School of Fontainebleau Late 16th Century

Pierre-Jean Mariette (L.1852) and on his mount with his attribution in the cartouche: Polidoro Caravagiensis,
his sale, Paris, F. Basan, 15 November 1775 - 30 January 1776, possibly part of lot 271;
H. Baron de Triqueti (L.1304);
E. Calando (L.837);
E. Calando, fils (L.426b)

Laid down on Mariette mount, which in turn is stuck along edges to later mount. Old crease along right side. Small losses at edges. Abrasions and wear at top right corner.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This delightful study of a solomonic column, inspired by the antique and attributed to Polidoro da Caravaggio by Mariette, seems to be the work of an artist such as Martin Fréminet (1567-1619), who spent fifteen years in Italy.  Indeed, the drawing has very strong Italian influences, with reminiscences of Primaticcio and Tibaldi.  A comparison can be made with an elaborate ceiling design in the Hermitage, published by Sylvie Béguin, which features columns such as this, with vine leaves, panthers and putti, drawn with the same delicacy as the present work.¹ 

1.  S. Béguin, 'A Propos d'un dessin de l'Ermitage', in Scritti di storia dell'arte in onore di Federico Zeri, Milan 1984, pp. 495-504, figs. 482-5