Attributed to Francesco Villamena

The sheet is glued on the right margin to a 20th century mount with a cartouche and an attribution to Villamena. Previously the sheet must have been glued down on the other two corners to the left, where traces of glue are visible from the verso. The paper is buckled along the left margin. There are some small creases and foxing scattered on the paper, the foxing is more visible from the verso. The paper appears consistent to a date , circa 1600, similar watermarks appear to be around 1580.
"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 seems to be preparatory for an engraving executed in Rome in 1613 which is signed Francesco Villamena inventor et sculpsit Roma.  It is part of a series of prints of anchorites, some of which are after Ferraù Fenzoni.¹

St. Hilarion was born in 300 in Gaza, but moved to Egypt where he was converted by St. Anthony.  He then became a hermit, living on fifteen figs a day, but as his fame spread, he moved to find true isolation, ending in Cyprus where he died in 372.  His veneration became popular in France in the 11th century, when his relics were taken to the church in Duravel, Lot, a pilgrimage site to this day.  Villamena may have been a pupil of Cornelis Cort and was an associate of Agostino Carracci.  The largest part of his oeuvre is composed of prints after such artists as Veronese, Barocci, Muziano and Raphael.  He was also influenced by late Mannerist artists of the northern schools, such as Goltzius and Bellange.

1. G. Scavizzi and N. Schwed, Ferraù Fenzoni, Todi 2006, p. 364, nos. S5, S6