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* Amling, (Karl Gustav, circa 1650 - 1703). Nox [Night], 1698, copper engraving on laid paper, after Pieter de Witte (1548-1628), trimmed just inside the platemark, a very good impression, sheet size 26.5 x 15.9cm (10.5 x 6.3ins), window-mounted, together with Edelinck (Jan, circa 1643 - 1680). Statue de Galatée, de marbre blanc...dans la grotte de Versailles, [Paris circa 1675] , fine copper engraving on laid paper by Edelinck after a drawing by H. Watelé, off the sculpture by Jean-Baptiste Tuby, plate size 38.5 x 29.7cm (15.25 x 11.7ins), with margins, a very good impression, window-mounted, plus Fantetti, (Cesrae, circa 1660-?). Adam and Eve, circa 1680-1700, copper engraving on laid paper by Fantetti after Raphael, published by De Rossi, Rome, numbered five to lower right hand corner, plate size 24 x 25.8cm (9.5 x 10.2ins), with margins, window-mounted, and other Old Master prints including a hand coloured woodcut illustration from a book signed in the image V S, German gothic printed text to verso, Willem Panneels, Mary Magdalene in the House of Simon the Pharisee, copper engraving after Rubens, trimmed to image, sheet size 14.2 x 17.1cms (5.6 x 6.8ins), a mezzotint portrait of Lucas Holstenius, Vatican Librarian, by Haid, copper engraving of a Roman marble frieze by Giovanni Battista Galestruzzi after Polidoro da Caravaggio (numbered 2 lower right corner), and a further group of 16th century German woodcut illustrations with printed text to versos (Qty: 16)

APPROXIMATELY TWENTY-FOUR EARLY ENGRAVINGS OF RENAISSANCE WORK including after Caravaggio, Raphael, Aundran and Anton Balzer, various sizes (all loose) and includes a series of eight after Raphael

NO RESERVE Constable (W.G.) Canaletto: Giovanni Antonio Canal 1697-1768 [with Catalogue Raisonné], 2 vol., second, revised edition, Oxford, 1976 § Escholier (Raymond) Delacroix: Peintre, Graveur, Écrivain, 3 vol., modern half calf, spines rubbed, Paris, 1926-29 § Spike (John T.) Caravaggio, second, revised edition with CD-ROM, New York, 2010 § Syson (Luke) & others. Leonardo da Vinci: Painter of the Court of Milan, reprint, 2012 § Blunt (Anthony) The Drawings of Poussin, ex-library copy with stamps, New Haven & London, 1979 § Bevers (Holm) & others. Drawings by Rembrandt and his Pupils: Telling the Difference, original wrappers, Los Angeles, 2000, illustrations, many colour, all but the last original cloth or boards with dust-jackets, the fourth a little rubbed; and 11 others on Old Masters, 4to & 8vo (20)

BLEK LE RAT. 1951-****. ARR. CARAVAGGIO, PENCIL SIGNED COLOUR PRINT, UNFRAMED. 72 x 87cms.

Bosio (Giacomo). Crux triumphans et gloriosa, libri sex, Antwerp: ex officina Plantiniana, 1617, half-title, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder, one engraved plate, approximately 75 woodcut illustrations to text, text-leaves with some browning, small interlinear burn-hole to leaf X5, final blank (3Q6) discarded, bookplate of Michael Jaffé, contemporary inscription 'Collegii Societatis Jesu Ruremunde 1619, MB' to margin of engraved title-page and effaced from half-title, contemporary blind-tooled calf over wooden boards, rebacked and relined, worn, retaining one metal cornerpiece, folio in 6s (35.3 x 22 cm) (Qty: 1)NOTESProvenance: 1) Jesuit college at Roermond, Netherlands (inscriptions dated 1619). 2) Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge (bookplate). Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Graesse I 500; Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard) , 37. First edition in Latin of this iconographic treatise on the symbolism of the cross, originally printed in Italian in 1610 as La trionfante e gloriosa croce , without the engraved title by Rubens. Giacomo Bosio (1544-1627) was a knight of the Order of Saint John of Malta (Knights Hospitallers) and agent of the order at the papal court in Rome. He was involved in the murder of a fellow knight in Rome in 1581 but retained his position of influence, and later Grand Master Alof de Wignacourt, in securing papal approval in 1608 for a knighthood for Caravaggio, himself a fugitive from Rome following the murder of Ranuccio Tommasoni.

A FOLDER OF 18/19TH CENTURY ENGRAVINGS FROM THE HENSHAW COLLECTION TO INCLUDE ARTISTS AFTER RAPHAEL, RUBENS, CARAVAGGIO ETC. DEPICTING VARIOUS SUBJECTS.

