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*Cristofano Roncalli, called Pomarancio (circa 1553-1626) design for a ceiling: a nude young man seated on a cloud, holding a staff. Bears old attribution, verso: Di Daniel da Volterra. Black chalk, squared. 337 by 249mm. Provenance: Mr. and Mrs. H.N. Squire; A. Mathews, 1957 (cat. 57); Timothy Clifford (bears his collector's mark, not in Lugt), his sale, London, Sotheby's, 3 July 1989, lot 36. Exhibited: Kendal, Abbot Hall Art Gallery, 16th and 17th Century Italian Drawings, 1981, cat.56. This study does not seem to be connected with a surviving decoration, but is entirely characteristic of Roncalli's style and figure type; it can be compared with other studies of putti for the cupola at Loreto, in the British Museum (see J.A. Gere and P.Pouncey, Italian Drawings

*Cristofano Roncalli, called Pomarancio (circa 1553-1626)
design for a ceiling: a nude young man seated on a cloud, holding a staff.
Bears old attribution, verso: Di Daniel da Volterra.
Black chalk, squared.
337 by 249mm.
Provenance: Mr. and Mrs. H.N. Squire; A. Mathews, 1957 (cat. 57); Timothy Clifford (bears his collector's mark, not in Lugt), his sale, London, Sotheby's, 3 July 1989, lot 36. Exhibited: Kendal, Abbot Hall Art Gallery, 16th and 17th Century Italian Drawings, 1981, cat.56. This study does not seem to be connected with a surviving decoration, but is entirely characteristic of Roncalli's style and figure type; it can be compared with other studies of putti for the cupola at Loreto, in the British Museum (see J.A. Gere and P.Pouncey, Italian Drawings: Artists working in Rome circa 1550 to circa 1640, London 1983, cats.251, 254). *Cristofano Roncalli, called Pomarancio (circa 1553-1626)
design for a ceiling: a nude young man seated on a cloud, holding a staff.
Bears old attribution, verso: Di Daniel da Volterra.
Black chalk, squared.
337 by 249mm.
Provenance: Mr. and Mrs. H.N. Squire; A. Mathews, 1957 (cat. 57); Timothy Clifford (bears his collector's mark, not in Lugt), his sale, London, Sotheby's, 3 July 1989, lot 36. Exhibited: Kendal, Abbot Hall Art Gallery, 16th and 17th Century Italian Drawings, 1981, cat.56. This study does not seem to be connected with a surviving decoration, but is entirely characteristic of Roncalli's style and figure type; it can be compared with other studies of putti for the cupola at Loreto, in the British Museum (see J.A. Gere and P.Pouncey, Italian Drawings: Artists working in Rome circa 1550 to circa 1640, London 1983, cats.251, 254).