Pietro Buonaccorsi, called Perino del Vaga

Max de Beer, de Beer Fine Art Ltd., from whom acquired by Philip Pouncey, 27 March 1963;
thence by inheritance to his wife, Myril Pouncey;
her estate sale, New York, Sotheby's, 21 January 2003, lot 16

Did not unframe. Seems to be laid down as well as hinged to modern mount. Two old tears, top right and middle left. Paper seems to be slightly foxed and with some old stains but chalk very strong and basically in good condition
"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."

Piero Buonaccorsi trained in Florence, first with Andrea de' Ceri and then, still very young, with Ridolfo Ghirlandaio.  Soon after, he was taken to Rome by an obscure Florentine painter called Vaga, and became known thereafter as Perino del Vaga.  He worked for some time in Raphael's studio, assisting Giovanni da Udine in the decorations of the Vatican Loggie, before establishing himself as an independent master.  He worked primarily in Florence, Genoa, Pisa and Rome, where he died in 1547.

The pose of the Venus derives from classical prototypes of Venus bathing or adjusting her sandal.