Diana Rosa Sold at Auction Prices

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    • Autoritratto
      Nov. 11, 2023

      Autoritratto

      Est: -

      Autoritratto, 1630 ca. Olio su tela, 107x79 cm Il dipinto è una aggiunta significativa all'opera di una delle pochissime artiste attive a Napoli nella prima metà del XVII secolo. Diana De Rosa nota come Annella De Rosa. L'artista, grazie al suo talento, ottenne un notevole successo. Si formò, insieme al fratello minore Pacecco De Rosa (1607-1656), nella bottega di Massimo Stanzione (1585-1656), da cui prese il nome di Annella di Massimo. Secondo il biografo Bernardo de' Dominici, apparentemente senza fondamento, Diana sarebbe stata uccisa dal marito, il pittore Agostino Beltrano, geloso della stretta relazione tra Diana e Massimo Stanzione. In realtà, è più che probabile che Diana sia morta di malattia nel 1643, all'età di 41 anni, e che a quel punto fosse diventata una delle pittrici più importanti dell'ambiente artistico napoletano. Quest'opera può essere messa a confronto con diverse opere che sono state raggruppate intorno al nome di Diana De Rosa. (cfr. F. Petrelli, Una luce su Annella de Rosa, in: Ricerche sul '600 napoletano. Saggi e documenti, Napoli 2008 [2009], pp. 87-92), L'autoritratto la raffigura ancora assai giovane e potrebbe essere datato intorno al 1630. La pittrice potrebbe essersi ritratta anche in un ratto di Europa esposto recentemente a Napoli nell'ambito di una mostra su Artemisia Gentileschi.

      Meeting Art Casa D'Aste
    • Diana De Rosa, called Annella di Massimo
      May. 03, 2023

      Diana De Rosa, called Annella di Massimo

      Est: €30,000 - €40,000

      (Naples 1602–1643) Saint Cecilia, oil on canvas, 151 x 127 cm, framed Provenance: Private European collection, for almost 100 years Exhibited: Rome, Palazzo Barberini, Colori della musica: dipinti, strumenti e concerti tra Cinquecento e Seicento, 15 December 2000 – 28 February 2001 (as Neapolitan Master 17th Century) Literature: P. Leone de Castris, Disegni e dipinti meridionali del primo Seicento, da Novelli a Stanzione, in: Close reading: Kunsthistorische Interpretationen vom Mittelalter bis in die Moderne. Festschrift für Sebastian Schütze, ed. by S. Albl, B. Hub, A. Frasca-Rath, Berlin 2021, p. 368, illustrated p. 367 fig. 5 (as Massimo Stanzione); G. Porzio, Diana di Rosa. “Bellissima, onestissima, virtuosa dipintrice” nella Napoli del Seicento, Naples 2023, no. 10, fig. 13, pl. 14 (as Diana de Rosa) We are grateful to Riccardo Lattuada for endorsing the attribution of the present painting after examination of the original and for his help in cataloguing this lot. This painting depicts Saint Cecilia dressed in a magnificent deep plumb-coloured dress which boldly contrasts with her red lined, gold-coloured mantle, ornamented with an embroidered edging ribbon. The saint is shown intent on playing her violin, and she is accompanied by two putti who appear to be singing from a score. In the upper right an angel offers the saint a palm frond, the locks of his hair blending into the golden light of the background. This painting can be compared to a series of works which, on stylistic grounds, have been grouped around the name of Diana de Rosa. She is documented as painting two Stories of the Virgin in Santa Maria della Pietà, Naples. Another three canvases representing Stories of the Virgin in Naples have been stylistically connected with these works: one in San Giovanni Maggiore and another two in the Museo Diocesano di Napoli (see: F. Petrelli, ‘Una luce su Annella de Rosa’, in Ricerche sul 600 napoletano. Saggi e documenti 2008’, Naples 2009, pp. 87-92; G. Porzio, in: ed. by P.L. Leone de Castris, Il Museo Diocesano di Napoli. Percorsi di Fede e Arte, Naples 2008, p. 132, no. 40;G. Porzio, ‘Ordine teatino e contesto artistico napoletano nel Seicento: Francesco Maria Caselli, Gaspare Del Popolo e una nota su Diana De Rosa’, in D.A. D’Alessandro, Sant’Andrea Avellino e i Teatini nella Napoli del Viceregno spagnolo. Arte Religione e Società Napoli, 2012, pp. 599-601, 610-621, figs. 3-15; G. Porzio, in Artemisia Gentileschi a Napoli, exhibition catalogue, ed. by A.E. Denunzio/G. Porzio, Milan 2022, pp. 39-40, 46-47). In all these works, which until recently were often attributed to Giovan Francesco De Rosa, called Pacecco De Rosa (1606–1656), there emerges an original and highly personalised interpretation of the works of Massimo Stanzione (1585–1656) and of Agostino Beltrano (1607–1656). In particular, in the comparison with the above cited works, it is apparent that the model used for the present Saint Cecilia is similar to the female figure in the Noli me tangere formerly on the Roman art market (sale, Bertolami, Rome, 14 November 2018, lot 185). A similar figure also appears in the Saint Cecilia sold at Drouot (sale, Drouot, Paris, 2 December 2022, lot 4) and can also be compared to the model used in the Saint Agatha visited in prison by Saint Peter formerly with Arcuti Fine Art, Torino. Diana de Rosa, the sister of Pacecco de Rosa, was one of the few women painters in Naples and she achieved considerable professional acclaim. The records state that she died at the hands of her husband, Agostino Beltrano, owing to his jealousy of the privileged, yet platonic, relations Diana (also called Annella di Massimo) is supposed to have maintained with Massimo Stanzione, the leading classical painter of the Neapolitan school after 1630. In fact, Diana died in affluent circumstances at the age of about 41 in 1643, and she was well integrated in the Neapolitan culture of painters of the era, holding a prominent role in the circle of Stanzione.

