Attributed to Bartolomeo Passarotti

Laid down and glued in few places to a 19th Century backing sheet. A few abrasions scattered especially along the margins, and some damage along the upper margin. A white thin line, possibly an old fold, running vertically to the left of the center. A stain, or another pentimento, below raised arm of the Baptist whose position could have been forward. The media is strong.
"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."

A very interesting sheet, vigorously executed, with strong northern influences, this compositional drawing could be the work of the young Passerotti, executed while the artist was in Rome in the 1550s.  Passerotti's early formation is obscure, but his first known master was the architect and painter Jacopo Vignola, with whom he went to Rome.  In the artist's second Roman sojourn, following a short period in Bologna, Passerotti became acquainted with Taddeo Zuccaro, to whom this sheet was attributed in the past, and with whom he would have a close working relationship until the end of the 1550s.  In the present sheet there is indeed a Zuccaresque element, but there are also subtle influences from other artists, such as Parmigianino and Vasari.