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As Pieter J. van Thiel suggests, this painting may be a copy made after an engraving by Jan Muller (1590) of Cornelisz. van Haarlem`s original Fortune bestowing her Favours, today at the Musée [+]
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The style is Parmigianinesque, and the drawing may be by one of the painter’s followers. [+]
Evidently a drawing from Bandinelli´s studio, as R. Ward has noted on the modern museum mount (1979). The sheet is much damaged and stained. [+]
The traditional attribution is to the Venetian Domenico Campagnola (1500-1564). Although the cross hatching does indeed suggest some of Campagnola´s finely wrought pen drawings, the style seems closer [+]
This is a facsimile copy of a drawing in the Galleria Nazionale, Parma (inv. no. 510/4; Popham, 1971, I, p. 169, no. 533, repr.). [+]
These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D01 [+]
These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D015 [+]
It is possible that the drawing could be Florentine, since the child´s head shows some influence of Jacopo Pontormo (1494-1556). [+]
The old attribution to Perino del Vaga (1501-1547) is perhaps too generic. Something about the style and the arrangement of the putti seems rather to point to Northern Italy and to the Circle of Porde [+]
One of the figures holds a staff with a scroll. [+]
Paul Joannides has suggested that a corresponding figure may appear in Salviati´s fresco decoration in the Sala dell´Udienza, the Palazzo Vecchio, Florence. The man has three faces and three animal ma [+]
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