Girolamo Francesco Maria Mazzola, called Parmigianino

Jonathan Richardson Senr (L.2183) on the verso;
Baron D. Vivant-Denon (L.779);
E. Calando (L.837);
E. Calando fils (bears his inventory number on the verso in pencil: 2240) 

R. Bacou, 'Review of Catalogue of the drawings by Parmigianino by A.E. Popham', in Revue de l'art, no. 14, 1971, p. 114-5, reproduced recto and verso, figs. 10 and 11;
D. Ekserdjian, 'Unpublished drawings by Parmigianino', in Apollo, August 1999, p. 41 under Appendix

Both recto and verso are in quite good condition. On the lower right of the recto, just above the drappery is what it looks like some small holes that have been restored. Some surface dirt towards the upper margin (little pin point size stains), but very minor. On the verso the sheet is trimmed (see reproduction in the catalogue), cutting the face of the female figure just above her mouth. Some surface dirt, particularly at the lower section, and some faint grey staining, visible in the lower half of the sheet . The red chalk strong both recto and verso, the recto within thin brown framing lines and an olf gold band, possibly from the Denon mount.
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David Ekserdjian has kindly confirmed the early dating for this double-sided sheet that was first proposed by Roseline Bacou (see Literature), and has informed us that he knows of no connection to any known painting by Parmigianino.  The verso could be a preparatory study for a Madonna del latte, a subject painted by Correggio around 1523.  The dependence of the young Parmigianino on the work of Correggio is unquestionable, and represents a vital phase in his formation.  The roundness of forms and lines seen here indicate the style of the young Parmigianino before his journey to Rome in 1524, which was a very important event in his artistic development.  It is interesting that this sheet was once part of the collection of Vivant-Denon, who had about fifty drawings by Parmigianino, the majority of which must have come from his 1791 purchase of Zanetti's collection in Venice.¹

1.  See Dominique-Vivant Denon, exhibition catalogue, Paris, Musée du Louvre, 1999, p. 452