The technique is, however, very Van Dyckian: the angular penwork in the central figure, the much broader handling in the putti, which are entirely drawn with the brush, and the complementary and imaginative use of pen, wash and black chalk within the same composition, can all be found in various drawings by Van Dyck.1 The drawing cannot be convincingly linked with any other artist in the Rubens circle, and is certainly of high enough quality to justify the attribution to Van Dyck, so although the sheet is unquestionably rather unusual within his work, it would seem reasonable to retain this traditional attribution.
1. See, for example, the drawings in Rotterdam, New York, Berlin and Hamburg: reproduced Van Dyck Drawings, exhib. cat., New York, Pierpont Morgan Library, and Fort Worth, Kimbell Museum of Art, 1991, cat. nos. 13, 18, 31 and 34
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