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Latest comment: 5 years ago by Shakko in topic Sources about "La Sultana Rossa"

Sources about "La Sultana Rossa" edit

Latest comment: 5 years ago1 comment1 person in discussion
  •  
    La Sultana Rossa (Roxolana) (John and Mable Ringling Museum of Art in Sarasota)
  •  
    Cameria (Mihrimah), daughter of Suleiman the Magnificent, as Saint Catherine (Courtauld institute in London). In Uffizi as Gameria.
  •  
    Suleiman I (Kunsthistorisches Museum Wien)
  • Vasari, "Titian": "...and our Danese, the sculptor, has in his house at Venice a portrait by the hand of Tiziano of a gentleman of the Delfini family. There may be seen portraits by the same hand of M. Niccolo Zono, of Rossa, wife of the Grand Turk, at the age of sixteen, and of Cameria, her daughter, with most beautiful dresses and adornments". Italian original: "...et il nostro Danese scultore ha in Vinezia in casa sua un ritratto di man di Tiziano d’un gentiluomo da Ca’ Delfini. Si vede di mano del medesimo Messer Niccolò Zeno, la Rossa moglie del Gran Turco, d’età d’anni sedici, e Cameria di costei figliuola con abiti et acconciature bellissime". (Vasari-Milanesi VII, 456)
  • Carlo Ridolfi, Le Maraviglie dell'arte: overo le vite de gl'illustri pittori veneti, e dello stato.[1]
  • "Sultana or Queen of Persia (perhaps Rossa). Titian announced to Prince Philip of Spain in a letter of 11 October 1552 that he was sending a portrait of the "Queen of Persia". Philip's acknowlegment, dated 12 December... thereafter from Lucien Bonaparte's collection in Rome (Buchanan, 1824, II, p.278, no.112); Farrer, London, 1843, sold to Holford; Holford Collection, London, 1842-1927 (Waagen, 1857, p.101, Holford Collection, by Titian); Holford sale,London, Christie's, 15 July 1927, p. 116, no. 23; Julius Bohler, Munich; Howard Young, New York; purchase by Ringling c. 1930. (Harold Edwin Wethey. The Paintings of Titian: The portraits. 1971 Page 205)
  • December 12. Philip reported that the Queen had not yet arrived. "There is no document show that it ever materialized thereafter" (Mark W. Roskill, Lodovico Dolce, Dolce's Aretino and Venetian Art Theory of the Cinquecento. Page 254)
  • "At p. 218 of Crowe and Cavalcaselle's second volume we get, under date the 11th of October 1552, Titian's first letter to Philip of Spain. There is mention in it of a Queen of Persia, which the artist does not expressly declare to be his own work, and of a Landscape and St. Margaret previously sent by Ambassador Vargas ("... il Paesaggio et il ritratto di Sta. Margarita mandatovi per avanti"). The comment of the biographers on this is that "for the first time in the annals of Italian painting we hear of a picture which claims to be nothing more than a landscape, etc." (Claude Phillips. The Later works of Titian)
  • Lavinia in turkish dress? According to Ponz in Villaviciosa palace was a portrait of a woman in sultana's dress in TItian's taste (Tiziano en el Museo del Prado)
  • Provenance from museum site: "By 1612, Riccardo Romolo Riccardi (1558–1612), Palazzo del Giardino di Valfonda, Florence. Sold by 1815 to Lucien Bonaparte (1775–1840), Prince of Canino, Rome; (offered Bonaparte sale, William Buchanan, London, 16 May 1815, lot 116, not sold). (Bonaparte sale, George Stanley, London, 15 May 1816, lot 122, sold for £152–5s). (By 1843, Farrer, London); purchased in 1843 by Robert Stayner Holford (1808–1892), Dorchester House, London; by descent to Sir George Lindsay Holford (1860–1926), Dorchester House, London; (sold Holford sale, Christie’s, London, 15 July 1927, lot 116, for £4,200, to Julius Böhler); John Ringling (1866–1936), Sarasota, Florida; bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida".
  • Mentioned (possibly) in 1612 inventory of Valfonda, Riccardo Romolo Riccardi, by inheritance through the Riccardi family[2]
  • In Riccardo inventory is mentioned as "una turca con un paesino". Possibly it is Sultana Rossa. "«una turca con un paesino» forse da identificare con la Sultana rossa della bottega di Tiziano oggi al Ringling Museum of Art di Sarasota, «un ritratto grande d una femmina, con ornamento nero», forse da identificare con una Duchessa di casa Sforza e infine «una regina di Cipro»" ([3]). "Un ritratto d'una turca con un paesino nello stesso ritratto di braccia 1 ½ di mano del Titiano con il suo ornamento con gocciole e frontone" (Libro d'inventari di Riccardo Romolo Riccardi, 1612)
  • Same type as Catherina Cornaro's portrait[4] and here[5]
  • Description from Ringling Museum's catalogue, 1949 [6]:

La Sultana Rossa

wearing a striped green and gold gown with short sleeves, a pearl necklace and richly jewelled high pointed headdress. In her left hand she holds a marten with a collar around its neck, twilled canvas: 38 x 30 in.

