Portrait of Laura Dianti (dead 1573) and a Young Page
Artist/Maker
DatesMade: Second half of the 17th century
Material / Technique
Dimensionsh x w: Mått 117 x 91 cm h x w x d: Ram 138 x 112 x 7,5 cm h x w x d: Ram [med hänge] 137,9 x 111,5 x 11 cm
Inventory numberNM 202
Other titlesTitle (sv): Laura dé Dianti (död 1573) Title (en): Portrait of Laura Dianti (dead 1573) and a Young Page
DescriptionCatalogue raisonné: Description in Italian Paintings in the Nationalmuseum collecions II: Market, Musealisation, Materiality, 2021 [excerpt] FORMER INV. NOS.: 212 (1792 Gustav III); 13 (1804 KM); 988 (1816 KM); 202 (1867 NM). TECHNICAL NOTES ON THE PAINTING: [Report by Lena Dahlén] ANALYSES: XRF (CATS, report issued in April 2020); IRR (Nationalmuseum); UVF (Nationalmuseum). DESCRIPTION OF THE VERSO AND FRAME (labels, stamps, inscriptions, etc., if applicable; style of the frame): Gilded frame, with plain moulded borders, close in style to the so-called “Salvator Rosa frame”. The style is named after the Italian artist Salvator Rosa (1615-1673) but has little connection to his work. The basic profile of the “Salvator Rosa frame” has a hollow section and a hollow on the back edge with a convex top rail. The molding has been compared to the cross section of the base of a Doric column. This kind of frame was very popular in Italy, especially in Rome between 1680 and 1750, and was used throughout the nineteenth century). It was the most popular frame used to support artwork purchased by the British on the Grand Tour and was reinterpreted in Britain as the “Carlo Maratta frame”. In its simplest version, it was cheap to produce, but it can be seen in many regional variations with differing ornamentation (see: Karraker 2009, pp. 70-71; conversation with Karen Guy and Lena Dahlén, Nationalmuseum). PROVENANCE: • Rome, Silvio Valenti Gonzaga, ms. Catalogo de’ quadri, c. 1756, f. 56: “Quadro di palmi 5, once 3 per altezza e palmi 4 per larghezza, rappresentante il Ritratto di Donna, col Moretto a canto, in tela, copia di Tiziano” (Pietrangeli 1965, p. 56, n. 56). • Stockholm, Royal Collection, Gustav III as Crown Prince, ms. Catalogue de la Collection de Tableaux de Son Altesse Roiale Mon Seigneur Le Prince Roial, (?)1761, no. 11: “Le Titien, Portrait jusqu’aux genoux de Laura Eustathia del Casa d’Este, accompagnée d’un Negre. Ce tableaux en hauteur est peint sur toile; au Palais Roial”. • Stockholm, Royal Collection (Conseille-Rummet), Gustav III, inv. 1792, no. 21: “Prinsessan af Este Portrait af Titien; 2 aln hög, 1 aln 4 ½ tum bred” (Sander 1872-1876, I, p. 122). BIBLIOGRAPHY: NM Cat. 1804, no. 13 (as Titian?); NM Cat. 1861, p. 208, no. 988 (as Titian); NM Cat. 1867, p. 14, no. 200 (as Titian?); Sander, 1872-1876, I, p. 122, no. 212 (copy after Titian); Crowe and Cavalcaselle 1877-1878, II, p. 447 (as copy after Titian); Göthe 1893, pp. 327-328, no. 202 (as copy after Titian); Justi 1899, pp. 185, 186, 191 (ill.; as copy after Titian); Cook 1905, p. 455 (as copy after Titian); Cook 1912, p. 86 (ill.); Borenius 1913, I, p. 168 (as copy after Titian); Granberg 1931, p. 25, no. 212 (as copy after Titian); NM Cat. 1941, pp. 34 (copy after Titian); Pallucchini 1945, p. 187; Olsen 1951, p. 95; Pergola 1955, p. 132; Wethey 1971, pp. 93, 94; Fehl 1987, p. 113 (ill.); NM Cat. 1990, p. 356 (ill; as copy after Titian); Scarpa Sonnino 1992, p.129, no. 32 (as copy after Titian); Vodret 2005, p. 64 (as copy after Titian); Franz 2012, pp. 166, 167, 171, 172 (note 23) (ill.). [end of excerpt]
Depicted Person
Motif categoryPortrait
Collection
Geographical origin
TechniquePainting
Object category
Keyword
External links