Pietro Rotari Paintings & Artwork for Sale | Pietro Rotari Art Value Price Guide

Jun. 25, 2026
Rotari, Pietro Antonio (Verona, St. Petersburg 1707-1762) , Art des
Est: €400 - €480
Brustbildnis einer Dame mit Blumenkranz In dekolletiertem rotem Kleid mit Perlenkette und blauer Haarschleife. Lwd. (div. rep. Risse u. Loch, doubl.) 59×47 cm. R. (58931)
Leo Spik
Jun. 25, 2026
Pietro Antonio Rotari, 1707 Verona – 1762 Sankt Petersburg
Est: €110,000 - €150,000
TRIUMPH DES DAVID Öl auf Leinwand. Doubliert. 225 x 161 cm. In ornamental verziertem und vergoldetem Rahmen. Stolz präsentiert der jugendliche und spätere Israelitenkönig David sein Schwert und in der gleichen Hand auch das Haupt des Philisterkönigs Goliath, während er in einer leicht diagonal ausgerichteten Komposition auf einem Fell unter einem roten Ehrentuch sitzt. Umringt wird er von einer gewissen Quantität von Figuren, die rechts von einem Fahnenträger eingeleitet wird. Weit weniger selbstbewusst als auf unserem Gemälde stellt Rotari David erschöpft dar, mit dem Haupt und Schwert liegend, auf einer Radierung, die er nach Antionio Ballestra (1666 – 1740) anfertigte. Der aus einer adeligen Familie stammende Pietro Antonio Rotari erhielt seine künstlerische Ausbildung in der Werkstatt des Veroneser Malers Antonio Balestra (1666 – 1740). Zwischen 1723 und 1734 hielt er sich in Venedig auf und kam hier in Kontakt mit Giovanni Battista Piazzetta (1682 – 1754). Danach ging er nach Rom, wo er Schüler Francesco Trevisanis (1656 – 1746) wurde, und arbeitete zuletzt in Neapel mit Francesco Solimena (1657 – 1747). In Verona unterhielt er ein eigenes Atelier bevor er an verschiedene europäische Höfe ging, wie Wien oder Dresden, und schließlich 1756 an den Hof der Zarin Elisabeth in Sankt Petersburg gerufen wurde. Hier nahm er die prestigeträchtige Position des Hofmalers ein, die er bis zu seinem Tode behielt. Literatur: Das vorliegende Gemälde ist abgebildet und besprochen in: Giuseppe Pavanello, La Pittura nel Veneto. Il Settecento di Terraferma, Mailand 2011, S. 211, Abb. 228. Vgl. Fabrizio Magani, Paola Marini und Andrea Tomezzoli (Hrsg.), Il Settecento a Verona. Tiepolo, Cignaroli, Rotari. La nobilità della pittura, Ausstellungskatatalog (Palazzo della Gran Guardia, Verona, 26. November 2011 – 9. April 2012), Cinisello Balsamo 2011. (1482151) (13) Pietro Antonio Rotari, 1707 Verona – 1762 Saint Petersburg TRIUMPH OF DAVID Oil on canvas. Relined. 225 x 161 cm. The young David, later King of Israel, proudly displays his sword and, in the same hand, the severed head of the Philistine giant Goliath. In an etching executed after a composition by Antonio Ballestra (1666 – 1740), Rotari depicts David in a markedly different manner: exhausted and reclining with his head resting beside his sword, far less self-assured than in the present painting. Literature: The present painting is illustrated and discussed in: Giuseppe Pavanello, La Pittura nel Veneto. Il Settecento di Terraferma, Milan 2011, p. 211, ill. 228. cf. Fabrizio Magani, Paola Marini and Andrea Tomezzoli (eds.), Il Settecento a Verona. Tiepolo, Cignaroli, Rotari. La nobilità della pittura, exhibition catalogue, Palazzo della Gran Guardia, Verona, 26 November 2011 – 9 April 2012, Cinisello Balsamo 2011.
Hampel Fine Art Auctions
Jun. 18, 2026
Pietro Antonio Rotari, attributed
Est: €3,000 - €5,000
Pair of lady portraits, pastel on paper, mounted under glass. Works accompanied by a study sheet by Ferdinando Arisi, attributing them to Pietro Antonio Rotari.
San Luca Casa d'Aste
May. 27, 2026
PIETRO ROTARI
Est: €3,000 - €5,000
(Verona, 1707 - San Pietroburgo, 1762) Studio di testa femminile Olio su tela, cm 48,9X38,7 Reca cartellino sul verso con iscritto: '8. drappo in tessuto Pietro Rotari'. Allievo a Verona dell'incisore fiammingo Robert van Audenaerde, Rotari si trasferì a Roma per frequentare la bottega di Carlo Maratti, per poi raggiungere Napoli e divenire allievo di Francesco Solimena. Come possiamo notare, il giovane si prestò con entusiasmo a sperimentare gli esiti più aggiornati della cultura barocca e classicista sino ai suoi sviluppi rocaille, senza tralasciare i migliori esempi della scuola felsinea soggiornando a Bologna, costruendosi l'immagine di artista colto e nobile, dedito a dipingere per 'solo diletto' (Delorenzi, in Il Settecento a Verona 2011, pp. 131-133). Questa sua inclinazione gli permise sin dagli anni Trenta di affermarsi quale pittore di storia, ma durante la maturità la sua fama internazionale si deve alla ritrattistica e alla celebre serie realizzata per il complesso residenziale di Peterhof vicino a San Pietroburgo, concepito seguendo l'esempio italiano delle 'Gallerie delle Belle'. Nella nuova capitale russa, fondata da poco più di mezzo secolo, Rotari vi era giunto nel 1756, invitato dalla zarina Elisabetta che gli commissionò i ventidue ritratti che adornano il Padiglione Cinese a Oranjembaum nominandolo 'pittore primario' (cfr. I. Artemieva, La fortuna di Pietro Rotari e Giambettino Cignaroli in Russia, in Il Settecento a Verona..., cit., pp. 69-72). Detto ciò, questo peculiare genere ritrattistico costituito da 'teste di fantasia' femminili, che in Russia non a caso erano chiamate dagli estimatori 'Passioni', sono da considerarsi innovative dal punto di vista del gusto e quanto mai seducenti agli occhi dei collezionisti di tutta Europa al pari delle opere di Rosalba Carriera e Giambattista Piazzetta. Nel nostro caso, la figura trova confronto con quella centrale della Nascita di Maria (1740) conservata al Museo Civico di Padova, qui reinterpretato come 'testa di genere' per la sua piacevolezza (cfr. Da Padovanino a Tiepolo. Dipinti dei Musei Civici di Padova del Seicento e Settecento, catalogo a cura di D. Banzato, A. Mariuz, G. Pavanello, Milano 1997, pp. 276-277, n. 222). Si ringrazia Enrico Lucchese per l'attribuzione.
Wannenes Art Auctions
May. 09, 2026
Rotari, Pietro Antonio 1707 Verona - 1762 St. Petersburg (zugesch.)
Est: -
Rotari, Pietro Antonio 1707 Verona - 1762 St. Petersburg (zugesch.) Damenportrait (Portrait einer Russin). Öl/Lwd./doubl., 78 x 62 cm.
