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Pen and ink drawing in brown on laid paper, laid down on light cardboard Italy, circa 1600 Pair of studies with figures and caryatids Attributed to Jacopo Palma il Giovane, actually Jacopo Negretti (c.1548-1628) - Italian painter of the Venetian School Inscribed ‘Sc. Palma’ (cut in one drawing); furthermore inscribed ‚S. G. n°. 3’ and ’S. G. n° 64’ respectively on the reverse; ‘S. G. n°. 4.’ and. ‘S. G. n° 58’ respectively on the reverse Sheet dimensions: 19.5 x 11 cm; 12.5 x 17 cm Matted under glass in partly gilt wooden frames: 37 x 42.5 cm Good condition The current highest auction record for a similar study of Palma il Giovane is €21,000 Euro Condition: The drawings are in good condition according to age, showing a slight discoloration of the papers. The sheets are laid to paper in the corners. One sheet show traces of a handwritten text in blue ink. The frames have slight traces of use. The sheet dimensions are 19.5 x 11 cm and 12.5 x 17 cm, and the wooden frames measure 37 x 42.5 cm. Jacopo Palma il Giovane, actually Jacopo Negretti (c.1548-1628) Jacopo Negretti, best known as Jacopo Palma il Giovane or simply Palma Giovane (‘Young Palma’) began his training in his native Venice inside his own artist family: he was the great-nephew of the painter Palma Vecchio (‘Old Palma’) and the son of Antonio Negretti (1510/15-1575/85). In these previous paintings, the young Palma seems to have polished his style making copies after Titian. In 1567, Guidobaldo II della Rovere, duke of Urbino, discovered Palma's talents, supporting him for four years and sending him to Rome, where he stayed until 1572 learning the classical models. After his return to Venice, Palma adopted the inescapable mannerisms of Tintoretto. His early biographers assert that he found a place in the ageing Titian's workshop; when the master died, Palma stepped in to finish his last work, the Pietà in the Accademia, Venice. He worked alongside Veronese and Tintoretto on the decorations in the Doge's Palace where he came to know fully the Venetian tradition. From 1580-90, he painted cycles of large canvases either for Venetian Schools or sacred buildings. After this he went back to official commissions at the Doge's Palace. He organized his own, large studio which he used to produce a repetitive series of religious and allegorical pictures that can be found throughout the territory of the Venetian Republic. After 1600, he painted mythologies for a small circle of intellectuals. After the death of Tintoretto in 1594, he remained one of the leading painters in the City of Venice. He even received numerous commissions outside Venice, most often from the emperor Rudolph II in Prague. (cko) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.