COLLS: Riccardi Palace, Florence; Lucien Bonaparte; Sir George Holford, Dorchester House, London (purchased from Farrer in 1843) ; sold at Christie's, London, July 1927, No. 116.

EXH: Burlington House, London, 1887, No. 129 (as Veronese: "The Queen of Cyprus"); Grafton Gallery, London, Fair Women, 1894, No. 5; New Gallery, London, Venetian Art, 1894-95, No. 252; Burlington Fine Arts Club, London, 1902, No. 37.

LIT: G. Gronau, In Beitrage zur Kunstgeschichte, Franz Wickoff gewidmet, 1903, p. 134, ff.; S. Reinach, In Repertoire I., 1905, p. 147; O. Fischel In Klassiker der Kunst, Tizian, 5th Edition, p. 176; R. Benson, The Hol- ford Collection, Dorchester House I., London, 1927, p. 30, No. 51, Repr, pi. XL VII (frontispiece); D. v. Hadeln, In Pantheon, VII., 1931; W. E. Suida, Tiziano, 1933, Repr. pi. CCXXXIII.

In composition this Sultana belongs to a group of portraits of women by Titian, which differ only in costume and unimportant details, for example: The Lady with a Weasel, formerly in the Vienna Imperial Gallery (now in Scandinavia), The Lady with a Vase of the Dresden Gallery, The Lady with a Striped Dress in a private collection in Milan and The Lady with a Wreath of Flowers in the National Gal- lery, Washington (Kress Collection).

  • Description from Ringling Museum's catalogue, 1976 [7]

LA SULTANA ROSSA

CONDITION: Seriously overcleaned in past. Scattered losses.

ORIGINAL: Lost. (...)

La Sultana Russa, Vasari reported, was sixteen years old and the favourite wife of Soloman l. SN 58 was still attributed to Titian by Suida (1949) .It is in facta rather indifferent copy of probably the seventeenth century, presumably after a lost work by Titian sent by him to Philip of Spain in 1552.

SOURCES: Fischel, O. Tizian k. de K., p. 176; Benson, R., The Holford Collection (1927), p. 30, pl. 47; von Hadeln, D., Das problem der Lavinia Bildnisse, Pantheon 7 (1931), 85. Suida, W., Tiziano (1933), pl. 233; Wethey, H., Titian: The Portraits (1971), p. 205 (as a copy); Census (as Titian Studio).

