Alessandro Varotari, called Padovanino

F. Dabell, Venetian Paintings from Titian to El Greco, New York 1991, p. 110, cat. no. 21;
U. Ruggeri, Il Padovanino, Soncino 1993, pp. 68-69, cat. no. 11, reproduced in color.

The canvas is relined. Overall this painting presents well to the naked eye and there do not appear to be any major holes or damages. UV light reveals scattered retouches mostly isolated to a few areas including the sitters neck, very small retouches in her chest, along her left forearm and hand, and in her right breast. The painting is covered in a slightly milky old varnish which could be freshened up.
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This should be considered a work from the artist's early maturity, from circa 1620. Here Padovanino's portrait style comes closest to that of Titian: the turn of the body and the positioning of the hands unmistakably derive from the master's Portrait of a noblewoman holding an apple from the Kress Collection, in the National Gallery of Art, Washington.¹ 

1. See P. Humfrey, Titian, The Complete Works, Ghent 2007, p. 284, cat. no. 215, reproduced in color.