Dusseldorfer Auktionshaus
Mar. 31, 2026
PIETRO ROTARI (attr. a)
Est: €1,000 - €2,000
(Verona, 1707 - San Pietroburgo, 1762) Maddalena Olio su tela, cm 38X29 Allievo a Verona dell'incisore fiammingo Robert van Audenaerde, Rotari si trasferì a Roma per frequentare la bottega di Carlo Maratti, per poi raggiungere Napoli e divenire allievo di Francesco Solimena. Come possiamo notare, il giovane si prestò con entusiasmo a sperimentare gli esiti più aggiornati della cultura barocca e classicista sino ai suoi sviluppi rocaille, senza tralasciare i migliori esempi della scuola felsinea soggiornando a Bologna, costruendosi l'immagine di artista colto e nobile, dedito a dipingere per 'solo diletto' (Delorenzi, in Il Settecento a Verona, 2011, pp. 131-133). Questa sua inclinazione gli permise sin dagli anni Trenta di affermarsi quale pittore di storia, ma durante la maturità la sua fama internazionale si deve alla ritrattistica e alla celebre serie realizzata per il complesso residenziale di Peterhof vicino a San Pietroburgo, concepito seguendo l'esempio italiano delle Gallerie di Belle Arti. Nella nuova capitale russa, fondata da poco più di mezzo secolo, Rotari vi era giunto nel 1756, invitato dalla zarina Elisabetta che gli commissionò i ventidue ritratti che adornano il Padiglione Cinese a Oranjembaum nominandolo 'pittore primario' (cfr. I. Artemieva, La fortuna di Pietro Rotari e Giambettino Cignaroli in Russia, in Il Settecento a Verona..., cit., pp. 69-72). Detto ciò, questo peculiare genere ritrattistico costituito da 'teste di fantasia' femminili, che in Russia non a caso erano chiamate dagli estimatori 'Passioni', sono da considerarsi innovative dal punto di vista del gusto e quanto mai seducenti agli occhi dei collezionisti di tutta Europa al pari delle opere di Rosalba Carriera e Giambattista Piazzetta. Bibliografia di riferimento: M. Polazzo, Pietro Rotari pittore veronese del Settecento, (1707-1762), 1990, p. 62
Wannenes Art Auctions
Mar. 25, 2026
Pietro Antonio Rotari ( 1707-1762 ) - studio
Est: €550 - €1,100
Pietro Antonio Rotari ( 1707-1762 ) - studio, The letter . Oil on canvas. Framed. 97 x 73 cm
Deutsch Auktionen
Nov. 25, 2025
PIETRO ROTARI
Est: €3,000 - €5,000
(Verona, 1707 - San Pietroburgo, 1762) Ragazza addormentata con collarino e cappello Olio su tela, cm 40,5X34 Provenienza: Bologna, collezione privata Collezione privata Allievo a Verona dell'incisore fiammingo Robert van Audenaerde, Rotari si trasferì a Roma per frequentare la bottega di Carlo Maratti, per poi raggiungere Napoli e divenire allievo di Francesco Solimena. Come possiamo notare, il giovane si prestò con entusiasmo a sperimentare gli esiti più aggiornati della cultura barocca e classicista sino ai suoi sviluppi rocaille, senza tralasciare i migliori esempi della scuola felsinea soggiornando a Bologna, costruendosi l'immagine di artista colto e nobile, dedito a dipingere per 'solo diletto' (Delorenzi, in Il Settecento a Verona, 2011, pp. 131-133). Questa sua inclinazione gli permise sin dagli anni Trenta di affermarsi quale pittore di storia, ma durante la maturità la sua fama internazionale si deve alla ritrattistica e alla celebre serie realizzata per il complesso residenziale di Peterhof vicino a San Pietroburgo, concepito seguendo l'esempio italiano delle Gallerie di Belle Arti. Nella nuova capitale russa, fondata da poco più di mezzo secolo, Rotari vi era giunto nel 1756, invitato dalla zarina Elisabetta che gli commissionò i ventidue ritratti che adornano il Padiglione Cinese a Oranjembaum nominandolo 'pittore primario' (cfr. I. Artemieva, La fortuna di Pietro Rotari e Giambettino Cignaroli in Russia, in Il Settecento a Verona..., cit., pp. 69-72). Detto ciò, questo peculiare genere ritrattistico costituito da 'teste di fantasia' femminili, che in Russia non a caso erano chiamate dagli estimatori 'Passioni', sono da considerarsi innovative dal punto di vista del gusto e quanto mai seducenti agli occhi dei collezionisti di tutta Europa al pari delle opere di Rosalba Carriera e Giambattista Piazzetta. Bibliografia di riferimento: M. Polazzo, Pietro Rotari pittore del Settecento veronese, Verona 1990, ad vocem F. Magani, P. Marini, A. Tomezzoli, Il Settecento a Verona. Tiepolo, Cignaroli, Rotari, catalogo della mostra, Milano 2011, ad vocem L. Ievolella, Pietro Rotari, in Pittori dell'Accademia di Verona, a cura di L. Caburlotto, F. Magani, S. Marinelli, C. Rigoni, Verona 2011, pp. 332-345
Wannenes Art Auctions
Nov. 18, 2025
Attr. Rotari, Portrait of Young Maiden
Est: $1,000 - $1,500
Pietro Antonio Rotari (Italy/Russia, 1707-1762), Auction materials verso: "Sammlung Generalkonsul Georg Baschwitz, Berlin". Frame size: 24 1/4" high, 20 1/4" wide. Frame losses, expected age related wear.
Schwenke Auctioneers
Oct. 23, 2025
Pietro Antonio Rotari
Est: €20,000 - €30,000
(Verona 1707–1762 Saint Petersburg) Portrait of a young nobleman, bust-length, traditionally identified as Count Alexander Stroganoff (1733–1811), oil on canvas, 55 x 44.5 cm, framed Provenance: possibly private collection, Maryino, Russia (according to an inscription on a photograph in the Witt Library, where the sitter is identified as Count A. Stroganoff); Private collection, Switzerland The present portrait, appears to date to the last decade of Rotari’s career, which was spent in Russia. It depicts a young aristocrat, who has been traditionally identified as Count Alexander Stroganoff (1733–1811), wearing a fur-trimmed coat with jewelled fastenings, a silk waistcoat embroidered in gold, a lace jabot, and a curled, powdered wig. The refined palette balances warm pinks with cooler bluish tones, while the soft, diffused handling of colour recalls the effect of pastel, a medium much in vogue in the eighteenth century. Here Rotari was undoubtedly inspired by the works of Jean-Étienne Liotard (1702–1789), as well as Rosalba Carriera (1673–1757), whose pastels were among the most admired by the European courts of his time. After training in Rome and Naples in the workshops of Francesco Trevisani (1659–1746) and Francesco Solimena (1657–1747), Antonio Rotari returned, in 1734, to his native Verona, where he worked on the production of large altarpieces for local churches, as well as commissions in Bergamo and Udine. From the mid-1750s he began a brilliant international career, staying in Vienna and moving, in 1752, to Dresden to serve at the court of Augustus III. Portraiture soon became his principal genre, alongside the celebrated depiction of teste di fantasia, half-length, or bust-length figures illustrating emotions and European fashions, images which were very popular with contemporary collectors. In 1756, Rotari was invited by Empress Elizabeth Petrovna to St Petersburg, where he remained until his sudden death in 1762. He achieved great renown with portraits of the Empress and members of the court, and in 1757, he was appointed first Professor of Painting at the new Academy of Fine Arts, influencing artists such as Alexei Antropov, Ivan Argunov, and Fyodor Rokotov. On his death several of his paintings were acquired by Catherine II and displayed in the celebrated ‘Cabinet of Fashions and Graces’ at Peterhof.
Dorotheum
Oct. 14, 2025
ROTARI PIETRO ANTONIO (1707 - 1762) - Atelier of. Portrait of a gentlewoman
Est: €2,000 - €3,000
ROTARI PIETRO ANTONIO (1707 - 1762). Atelier of. Portrait of a gentlewoman. The painting replicates the one preserved at the Cassa di Risparmio di Verona Foundation (44.6 x 34.8 cm) executed between 1752/53 and 1762, a period in which the painter was active for the European courts of Vienna, Dresden and St. Petersburg (F. Magani, P.Marini, A.Tomezzoli, The eighteenth century in Verona. Tiepolo, Cignaroli, Rotari. The Nobility of Painting, Silvana Editoriale, 2011, pp.208-209).. 36 x 44,50 cm.
