Joseph Heintz the Elder

Sold in modern wooden gilt frame. Laid down. The sheet is lightly foxed, and there is a line of tiny brown ink spot stains in the upper left corner. A small light brown stain at the centre of the sheet. Otherwise condition is fine, the ink still strong.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This newly-discovered drawing appears to be preparatory for a section of a larger allegorical composition by Heintz, known only from a copy by Anton Gasser (fig. 1), which, according to an autograph inscription on the verso, he drew on 1 December 1610, after Heintz's death.¹  Heintz must have made certain changes after completing this study, as Gasser's drawing differs slightly in the position of the putto's hands, Minerva's drapery, the position of her outstretched arm and also the object she holds. 

In a recent discussion with the present owner, Jürgen Zimmer confirmed the attribution and dated the drawing to circa 1590-1609, the period in which Heintz was working at the court of Rudolf II.

1. Kupferstichkabinett, Berlin, inv. no. K.d.Z., no. 7212; see J. Zimmer, Joseph Heintz der Ältere Zeichnungen und Dokumente, Berlin 1988, p. 298, cat. no. E18, fig. 169