A collection of Art reference books including Michelangelo, Banksy, Audubon and Caravaggio

20th Century School, Oil On Board, Copy Of Christ At Emmaus By Caravaggio

A collection of Art reference books including Michelangelo, Banksy, Audubon and Caravaggio

CINEMA, posters, inc. Chaplin Revue (1959), Charlie Chaplin (Quad); Absolute Beginners (1986), David Bowie (Quad); Batman And Robin (1997), Alicia Silverstone (US 1-Sheet); Caravaggio (1986), Derek Jarman (Quad); Day The Sun Turned Cold (1994), Yim Ho (Quad); Enemy Mine (1985), Dennis Quaid, (UK 1-Sheet); Girl's Night (1998), Brenda Blethyn (Danish); Home On The Range (1982), Gil Scrine Anti Nuclear (UK); Johnny Suede (1991), Brad Pitt (UK); Lightship (1986), Robert Duvall (UK 1-Sheet); Milk Money (1994), Melanie Griffith (Quad); Passion (1969), Ingmar Bergman (Quad); Proof (1991), Hugo Weaving (Quad); Shanghai Triad (1995), Gong Li (Quad); Tango (1993) Philippe Noiret (UK), folded, G to VG, 15

A Caravaggio exhibition poster.

Roman, Imperial Period, ca. 2nd to 3rd century CE. A finely carved agate cameo depicting the head of Medusa in a beautiful gold setting - oval in form with engraved zigzag border and an integral suspension loop. The Medusa cameo presents finely delineated details in relief - a beautiful face with snakes and harpy wings in her hair. Total weight: 11.1 grams Size: cameo measures .875" H (2.2 cm); 1.5" H (3.8 cm) including gold setting; 2.75" H (7 cm) on included custom stand.How ironic that the sculptor created an agate version of this mythical Gorgon monster with writhing serpents in her wavy coiffure whose mere gaze could transform onlookers to stone! Throughout the ages, Medusa has been immortalized in countless works of art. Some of you may be familiar with the dramatic interpretations by Michelangelo Merisi da Caravaggio, Peter Paul Rubens, Benevenuto Cellini, Gianlorenzo Bernini, Rene Lalique, Antonio Canova, and the list goes on. These artists of the Renaissance, Baroque, and Neoclassical eras were inspired by ancient renderings of Medusa like this example. Provenance: private Connecticut, USA collection; ex-Belgian Art Market, 1985-1986; ex-New York Art Market, 1998; ex-private New York, USA collection, 1995-2014; ex-Christie's, New York "Ancient Jewelry" auction (sale 3498, December 11, 2014, lot 280) Condition: Only slight surface wear. Verso is not carved. Overall excellent and ready to be set on a beautiful chain. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146729

Manner of Caravaggio "The Murder", oil on canvas laid down, 96cm x 126cm. Provenance; property from the late Sir David TangThis lot has been imported from outside the UK for sale under the temporary admission scheme. Additionally Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer's premium but will not be shown separately on the invoice.

Caravaggio fellow painterof the XVII. Saint Sebastiano (Alonzo Rodriguez? ). 116X94 Oil painting on canvas.

Follower of Caravaggio, Oil on canvas, Scantily clad female and male figures - possibly the martyrdom of St Ursula,Re-lined and in a poor state of repair, 92.5cm x 127cm,Later framed,Provenance: Yeaton Peverey Hall CONDITION REPORT: The painting has been re-lined, restored and re-varnished. There are areas of repainting and the paint and varnish appears thick and stiff throughout. The painting is a little 'saggy' to the bottom right corner. The back of the painting has a tick 'waxy' appearance coating and the frame is not original. As found - some attention will be needed.

Italian School 17/18th CenturyFigure of a woman from behindWith Sir Joshua Reynolds' collection stampPencil heightened with white on arched paper24.75 x 11cm; 9¾ x 4¼inProvenance:Sir Joshua Reynolds collection, No. L2364 as Polidoro da Caravaggio

Bates (H.E.). The Hessian Prisoner, 1930, limited edition 440/500, monochrome frontispiece, signed by the author to the limitation page, some minor spotting, original red cloth, spine lightly faded, 8vo, together with Scott (Walter), The Pirate, 3 volumes, Edinburgh, 1822, some spotting and marks, uniform contemporary boards, spines cracked with loss, 8vo, and Straparola (Giovanni Francesco), The Most Delectable Nights of Straparola of Caravaggio, 2 volumes, Paris, 1906, limited edition 162/1000, hand coloured plates, bookplates and previous owner inscriptions to front endpapers, some spotting, uniform original gilt decorated blue cloth, boards and spines lightly rubbed and faded, 8vo, plus other late 19th and early 20th century fiction, poetry and first editions, including Geoffrey Chaucer, John Galsworthy, Rudyard Kipling, D.H. Lawrence, some signed by the authors, mostly original cloth, G/VG, 8vo (6 shelves)

Strozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest). Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.