Capitolium Art
Jun. 26, 2025
Pietro Antonio Rotari, 1707 Verona – 1762 Sankt Petersburg
Est: €12,000 - €15,000
CIMON UND EFIGENIA Öl auf Leinwand. Doubliert. 95 x 75 cm. In bronziertem Profilrahmen. Beigegeben ein Gutachten von Mauro U. Lucco, Bazzano di Neviano Arduini, 20. Dezember 2023, in Kopie. In seiner Novelle im „Decamerone“ erzählt Giovanni Boccaccio die Geschichte des trotz seiner hohen Abstammung an Bildung und guten Sitten desinteressierten Cimon. Jedoch erblickt er, wie hier zu sehen, die schöne und gebildete Efigenia und beschließt daraufhin durch Erwerb von Kenntnissen, die einen jungen Mann als Edelmann ausweisen, ihre Zuneigung zu gewinnen. Das Talent des in Verona geborenen Rotari wurde von seinem ersten Lehrer Antonio Ballestra (1666-1740) entdeckt, welcher ihn in der Idee einer Künstlerlaufbahn bestärkte. Er studierte in Venedig, Rom und Neapel und blieb schließlich bis 1734 bei Francesco Solimena (1657-1747) und ließ sich dann wieder in Verona nieder, wo er eine eigene erfolgreiche Werkstatt betrieb. Darauf folgte ein Aufenthalt in Wien und Dresden (ab 1752 oder 1753), bevor er nach Sankt Petersburg reiste, um dort Hofmaler zu werden. Bekannt wurde er in Verona zwar für seine sakralen Gemälde, begehrt sind damals wie heute aber auch seine Portraitserien, welche die menschlichen Leidenschaften zum großen Thema erklärten. In vielfacher Weise konnte Rotari seine Fähigkeit unter Beweis stellen, weibliche Schönheiten im schlafenden Zustand darzustellen. Hier ist eine solche nun eingebettet in eine klassische Erzählung. Anmerkung: Rotari war Schüler des Antonio Balestra (1666-1740) und ging zwei Jahre nach Venedig, um Werke von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588) zu kopieren, ab 1728 widmete er sich dem Studium der Antike in Rom bei Francesco Trevisani (1656-1746). Zu seinen Aufenthalten gehört auch die Werkstatt des Francesco Solimena (1657-1747), wo er bis 1734 blieb. Seine Versuche, sich am französischen Hof zu bewerben waren vergeblich, umso erfolgreicher jedoch sein Wirken als Hofmaler des sächsischen Kurfürsten und polnischen Königs August III in Dresden. Auch in Sankt Petersburg erhielt er den Titel des Hofmalers unter Peter III und Katharina II. 50 seiner russischen Frauenbildnisse stiftete die Zarin Elisabeth der russischen Akademie der Künste, über 350 solcher Gemälde kamen ins Kabinett der Moden und Grazien im Peterhof. Literatur: Vgl. Fabrizio Magani, Paola Marini und Andrea Tomezzoli (Hrsg.), Il Settecento a Verona. Tiepolo Cignaroli Rotari. La nobilità della pittura, Ausstellungskatalog, Verona 2011, S. 131f. (1441011) (13) Pietro Antonio Rotari, 1707 Verona – 1762 Saint Petersburg CIMON AND IPHIGENIA Oil on canvas. Relined. 95 x 75 cm. Accompanied by an expert's report by Mauro U. Lucco, Bazzano di Neviano Arduini, 20 December 2023, in copy. Literature: cf. Fabrizio Magani, Paola Marini and Andrea Tomezzoli (ed.), Il Settecento a Verona. Tiepolo, Cignaroli, Rotari. La nobilità della pittura, exhibition catalogue, Verona 2011, pp. 131.
Hampel Fine Art Auctions
Jun. 18, 2025
OIL PAINTING ATTRIBUTED TO PIETRO ANTONIO ROTARI, 18TH CENTURY
Est: €1,000 - €1,500
PIETRO ANTONIO ROTARI, att. a (Verona, 1707 - San Pietroburgo, 1762) MADDALENA Olio su tela, cm. 62 x 48 Cornice ebanizzata PROVENIENZA Collezione privata romana CONDITION REPORT Rintelo ottocentesco. Punti di restauro sul volto e sulle mani
Casa d'Aste Babuino
May. 17, 2025
Pietro Antonio Conte Rotari, Two Portraits of Prince Elector Friedrich Christian of Saxony and his Consort Maria Antonia of Bavaria
Est: €25,000 - €30,000
Pietro Antonio Rotari trained in Rome and Naples before setting up a workshop in his native Verona. 1751, after beeing appointed Count, he left his hometown and first travelled to Austria, Germany and Russia. In Vienna, he met Jean-Etienne Liotard, with whom Rotari found an immediate intellectual connection. The European travels coincided with a dramatic change in Rotari´s oeuvre: from the 1750s, he abandoned the religious genre and dedicated himself to official portraiture and “teste di carattere”; his palette became lighter and cooler, his brushstrokes finer, more polished. 1752-56 Rotari he worked in Dresden for the Court of August III, painting portraits of all members of the royal family residing there. All the paintings have the same format and are closely related to each other formally and stylistically. The sitters are conceived as couples and linked to one another through their postures. The series found its place in the Royal Picture Gallery and there is hardly a series of portraits of a royal family that could compare to its refined completeness. Friedrich Christian, the third son of August III, was born with a weak constitution and his mother tried to induce him to renounce his succession rights in favour of his younger brothers. He refused and became elector in 1763; manifesting a strong inclination towards politics and to the ideals of the Enlightenment, as clearly emerges from his statement: "Princes exist for their subjects, not subjects for their princes. His subjects' wealth, public credit and a well-standing army make up the true happiness of a prince" Unfortunately, he died after a reign of only 74 days. Here, the princely status of Friedrich Christian is only evoked by the ermine cuff, and the heir to the throne is presented as a general in armour and with a commander's staff; his wife Maria Antonia of Bavaria, who was, like him, exceptionally talented in music, is depicted as an artist, holding a poem that she composed. The present paintings can be closely linked to the portrait now in the Staatliche Kunstsammlungen Dresden (oil on canvas, 103 x 83 cm, inv.-no. H 0063.01) and was likely thought for a secondary residence or as diplomatic gift; in fact, different versions of the portraits were created for various castles, such as the Dresden Residenzschloss, Pillnitz, Moritzburg and Weesenstein. We are grateful to Professor Enrico Lucchese for endorsing the attribution to Pietro Rotari.
Lempertz
Apr. 29, 2025
Pietro Rotari
Est: €15,000 - €20,000
(Verona 1707–1762 Saint Petersburg) Portrait of a girl in pilgrim’s costume at the Island of Cythera, oil on canvas, 45.5 x 38 cm, framed Provenance: art market France; where acquired by the present owner A young woman leans her shoulders against the trunk of a tree, gazing at us with her head slightly tilted with a faint smile. Her clothing features typical feminine adornments - pearl earrings and a lace choker fastened with a blue ribbon - combined with elements associated with the well-known iconography of Saint James the patron of pilgrims to Santiago de Compostela. The unmistakably flirtatious demeanor of the young woman, however, dismisses any thought of a connection to the Apostle and the cathedral in Galicia. Instead, this young lady’s pilgrimage is set in an imaginary Orient, on the island of Cythera, which, in Greek mythology is, along with Cyprus, the contested birthplace of Venus. The present image fits fully within Rotari’s production of Teste di carattere o di fantasia (character or fantasy heads), a genre characteristic of the Veronese artist. Although it was likely drawn from a real model - a practice documented by contemporary accounts - the canvas does not portray a specific person but rather captures a fleeting moment, a secret encounter, or a glance. Even though Rotari’s production of half-figures, mostly female, displaying various emotional states in an infinite repertoire of sentimental poses, is documented as early as the summer of 1749 in the collection of Scipione Maffei in Verona (with a ‘weeping woman’ and a ‘smiling woman’), it is only from his subsequent stays at the courts of Vienna and Dresden that Pietro Antonio began painting these ‘petits tableaux d’expression’ more consistently (A. Tomezzoli, Verona, madre e nutrice d’eccellenti Pittori, in: F. Magani, P. Marini (eds.), Il Settecento a Verona. Tiepolo Cignaroli Rotari, la nobiltà della pittura, exhibition catalogue, Milano 2011, pp. 35–36). We are grateful to Enrico Lucchese for endorsing the attribution of the present painting and for his help in cataloguing this lot.
Dorotheum
Mar. 28, 2025
PIETRO ANTONIO ROTARI and/or workshop.
