Antonio Campi

Possibly Dr. Richard Mead (bears pencil inscription on the old backing sheet);
Jonathan Richardson, Senior (L.2184, his mount with his shelf mark on the back: L. 201/LL. 46.);
sale, London, Christie's, 10 July 1973, lot 184 (as Giulio Campi), for 420 Guineas, to H. List;
Wolfgang Ratjen, Vaduz

Munich, Staatlische Graphische Sammlung, and elsewhere, Stiftung Ratjen, Italianische Zeichnungen des 16.-18. Jahrhunderts. Eine Ausstellung zum Andenken an Herbert List, 1977-1978, p. 34, no. 12, reproduced

L. Frohlich-Bum, 'Vom Englischen Kunstmarkt, Verkaufsausstellung von Handzeichnungen alter Meister vom 15.5 bis 1.6 in London', Die Weltkunst, vol. 37, 1967, p. 465, reproduced fig. 2 (as Parmigianino);
G. Bora, I disegni Lombardi e genovesi del Cinquecento, Treviso 1980, p. 45;
Idem, I Campi, Cultura artistica cremonese del Cinquecento, 1985, p. 305, no. 2.13.5., reproduced recto and verso

Slightly glued to the top and left margin. Recto and verso in good condition, the verso only partially visible, through a small opening.
"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."

Though previously considered the work of Parmigianino (see Literature), this drawing was attributed to Giulio Campi prior to its sale in 1973.  Giulio Bora was the first to suggest the alternative attribution to Antonio Campi, and the drawing was published as such by Winner in the catalogue of the 1977-78 exhibition of the Ratjen Collection.  Bora noted a possible connection with a decoration, now lost, for the choir in the Duomo at Lodi, executed between 1568 and 1570.  Although the drawing does show some similarities with Giulio Campi's work - especially in the Prophet in the central upper lunette, which can be compared to the artist's 1542 frescoes in San Sigismondo, Cremona - both the freedom in the handling of the pen and ink and the composition itself are, according to Bora, more typical of the style of Antonio.