NO RESERVE Italian Art.- Fokker (T.H.) Roman Baroque Art, 2 vol., 1938 § Montagu (J.) Alessandro Algardi, 2 vol., New Haven & London, 1985 § Lavin (L.) Drawings by Gianlorenzo Bernini..., Princeton, 1981 § Posner (Donald) Annibale Carracci, 2 vol., 1971 § Hibbard (H.) Caravaggio, 1983 § Campbell (M.) Pietro da Cortona at the Pitti Palace, Princeton, 1977, illustrations, original cloth, the first with faded spine, the rest with dust-jackets; and 7 others on 17th century Italian art, 4to & 8vo (16)

Gerrit van Honthorst (Dutch 1590-1656) Shepherdess Holding Apples Signed upper right Oil on canvas 78 x 63.5cm; 30½ x 25in Provenance: Catton Hall, Osmaston, Coll. Sir Robert Horton by 1822 Exhibited: Birmingham, 1938, No. 149, as Paulus Moreelse Birmingham, 1953, No. 89 as Dutch School Literature: Davis, 1811, pp.277-279 Waterhouse, 1953 p.306 Judson, 1959, pp.98, note 3, 216, no. 133 Nicolson, CII, 1960, p.81, note 4 Braun, 1966, pp. 211, 212, no 71 Nocolson-Vertova, I, p.127, III, pl.1299 Utrecht-Luxemburg, 1993-1994, p.168 J. Richard Judson & Rudolf E.O. Ekkart, Gerrit van Honthorst (1592-1659), Davaco Publishers, 1999, p.166 Gerrit van Honthorst (Gerard van Honthorst) was a Dutch Golden Age painter who was influenced by the chiaroscuro of Caravaggio, adopting a similar style and becoming a leading portrait painter in the Netherlands. He was particularly noted for his depiction of artificially lit scenes, often painted by a single candle, earning him the nickname of Gherardo delle Notte (Gerard of the Nights). This painting has not been on the market for over 100 years and was in the collection of Sir Robert Horton in the 19th Century at Catton Hall, Osmaston and has come down through the Anson family at Catton Hall in the 20th Century. The painting features in the catalogue raisonnée by J. Richard Judson (Published 1999, p.166) where he notes it has ~the same soft surface quality and physiognomy that one finds in Honthorst~s paintings dating from the years around 1622-1623~. He also suggests that it may be related to a ~lost pendant~, another similar portrait, where she may be offering the fruit to a person, perhaps a Shepherd to her right where her smiling gaze is cast. The roses paired with the snowdrops in her hat are typical of Dutch Golden Age painting; depicting rare petals that could never actually bloom together at the same time and creating a botanical impossibility. The two apples in the hand are held a way that alludes to the erotic, in conjunction with the staff leaning on her shoulder and the revealing décolleté. She symbolises temptation and the apples are a reference to the Eve~s seduction of Adam. In addition to this, apples were often used as symbols of fertility, the beauty of the female form and also to love. The pose, costume and the model clearly hold strong similarities to the famous painting by Honthorst of the young woman playing the viola da gamba. The model recurs in several of his paintings, often holding a musical instrument which at the time were a conventional motif of brothel scenes and it is clear from her suggestive pose in this painting and her provocative dress that she is a courtesan or strumpet. Her warm and appealing smile resulted in her being called ~The Laughing Girl~ by the vendor~s family for several generations.

LIGHTYEARS CARAVAGGIO PENDANT LAMPS, by Cecilie Manz, a set of three, each shade 37cm H approx. (3)

An early 18th Century engraving, after Polidoro da Caravaggio, a procession of male and female figures walking to the left carrying buckets and bags, a man with Buccina at the far right with trees in the background, sold by Saml. Sympton at his house in Catherine Street, Strand

Follower of Michelangelo Merisi da Caravaggio,'The Cardsharps',oil on relined canvas,106cm x 130cm,in a 19th Century Florentine carved gilt wood and gesso frame.Provenance:Private deceased Estate,Acquired from Hazlewood Castle, nr Tadcaster, June 1972.

Artist: Follower of CaravaggioTitle: "Unknown (Child with Birds and Feline)"Dimensions: 27 x 33 in.Date: 17th CenturyMedium: Oil on CanvasProvenance: Private Collection, MNNotice to bidders: Condition reports and additional photographs are available by request at info@revereauctions.com. The absence of a condition report does not imply that the lot is in perfect condition.

Follower of Bernardo Strozzi (1582-1644, Italian) The Madonna and Child, oil on board, framed, 25 x 20cmStrozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest).Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.