Est: CHF2,000 - CHF3,000
PIETRO ANTONIO ROTARI and/or workshop. (Verona 1707–1762 St. Petersburg) Girl peeking out from behind a curtain. Pastel on paper. 45.7 × 34.4 cm. Old gold frame from the period. Provenance: - Probably Schloss Moritzburg, Dresden (inscribed verso). - Sale Kunst- und Auktionshaus Jakob Hecht, Berlin, 20./21.10.1925, Lot 141 with ill. - Sale Kunst- und Auktionshaus Jakob Hecht, Berlin, 2./3.10.1928 Lot 695 with ill. - With Kunstberatung Thomas Boller, Zurich, 2004. - Sale Koller, Zürich, 16.3.2005, Lot 3086. - Private collection, Switzerland. Exhibited: - Neil Jeffares: Dicitionary of pastellists before 1800 (Online-Version). cat. no. J.631.202 (accessed 20.11.2021). Neil Jeffares hat sich für die Eigenhändigkeit des Pastells anhand einer Fotografie ausgesprochen, wofür wir danken. In seinem Mail vom 24.07.2024 weisst er darauf hin, dass das Pastell eine identische Rahmung aufweist wie andere eigenhändige Pastelle von Pietro Antonio Rotari: J.631.206; J. 6331.2071 und J.631.2072. ------------------------------------------------- PIETRO ANTONIO ROTARI und/oder Werkstatt (Verona 1707–1762 St. Petersburg) Mädchen hinter einem Vorhang hervorschauend. Pastell auf Papier. 45,7 × 34,4 cm. Alte Goldrahmung der Zeit. Provenienz: - Wohl Schloss Moritzburg, Dresden (verso bezeichnet). - Kunst- und Auktionshaus Jakob Hecht, Berlin, 20./21.10.1925, Lot 141 mit Abb. - Kunst- und Auktionshaus Jakob Hecht, Berlin, 2./3.10.1928 Lot 695 mit Abb. - Kunstberatung Thomas Boller, Zürich, 2004. - Auktion Koller, Zürich, 16.3.2005, Los 3086. - Privatbesitz Schweiz. Ausstellung: - Neil Jeffares: Dicitionary of pastellists before 1800 (Online-Version). Kat.-Nr. J.631.202 (Zugriff 20.11.2021).. Neil Jeffares hat sich für die Eigenhändigkeit des Pastells anhand einer Fotografie ausgesprochen, wofür wir danken. In seinem Mail vom 24.07.2024 weisst er darauf hin, dass das Pastell eine identische Rahmung aufweist wie andere eigenhändige Pastelle von Pietro Antonio Rotari: J.631.206; J. 6331.2071 und J.631.2072.
Koller Auctions
Dec. 05, 2024
PIETRO ANTONIO ROTARI
Est: CHF600 - CHF900
(Verona 1707–1762 St. Petersburg) Kopie Bildnis eines Mädchens mit Maske. Öl auf Holz. Verso alte Siegel. 23,2x17,3 cm. Gerahmt.
Schuler Auktionen
Dec. 04, 2024
PIETRO ANTONIO ROTARI (VERONA 1707-1762 ST PETERSBURG). The Meeting of Alex
Est: £50,000 - £80,000
PIETRO ANTONIO ROTARI (VERONA 1707-1762 ST PETERSBURG). The Meeting of Alexander the Great and Roxana, behind a trompe l'oeil.... oil on canvas 32 3⁄8 x 26 ¾ in. (83.2 x 68 cm.).
Christie's
Nov. 27, 2024
PIETRO ROTARI
Est: €2,000 - €3,000
(Verona, 1707 - San Pietroburgo, 1762) Sant'Ubaldo Firmato e datato sul telaio: Sig.r Pietro Rotari Veronese dip. 1748 Olio su tela, cm 47,5X41 Provenienza: Ferrara, collezione privata Riconosciuto alla mano di Pietro Rotari da Andrea Tomezzoli, la tela è firmata e datata sul telaio attestando la considerazione dell'autore nei confronti dell'opera e la sua predilezione a comporre raffinati 'studi di teste' che gli valsero una fama europea. Allievo a Verona dell'incisore fiammingo Robert van Audenaerde, Rotari si trasferì a Roma per frequentare le botteghe di Carlo Maratti, Antonio Balestra e Francesco Trevisani, per poi raggiungere Napoli e divenire allievo del celebre Francesco Solimena. Come possiamo notare, il giovane si prestò con entusiasmo a sperimentare gli esiti più aggiornati della cultura barocca e classicista sino ai suoi sviluppi rocaille, senza tralasciare i migliori esempi della scuola felsinea soggiornando a Bologna, costruendosi di conseguenza, l'immagine di artista colto e nobile, dedito a dipingere per 'solo diletto'. Questa sua inclinazione gli permise sin dagli anni Trenta di affermarsi quale autore di storia e in particolare di temi sacri. Documentano questo momento una serie di pale d'altare memori della lezione di Trevisani e Solimena, per il vigore cromatico e il chiaroscuro, come si evince osservando la paletta con i Santi Filippo apostolo e Giacomo minore a Bonavicina (Marinelli, 2010, pp. 111 s.), la Madonna con il Bambino e San Filippo Neri della parrocchiale di Torri del Benaco del 1738 e il Martirio dei Santi Pietro e Paolo della chiesa di Azzano Mella del 1740 (Guerrini, 1981, p. 212). Durante il quinto decennio, invece, il suo stile vedrà un impiego di tinte più dolci, con stesure più terse e luminose che si coniugano a una gestualità elegante e misurata delle composizioni, guardando ancora all'arte emiliana (cfr. L. Ievolella, Pietro Antonio Rotari in Emilia, in Verona illustrata, 24, 2011, pp. 149-157). A questo momento appartiene il dipinto qui presentato, rara testimonianza dell'attività che precede il viaggio a Vienna del 1751 e al successivo trasferimento alla corte imperiale di San Pietroburgo e, come possiamo notare, possiede i requisiti di un'opera finita, secondo una prassi esecutiva che caratterizza gli 'studi' della scuola veronese del XVIII secolo, manifestando una naturale grazia espressiva. Per quanto riguarda i riferimenti illustrativi, il volto trova confronto nella tela raffigurante Sant'Ubaldo libera un ossesso appartenente ai Musei Civici di Padova (cfr. S. Marinelli, in Da Padovanino a Tiepolo. Dipinti dei Musei Civici di Padova del Seicento e Settecento, a cura di D. Banzato, A. Mariuz, G. Pavanello, Milano 1997, pp. 275-276, cat. 221) e in particolare, con il Sant'Ubaldo libera dal demonio uno spiritato conservato nella chiesa di Santo Spirito a Bergamo (cfr. fig. 1, Polazzo, pp. 38-39, n. 75) e con la figura del Sacerdote della Presentazione di Gesù al Tempio del Duomo di Bergamo eseguita nel 1745 (fig. 1; Polazzo, p. 52, n. 72). Bibliografia di riferimento: M. Polazzo, Pietro Rotari pittore del Settecento veronese, Verona 1988, ad vocem F. Magani, P. Marini, A. Tomezzoli, Il Settecento a Verona. Tiepolo, Cignaroli, Rotari, catalogo della mostra, Milano 2011, ad vocem L. Ievolella, Pietro Rotari, in Pittori dell'Accademia di Verona, a cura di L. Caburlotto, F. Magani, S. Marinelli, C. Rigoni, Verona 2011, pp. 332-345
Wannenes Art Auctions
Nov. 23, 2024
Pietro Antonio Rotari, Schlafende Schönheit
Est: €10,000 - €20,000
Pietro Antonio Rotari, Schlafende Schönheit schlafende junge Dame mit Mütze und Schaltuch, das weite Dekolletee von feiner Spitze gesäumt, Öl auf Leinwand, um 1750, unsigniert, rückseitig bezeichnet Rotari pix. und rest. 1862, ungerahmt, alt restauriert und doubliert, vereinzelte Fehlstellen in der Malschicht, Alterscraquelé, reinigungsbedürftig, Maße 39 x 32 cm. Provenienz: aus sächsischer Privatsammlung. Künstlerinfo: Pietro Antonio Rotari (1707 Verona bis 1762 Sankt Petersburg), war Schüler des Antonio Balestra (1666-1740) und ging zwei Jahre nach Venedig, um Werke von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588) zu kopieren, ab 1728 widmete er sich dem Studium der Antike in Rom bei Francesco Trevisani (1656-1746), zu seinen Aufenthalten gehört auch die Werkstatt des Francesco Solimena (1657-1747), wo er bis 1734 blieb, später als Hofmaler des sächsischen Kurfürsten und polnischen Königs August III. in Dresden, auch in Sankt Petersburg erhielt er den Titel des Hofmalers unter Peter III. und Katharina II., 50 seiner russischen Frauenbildnisse stiftete die Zarin Elisabeth der russischen Akademie der Künste, Quelle: Internet. Pietro Antonio Rotari, Sleeping Beauty Sleeping young lady with cap and shawl, the wide décolleté lined with fine lace, oil on canvas, c. 1750, unsigned, inscribed on the reverse Rotari pix. and rest. 1862, unframed, old restored and relined, isolated missing parts in the painting layer, age craquelé, in need of cleaning, dimensions 39 x 32 cm. Provenance: from a private collection in Saxony. Artist info: Pietro Antonio Rotari (1707 Verona to 1762 Saint Petersburg), was a pupil of Antonio Balestra (1666-1740) and went to Venice for two years to copy works by Tiziano Vecellio (1485/89-1576) and Paolo Veronese (1528-1588), from 1728 he devoted himself to the study of antiquity in Rome with Francesco Trevisani (1656-1746), his stays also included the workshop of Francesco Solimena (1657-1747), where he stayed until 1734, later as court painter to the Saxon Elector and Polish King August III. in Dresden, he also received the title of court painter in St Petersburg under Peter III and Catherine II, Tsarina Elisabeth donated 50 of his Russian portraits of women to the Russian Academy of Arts , source: Internet.
