Viviano Codazzi Bergamo 1604 - 1670 Rome and Filippo Lauri Rome 1623 - 1694

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").

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. The canvas has a very old lining and the paint layer is most likely clean. If the canvas were to be tightened slightly, the varnish dressed up and some adjustments made to restorations in the center of the right side, the picture could be hung as is. The restorations are a little loose and visible in the left side of the sky, around the edges generally, and very weakly address an old tear in the architecture in the center of the right side. There is a scratch in the varnish above the head of Christ and there are most likely a few spots of retouching in the darker colors here and there however, the condition is not unusually abraded or damaged. Although the cleaning in the sky has probably been harsh and has affected the profile of the trees and the awning as they extend into the sky, the picture is in reasonably respectable condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

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