Art History - British, French and Italian - Badt (Kurt), Die Kunst des Nicolas Poussin, two-volume set, Dumont, Cologne 1969, h/b, d/j, 4to; Wright (Christopher), Poussin Paintings: A Catalogue Raisonné, Harlequin Books Limited, London 1985, h/b, d/j, square 4to; Schröder (Klaus Albrecht) and Widauer (Heinz), Peter Paul Rubens, [Hatje Cantz Verlag, Berlin 2007], paper covers, large square 4to; Rowlands (John), Rubens: Drawings and Sketches, Catalogue of an exhibition at the Department of Prints and Drawings in the British Museum, London 1977, h/b, d/j, 4to; further Rubens publications; Van Dyck; Cunningham (Allan), The Lives of the Most Eminent British Painters, Annotated and Continued to the Present Time by Mrs. Charles Heaton, three-volume set, George Bell and Sons, London 1879, oxblood buckram, 12mo; Gilchrist (Alexander), The Life of William Blake [...], second edition, John Lane, London 1906, gilt-embossed red cloth as issued, 8vo; Roberts (W.), Sir William Beechey, R.A., Duckworth and Co., London 1907, red buckram, 12mo; Phaidon: Hogarth, Gainsborough, Reynolds and Rowlandson, h/b, d/j; Rump (Gerhard Charles), George Romney (1734 - 1802), two-volume set, Georg Olms Verlag, Hildesheim 1974, h/b, d/j, 8vo; Sir Thomas Lawrence; George Stubbs, various; Royal Academy of Arts Bicentenary Exhibition, 1768 - 1968, two-volume set; Goldscheider (Ludwig), Roman Portraits, Phaidon Press Ltd, Oxford & London 1945, h/b, d/j (faults), folio; further Roman art; Classicism, Neoclassicism, Romanticism; further Italian and French Baroque, including Caravaggio; etc

Arthur Pond Pulcherrime Mucius Scaevola Burning his hand after Caravaggio 1735 Etching over woodblock, 11 1/2'' x 8 3/4'', (the frame 16'' x 18 3/4'')

Olio su tavola, firmato e titolato al retro 'Possenti – Liocorno', H cm 30x30 Accompagnato da certificato di autenticità dell’artista su fotografia Provenienza: Galleria Il Caravaggio

After Michelangelo Merisi da Caravaggio (1571-1610) Italian. "The Incredulity of St Thomas", Oil on Canvas in a Fine Carved Giltwood Frame with Swept Centres and Corners, 36" x 50". Provenance: Abbots Hospital, Guildford.

Venuti (Ridolfino, and Amaduzzi, Giovanni Cristoforo). Vetera Monumenta quae in Hortis Caelimontanis et in Aedibus Matthaeiorum adservantur nunc primum in unum collecta et adnotationibus illustrata, 3 volumes, Rome: Monaldini, 1776-1779, engraved title to each volume by Johann Cassini after Vincenzo Brenna, engraved dedication leaf to first volume, and 270 engraved plates of antiquities by Mazzoni, Morgagni, Baroni, Giardoni, Carloni, Gregori, Giordano, and others, numbered in roman numerals, some folding, and many with two or more images to each page, half-titles, engraved head- and tail-pieces, and initials, occasional light spotting and minor marks, a few plates loose, very light waterstain to gutters at head of volume 1, a few minor wormholes to extremities, contemporary vellum gilt, marked with some wear to extremities, volumes 2 & 3 with vellum repair to top portion of spines, large folio Cicognara 3898. Catalogue of the collection of classical antiquities formed by the Italian nobleman and senator Ciriaco Mattei (1545-1614), a close friend and patron of Caravaggio. (3)

Venuti (Ridolfino, and Amaduzzi, Giovanni Cristoforo). Vetera Monumenta quae in Hortis Caelimontanis et in Aedibus Matthaeiorum adservantur nunc primum in unum collecta et adnotationibus illustrata, 3 volumes, Rome, Monaldini, 17776-1779, engraved title to each volume by Johann Cassini after Vincenzo Brenna, engraved dedication leaf to first volume, and 270 engraved plates of antiquities by Mazzoni, Morgagn, Baroni, Giardoni, Carloni, Gregori, Giordano, and others, numbered in roman numerals, several double-page, and many with two or more images to each page, engraved head- and tail-pieces, and initials, contemporary uniform full vellum gilt, with morocco title label to spine of each volume, a few minor marks (generally in very good condition), folio (42.5 x 29 cm, 16.75 x 11.5 ins) Cicognara 3898. Fine copy of the handsome catalogue of classical antiquities formed by the Italian nobleman and senator Ciriaco Mattei (1545-1614), a close friend and patron of Caravaggio. (3)

A 19th century Continental birch shallow sarcophagus jewellery box, transfer printed with a gambling scene after Caravaggio 'The cardsharps', 30cm wide x 11cm high x 22cm deep.

