Francesco da Ponte, called Francesco Bassano il Giovane

Bears the mark (L.474), previously associated with Pierre Crozat, and now considered by Nicolas Schwed to be that of Joseph Gulston, London (1745-1786);
with Galerie Terrades, Paris; acquired 2001

Mounted and sold in a modern gilded frame. Laid down. In very good condition. The chalk is still strong, the blue paper has retained its colour, and there is no foxing or staining. A little disruption to the left edge- with possibly a little surface dirt in the lower half of the margin, but otherwise the condition is very good.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Throughout his drawn oeuvre, Francesco Bassano seems to have favoured the use of black chalk heightened with white chalk, as in the present sheet, to create a suggestion of flickering light.  Francesco's father Jacopo had a very personal and highly individual graphic style, and frequently employed colored chalks, a technique that Francesco used only very rarely.  Francesco's distinctive drawing style, though close to Jacopo's tradition, is softer and more atmospheric

The eldest and most talented of Jacopo Bassano's sons, Francesco collaborated closely with his father until 1579, when he transferred his studio to Venice.  There the successful family tradition was to continue for almost a century and a half.  Although the workshop, which was active in both Bassano and Venice, did not itself function long after 1650, followers and imitators persisted in Italy and elsewhere until circa 1700. 

Fewer drawings than paintings by the Bassano family survive, but Jacopo nonetheless seems to have understood the importance of preserving his drawings for the bottega and during the 1560s, when his sons began to learn their trade, he actively sought to maintain his stock of drawings.  At this time Jacopo often added dates and inscriptions, and many drawings were pasted onto rolls of canvas, which not only guaranteed their preservation but also ensured that they could easily be consulted for reference.  After Jacopo's death in 1592, thirteen such rolls of drawings, as well as a great number of portfolios of loose drawings, were inventoried with the contents of the artist's bottega. 

The present drawing is stylistically close to many other chalk studies by Francesco, and very similar to a number of figures in paintings by both Jacopo and Francesco, but it cannot be directly linked to any known work.