      Dorotheum
    • DIANA DE ROSA detta DIANELLA o ANNELLA DI MASSIMO
      May. 06, 2021

      DIANA DE ROSA detta DIANELLA o ANNELLA DI MASSIMO

      Est: €20,000 - €25,000

      DIANA DE ROSA, detta DIANELLA o ANNELLA DI MASSIMO (Napoli, 1602 – Napoli, 1643) Olio su tela “Cristo e la samaritana al pozzo”, ex collezione Marulli Di Faggiano. Il presente dipinto, inedito, rappresenta nel panorama creativo dei pittori che dominarono la Napoli del XVII secolo, una rara testimonianza artistica dell'importante ed indipendente produzione di Diana De Rosa. Ella chiamata anche Anella o Dianella Di Massimo, insieme alla più nota e celebre Artemisia Gentileschi, è una delle poche artiste donna di successo nella Napoli di quel tempo. Diana figlia di Tommaso e sorella del pittore Pacecco De Rosa, secondo quanto scritto dal biografo Bernardo De Dominici, fu vittima di femminicidio per mano del marito Agostino Bertrano, anch'egli pittore, mosso da ira e gelosia per l'intensa relazione tra la moglie ed il maestro Massimo Stazione. Dopo la sua morte, avvenuta nell'anno 1643, la giovane pittrice andò incontro ad una vera e propria “damnatio memoriae”. Il suo nome dimenticato e i suoi capolavori, un tempo contesi da tutta la nobiltà partenopea, dispersi. Bibliografia di riferimento: Bernardo De Dominici, “Vite de pittori scultori ed architetti napoletani”,III, pag. 96-100 – Napoli 1741-1743; Petrelli Flavia, “Una luce su Annella De Rosa, in ricerche sul '600 napoletano”, pag. 87-92 – Milano,2008 cm 113 x 140.