  • "Nel 1538 Tiziano dipinse il ritratto del Gran Turco per conto di Federico II Gonzaga, che lo voleva inserire nella sua collezione di uomini illustri. Mentre stava lavorando al ritratto, Tiziano ricevette la richiesta di una replica da parte di Guidubaldo II della Rovere. La replica destinata al duca di Urbino fu eseguita a Venezia, a Biri Grande, insieme con i ritratti di Francesco I (1515-1547) – a sua volta replica della prima versione inviata in dono da Pietro Aretino al re di Francia nel 1539 ed eseguita sul modello della medaglia di Benvenuto Cellini – e di Carlo V (1500-1558). Dai dispacci ducali si apprende che, mentre la prima versione del ritratto di Solimano destinata a Mantova era terminata nel settembre del 1538, la seconda invece destinata a Urbino era in corso di lavorazione insieme con i ritratti di Francesco I e di Carlo V nel giugno del 1538. (...) Sul ritratto di Solimano per il duca di Mantova esistono due testimonianze importanti. La prima è quella del suo agente Benedetto Agnello, che vide il dipinto a Venezia, descrivendolo nella lettera del 23 agosto 1538 come « simile al naturale che pare il medesimo Turco vivo ». La terza è quella dell’inventario Gonzaga del 1627, che registra il ritratto come « Selim re de Turchi». Il duca di Urbino ebbe pronta la replica alla fine di giugno 1539, secondo quanto scriveva il suo agente Leonardi : « Fui hyeri da Titiano, il quale per tutta questa settemana dice che harà finito quei tre quadri di cesare, francia et il turcho, che a mio giudicio sono molto belli». Il dipinto del duca di Urbino è descritto da Vasari come ritratto di «Solimano imperatore de’ Turchi », ma nell’inventario del 1631 (n. 341) per una svista è ricordato come « Un ritratto di selim II imperatore dei Turchi». Per ricavare una copia per il Museo sul lago di Como, Giovio ebbe in prestito il quadro da Guidubaldo II. In occasione della visita a Como di « quattro soldati del Signor turco », scrive Giovio al cardinale Alessandro Farnese : « vedendo il ritratto qual mi ha mandato il Duca di Urbino, affirmano tuti quatro essere sputato ». Un terzo ritratto di Solimano (replica o variante ?) fu consegnato nel 1569 dallo stesso Tiziano al mantovano Ippolito Capilupi (1511-1580), nunzio apostolico a Venezia. Nella lettera al cardinale di Mantova (Venezia, 7 mar. 1569) Capilupi parla del ritratto come di un «quadretto». (...) Un ritratto di Solimano il Magnifico attribuito a Cristofano dell’Altissimo si trova nella Galleria degli Uffizi (olio su tavola, cm 58 × 45, Inv. 3051) e fa parte della cosiddetta ‘serie gioviana’. (...) Dal momento che Tiziano non conobbe personalmente Solimano, sulla base di quale modello lo ritrasse ? Si pensa generalmente che usasse una medaglia, ma credo piuttosto un piccolo dipinto, sul tipo delle undici tavolette (« tabellae ») che il corsaro Barbarossa donò a Virginio Orsini dell’Anguillara a Marsiglia, nel 1543. Quelle tavolette servirono per due serie di copie, richieste dal cardinale Alessandro Farnese e da Giovio. (...) Quelli fin qui menzionati non erano i soli ritratti del Turco attribuiti a Tiziano in circolazione. Quando cadde in disgrazia Antonio Pérez (1540-1611), segretario di Stato di Filippo II, ebreo convertito e appassionato collezionista, durante la perquisizione della sua casa fuori Madrid (21 mag. 1585) furono trovati un ritratto di Solimano («quadro mediano con el Retrato de soliman / Turco con un gran turbante en La cabeça») e «un quadro de una turca». Ci si chiede se questo dipinto non fosse la Turca o Persiana inviata da Tiziano a Filippo II nel luglio 1559 e approdata in Spagna nell’agosto 1560. (Lettera di Filippo II a Garcia Hernandez (Toledo, 11 ago. 1560). (...) Sebbene l’invio del ritratto della Sultana Rossa fosse annunciato come imminente da Tiziano nella lettera dell’11 ottobre 1552, non c’è alcuna traccia di questo, né di quello di Cameria, negli inventari delle collezioni reali. Nella risposta del 12 dicembre 1552 appare chiaro che il re di Spagna non aveva ancora ricevuto il dipinto di Rosselana. Comunque Tiziano portò a termine i ritratti di Rosselana e di Cameria, dal momento che, come abbiamo visto, almeno uno dei due (originale o copia) si trovava nel 1585 nella collezione di Antonio Pérez. (...) il ritratto di Sarasota sia poco attendibile per stabilire la fisionomia originale di Rossellana. Contiene infatti troppi riferimenti alle donne ideali di Tiziano. (...) Wethey, The Paintings of Titian, cit., 1971, ii, pp. 186-187, n. X-112, tav. 268, come « Imitator of Titian », considera infondata l’ipotesi d’identificazione con Lavinia o Giulia Gonzaga Colonna ;(...) Il dipinto Kress fu restaurato da Mario Modestini nel 1955. Si vedano anche la donna seminuda con la pelliccia di Vienna e la dama in bianco della Galleria di Dresda, che alcuni ritengono raffiguri Lavinia. (...) Altra notizia di un ritratto della Sultana Rossa si trova a Roma, a metà Seicento, nella Collezione Borghese. In questo caso è una copia da Tiziano eseguita da Bartolomeo Sprangher, pittore della corte di Rodolfo II. 33 Potrebbe trattarsi di un quadro venduto sul mercato dai fratelli Steininger di Augusta (Augsburg), ma questa è un’ipotesi al momento senza indizi, tutta da investigare. (...) I. Manilli, Villa Borghese fuori di Porta Pinciana descritta da Iacomo Manilli romano guardarobba di detta villa, in Roma, per Lodouico Grignani, 1650, p. 114 : nella stanza vicina alle scale, al primo piano, « Il Ritratto della Sultana Rosa, moglie di Solimano, è copiato dall’originale di Tiziano, da Bartolomeo Spranga ». (...) Il ritratto di Cameria è conosciuto attraverso la copia di Cristofano dell’Altissimo (gameria sol : ii filia, Uffizi, Inv. 13) e la copia del Courtauld Institute, riferita alla bottega di Tiziano. (...) Il quadro del Courtauld Institute proviene dal lascito del conte Antoine Seilern e prima ancora dal barone Riccardi : cfr. G. Gronau, Tizians Bildnisse türkischer Sultaninnen, in Idem (hrsg von), Beiträge zur Kunstgeschichte, cit., pp. 132-137: 136. Una copia di questo dipinto è in Polonia, a Plock, nel Museo Mazowieckie. (TIZIANO E IL ‘GRAN TURCO’ by Andrea Donati)