Auktionshaus Mehlis GmbH
Oct. 22, 2024
Pietro Rotari
Est: €30,000 - €40,000
(Verona 1707–1762 Saint Petersburg) Portrait of a girl in pilgrim’s costume on the Island of Cythera, oil on canvas, 45.5 x 38 cm, framed Provenance: art market France; where acquired by the present owner A young woman leans her shoulders against the trunk of a tree, gazing at us with her head slightly tilted with a faint smile. Her clothing features typical feminine adornments - pearl earrings and a lace choker fastened with a blue ribbon - combined with elements associated with the well-known iconography of Saint James the patron of pilgrims to Santiago de Compostela. The unmistakably flirtatious demeanor of the young woman, however, dismisses any thought of a connection to the Apostle and the cathedral in Galicia. Instead, this young lady’s pilgrimage is set in an imaginary Orient, on the island of Cythera, which, in Greek mythology is, along with Cyprus, the contested birthplace of Venus. The present image fits fully within Rotari’s production of Teste di carattere or di fantasia (character or fantasy heads), a genre characteristic of the Veronese artist. Although it was likely drawn from a real model - a practice documented by contemporary accounts - the canvas does not portray a specific person but rather captures a fleeting moment, a secret encounter, or a glance. Even though Rotari’s production of half-figures, mostly female, displaying various emotional states in an infinite repertoire of sentimental poses, is documented as early as the summer of 1749 in the collection of Scipione Maffei in Verona (with a ‘weeping woman’ and a ‘smiling woman’), it is only from his subsequent stays at the courts of Vienna and Dresden that Pietro Antonio began painting these ‘petits tableaux d’expression’ more consistently (A. Tomezzoli, Verona, madre e nutrice d’eccellenti Pittori in F. Magani, P. Marini (eds.), Il Settecento a Verona. Tiepolo Cignaroli Rotari, la nobiltà della pittura, exhibition catalogue, Milano 2011, pp. 35-36).
Dorotheum
Oct. 09, 2024
PIETRO ANTONIO ROTARI (ITALIAN 1707-1762), YOUNG BOY WEARING A TEAL GILET
Est: £15,000 - £25,000
PIETRO ANTONIO ROTARI (ITALIAN 1707-1762)YOUNG BOY WEARING A TEAL GILETOil on canvas43 x 33cm (16¾ x 12 in.)In 1734 after studying in Rome and Naples Pietro Rotari returned to his hometown of Verona where he opened a private academy concentrating on the production of historical and religious paintings. By 1740 his success brought him the title Count of the Venetian Republic and the following year he travelled to Vienna, where he was introduced to Jean-Etiènne Liotard, the celebrated Swiss pastellist, whose work profoundly influenced him. He was in Dresden, in the service of Frederick Augustus III, when he received an invitation from the Empress Elisabeth of Russia, daughter of Peter the Great, to come to St. Petersburg as first painter of the court. He arrived in 1756 and soon amassed a large fortuneAlthough he continued to work as a history painter in Saint Petersburg, it was there that Rotari developed the genre still associated with his name: small paintings of idealized heads, delicate and studiously artless in style, depicting the emotions of young boys and girls. After Rotari's sudden death in 1762, Catherine the Great bought 340 of the artist's 'fancy pictures' for the salon of Peterhof. The pictures Catherine did not buy were returned to Rotari's family in Verona, where they remained in the possession of his descendants until the late nineteenth century.
Dreweatts 1759 Fine Sales
Sep. 26, 2024
PIETRO ANTONIO ROTARI, 1707 VERONA – 1762 SANKT PETERSBURG, ZUGESCHRIEBEN
Est: €7,500 - €9,000
MÄDCHEN MIT RUSSISCHER PELZMÜTZE Öl auf Leinwand. 44,5 x 34,5 cm. Verso alter Aufkleber mit Künstlernennung. In vergoldetem Rahmen. Vor dunklem Hintergrund das Portrait einer jungen Frau mit Kopfbedeckung, roten Ohrringen und pelzverbrämter gelblicher Jacke. Mit ihren dunklen Augen blickt sie liebevoll den Betrachter an. Vereinzelt Retuschen. Rotari war Schüler des Antonio Balestra (1666-1740) und ging zwei Jahre nach Venedig, um Werke von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588) zu kopieren, ab 1728 widmete er sich dem Studium der Antike in Rom bei Francesco Trevisani (1656-1746). Zu seinen Aufenthalten gehört auch die Werkstatt des Francesco Solimena (1657-1747), wo er bis 1734 blieb. Seine Versuche, sich am französischen Hof zu bewerben waren vergeblich, umso erfolgreicher jedoch sein Wirken als Hofmaler des sächsischen Kurfürsten und polnischen Königs August III in Dresden. Auch in Sankt Petersburg erhielt er den Titel des Hofmalers unter Peter III und Katharina II. 50 seiner russischen Frauenbildnisse stiftete die Zarin Elisabeth der russischen Akademie der Künste, über 350 solcher Gemälde kamen ins Kabinett der Moden und Grazien im Peterhof. Anmerkung: Während seines Aufenthaltes in Russland zwischen 1756-1762 fertigte Rotari zahlreiche Portraits von Privatpersonen an, die die Bewunderung von Kunstkennern erregten. (1410122) (18)
Hampel Fine Art Auctions
Sep. 14, 2024
PIETRO ROTARI (NACHFOLGER) DIE HEILIGE MARIA MAGDALENA
Est: €400 - €800
FOLLOWER OF PIETRO ROTARI 1707 Verona - 1762 St. Petersburg THE SAINT MARIA MAGDALENA Oil on canvas. 49.5 x 37.5 cm (F. 53 x 40 cm). Min. rest., min. old retouching, min. loss of color. Frame. Provenance: Private collection Lower Saxony. PIETRO ROTARI (NACHFOLGER) 1707 Verona - 1762 Sankt Petersburg DIE HEILIGE MARIA MAGDALENA Öl auf Leinwand. 49,5 x 37,5 cm (R. 53 x 40 cm). Min. rest., min. Altretuschen, min. Farbverlust. Rahmen. Provenienz: Privatsammlung Niedersachsen.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 13, 2024
Pietro Antonio ROTARI (1707-1762), zugeschrieben, 'Junge Frau auf blauem Kissen liegend' / attributed, 'Jeune fille sur un oreiller bleue', wohl nach Francois Boucher
Est: €800 - €1,600
Technik: Öl auf Leinwand, gerahmt, Signatur: unsigniert, Maße:42,5 x 33 cm, Rahmen 59,5 x 52 cm, Zustand: am Ohrring rechts, halbrunder, alt restaurierter Einriss der Leinwand, sowie Retuschen, randständige Läsuren, craqueliert, Kommentar: Experteneinschätzung auf Tschechisch, deutsche Übersetzung anbei (1970).
Auktionshaus Schwab
Jul. 04, 2024
PIETRO ROTARI. Pair of pastels "PORTRAITS OF GIRLS"
Est: €15,000 - €20,000
PIETRO ROTARI (Verona 1707-San Pietroburgo 1762). Pair of pastels on paper depicting "PORTRAITS OF GIRLS". Mounted on double glass. Defects. With expertise from Prof. Ferdinando Arisi. PIETRO ROTARI (Verona 1707-San Pietroburgo 1762). Coppia di pastelli su carta raffiguranti "RITRATTI DI FANCIULLE". Montati su doppio vetro. Difetti. Con expertise del Prof. Ferdinando Arisi.
Viscontea Casa d'Aste s.r.l.
