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| Biagio Pupini after Raphael Virgin and Child with young St John the Baptist ca. 1540-50 drawing Musée du Louvre |
"Jabach's attribution to Pupini h ad been discarded and forgotten when Pouncey found this drawing under Raphael's school in the Louvre. At first he considered an attribution to Bagnacavallo, with whom Pupini is first documented as receiving a joint commission to paint the chapel of the high altar in S. Maria delle Grazie in Faenza, but he concluded it was by Pupini on 13 August 1959. As so often in Pupini's work there is a reference to Raphael and here the composition clearly depends on the Alba Madonna."
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| Biagio Pupini after Raphael Virgin and Child with St John the Baptist and St Joseph ca. 1540-50 drawing Musée du Louvre |
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| Biagio Pupini Feast of the Gods ca. 1519-24 drawing Musée du Louvre |
This study was auctioned as by Giovanni Francesco Penni in 1785 with the assurance that it came from the Mariette and Crozat collections. The image was claimed by the seller to have been frescoed by Penni on the ceiling of a banqueting room in Rome's Palazzo Farnese, but this was not true. Someone in the Louvre at some later point decided that Giulio Romano was a likelier candidate. The drawing was still in Giulio's file when Pouncey found it.
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| Raffaellino da Reggio Martyrdom of St Dorothy before 1578 drawing Musée du Louvre |
"Recognized by Pouncey among the anonymous Italian drawings on 23 May 1952. No related painting is known, but a rougher, and presumably earlier, sketch for the same composition is in the Museo Civico in Reggio Emilia."
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| Raffaellino del Garbo Judith with the Head of Holofernes before 1524 drawing Musée du Louvre |
The drawing of Judith entered the Louvre as by Timoteo Viti. Early in the twentieth century the famous connoisseur Bernard Berenson persuaded the Louvre to adopt an attribution to Giovanni Antonio Sogliani. Pouncey's influence at the Louvre is illustrated by the fact that his attribution to Raffaellino del Garbo was accepted in defiance of the august Berenson, who was still living.
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| Raphael Phrygian Sibyl ca. 1511 drawing British Museum |
"The drawing passed in about 1906-7 from the 8th Duke of Rutland to the dealers Wildenstein, London, and remained in their possession until its appearance at an exhibition on their premises in 1953. It was bought by H.J. Calmann, then a leading dealer in Old Master drawings in London, who in turn sold it to the Museum. The decision to acquire this drawing would have been made by the Trustees, acting on a request from Popham supported by Pouncey. It closely corresponds with the painted figure of the Sibyl on the right of the arch in the Chigi Chapel in S. Maria della Pace, Rome, decorated by Raphael about 1511-12 for the banker Agostino Chigi."
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| Giovanni Battista Ricci Adoration of the Magi ca. 1597 drawing Musée du Louvre |
Assigned to Baldassare Peruzzi on entering the Louvre in the 1790s. Reassigned to Ricci in 1957 by Pouncey. There is a parallel study, Adoration of the Shepherds, in Teylers Museum, Haarlem. Both relate to frescoes painted by Ricci in San Marcello al Corso, Rome.
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| Giovanni Battista della Rovere Design for trompe-l'oeil ceiling with the Assumption of Virgin ca. 1600 drawing Musée du Louvre |
"Le rôle de Philip Pouncey, dès les années 1950, dans la reconnaissance de certains artistes et la clarification des attributions, a été d'une portée considérable, assurant à la recherche ultérieure des fondements solides. Ce fut le cas en ce qui concerne les frères Giovanni Battista et Giovanni Mauro della Rovere, des artistes problématiques de la fin du XVIᵉ siècle, dont les œuvres n'étaient pratiquement pas distinguées, et dont les dessins se trouvaient fréquemment attribués à Ricci, Nebbia et Passignano, ou confondus avec ceux des plus grands noms de la peinture lombarde – Procaccini, Cerano, Crespi – et cela bien que l'immédiateté de leur langage paraisse fort éloignée de l'extrême subjectivité de celui de ces artistes."
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| Francesco Salviati Charity, Fortitude, Hope, Faith 1544 drawing Victoria & Albert Museum, London |
"Pouncey connected this to the soprapporta on the south wall of the Sala dell'Udienza of the Palazzo Vecchio, Florence."
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| Orazio Samacchini Flying Angel among Cherubs ca. 1576-77 drawing Musée du Louvre |
Samacchini's Angel was shown to be a preparation for fresco-work in one of the octagonal compartments ornamenting the vault of Chiesa di Sant'Abbondio in Cremona.
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| Orazio Samacchini The Trinity ca. 1568-69 drawing Musée du Louvre |
Samacchini's Trinity corresponds in reverse to an altarpiece formerly in the church of the Santissima Trinità in Bologna. Several sketches made in preparation for this altarpiece also survive, all oriented in the same direction as the painting, with this drawing alone reversed. The puzzle of this reversal was solved with the discovery of a reproductive engraving of the altarpiece made by Domenico Tibaldi shortly after the painting was finished. Samacchini's high-finish drawing must, it was reasoned, also have been made after the completion of the painting, intended to serve as modello for the print.
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| Maso da San Friano (Tommaso Manzuoli) Coronation of the Virgin with Six Saints before 1571 drawing Musée du Louvre |
Yet another drawing correctly identified by the 17th-century collector Everhard Jabach, then mis-identified at the Louvre for the next three hundred years, then patiently corrected by the ever-present Pouncey.
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| Andrea del Sarto Head of a Young Boy ca. 1529 drawing Musée du Louvre |
Previously attributed to Federico Zuccaro, but recognised by Pouncey in 1953 as a study for the head of the Infant John the Baptist in Sarto's Holy Family painted ca. 1529 for Ottaviano de' Medici and now in the Pitti Palace, Florence.
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| Sebastiano del Piombo Standing Figure ca. 1517-19 drawing Musée du Louvre |
Pouncey discovered this sheet among the anonymous Italians in 1952, a study for the central figure in The Martyrdom of St Agatha by Sebastiano del Piombo. Ercole Rangone commissioned the painting in 1517 to mark his own elevation to Cardinal. It is now in the Galleria Palatina, Florence.
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| Vespasiano Strada Martyrdom of St Felician of Foligno ca. 1598 drawing Musée du Louvre |
Pouncey identified this drawing by comparing it to a pair of signed frescoes representing the capture and martyrdom of St. Felician. These survive within the Chapel of the Holy Sacrament in the Duomo de Foligno.
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| Bernardo Strozzi Betrothal Scene ca. 1623-25 oil paint on paper Ashmolean Museum, Oxford |
"Purchased as 'Ascribed to Velasquez' in 1923 and attributed by Parker, with some hesitation, to Jacopo da Empoli. Parker rightly dismisses any connection with the famous painting in the collection of Lord Elgin of The Marriage of Caterina de' Medici, but conjectures that it might well be one of a series leading up to a marriage scene similar to that just mentioned. The attribution to Strozzi was put forward by Pouncey in March 1969. It is close in style and handling to the bozzetto in the collection of Denis Mahon of Horatius Cocles defending the Bridge, which is documented in the years 1623-25. A similar date is proposed for th present bozzetto."