  • "la série de 11 portraits de souverains ottomans présents dans le Museo de P. Giovio". Serie Uomini illustri. "Groupe de portraits turcs dont on connaît la provenance, mais dont l'identité est encore imprécise. (...) La provenance des portraits de souverains ottomans ayant appartenu à P. Giovio a été rappelée par E. Muntz6, citant le témoignage du collectionneur lui-même; leur présence en Italie est une conséquence de l'alliance, pour certains scandaleuse, du roi très-Chrétien François Ier, avec le sultan des Turcs, Soliman le Magnifique. La flotte de celui-ci, durant l'été 1543, vint en effet assiéger Nice (...) un gentilhomme italien de la famille des Orsini, Virginio dell'Anguillara, passé au service du roi, comme marin condottiere. Ce noble romain offrit à Marseille au Barbaresque de la vaisselle d'argent et un habit de prix et reçut de Barberousse, en «contr'eschange», onze portraits de sultans - peints sans doute par les peintres du sérail d'Istanboul. Or, les liens probables que ce gentilhomme romain entretenait avec le cardinal Alexandre Farnese (1520-1589), l'amenèrent à prêter à ce dernier les onze «tablettes» - tabellae - sur lesquelles étaient peints les portraits des sultans - reges -. Ceux-ci furent alors copiés à deux reprises au moins, le cardinal faisant exécuter des copies pour sa propre collection, tout comme Paolo Giovio, son correspondant et fidèle". (Le Thiec Guy. L'entrée des Grands Turcs dans le Museo de Paolo Giovio. In: Mélanges de l'Ecole française de Rome. Italie et Méditerranée, tome 104, n°2. 1992. pp. 781-830)
  • "It is believed that the original portrait of Mihrimah by Titian was in the collection of the sixteenth century Italian humanist scholar, Bishop Paolo Giovio (1483 – 1552). (...) In 1568, Vasari mentions having seen Titian’s portraits of Hürrem and Mihrimah Sultans in this collection (after Giovio’s death). Although a flood in 1569 destroyed almost all of the collection, an inventory from that year makes mention of a ‘Turkish Hall’ (Sala de’ Turchi). It is also known that Cristofano dell’ Altissimo copied the paintings from Giovio’s collection for Cosimo I de’ Medici, among them the portrait of Mihrimah now in the Uffizzi, itself recorded in an inventory as early as 1557 in Florence". "Three-quarter-length examples [of Cameria] are found at the Pera Museum, Turkey; the Courtauld Institute, London; Lacock Abbey (National Trust), Wiltshire; the Mazovian Museum in Plock, Poland, with bust-length versions in the Uffizi Gallery, Florence; the Topkapı Palace Museum in Turkey, and in the collection of Rahmi Koç, Turkey". "There are at least four Titian 'portraits' of Suleyman, as recorded in contemporary documents (see J.M. Rogers and R.M. Ward, Suleyman the Magnificent, exhib. cat. British Museum, London, 1998, p. 46 note 4 and H.E. Wethey, loc. cit.). The first was that executed for Federico Gonzaga, Duke of Mantua, in 1538. The second portrait was mentioned in a letter dated 7 March 1569, from Bishop Ippolito Capiluti of Fano, in Venice to Cardinal Ercole Gonzaga, where he wrote that he was sending a small picture (quadretto), of a portrait of the Turk by Titian (Gualandi, 1856, III, p. 20-22). The third work was recorded by Vasari. He reported having seen a portrait at the della Rovere Court in 1539 (Vasari (1568)- Milanese, VII, p. 444) and a century later Ridolfi listed the work amongst the portraits of famous men by Titian, but without mentioning the owner (Ridolfi (1648)- Hadeln, I, p. 192). The Urbino inventory of 1631 cites a portrait of Suleyman II. The fourth portrait could be that included by Titian in his Ecce Homo (Kunsthistorisches Museum, Vienna)". (Cameria, Mihrimah Sultan at Weiss Gallery).
  • Mentioned in Lope de Vega's "La Santa Liga" (1603)[8], fictional history about painter's visit to Istanbul to paint Selim II's lover Rosa Solimana
  • "On historical grounds, it seems certain that Titian made a portrait of Solimana, and that the painting, which was very likely brought to Spain, was well known in this country during the 17th century. Her portrait is now lost, although a copy exists in the John and Mable Ringling Museum of Art in Sarasota, Florida"... "This attribution is based on Giorgio Vasari's remark in "Lives of the Artists" (1568; Peguin books, 1965), 460. The veracity of the figure represented in this portrait and the authorship of the painting are highly debated issues among art critics. See Wilhelm Suida, Le Titien (Paris; A.Weber, 1935), 177; and Harold E. Wethey, The paintings of Titian, vol.2 (London: Phaidon, 1971) 205, and pl. 207. (Galina I. Yermolenko. Roxolana in European Literature, History and Culture)
  • " Beroqui affirms: “Seguro es, pues, lo dicen Vasari y Ridolfi, que el Vecellio [Tiziano] retrató a Rossa, mujer del Gran Turco [...]; y seguro es, también, que [el retrato] vino a España”). The Spanish playwright Lope de Vega was not the only one to be impressed by her portrait, as can be infered from what he says in his La Dorotea, but many other people who had witnessed her beauty were impressed as much. (...) Quevedo (1580-1645), who was also known for his love of painting (Candelas Colodrón), was also impressed by the portrait: “Entre sus dedos vimos/ nacer segunda vez, y más hermosa,/ aquella sin igual gallarda Rosa,/ que tantas veces de la fama oímos”. (...) The original portrait by Titian has been lost, but –as Suida (168) pointed out and reproduced in 1949– it is very possible that a portrait in The Ringling Museum of Sarasota (US) could be an identical copy of Titian’s original work. Some years later, De Armas (349) did not hesitate to assume that a copy of Roxolana portrait by Titian, though in very poor condition, was kept in The Ringling Museum of Art in Sarasota, Florida.". (Ana Pinto-Muñoz. Roxolana in the Spanish Golden Age)

