Emilian School, 16th Century

G. Vallardi (L.1223a);
C. Prayer (L.2044);
Juan and Felix Bernasconi,
by whom sold, London, Christie's, 5 July 1988, lot 9, (as Circle of Primaticcio), where bought by the present owner

Unframed. Hinged at the top of the sheet. Gripped from the verso are the remains of the ornamental black band mount of Carlo Prayor. On the verso, the biro inscription of the Bernsasconi collection, not visible on the recto. There are traces of some staining from the verso, which are slightly visible through the preparation on the recto. These are far less prominent than they appear in the catalogue illustration. Some rubbing of the surface in places, particularly at the right of the upper margin. Possibly some retouching of a grey colour over the preparation in a few spots around the figure. The preparation is pinker and darker than the catalogue illustration and the drawing is stronger.
"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."

The linear qualities and the references to the Antique, as well as the facial type and arrangement of the hair, are reminiscent of the work of artists active in Emilia in the first half of the 16th century.  There are, for example, similar figures in prints by Bonasone of his own invention, such as the Loves, Rages, and Jealousies of Juno.¹  A drawing in the Louvre, attributed to Niccolò Berrettoni, shows the same figure, with the addition of a putto to the left.²  It is possible that both derive from an antique prototype which we have not been able to identify.  There are distant relationships, too, to a print now attributed to the School of Raimondi and to a drawing by Parmigianino,³ but these do not seem close enough to be of significance in arriving at an attribution for the present drawing.

1. The Illustrated Bartsch, New York 1985, vol. 28, pp. 319-340
2. Inv. no. 2943r
3. The Illustrated Bartsch, New York 1985, vol. 28, p. 50; A.E. Popham, The Drawings of Parmigianino, New Haven and London 1971, no. 614, pl. 270