the madonna and child and an angel. Pen and brown ink and wash, heightened with white. 261 by 205mm. Provenance: Jonathan Richardson Snr. (L.2183, and his mount with the attribution: Fred: Barocci); W. Schrott (L.2383); sale, Leipzig, C.G. Boerner, 19 February 1942, lot 398, illus. pl.35 (as Barocci); Bernhard Funck (bears his mark thrice, verso). In the early works of Taddeo Zuccaro, the influence of Perino del Vaga and Polidoro da Caravaggio is very evident, and many drawings from the first part of Taddeo's career have previously been attributed to these artists. Though recently, and convincingly, identified as an early work by Taddeo, the complex attribution history of the present drawing reflects the difficulty of distinguishing the artist's early style: Richardson thought the drawing was by Barocci (who was himself strongly influenced by Taddeo during the time he spent in Rome in 1561-63), while more recent attributions have included Marco Pino da Siena, and Perino (suggested by Philip Pouncey in 1977). The drawing is, however, executed in the unusual and highly individual style characteristic of Taddeo's work, incorporating intricate use of white heightening, and typical and very specific facial types. It can be compared with a drawing of An Antique Sacrifice, in the Ecole des Beaux-Arts, Paris, and with a related study of A Group of Figures, in the Ashmolean Museum, Oxford (see J.A. Gere, Taddeo Zuccaro, London 1969, no.168, illus.11, and no.160, illus.13). The Christ child in the present work has the same facial type as the young boy in the left foreground of the Antique Sacrifice, and the Madonna's profile is also very similar to one of the figures in the Ashmolean drawing. A copy of this drawing is in the Biblioteca Reale, Turin (see Aldo Bertini, I disegni Italiani della Biblioteca Reale di Torino, 1958, no.422).