Description: Head of a woman with a pathetic look. No watermark. Inscribed in pen and brown ink along the bottom edge: Girlandai. Numbered at lower right in pen and brown ink: 64 (Sparre) and 6.

Sirén attributed these drawings to an apprentice of Ghirlandaio, while Berenson judged the faces the best examples he could find of "Tommaso's hand. "Tommaso" was invented by Morelli, who identified him with Tommaso di Stefano Lunetti (ca. 1495-1564), listed by Vasari as one of Lorenzo di Credi's principal pupils. "Tommaso" and Tommaso di Stefano Lunetti are now, however, considered to be two different artists. 

"Tommaso" was associated with Lorenzo di Credi, early in the latter's career. In his review of the third edition of Berenson's "I disegni dei pittori fiorentini" Pouncey was not prepared to accept any other of Berenson's attributions of drawings to "Tommaso" than the Stockholm sheets and was able to add two more by the same hand: one in the Uffizi, characterised by the same very original technique with black chalk, brown wash heightened with white gouache on red-orange tinted paper and one in the museum in Rennes.
Everett Fahy has reconstructed Tommaso's oeuvre as a painter and draughtsman (unpublished manuscript). [Bjurström, It. Drawings, cat. no. 1064]

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