________________

  • !!! "Imagined portraits", "fantasy portraits". Mihrimah also referred as "Camilla". "Their portraits constritute a distinct, albeit largely unrecognized visual phenomenon. (...) Images corresponding to this type appear in both printed and painted forms and were created by both Italian and Nothern European artists. The images range from printed portraits of the 1530s and 1540s, to a Venetian portraiture tradition originating in the mid 1550s, to a series of sultanas by Lorich from 1570-1583, to images of "the favorite of the sultan" that appeared in mid- to late 17th century costume books". This genre largely fabricated. Printed Roxelana: 1530s and 1540s, woodcuts by Nuremberg artist Sebald Beham (ca. 1530) and anonymous Venetian work published by Matteo Pagani (1540-1550). Pendant portrait of Suleyman. Beham's image - model for many more works: woodcut by Erhard Schoen (ca. 1532), full-length by Michael Ostendorfer (1548), and a painted portrait commissioned by Paolo Giovio. Why Nurenberg painter? 1529 siege of Viena, and publishers from Nurenberg produced a lot of works related to the Ottomans. Dress is primary source of interest in Beham and Pagani's works. ""A second set of sultana portraits are the mid-century Italian painted portraits stemming primarily from Titian (...) Vasari reported that Titian executed a portrait of Suleyman and portraits of Roxelana and Mihrimah, specifically noting the beauty of their clothing and hairstyles. Although Titian's originals are presumed lost, a number of copies dating to the 1550s exist. The various copies bear strong similarities, allowing a clear sense of the original image to emerge". Similarity of the face with Titian's workshop ladies: Washington "Portrait of a lady" (1555), and Girl with crown of roses (mid 16th c.). "The only thing, in fact, which distinguishes Roxelana from the European women is her headdress". Nur Banu has similar image, now in private collection in Istanbul, it is similar to the Venetian group. ""Related portrait paintings include a portrait of Roxelana in a private collection in Istanbul and portraits of Mihrimah in the Mazovian Museumm, the Staatsgalerie Achaffenburg, and in Bergamo. A similar image in Montpellier is attributed by the museum to Sofonisba Anguissola. See Janina Ruszczycowna, "O niekotorych portretach Sulejmana II i jego podziny" in "Ars Auro Prior: Studia Ioanni Bialostocki Sexangenario Dicata" (Warsaw: Panstwowe Wydawn Nauk, 1981), 279-85; and Johannes Wilde, "St. Catherine" in Antoine Seilern, "Italian Paintings and Drawings at 56 Princes Gate, London SW7 Addenda" (London: Shenval Press, 1969), 4-6". Wethey says Catherine's wheel is copyist's addition. "A letter written by Garcia Hernandez to Philip II of Spain in 1559 states that he would send Philip a small picture by Titian of a Turkish or Persian woman made from his imagination - una Turca o Persiana hecho a sua fantasia. (Before the Odalisque: Renaissance Representations of Elite Ottoman Women. H Madar - Early Modern Women, 2011 JSTOR)