Jun. 27, 2024
Pietro Antonio Rotari, 1707 Verona – 1762 Sankt Petersburg
Est: €20,000 - €30,000
CIMON UND EFIGENIA Öl auf Leinwand. Doubliert. 95 x 75 cm. In bronziertem Profilrahmen. Beigegeben ein Gutachten von Mauro U. Lucco, Bazzano di Neviano Arduini, 20. Dezember 2023, in Kopie. In seiner Novelle im „Decamerone“ erzählt Giovanni Boccaccio die Geschichte des trotz seiner hohen Abstammung an Bildung und guten Sitten desinteressierten Cimon. Jedoch erblickt er, wie hier zu sehen, die schöne und gebildete Efigenia und beschließt daraufhin durch Erwerb von Kenntnissen, die einen jungen Mann als Edelmann ausweisen, ihre Zuneigung zu gewinnen. Das Talent des in Verona geborenen Rotari wurde von seinem ersten Lehrer Antonio Ballestra (1666-1740) entdeckt, welcher ihn in der Idee einer Künstlerlaufbahn bestärkte. Er studierte in Venedig, Rom und Neapel und blieb schließlich bis 1734 bei Francesco Solimena (1657-1747) und ließ sich dann wieder in Verona nieder, wo er eine eigene erfolgreiche Werkstatt betrieb. Darauf folgte ein Aufenthalt in Wien und Dresden (ab 1752 oder 1753), bevor er nach Sankt Petersburg reiste, um dort Hofmaler zu werden. Bekannt wurde er in Verona zwar für seine sakralen Gemälde, begehrt sind damals wie heute aber auch seine Portraitserien, welche die menschlichen Leidenschaften zum großen Thema erklärten. In vielfacher Weise konnte Rotari seine Fähigkeit unter Beweis stellen, weibliche Schönheiten im schlafenden Zustand darzustellen. Hier ist eine solche nun eingebettet in eine klassische Erzählung. Literatur: Vgl. Il Settecento a Verona. Tiepolo Cignaroli Rotari, la nobilità della pittura, Ausstellungskatalog, Verona 2011, S. 131f. (1391394) (13) Pietro Antonio Rotari, 1707 Verona – 1762 Saint Petersburg CIMON AND IPHIGENIA Oil on canvas. Relined. 95 x 75 cm. Accompanied by an expert‘s report by Mauro U. Lucco, Bazzano di Neviano Arduini, 20 December 2023, in copy. Literature: cf. Il Settecento a Verona. Tiepolo, Cignaroli, Rotari. La nobilità della pittura, exhibition catalogue, Verona 2011, pp. 131.
Hampel Fine Art Auctions
Apr. 05, 2024
PIETRO ANTONIO ROTARI (1707-1762) Paire de portraits en costume cosaque
Est: €15,000 - €30,000
PIETRO ANTONIO ROTARI (1707-1762) Paire de portraits en costume cosaque Huile sur toile Dimensions : 61 x 46 cm Accompagné d'une expertise du Professeur Gian Carlo Sestrieri qui situe ces tableaux peints dans la dernière période du peintre quand il se trouve en Russie à la Cour de la La tsarevna Élisabeth de 1752 à 1762. Peintre et graveur italien né à Vérone et décédé à Saint-Pétersbourg, il est l'élève du graveur Van Auden-Aerdt et d'Antonio Balestra dans sa ville natale avant de se rendre à Venise entre 1725 et 1727 puis à Rome dans l'atelier de Francesco Trevisani (1727 et 1731) et enfin à Naples auprès de Francesco Solimena. Par la suite il se rend à Vienne, Munich et à Dresde où il se spécialise dans la peinture de bustes de femmes très en vogue auprès des familles royales. C'est Marie-Maximilienne de Silvestre qui présente le travail de Pietro Rotari à la dauphine de France, Marie-Josèphe de Saxe. En 1756, Rotari se fixe définitivement à Saint-Pétersbourg auprès de la Cour de Russie pour qui il peindra de nombreux portraits. Il compte parmi ses élèves Anton Lossenko. C'est à cette époque qu'ont été peintes ces deux toiles comme le confirme l'expertise du Professeur Gian Carlo Sestrieri.
Accademia Fine Art
Mar. 27, 2024
DMITRY GERASIMOV (1737/1739 - 1784) (ENGRAVER)
Est: €150 - €200
DMITRY GERASIMOV (1737/1739 - 1784) (ENGRAVER) AFTER PIETRO ROTARI (1707 - 1762) Portrait of Petr Semionovitch Saltykov (1697-1772), the Field Marshal of the Russian Empire engraving on paper inscriptions: ' Comes Rotari pinx/ Gerassimoff Sculps.' 60.6 x 42.7 cm Literature: Russian biographical dictionary, Volume III, p. 105
Hermitage Fine Art
Mar. 23, 2024
Portrait of a woman
Est: €8,000 - €10,000
Pastel on paper dating back to the 18th century, from northern Italy and depicting "Woman's Face". By Pietro Antonio Rotari (Verona, 30 September 1707 – St. Petersburg, 31 August 1762). Expertise of Professor Ferdinando Arisi. Measures: 40 x 31 cm
Arte Movi Auctions
Mar. 23, 2024
Portrait of a woman
Est: €8,000 - €10,000
Pastel on paper dating back to the 18th century, from northern Italy and depicting "Woman's Face". By Pietro Antonio Rotari (Verona, 30 September 1707 – St. Petersburg, 31 August 1762). Expertise of Professor Ferdinando Arisi. Measures: 40 x 31 cm
Arte Movi Auctions
Mar. 20, 2024
Pietro Antonio Rotari, Nachfolge Elector Frederick Augustus II of Saxony, as King Augustus III of Poland
Est: €3,000 - €4,000
Pietro Antonio Rotari, Nachfolge 1707 Verona - 1762 St. Petersburg Elector Frederick Augustus II of Saxony, as King Augustus III of Poland Oil auf canvas. 64.5 x 52 cm. Relined. Restored. Minor damage to frame (75.5 x 65 cm). Teilkopie nach Pietro Antonio Rotaris Gemälde in den Staatlichen Kunstsammlungen Dresden.
Neumeister
Dec. 15, 2023
PIETRO ANTONIO ROTARI (1707-1762) - Paire de portraits en costume cosaque
Est: €18,000 - €24,000
PIETRO ANTONIO ROTARI (1707-1762) - Paire de portraits en costume cosaque Paire de portraits en costume cosaque Huile sur toile Dimensions : 61 x 46 cm Accompagné d'une expertise du Professeur Gian Carlo Sestrieri qui situe ces tableaux peints dans la dernière période du peintre quand il se trouve en Russie à la Cour de la La tsarevna Élisabeth de 1752 à 1762. Peintre et graveur italien né à Vérone et décédé à Saint-Pétersbourg, il est l'élève du graveur Van Auden-Aerdt et d'Antonio Balestra dans sa ville natale avant de se rendre à Venise entre 1725 et 1727 puis à Rome dans l'atelier de Francesco Trevisani (1727 et 1731) et enfin à Naples auprès de Francesco Solimena. Par la suite il se rend à Vienne, Munich et à Dresde où il se spécialise dans la peinture de bustes de femmes très en vogue auprès des familles royales. C'est Marie-Maximilienne de Silvestre qui présente le travail de Pietro Rotari à la dauphine de France, Marie-Josèphe de Saxe. En 1756, Rotari se fixe définitivement à Saint-Pétersbourg auprès de la Cour de Russie pour qui il peindra de nombreux portraits. Il compte parmi ses élèves Anton Lossenko. C'est à cette époque qu'ont été peintes ces deux toiles comme le confirme l'expertise du Professeur Gian Carlo Sestrieri.
Accademia Fine Art
Dec. 13, 2023
ROTARI PIETRO ANTONIO (1707 - 1762) - Sketch depicting Pope Innocent III asking Saint Dominic to go to France for preaching to the Cathars
Est: €2,800 - €3,800
ROTARI PIETRO ANTONIO (1707 - 1762). Sketch depicting Pope Innocent III asking Saint Dominic to go to France for preaching to the Cathars. 33,00 x 38,00 cm.
Capitolium Art
Dec. 07, 2023
Pietro Antonio Rotari, 1707 Verona – 1762 Sankt Petersburg, zug./ Kreis des
Est: €8,000 - €10,000
PORTRAIT EINER JUNGEN FRAU MIT ROTER KOPFBEDECKUNG Öl auf Leinwand. Doubliert. 47 x 36 cm. Im teilvergoldeten Rahmen. Vor dunklem Hintergrund die junge Frau leicht nach links, dabei hat sie jedoch ihr Gesicht mit den roten Wangen, den roten Lippen und den glänzenden braunen Augen dem Betrachter zugewendet. Auf ihrem Kopf trägt sie wohl eine dunkle Kappe mit einem roten herabhängenden Zipfel, passend dazu rote Ohrgehänge. Über ihrem Kleid mit weitem Dekolleté trägt sie einen braunen Umhang, der am Rand mit Pelz verziert ist. (1380683) (18) Pietro Antonio Rotari, 1707 Verona – 1762 Saint Petersburg, attributed/ circle of PORTRAIT OF A YOUNG WOMAN WITH RED HEADPIECE Oil on canvas. Relined. 47 x 36 cm.
