Cited in connection with the Borghese Collection in 1833, this portrait seems to be the product of the Tuscan school. The woman, no longer young, is lavishly attired and wears a pearl necklace with an elegant pendant, which is probably meant to allude to her virtue.
Salvator Rosa (54,8 x 40,5 x 5,5 cm)
Rome, Borghese Collection, 1833 (Inventario Fidecommissario Borghese 1833, p. 33). Purchased by Italian state, 1902.
The provenance of this painting is still unknown. It was first documented as forming part of the Borghese Collection in 1833, when it was described by the compiler of the Inventario Fidecommissario as a work of the school of Titian. While Giovanni Piancastelli (1891) accepted this attribution, Adolfo Venturi (1893) rejected it, proposing instead the name of Sofonisba Anguissola. For his part, Roberto Longhi (1928) suggested the circle of the Florentine painter Alessandro Allori. This idea did not persuade Paola della Pergola, who in 1955 published the work as by an anonymous painter of the 16th century. While mentioning Longhi’s proposal, della Pergola believed the work to be by a 16th-century imitator of the Tuscan school. In addition, she noted that both the layout of the composition and its subject are in many ways similar to those of another portrait in the Borghese Collection (inv. no. 441), which critics have attributed to a varying range of painters.
Antonio Iommelli