A 20TH CENTURY PAINTED COPY OF 'YOUNG BACCHUS', after Caravaggio, Oil on canvas, 64cm x 49cm, in gilt frame

A 19th-century carved lava cameo bracelet, each cameo depicting the head of a famous character and engraved with the name to the reverse, some names less clear than others but Vinci, Giotto and Caravaggio remain easily legible, gold mounts, 17.5cm

Donald Watson (b 1922) oil on board Alof De Wignacourt (renowned for Maltese paintings), after the original by Caravaggio, 90cm x 65cm

Northern Follower of Caravaggio A tavern scene with the Denial of Saint Peter oil on canvas, unframed 158 x 110cm (62 x 43in) Provenance: John Macfarlane, Coney Hill House, Bridge of Allan, Stirlingshire, Scotland, 1847, and by descent Unlined, quite dirty and with bloom to the surface. Unframed. Old Christie's strock numbers - DY 689 or 659 and LJ 633. Inscribed on the reverse: Deposited by John Macfarlane for a time during his pleasure in the Macfarlane Gallery, Bridge of Allan, July 1847

Taschen: Magic, Caravaggio, Leonardo da Vinci, Jazz Life and other Taschen volumes

After Caravaggio, The head of Saint John The Baptist, oil on oak panel, 22cm by 30cm, framedCondition Report: No obvious detrimental issues

Bellori Giovanni Pietro. Le vite de' pittori, scultori, ed architetti moderni, co' loro ritratti al naturale.. . In Roma: per il successore al Mascardi, a spese di Francesco Ricciardo, e Giuseppe Buono, 1728. In-4° (mm 238x175). Pagine 16, 394 [i.e. 384], [2] (di 4, manca l'ultima carta bianca), con 13 ritratti e 2 tavole incise in rame fuori testo. Lieve alone a pagina 293 e lievi bruniture su alcune carte, ma nel complesso ottimo esemplare. Legatura in piena pergamena coeva, con tassello e titolo in oro al dorso. Seconda edizione, accresciuta con la vita di Luca Giordano, del più importante lavoro del Bellori. L'opera, inizialmente concepita come una naturale prosecuzione delle Vite del Vasari, assunse progressivamente un taglio piu' semplificato, ma non per questo privo di un'indagine critica di prim'ordine. I ritratti incisi mostrano tra gli altri Caravaggio, Rubens, Poussin, Carracci e statue dell'epoca classica.

After Caravaggio. Young Bacchus with fruit and a glass of wine, coloured print, 113cm x 97cm.

After Caravaggio. Young Bacchus with fruit and a glass of wine, coloured print, 113cm x 97cm.

Large gilt framed oiliograph entitled 'Caravaggio Nativity With St Francis & St Lawrence'

BLUNT ANTHONY: (1907-1983) British Art Historian and Soviet Spy, a member of the Cambridge Five.A.L.S., A F Blunt, two pages, 8vo, Portman Square, London, 7th July n.y. (1950s), to a gentleman, evidently a publisher, on the printed stationery of the University of London, Courtauld Institute of Art. Blunt apologises for not having answered his correspondent's letter earlier and also for not acknowledging receipt of Dr. Friedlaender's book which he had kindly sent, further commenting 'I am rather out of touch with journalism now, but I tried to review the book for the Observer & the Spectator. Unfortunately, it had in both cases been given to another reviewer. I am sorry not to have been able to review it, as I read it with very great interest. It is a great achievement to have produced it in the present difficult circumstances'. Annotated in ink in another hand beneath the signature and at the head of the first page. With two file holes to the left edge, not affecting the text or signature, VG Walter Friedlaender (1873-1966) German Art Historian who published three works during the 1950s; David to Delacroix (1952), Caravaggio Studies (1955) and Mannerism and Anti-Mannerism in Italian Painting (1957).In 1964, after being offered immunity from prosecution, Blunt confessed to having been a Soviet Spy. A member of the Cambridge Five, he and other spies (including Kim Philby and Guy Burgess) had been working for the Soviet Union from some time in the 1930s to at least the early 1950s. A closely held secret for many years, Blunt's status was revealed publicly by Prime Minister Margaret Thatcher in November 1979, and he was immediately stripped of his knighthood.