Hampel Fine Art Auctions
Nov. 29, 2023
Rotari, Pietro: Studienblatt mit zwei Charakterköpfen
Est: €900 - €1,200
Studienblatt mit zwei Charakterköpfen. Radierung. 11,7 x 8 cm. Um 1725-30. De Vesme 21. -- -- Die wechselreiche Laufbahn des Malers Pietro Rotari führte den Künstler nach Venedig, Rom, Neapel, Wien und Dresden. 1736 wurde Rotari als Hofmaler nach St. Petzersburg berufen, wo er bis zu seinem Tod im Jahre 1762 leben und arbeiten sollte. Der Künstler schuf ein kleines druckgraphisches Œuvre. Abgesehen von einigen Radierungen nach eigener Erfindung handelt es sich um Reproduktionstiche nach seinem Veroneser Lehrmeister Antonio Balestra sowie anderen Künstlern wie Francesco Trevisani und Carlo Maratta. Das kleine, seltene Studienblatt ist in einem leichten, flotten Duktus ausgeführt. Das Monogramm P.C. links oben steht wahrscheinlich für Paolo Caliari (Veronese), den Autor der Vorlage. Ausgezeichneter, gleichmäßiger Druck mit feinem Rändchen. Minimale Altersspuren, sonst sehr gut erhalten. -- -- - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. -- - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Nov. 24, 2023
Rotari, Pietro Antonio (Attrib.): Zwei Damenbildnisse
Est: €12,000 - €24,000
Rotari, Pietro Antonio - attributed to: - Two portraits of ladies. (Verona 1707-1762 St. Petersburg) Lying with her head on a pillow, one with her eyes open, the other asleep. Pastel/paper. Approx. 42 x 34 cm; framed under glass. - Stained, removed from the stretcher bars. // Rotari, Pietro Antonio (Attrib.) Zwei Damenbildnisse (Verona 1707-1762 St. Petersburg) Mit dem Kopf auf einem Kissen liegend, eine mit geöffneten Augen, die andere schlafend. Pastell/Papier. Ca. 42 x 34 cm; unter Glas ger. - Fleckig, von den Keilrahmen abgenommen.
Kunstauktionshaus Schlosser
Nov. 23, 2023
Mary Magdalene meditating on the crown of thorns
Est: €4,500 - €5,500
Oil on canvas 67x49 cm. Framed The work is accompanied by a critical review by Professor Federica Spadotto. Pietro Rotari initially studied in his native Verona with Antonio Balestra before leaving in 1727 for Rome and Naples, where he first entered Francesco Trevisani's studio and then Francesco Solimena's. In 1734 he returned to his home town, concentrating on the production of historical and religious paintings, genres that gave him international fame. In 1741, Rotari travelled to Vienna, where he met Jean-Etiènne Liotard, by whom he was profoundly influenced. While in Dresden in the service of Frederick Augustus III, Rotari received an invitation from Empress Elisabeth of Russia to go to St. Petersburg as the first court painter. Arriving in Russia in 1756, Rotari soon amassed a large fortune and a visit to his richly furnished house became a must for high-ranking visitors to the city. Although he continued to work as a history painter, in St. Petersburg Rotari developed the genre now predominantly associated with his name: small-scale paintings depicting idealised heads, in which he was able to transfer the emotions of boys and girls with delicacy and studied artificiality.
Bertolami Fine Art s.r.l.
Nov. 18, 2023
Pietro Antonio Rotari, Schlafende Schönheit
Est: €10,000 - €20,000
Pietro Antonio Rotari, Schlafende Schönheit schlafende junge Dame mit Mütze und Schaltuch, das weite Dekolletee von feiner Spitze gesäumt, Öl auf Leinwand, um 1750, unsigniert, rückseitig bezeichnet Rotari pix. und rest. 1862, ungerahmt, alt restauriert und doubliert, vereinzelte Fehlstellen in der Malschicht, Alterscraquelé, reinigungsbedürftig, Maße 39 x 32 cm. Provenienz: aus sächsischer Privatsammlung. Künstlerinfo: Pietro Antonio Rotari (1707 Verona bis 1762 Sankt Petersburg), war Schüler des Antonio Balestra (1666-1740) und ging zwei Jahre nach Venedig, um Werke von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588) zu kopieren, ab 1728 widmete er sich dem Studium der Antike in Rom bei Francesco Trevisani (1656-1746), zu seinen Aufenthalten gehört auch die Werkstatt des Francesco Solimena (1657-1747), wo er bis 1734 blieb, später als Hofmaler des sächsischen Kurfürsten und polnischen Königs August III. in Dresden, auch in Sankt Petersburg erhielt er den Titel des Hofmalers unter Peter III. und Katharina II., 50 seiner russischen Frauenbildnisse stiftete die Zarin Elisabeth der russischen Akademie der Künste, Quelle: Internet. Pietro Antonio Rotari, Sleeping Beauty Sleeping young lady with cap and shawl, the wide décolleté lined with fine lace, oil on canvas, c. 1750, unsigned, inscribed on the reverse Rotari pix. and rest. 1862, unframed, old restored and relined, isolated missing parts in the painting layer, age craquelé, in need of cleaning, dimensions 39 x 32 cm. Provenance: from a private collection in Saxony. Artist info: Pietro Antonio Rotari (1707 Verona to 1762 Saint Petersburg), was a pupil of Antonio Balestra (1666-1740) and went to Venice for two years to copy works by Tiziano Vecellio (1485/89-1576) and Paolo Veronese (1528-1588), from 1728 he devoted himself to the study of antiquity in Rome with Francesco Trevisani (1656-1746), his stays also included the workshop of Francesco Solimena (1657-1747), where he stayed until 1734, later as court painter to the Saxon Elector and Polish King August III. in Dresden, he also received the title of court painter in St Petersburg under Peter III and Catherine II, Tsarina Elisabeth donated 50 of his Russian portraits of women to the Russian Academy of Arts , source: Internet.
Auktionshaus Mehlis GmbH
Oct. 25, 2023
Pietro Antonio Rotari
Est: €40,000 - €60,000
(Verona 1707–1762 St. Petersburg) Portrait of a girl in a white headscarf, oil on canvas, 47.5 x 37.5 cm, framed Provenance: Private collection; where acquired by the present owner We are grateful to Enrico Lucchese for confirming the attribution of the present painting and for his help in cataloguing the present lot. The present work by Pietro Rotari belongs to the celebrated group of ‘Teste di carattere o di fantasia’ [‘imaginary or character portraits’] mentioned by contemporary sources (see L. Nikolenko, Pietro Antonio in Russia and America, in: The Connoisseur, 171, 1969, pp. 192–193). This type of representation reoccurs in another work by the artist from the same period 1756–62, the ‘Serenità Contadina’ (see M. Polazzo, Pietro Rotari, pittore veronese del Settecento, Verona 1990, p. 105, no. 170) which also shows a peasant girl in similar pose, although her head is slightly inclined. Moreover, the greater frontality of the features in the present work can also be compared well with the Young woman in Russian costume in the Galleria Nazionale d’Arte Antica, Rome. Rotari’s production of figures in half-length, especially women, always presenting differing and varied emotive states, is documented from as early as the summer of 1749, when Scipione Maffei of Verona records in his collection a ‘donna piangente’ [‘crying woman’] and another ‘sorridente’ [‘smiling’] (see S. Maffei, Epistolario (1700–1755), ed. by C. Garibotto, II, Milan 1955, p. 1248). It was only later, during his sojourns at the courts of Vienna and Dresden that Rotari began consistently producing this type of paintings, which are stylistically close to the pastels of Rosalba Carriera and Jean-Etienne Liotard which were similarly collected by his aristocratic patrons. His success in Poland at the court of Augustus III was followed by his call to Saint Petersburg in 1756 by the Russian Empress Elizaveta Petrovna. Some forty paintings left in his studio in Russia were returned to his brother, Paolo in Verona, while another thirty-two canvases were inherited by Catherine II. In 1764 she commissioned 360 ‘character portraits’ for the decoration of the Cabinet of the Muses and Graces at the Peterhof Palace.