      Benedetto Trionfante Auction House s.r.l
    • Diana De Rosa, called Annella di Massimo (-)
      Jun. 09, 2020

      Diana De Rosa, called Annella di Massimo (-)

      Est: €18,000 - €20,000

      - The lot is subject to full taxation (13%) Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Naples 1602–1643) Saint Agatha, oil on canvas, 61 x 52.5 cm, framed Exhibited: Capalbio, Palazzo Collacchioni, Immagini del tempo passato. Una raccolta toscana di dipinti antichi, 28 August - 11 September 2005, no. 10 (as Attributed to Antonio de Bellis) Literature: M. Fagioli/F. Marini (eds.), Immagini del tempo passato: una raccolta toscana di dipinti antichi, exhibition catalogue, Florence 2005, pp. 40-41, no. 10 (as Attributed to Antonio de Bellis); G. Porzio, Ordine teatino e contesto artistico napoletano nel Seicento: Francesco Maria Caselli, Gaspare Del Popolo e una nota su Diana Di Rosa, in: D. A. D’Alessandro (ed.), Sant’Andrea Avellino e i Teatini nella Napoli del Viceregno spagnolo, Naples 2012, p. 601, ill. p. 614, plate 8 (as Diana de Rosa) We are grateful to Riccardo Lattuada for suggesting the attribution to Diana de Rosa on the basis of a digital photograph and for his help in cataloguing the present lot. Saint Agatha is depicted with the palm tree symbolising her status as a martyr saint, and the left hand placed on her breast alluding to her martyrdom. The present painting is a significant example of the artistic importance and autonomy of Diana De Rosa, in the midst of the crowded creative context of painters who were active in Naples during the first half of the seventeenth century. The picture, previously attributed to Antonio de Bellis (see literature) as well as to Francesco Guarino, was given to Diana de Rosa by Giuseppe Porzio. It was possibly once part of a series of saints (see literature). Porzio dates the present Saint Agatha to the 1630s. Diana De Rosa, also called Annella di Massimo, achieved notable success as a painter and was one of the few female artists active in Naples during this period. She was the sister of the artist Pacecco De Rosa and according to the biographer Bernardo de’ Dominici, apparently without foundation, Diana was murdered by her husband, the painter Agostino Beltrano, who was supposedly jealous of her close, though platonic, relationship with Massimo Stanzione. It is known that Diana died in 1643, and by that time she had become one of the foremost painters of the Neapolitan artistic milieu. The present painting can be compared to several works that have been grouped around the name of Diana De Rosa. She is thought to have painted two Stories of the Virgin in Santa Maria della Pietà dei Turchini in Naples. This group was added to by three more Stories of Mary executed for the church of San Giovanni Maggiore in Naples, two of which are today conserved in the Museo Diocesano of Naples (see F. Petrelli, Una luce su Annella de Rosa, in: Ricerche sul ‘600 napoletano. Saggi e documenti 2008, Naples 2009, pp. 87-92; G. Porzio in: P. L. Leone de Castris (ed.), Il Museo Diocesano di Napoli. Percorsi di Fede e Arte, Naples 2008, p. 132, no. 40; op. cit. Porzio, 2012, pp. 599-601, pp. 609-621, pls. 3-15). Among the paintings that have been credibly attributed to the painter, and to which the present work can be particularly compared, is a Holy Family in private collection (see op. cit. Porzio, 2012, plate 11). A Lucretia by Diana de Rosa, which Lattuada also compares to the present painting, was sold at Dorotheum (23 October 2018, lot 56).

      Dorotheum
    • Diana De Rosa (Naples, 1602 - 1643)
      Nov. 14, 2018

      Diana De Rosa (Naples, 1602 - 1643)

      Est: €5,000 - €7,000

      Diana De Rosa (Naples, 1602 - 1643), attributed to Noli me tangere Oil on canvas, cm. 146x123 We are grateful to Prof. Riccardo Lattuada who has attributed the present lot to Diana De Rosa.

      Bertolami Fine Art s.r.l.
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