John Opie (British 1761-1807) A young boy playing with a cat, oil on canvas, unframed, 76 x 64cmProvenanceColognaghi, Faulkner, 1930BiographyOpie, John (1761-1807), portrait and history painter, was born in May 1761 at Blowing House, Mithian, St Agnes, near Truro, Cornwall. When he was fourteen or fifteen, Opie was 'discovered' by Dr John Wolcot, an amateur artist and critic who was both a pupil and a friend of Richard Wilson, and who had valuable acquaintances in the artistic world (a portrait of him by Opie is in the National Portrait Gallery, London). Wolcot proved to possess something of genius as a publicist and he and Opie went into partnership in the promotion of Opie's career. Wolcot introduced Opie to Sir Joshua Reynolds, who was very much impressed and rather crushed his former pupil James Northcote, who was then trying once again to establish himself in London: 'You have no chance here', Northcote recorded Reynolds as saying to him, 'There is such a young man come out of Cornwall … Like Caravaggio, but finer' (Leslie and Taylor, 2.341-2). Northcote nevertheless became a lifelong friend of Opie, for whom he retained the highest regard, remarking to Hazlitt, 'He was a true genius' (Earland, 31), and Opie's portrait of Northcote dates from about 1799.On 4 December 1782, at St Martin-in-the-Fields, Opie married, unhappily as it turned out, Mary, daughter of Benjamin Bunn. Her father was described as 'a Jew broker to whom Opie used to sell his pictures' (Earland, 46). Alfred Bunn, the tyrannical theatre manager, was apparently a relation of his wife's with whom Opie stayed in touch.The marriage led to Opie's parting from Wolcot. Opie was earning more than Wolcot, but now had a wife to support. Wolcot, on his side, was later wont to point out that he had given up his medical practice and £300 or £400 a year in order to promote Opie. While they were in partnership Wolcot earned some money with his Peter Pindar satires, which also provided a useful vehicle for favourable publicity on Opie's behalf as, for example, with one of two portraits of the organist and composer William Jackson, exhibited at the Royal Academy in 1783. The break with Wolcot was not final at this stage: Opie and his wife together with Wolcot visited Wales in 1783 or 1784, and Wolcot and he toured the south-west in 1783-4. Opie's particular gift for child portraiture was demonstrated at this time (c.1784), with paintings of the children of the fifth duke of Argyll and his famously beautiful duchess, the former Elizabeth Gunning (priv. coll.). One of Opie's finest fancy pictures, A Peasant's Family (Tate collection) is also of children and was painted c.1783-5, while Opie further demonstrated his range in a groundbreaking genre group showing a schoolmistress and her varied pupils (priv. coll.). It was exhibited at the Royal Academy in 1784 under the title A School and drew Walpole's approving note, 'Great nature, the best of his works yet' (Earland, 54). At the same time in his more original portraits, for example, Thomas Daniell and Captain Morcom, with Polperro Mine, St. Agnes, in the Background (1786; Truro, County Museum and Art Gallery; another version ex Sothebys, London, 13 July 1994, no. 66), Opie developed this same rare seam of realistic genre, of a kind which seems to reach back to John Riley's portraits in the preceding century.Opie was also attracted, however, by that chimera of the British school, history painting on a large scale. By the winter of 1786 he was signed up to create a substantial number of canvases for Alderman John Boydell's Shakspeare Gallery. This commission followed close upon Opie's dramatic success with his first large history picture, The Assassination of James I of Scotland, when it was exhibited at the Royal Academy that year. Caravaggio, not only in the lighting but also in the gestures, although contemporary reference was more often made to the influence of Lo Spagnoletto (Jusepe Ribera).One can only speculate about how these influences came to bear upon Opie, since the tracks of his artistic education were so carefully covered by Wolcot, but prints after Caravaggio were certainly in circulation in eighteenth-century Britain. At the time, however, Opie was even more widely talked of as an 'English Rembrandt' and Caravaggio's influence would have been mediated through the many works of Rembrandt which Opie could have come across in English collections. The success of Opie's history pictures assisted his election as associate of the Royal Academy in 1786 and as Royal Academician in 1787.Like many another English artist, Opie was frustrated by having to paint portraits for a living rather than grander history paintings, and his income was also augmented by a few pupils: Henry Thomson RA; Theophilus Clarke ARA; Thomas William Stewardson; Jane Beetham; William Chamberlain; John Cawse; and the amateurs Elizabeth Mary Booth and the Revd John Owen (both referred to above) and Katherine St Aubyn. However, despite his yearning for fancy pictures and histories, and his skill at them, Opie exhibited his last historical painting at the academy in 1804, a scene from Gil Blas, and thereafter painted only portraits. The focus and freshness of his vision in portraiture gave way in his last years to imitative eclecticism, picking up a hint of Gainsborough here or a touch of Hoppner there.Opie's further ambition to become professor of painting at the Royal Academy began unpromisingly with a course of lectures at the British Institution in 1804-5 which he failed to finish. Nevertheless, when, on his becoming keeper, Henry Fuseli resigned the professorship at the academy in 1805, Opie was elected to the post, and the four lectures he managed to deliver in February and March 1807 were both better written and better presented than his earlier series. They were published as Lectures on Painting (1809). The last lecture was given on 9 March and, after a visit to Henry Tresham a few days later, Opie caught cold and subsequently a fever. He died in London on Thursday 9 April 1807. Opie enjoyed a remarkable reputation in his lifetime, although his own high estimation of his achievement has not lasted. He had genuine, if often sarcastic, wit and real talent and produced a handful of striking and original images. He struck a distinctive note among his contemporaries which can still be recognized. Technical shortcomings in drawing and in creating coherent figures, of a kind not unknown among his peers, made him inconsistent as a portraitist, but his fancy pictures and portraits of children can be better than those of almost any British artist of his time. He was not congenial and was liked and disliked in almost equal measure, not always for the right reasons in either case. It was noticeable at the time, for instance, that he was reluctant to stay long with his second wife's relations on visits to Norwich, and it may be that they did not heartily approve of him. A story told of Amelia's cousin Robert Alderson after the funeral on 20 April (a lavish affair at St Paul's Cathedral, where Opie was interred in the same vault as Reynolds) suggests this family mistrust, and also Opie's idiosyncratic character. The undertaker apologized to Alderson for putting the coffin the wrong way round (with Opie's feet towards the west rather than the east). 'Shall we change it?' he asked. 'Oh, Lord, no!' replied Alderson. 'Leave him alone! If I meet him in the next world walking about on his head, I shall know him' (Earland, 234).

