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| attributed to Benvenuto Tisi, Il Garofalo Portrait of a Youth ca. 1505-1520 drawing British Museum |
When this portrait drawing was owned in the 17th century by Thomas Howard, 14th Earl of Arundel (1585-1646) it was attributed to Leonardo da Vinci. As such, it was etched in reverse by Wenceslaus Hollar (1607-1677). The next recorded owner was Sir Peter Lely (1618-1680), court painter to Charles II. By the 19th century, still ascribed to Leonardo, the work was in the collection of Dr. Rev. Henry Wellesley (1794-1866), curator of the Bodleian Library and the Ashmolean Museum at Oxford. When the Wellesley collection was sold at Sotheby's in 1866 the sitter in this portrait was (imaginatively) identified as Giovanni Galeazzo, Duke of Milan. One year later an intermediary agent sold on the drawing for the then-substantial sum of £86 to John Malcolm of Poltalloch (1805-1893), 14th laird of Poltalloch in Argyll. In the catalogue of the Malcolm collection prepared in 1876 the Leonardo attribution was revised to "Milanese School of Leonardo." Malcolm's son Col. John Wingfield Malcolm (1833-1902) eventually inherited his father's large collection of prints and drawings, which he sold en bloc in 1895 to the British Museum for £25,000. Philip Pouncey (1910-1990), curator of Italian old master drawings at the British Museum, brought forward evidence in the 1950s comparing the drawing to documented frescoes by Garofalo in Palazzo Costabili and Palazzo Sacrati, both in Ferrara, and thus established the current attribution. (Both the halo and the lettering are later additions, not made by the artist).
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| Lorenzo Lotto Head of a Bearded Man ca. 1516-17 drawing Metropolitan Museum of Art, New York |
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| Andrea del Sarto Two Studies of the Head of a Youth 1521 drawing Musée du Louvre |
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| Daniel Hopfer after Lucas Cranach the Elder Martin Luther 1523 etching Art Institute of Chicago |
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| Callisto Piazza Portrait of a Man (possibly Ghirardo Averoldi) ca. 1528 oil on panel National Gallery, London |
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| attributed to Callisto Piazza Portrait of a Woman ca. 1530-35 drawing British Museum |
"The drawing was long considered to be by Titian and featured as such in the Ottley, Lawrence and Wellesley sales. The woman in the drawing was identified as Titian's mistress in the Lawrence Gallery catalogue in 1836, and later as Isabella Sforza when Wellesley's collection was dispersed in 1866." When acquired by the British Museum in 1895 as part of the Malcolm collection, the Titian attribution still held. It was later tentatively revised to Pordenone by curators, until the present attribution to Piazza was established by art historian Hans Tietze (1880-1954), later endorsed by Giulio Bora (b. 1939).
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| Barthel Beham Portrait of a Man making Calculations 1529 oil on panel Kunsthistorisches Museum, Vienna |
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| Barthel Beham Portrait of a Woman with a Parrot 1529 oil on panel Kunsthistorisches Museum, Vienna |
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| Domenico Beccafumi Head of a Bearded Man in Profile ca. 1530-35 oil on paper Morgan Library, New York |
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| Master of the 1540s Portrait of a Woman 1544 oil on panel Art Institute of Chicago |
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| Baccio Bandinelli Two Studies of the Head of a Youth ca. 1550 drawing Art Institute of Chicago |
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| attributed to Alessandro Allori Portrait of Francesco de' Medici ca. 1560 oil on panel Art Institute of Chicago |
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| Alessandro Vittoria Bust of Angela Loredan Zorzi ca. 1560-70 terracotta Kunsthistorisches Museum, Vienna |
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| Agostino Carracci Portrait of the artist's son Antonio Carracci ca. 1592-95 drawing Art Institute of Chicago |