Follower of Pietro da Cortona

From the so-called Sagredo-Borghese album (with inscription, see above),
the provenance of which possibly as follows (see also lot 13):
Doge Nicolò Sagredo, Venice, by circa 1654;
his brother, Stefano Sagredo, Venice;
his nephew, Zaccaria Sagredo, Venice;
his wife, Cecilia Sagredo, until sold, circa 1743

Unframed. Laid down and then mounted on the Sagredo sheet, whose margins are irregularly cut. Traces of a vertical fold in the centre and another near the right margin, where the paper also appears to be buckled. A tear at the right side of the lower margin, visible in the catalogue. Some surface dirt and light brown staining all along the margins. One or two other small light brown stains and a few scattered tiny black spot stains. The chalk appears to be much stronger than in the catalogue illustration.
"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 composition shows some strongly Cortonesque characteristics, such as the poses and types of the women and the use of classically inspired vases and bowls.  The handling of the red chalk is not, however, like Cortona's, which suggests the drawing must be by a follower, perhaps copying a lost Cortona prototype.  A general similarity with a drawing by Andrea Sacchi preparatory for a print, An Allegory of the Birth of Urban VII Barberini,¹ suggests this too might have been a design for a print celebrating the birth of a noble child.  The specific composition seen here derives, though, from more familiar representations of the Birth of the Virgin, such as one by a collaborator of Cortona's, Raffaello Vanni.²

1. Sale, New York, Sotheby's, 26 January 2005, lot 65
2. A. Lo Bianco, Pietro da Cortona, exhib. cat., Roma, Palazzo Venezia, 1997-98, p. 241, fig. 209