Z”llner (Frank, et al). Michelangelo, 1475-1564, Complete Works, 2007, numerous colour and black and white illustrations, original white cloth in dust jacket, folio, together with Schtze (Sebastian), Caravaggio, The Complete Works, 2009, numerous colour illustrations, original black cloth in dust jacket, plus Spinelli (Luigi, et al), Domus, arte e stile nella casa, arte e stile nell'industria (industrial design), volumes 1-12, 1928-1999, 2008-9, numerous illustrations, all original boards in dust jackets, as new in original wrappers, large 8vo, plus other modern large-format art reference and art auction catalogues from Sotheby's and Bonhams, VG (4 cartons)

JOOST CORNELIUS DROOGSLOOT (1586-1666)Figures on a bridge outside a villageOil on panel, 48 x 64cmSigned with initials and dated 1661A Dutch Golden Age painter born in Utrecht in 1586, Droogsloot was active during the 17thcentury, a period in which the Netherlands enjoyed considerable success in areas of art, science and trade. A committed and versatile painter, Droogsloot became a member of the Guild of Saint Luke in 1616 and later appointed deacon in 1623. His son, Cornelius Droogsloot, followed in his father’s artistic footsteps and their work is very similar in style. Following the Counter-Reformation (1545- 1563) there was a reduced interest in works of religious subject matter. Instead genre scenes, such as this present work by Droogsloot became increasingly popular amongst the art buying class. The repetitive nature of Droogsloot’s subject matter reflects the character of the seventeenth-century art market which favoured the consistent production of successful works. Unlike other Northern European painters, Droogsloot remained in Utrecht for the entirety of his artistic career, except for a very short period spent in The Hague in the early 1600s. The central museum of Utrecht holds fifteen works by the artist such as panoramic scene, View on the city of Utrecht (1650-1665). In the 17th century there were numerous centres of artistic production dotted around the Netherlands, each developing their own unique style. Utrecht was best known for its lively figural group scenes as well as the development of ‘Caravaggisto’ artists who followed in the influence of the Italian painter Caravaggio.

Manner of Michelangelo Merisi de Caravaggio (1571-1610) Italian. Head of a Boy, wearing a Red Cloak, Oil on Canvas, 19" x 15".

Manner of Michelangelo Caravaggio late 18th/19th Century- The Lute Player:-, a young courtesan seated playing a string instrument, other musical instruments at his feet oil on canvas 123 x 88cm.

Harriet Jane Neville-Rolfe (British, 1850-1928) after Polidoro da Caravaggio (Italian, 1497-1543): Putti & Cupids playing croquet & other games, red chalk studies, H 30 x W 145 cm, labelled verso. Note: Born in England, Neville-Rolfe studied in London & Paris before travelling in 1883 to join family members in Queensland, Australia where she produced many sketches & watercolour studies of local life. She returned to England in 1886 to marry Holcombe Ingleby (1854-1926) of Valentines Mansion, Ilford. A selection of Neville-Rolfe's paintings can be found in the Queensland Art Gallery where they were gifted by her son, Major Clement Ingleby, in 1964.