____________

  • About “Law Collection” 1729 inventory and Titian’s work: “ …“Portrait of a Turkish woman” and “Portrait of the Favorite Sultana” in the Law inventory offer tantalizing evidence of known works, since Titian did paint a fanciful portrait of the Sultana Rossa or Rosselana, the favorite wife of Suleiman I, at the age of sixteen, but taken by the artist from a medal or other image rather than from life thirty-two years after the fact. The “Sultana” is known from a copy by a follower of Titian now in the Ringling Museum of Art in Sarasota, Florida, but unfortunately neither Law picture corresponds in size to this example. Titian also painted Rosselana’s daughter Cameria; there is a painting of Cameria as Saint Catherine, now ascribed to a follower of Titian, approximately of the correct dimensions as the Law painting (“Rittrato della Turchetta”, lot no. 339, 114 by 77 cm) that Wethey records in Count Antoine Seilern’s collection, now in the Courtauld institute in London". (Elise Goodman. “Art and Culture in the Eighteenth Century: New Dimensions and Multiple Perspectives”, 2001. Page 65)
  • Pera museum: Daugher's portrait. "Apart from similar three-quarter view portraits found at the Courtauld Institute (Inv. No. 331) in London, The National Trust in Lacock Wiltshire (Inv. No. 996348) and the Mazovian Museum in Poland, the work also has comparable examples in bust portraits at the Uffizi Gallery in Florence (Inv. No. 1890/13), the Topkapı Palace Museum in Turkey (Inv. No. TSM, 17/141), as well as in the collection of Rahmi Koç. It is believed that the origin of the portrait is to be found in the collection of 16th century Italian humanist and intellectualist Bishop Paolo Giovio (1483-1552). Giovio displayed his collection of portraits of notables in Rome until 1543, as of which the date he transferred it to Musaeum, the home he built in Como. An inventory made after the 1569 flood that destroyed almost the entire collection speaks of a “Turkish Hall” (Sala de’ Turchi). In his records from 1568, Vasari mentions having seen portraits of Hürrem and Mihrimah Sultans by Titian in this collection. Furthermore, it is known that Italian painter Cristofano dell’ Altissimo copied the paintings in this collection for Cosimo I de’ Medici. Included among these works currently on display at the Uffizi Gallery, the portrait of Mihrimah Sultan has been identified in the records of 1557 in Florence. Based on this information, it is presumed that the portrait can be dated to somewhere between 1552 and 1557, around the time of Giovio’s death".
  • Die Münchner Kunstkammer Roxelanes († 1558), der Lieblingsfrau Sultan Süleymans I. des Prächtigen (1494–1566), Bildnis war – wie auch Nr. ... Nr. L-2 („la Rossa, la moglie di gran Turco, d'età di anni sedici, e Cameria, di costei figliuola“ (Vasari-Milanesi VII, 456).
  • Le opere di questo famosissimo pittore nel mio studio sono la Cameria figlia della Rossa, che fu di Sultan imperatore de Turchi, e Madama di Rostan Bassa, fatta con ciera bellissimi, narrata dal Vasari carta 186, 3a parte3; un quadro in legno ...Unknown book

Details edit

  • Jewellry at turban called Sorguch [9]
  • She holds alive marten.
  • The flower on her chest is the rose, as the sign of her name.

Shakko (talk) 15:53, 12 July 2018 (UTC)Reply

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