Cremonese School, 16th Century

bears old red chalk inventory number on the verso: ad N 60;  
Fritz Hasselmann (L.1012);
Brno/Feldmann inventory number 3196, and his attribution to Bartolomeo Schedoni

Brno, Moravská Galerie, Italská renesancní a barokní kresba, 1969, no.121 (as Bartolomeo Schedoni);
Cremona, Museo Civico Ala Ponzone, I segni dell' arte: Il cinquecento da Praga a Cremona, Milan 1997, p. 176, cat. no. 20, reproduced fig. 177  

The typologies of both the Madonna and Child are strongly reminiscent  of an artist whose interests are linked with the cultures of the Veneto and Ferrara and the North. Giulio Bora, having included this study in the  exhibition in Cremona in 1997 (as Cremonese artist circa 1530, see Exhibited ), points out some stylistic similarities with the painted work of Giulio Campi,  although he writes that in the corpus of known drawings by Giulio this study would be atypical. He also suggests a possible stylistic relation with a problematic drawing in the Uffizi, catalogued under the name of Giulio Campi, a double sided sheet with a Madonna and Child on the verso. The latter is also reproduced in the Cremona exhibition catalogue.