Florentine School circa 1600

Bears unidentified collector's mark lower right;
Vienna, Adolph Weinmüller Auction House (inscription on a label on the verso, possibly from catalogue XII, lot 670, as Jacopo Robusti, called Tintoretto, in pen: Expertise ... H.Leporini/Wien/Albertina)

Paper faded. New repair on the verso with beige modern paper added to strengthen places where there are tears and holes. Two tears, one at the top and one on the right margin just below. Several tiny holes, in particular in the lower section of the drawing. Some light staining at the top and at the bottom. Creases and surface dirt and some rubbing of the chalk. Was once laid down on canvas, remains of old glue visible on the verso. Not 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."

This and the following lot were at some point sold together as part of a lot of four drapery studies, attributed to Jacopo Tintoretto.  Although the drawings were therefore considered to be Venetian in origin, they in fact appear to be more closely linked to the classical tradition of Florentine drapery studies executed from clay models, which started towards the end of the fifteenth century in the workshop of Verrocchio.  It is very possible that artists of later generations still trained using the same method; these two drawings are certainly later, and date from the end of the sixteenth or even possibly the early seventeenth century.