2025
Viviano Codazzi (Bergamo 1603-1672 Rome) An architectural capriccio with the Rape of the Sabine Women; and An architectural capriccio with figures brawling and pillaging (2)
Est: £30,000 - £50,000
Viviano Codazzi (Bergamo 1603-1672 Rome) An architectural capriccio with the Rape of the Sabine Women; and An architectural capriccio with figures brawling and pillaging a pair, oil on canvas 127.2 x 177.6cm (50 1/16 x 69 15/16in). (2)
Bonhams
Jun. 26, 2025
Viviano Codazzi 1604 Valsassina-1670 Roma, cerchia di Capricci con architetture e figure
Est: €10,000 - €15,000
coppia di dipinti olio su tela
Cambi Casa d'Aste
Jun. 26, 2025
Viviano Codazzi, 1604 Bergamo – 1670 Rom, zugeschrieben
Est: €8,000 - €12,000
GemäldepaarANTIKE ARCHITEKTUREN MIT ANSICHT VON NEAPEL Öl auf Leinwand. Doubliert. Je 32,5 x 43,5 cm. In dekorativem vergoldetem Rahmen. Die Gemälde zeigen jeweils antike Gebäudereste mit Blick auf den von der Sonne beschienenen Golf von Neapel mit dem Vesuv im Hintergrund. Belebt werden die Darstellungen von einigen Figuren. Harmonische Darstellungen mit gekonnter Licht- und Schatteninszenierung. (1432192) (3) (18) Viviano Codazzi, 1604 Bergamo – 1670 Rome, attributed A pair of paintings ARCHITECTURAL CAPRICCIO WITH ANCIENT MONUMENTS AND VIEW OF NAPLES Oil on canvas. Relined. 32.5 x 43.5 cm each.
Hampel Fine Art Auctions
May. 22, 2025
Architectural Capriccio
Est: $5,000 - $7,000
Viviano Codazzi Bergamo 1604 - 1670 Rome Architectural Capriccio oil on canvas canvas: 28 ¾ by 38 in.; 72.9 by 96.4 cm framed: 33 by 42 ¼ in.; 83.9 by 107.4 cm
Sotheby's
May. 21, 2025
Viviano Codazzi (Bergamo1604 circa - Roma 1670) e bottega
Est: €4,000 - €6,000
Viviano Codazzi (Bergamo1604 circa - Roma 1670) e bottega Veduta dei resti della Basilica di Costantino e personaggi Olio su tela 92 x 135 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 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 pre romantico 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 dichiararono di aver attinto nozioni dalla sua arte. Viviano Codazzi (Bergamo1604 circa - Rome 1670) and workshop View of the Remains of the Basilica of Constantine and Figures Oil on canvas 92 x 135 cm
Lucas Aste
Mar. 27, 2025
Viviano Codazzi (1603/1604 – 1670) und Micco Spadaro (1609 – 1675)
Est: €25,000 - €35,000
KLASSISCHES ARCHITEKTURCAPRICCIO Öl auf Leinwand. Doubliert. 75,5 x 100 cm. In vergoldetem Profilrahmen. Beigegeben ein Gutachten von Prof. Giancarlo Sestieri, Rom, 5. Dezember 2018, in Kopie. Eindrucksvolles Gefüge von unterschiedlich beleuchteten, kontrastreich in Erscheinung tretenden Architekturelementen, deren Monumentalität durch die Figurenstaffage noch gesteigert wird. 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 Micco Spadaro die Figurenstaffage geschaffen hat. Sestieri datiert das vorliegende Gemälde in die 1640er Jahre wie auch die Batseba im Bade im Ringling Museum in Sarasota, die Nozze della Vergine in einer neapolitanischen Privatsammlung oder das Gemälde Portico con l‘adorazione dei pastori, dessen Standort momentan nicht zu ermitteln ist. 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, ja sogar als „quasi il Vitruvio die questa classe di pittori“ (Luigi Lanzi, 1732-1810) gewürdigt wurde. Der bedeutende Kunstwissenschaftler Roberto Longhi (1890-1970) erkannte in Codazzi einen „Caravaggio und Canaletto zugleich“. Inzwischen gilt es als gesichert, dass Codazzi der eigentliche Begründer der realistischen Vedute war, wie sie erst eine Generation später durch Vedutisten wie A. Canale, Marieschi oder Bellotto, aber auch Claude Lorrain, als neue Gattung voll etablierten. Die Staffagefiguren in seinen Bildern sind oft von Kollegen geschaffen. Es wird vermutet, dass der Einfluss nordeuropäischer Maler wie Bartholomeus Breenbergh oder Van Poelenburg für die klassizistische Auffassung der Architekturen bei Codazzi mitverantwortlich war. Provenienz: Sotheby‘s Auktion, London, 7. Juli 2011, Lot 357 als Viviano Codazzi. Literatur: Vgl. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rom 1993. Vgl. Giuliano Briganti, Ludovica Trezzani, Laura Laureati, Viviano Codazzi, in: I Pittori Bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983. Vgl. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rom 2015. (14304511) (13) Viviano Codazzi (1603/1604 – 1670) and Micco Spadaro (1609 – 1675) CLASSICAL ARCHITECTURAL CAPRICCIO Oil on canvas. Relined. 75.5 x 100 cm. Accompanied by an expert’s report by Professor Giancarlo Sestieri, Rome, 5 December 2018 (in copy). As is often the case in paintings of the time with corresponding subjects, this is a collaboration between two painters, with Codazzi creating the architecture and background and Spadaro the figures. Sestieri dates the present painting to the 1640s. Provenance: Sotheby’s, London, 7 July 2011, lot 357 as Viviano Codazzi. Literature: cf. David Ryley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Rome 1993. cf. Giuliano Briganti, Ludovica Trezzani, Laura Laureati, Viviano Codazzi, in: I pittori bergamaschi dal XIII al XIX secolo, Il Seicento, I, Bergamo 1983. cf. Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo, Rome 2015.
Hampel Fine Art Auctions
Mar. 26, 2025
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
Feb. 25, 2025
Viviano Codazzi e Domenico Gargiulo detto Micco Spadaro
Est: €5,000 - €8,000
Viviano Codazzi (Bergamo 1603/04 o 1606 - Roma 1670) Domenico Gargiulo detto Micco Spadaro (Napoli 1609/1612 - 1675) autore delle figure Arrivo a palazzo di una nobildonna in portantina Olio su tela 96 x 133 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 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 pre romantico 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 dichiararono di aver attinto nozioni dalla sua arte. Viviano Codazzi (Bergamo 1603/04 or 1606 - Rome 1670) Domenico Gargiulo also called Micco Spadaro (Naples 1609/1612 - 1675) author of the figures Arrival at the Palace of a Noblewoman in a Sedan Chair Oil on canvas 96 x 133 cm
Lucas Aste
Dec. 12, 2024
Viviano Codazzi 1604 Valsassina-1670 Roma, cerchia di Vedute con architetture e personaggi
Est: €4,000 - €5,000
coppia di dipinti, olio su tela
Cambi Casa d'Aste
Dec. 05, 2024
VIVIANO CODAZZI (attr.). Oil painting on canvas "WEDDING IN CANA"
Est: €2,000 - €3,000
VIVIANO CODAZZI (attr.)(Valsassina 1604-Roma 1672). Oil painting on canvas depicting ''WEDDING IN CANA''. In a gilded frame. Minor restorations. Already relined and re-stretched. VIVIANO CODAZZI (attr.)(Valsassina 1604-Roma 1672). Dipinto olio su tela raffigurante ''NOZZE DI CANA''. In cornice dorata. Lievi restauri. Già rintelato e rintelaiato.
Viscontea Casa d'Aste s.r.l.
Dec. 05, 2024
Viviano Codazzi, 1604 Bergamo – 1670 Rom, Nachfolge
Est: €6,000 - €8,000
VEDUTE DER PIAZZA NAVONA Öl auf Leinwand. Doubliert. 50 x 75 cm. In ornamental reliefiertem Rahmen. Blick über den bis zum Horizont gestreckten großen Platz mit seinen prachtvollen flankierenden Gebäuden. Im Vordergrund der Brunnen Fontana del Moro, dahinter, in der Mitte des Platzes, der Vierströmebrunnen mit dem hohen Obelisken. Links die große Kirche Sant’Agnese in Agone mit ihrer prachtvollen blauen Kuppel, auf der rechten Seite, die über drei Stufen zu erreichende Kirche Nostra Signora del Sacro Cuore. Der Platz mit zahlreichen Personen, Pferdewagen und Verkaufsständen. eine Entstehung im 18. Jahrhundert ist anzunehmen. (1421873) (13)
Hampel Fine Art Auctions
Dec. 05, 2024
Viviano Codazzi, 1604 Bergamo – 1670 Rom, Kreis des
Est: €2,000 - €3,000
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
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