Dorotheum
Mar. 30, 2023
Pietro Antonio Rotari, 1707 Verona – 1762 Sankt Petersburg, zugeschrieben
Est: €14,000 - €16,000
MAGDALENA IN MEDITATION ÜBER DIE DORNENKRONE Öl auf Leinwand. 65 x 50 cm. Beigegeben ein Gutachten von Dr. Federica Spadotto, Padua, Dezember 2022, in Kopie. Die Zuweisung an den Künstler durch Expertise fußt auf Bildvergleichen mit Werken Rotaris. Die heilige Büßerin ist hier im Halbbildnis gezeigt, mit weit nach oben gerichtetem Blick, in hellblauem Kleid vor einem Podest, auf dem die Dornenkrone Christi liegt. Sie greift mit der linken Hand in die Strähneihres lockeren Haares, was zur Zeit der Entstehung des Bildes als deutliches Zeichen ihrer ehemaligen Sündhaftigkeit gedeutet wurde. Die Kopfhaltung mit zum Himmel gerichtetem Blick geht erkennbar auf Werke des Guido Reni zurück. Rotari war Schüler des Antonio Balestra (1666-1740) und ging zwei Jahre nach Venedig, um Werke von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588) zu kopieren, ab 1728 widmete er sich dem Studium der Antike in Rom bei Francesco Trevisani (1656-1746). Zu seinen Aufenthalten gehört auch die Werkstatt des Francesco Solimena (1657-1747), wo er bis 1734 blieb. Seine Versuche sich am französischen Hof zu bewerben waren vergeblich, umso erfolgreicher jedoch sein Wirken als Hofmaler des sächsischen Kurfürsten und polnischen Königs August III in Dresden. Auch in Sankt Petersburg erhielt er den Titel des Hofmalers unter Peter III und Katharina II. 50 seiner russischen Frauenbildnisse stiftete die Zarin Elisabeth der russischen Akademie der Künste, über 350 solcher Gemälde kamen ins Kabinett der Moden und Grazien im Peterhof. (1351501) (11) Pietro Antonio Rotari, 1707 Verona – 1762 Sankt Petersburg, atributed MARY MAGDALENE MEDITATING WITH CROWN OF THORNS Oil on canvas. 65 x 50 cm. Accompanied by a report by Dr Federica Spadotto, Padua, December 2022. The expert’s report attributes the painting to the artist based on image comparisons with works by Rotari. Rotari was a student of Antonio Balestra (1666 - 1740) and went to Venice for two years, to copy works by Titian (1485/89 - 1576) and Veronese (1528 - 1588).
Hampel Fine Art Auctions
Feb. 19, 2023
After P. Rotari 'Portrait of a Girl Reading' 19 C.
Est: $600 - $800
After Pietro Antonio Rotari (Italian, 1707-1762) "Giovane Donna," European School, "Portrait of a girl reading" oil on canvas, circa 1800, depicting a young girl in a rose silk dress reading a letter at a desk, her head resting against her hand, indistinctly signed lower right and attributed by an earlier owner to Viennese painter K. Wagner (Austrian, XIX), with documentation on back, now housed in an 18th century style giltwood frame. Image: 22.5" H x 25.75" W Frame: 31" H x 34.5" W. Note: The painting is after a work attributed to Pietro Rotari, a photograph (see photo 11) of which survives in the Fototeca Zeri (Numero scheda 66287) at the University of Bologna, though the original work appears to be lost. The work also bears comparison to Rotari's well-known "Young Woman Writing A Letter" at the Norton Simon Museum (Acc. M.1979.18.P). While the documentation to the back attributes the work to K. Wagner, a little-known Viennese artist, Wagner's work is largely restricted to landscapes, and there appear to be no similar works by the artist. Other possible Wagners of the 19th century include Fritz Wagner, whose works are largely genre scenes. The work is more likely to have been executed by an Italian artist who would have had access to the original work.
Auctions at Showplace
Dec. 08, 2022
Dresdner Maler aus dem Kreis des Pietro Antonio Rotari (1707 – 1762)
Est: €5,000 - €10,000
Junge Frau mit Hündchen (Das Andenken) Pastell. 63 x 49 cm. Am unteren rechten Rand bezeichnet „Greuze“. Hinter Glas in vergoldetem Prunkrahmen. In einer Landschaft unter hohem Himmel im Licht der untergehenden Sonne, vor einem linksseitig in die Höhe ragenden braunen Baumstamm das Halbbildnis einer jungen schönen Frau mit weitem Dekolleté, in einem weißen Gewand mit zartem hellblauem Umhang, ein kleines Schoßhündchen mit beiden Händen behutsam vor ihrer Brust haltend. In ihren langen blonden Haaren ein weißes Tuch sowie eine Perlenkette, die um ihren Hals fortgesetzt wird. Bei leicht geöffnetem Mund, geröteten Wangen und leicht glasigen Augen blickt sie nachdenklich nach oben zum Himmel. Der kleine Hund, den sie so liebevoll an ihr Herz drückt, steht wohl für das Bild ihres Geliebten, das unter diesem Emblem verborgen ist. Schönes harmonisches Pastell, bei dem mit feiner Sensibilität die Gefühlslage der jungen Frau wiedergegeben wird. Anmerkung: Ein fast identisches Werk von Jean-Baptiste Greuze befindet sich unter dem Titel „Das Andenken“ in der Wallace Collection in London. (13407119) (18)
Hampel Fine Art Auctions
Nov. 17, 2022
Rotari, Pietro Antonio (Graf) (Umkreis)
Est: €4,000 - €6,000
Rotari, Pietro Antonio (Graf) (Umkreis) Verona 1707 - St. Petersburg 1762 56 x 47 cm Herrenbildnis, wohl der Dichter Reinhold Michael Jakob Lenz (1751-1792) in grauem Justaucoprs mit blauem Gilet. Öl/Lwd., doubl. Rotari, Pietro Antonio (Graf) (Umkreis) Verona 1707 - St. Petersburg 1762 56 x 47 cm Portrait of a gentleman, probably the poet Jakob Michael Reinhold Lenz, wearing a grey justaucorps with a blue waistcoat. Oil/canvas, relined.
Nagel Auction
Nov. 17, 2022
Rotari, Pietro Antonio (Graf) (Nachfolger)
Est: €800 - €1,200
Rotari, Pietro Antonio (Graf) (Nachfolger) Verona 1707 - St. Petersburg 1762 81 x 63 cm Junge Dame mit Muschel und Stab als Jakobspilgerin. Öl/Lwd. Rotari, Pietro Antonio (Graf) (Nachfolger) Verona 1707 - St. Petersburg 1762 81 x 63 cm Young lady with a shell and a walking staff as a Jacobs pilgrim. Oil/canvas.
Nagel Auction
Sep. 28, 2022
PIETRO ANTONIO ROTARI Verona (1707) / Saint Petersburg (1762) "Holy Family with Saint John", 1730
Est: €4,500 - €6,000
Oil on canvas. On the reverse, on the canvas, signed and dated. Precise restoration. Measurements: 39 x 30 cm.
Ansorena
Jun. 15, 2022
In the manner of Pietro Antonio Rotari (1707-1762), Christ healing the blind, oil on canvas, 59 x 84 cm
Est: €1,800 - €2,500
In the manner of Pietro Antonio Rotari (1707-1762), Christ healing the blind, oil on canvas, 59 x 84 cm No visible signature.
Carlo Bonte Auctions
May. 19, 2022
The Miser
Est: €4,000 - €6,000
ROTARI, PIETRO ANTONIO 1707 Verona - 1762 St. Petersburg attributed Title: The Miser. Technique: Oil on canvas. Mounting: Relined. Measurement: 76 x 61.5cm. Frame/Pedestal: Framed. Verso: On the canvas old inventory number. Provenance: Collection Fedor Zschille, Dresden; Lempertz Auction, Cologne, 27.-28.05.1889, Lot. 85 (aa Pietro Graf Rotari); Private ownership, Germany. The painting at hand presumably is an old copy following the original by Giuseppe Antonio Nogari (Dresden, Gemäldegalerie Alte Meister, gal. no. 589), that was purchased by the artist himself for the Dresden gallery in Venice. Pietro Rotari worked at the Dresden court from 1752 to 1756 where he probably had the opportunity to execute the present painting, whose style fits the period of his Saxon years. In Dresden, Rotari regularly painted the subjects on which his current fame is based, namely character heads such as the painting at hand, in oil and pastel. Explanations to the Catalogue
Van Ham Kunstauktionen