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Old Master Paintings - Part II
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719
Viviano Codazzi,
1604 Bergamo – 1670 Rom
EINZUG DES CONDOTTIERE Öl auf Leinwand. Doubliert.
103,5 x 126 cm.
In bronziertem, plastisch dekoriertem Rahmen.
Catalogue price € 25.000 - 50.000
Catalogue price€ 25.000 - 50.000
$ 27,000 - 54,000
£ 22,500 - 45,000
元 195,500 - 391,000
₽ 2,487,250 - 4,974,500
Anbei in Kopie eine Expertise von Prof. Giancarlo Sestieri vom 20. September 2015.
Das vorliegende großformatige Gemälde ist der Reifephase Vivianos zuzuordnen, es entstand also in Rom, wohin er 1648 zog, nachdem er Neapel bereist hatte, wo seine Capriccios durch Domenico Gargiulo (1609/10-um 1675) staffiert wurden. Auch in Rom überließ er die Figurenstaffage Malern, welche hierauf spezialisiert waren wie Jan Miel (1599-1663), Michelangelo Cerquozzi (1602-1660) und Codazzis Sohn Niccolo (1642-1693) welcher erst sein Schüler und dann Mitarbeiter war und welchem er das Malen der Figuren beibrachte. In diesem Fall jedoch wurden die Figuren laut Sestieri von Viviano Codazzi selbst besorgt. Von Codazzi sind eine Vielzahl von Darstellung historischer Gebäude und fantasievoller, voll durchkomponierter Capriccios bekannt, welche sich häufig durch eine diagonale Staffelung sonnenbeschienener Gebäudekomplexe auszeichnen. Vergleichbar ist etwa ein Gemälde in der Sammlung der Credito Fondriario in Rom, welches kompositionell ähnlich ist. Rest.
Literatur:
Vgl.: David Riley Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, 1993, Nr. 322. (1230581) (3) (13)
Viviano Codazzi,
1604 Bergamo – 1670 Rome
ENTRY OF THE CONDOTTIERE Oil on canvas. Relined.
103.5 x 126 cm.
In burnished three-dimensionally decorated frame.
A copy of the expert´s report by Prof. Giancarlo Sestieri dated 20 September 2015 is enclosed. The present large-format painting dates to the mature period of Viviano’s oeuvre, created in Rome, where he relocated to in 1648. Restored.
Literature:
Compare: David Riley Marshall D.R., Viviano and Niccolò Codazzi, and the Baroque Architectural Fantasy, 1993, no. 322.
This object has been individually compared to the information in the Art Loss Register data bank and is not registered there as stolen or missing.
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