In each of the present three studies, examination of the Venetian blue paper mounted on a thin wooden strainer also reveals a preparatory practice very close to that of Rosalba. However, the distinctive rounded eyes, most notable in the portraits of the children, are indicative of the hand of Marianna (as was first noted by Xavier Salomon in email correspondence with the present vendor in 2021).

Although documentary evidence relating to Marianna’s output makes firm identification of the sitters difficult, she is known to have been supported by the wealthy Zenobio family in Venice, and her close association with Rosalba suggests she likely came into contact with prominent patrons. The fact that these three elegant portraits almost certainly depict members of the same family again highlights their rarity and importance in unravelling the history of the mysterious Marianna Carlevarijs.