Michelangelo Merisi detto Caravaggio (Milano 1571 - Porto Ercole 1610), copia da, Deposizione olio su tela, cm 75x56

EASTER 1916, HARRY CLARKE, AND CARAVAGGIO THE LEA-WILSON COLLECTION   A Collection of Personal Belongings, letters, photographs and other memorabilia of Captain Percival Lea-Wilson, RIC (1887-1920) and his wife Dr Marie (Monica) Lea-Wilson, née Ryan (1887-1971).  Includes his RIC helmet and a magnificent illuminated address by Guy's of Cork.   Captain Lea-Wilson makes a mercifully brief appearance in the narrative of Easter 1916: In the aftermath of the Rising, apparently drunk and out of control, he abused and humiliated Republican prisoners in his charge at the Rotunda Gardens.  Four years later, in retaliation for this spiteful behaviour, he was shot dead on the orders of Michael Collins. But there was much more than this to the Lea-Wilson story.   Percival ("Val") Lea-Wilson was born at Brompton, Kensington, in 1887, of upper middle-class English Protestant stock.  His father, a stockbroker, was killed in a carriage accident when he was only seven; his mother, a sister of the architect Charles Fitzroy Doll (designer of the dining-room of the Titanic), remarried in 1912.  An ancestor, Samuel Wilson, had been Lord Mayor of London in 1838/9 and the family home was Village Place in Beckenham. "Val" was educated at Winchester College - a leading public school noted for its solid grounding in the Classics and the spartan lifestyle of its inmates - and New College, Oxford, where he graduated in 1909.   In 1910 he enrolled as a cadet in the Royal Irish Constabulary, and in 1911 was appointed a District Inspector; he served successively at Charleville, Co. Cork, Woodford, Co. Galway, and Dunshaughlin, Co. Meath.  While in Charleville he fell in love with Marie Monique Eugenie ("Monica") Ryan, the daughter of a local (Catholic) solicitor, Patrick Ryan of "The Turrets".  On being posted to Dunshaughlin he wrote her a series of letters expressing his undying love, regretting the hostility of her father, and grumbling about his job.  The following - written from the Fingall Arms Hotel on 13 October 1913 - is typical:   This place is horrid, dirty, miserable.  ……             I am very worried about you.             Your loving Val.   The Collection includes:   ·      Lithograph of "Village Place the seat of Samuel Wilson Esq., Alderman of the City of London", from a drawing by T.J. Rawlins, 1838 ·      Photographs and other memorabilia of Lea-Wilson's years at Winchester and Oxford ·      Illuminated address by Guy's of Cork congratulating Lea-Wilson on his marriage and signed by the rector and RC curate of Charleville, praising "your strict impartiality towards all creeds and classes, your sympathetic manner in the discharge of your duties, and your courage and tact in the presence of difficulties." ·      Letters from "Val" Lea-Wilson to Monica in 1913, prior to their marriage, mostly from Dunshaughlin, and from France in 1917. ·      Snapshots of central Dublin immediately after the Easter Rising ·      Photographs (some framed) of Lea-Wilson's funeral ·      Mounted photo of Lea-Wilson with illuminated border and text of funeral oration, recalling "his abounding overflowing vitality, his infectious gaiety, his unfailing kindliness, his openhanded generosity, his large-hearted tolerance, his cheery and unflinching courage," and denouncing his death "at the hands of a gang of cowardly assassins; a murder most foul; as foul as any of those dastardly crimes which of late have brought black dishonour upon our land." ·      RIC helmet in original tin container bearing his name ·      Some letters re Harry Clarke's window in Gorey commemorating Lea-Wilson ·      5 receipts for moneys paid by Mrs Lea-Wilson, Westmount, Gorey, to James Hicks, cabinet manufacturer, collector and restorer, Dublin, 19 June 1922 to July 1924, includes "1 large oil painting (Betrayal of Christ) £20.0.0." ·      Several letters to Dr Monica Lea-Wilson from Dr McQuaid, President of Blackrock, mostly 1938-39, and one from Marie McQuaid thanking Monica for the kindness shown to her while they were in France; also several photos of Monica with Dr McQuaid and his sisters. ·      Letters to Monica from W. Sullivan 1922-28, her sister Adeline (wife of Lord Muskerry), and others ·      Letters to Monica Lea-Wilson in later life re her medical work, employees, students whose post-primary education she had funded, etc. ·      Documents re an aunt of Monica's who had gone to Russia as governess and apparently gone missing during the Revolution; includes letters from Cecil Harmsworth (Under Secretary of State for Foreign Affairs) to Captain W.A. Redmond, and Charlotte Knollys, Private Secretary to the Queen Mother. ·      Musical score, with illustrated title page, of "The Fireman's Polka" by Charles S. Macdona, with illustrated title page depicting a horse-drawn fire engine thundering past the statue of Daniel O'Connell and onto O'Connell Bridge.  "Dedicated to Captain Boyle, Fire Brigade, Dublin" (Boyle died in 1898). ·      A large number of letters and postcards sent to Monica, many in French from the art historian Paul Biver, on religious topics    ** FOR FULL DESCRIPTION SEE PDF ON WEBSITE OR CONTACT OUR OFFICE

1859 - Caravaggio - Stampatello diritto annullatore di Sardegna IV emissione 20 c. su busta dell’11 luglio per Viareggio - Rara - Cert. Colla (Sass. p.R1) - Base d'asta €750

Mattia Preti (1613-1699), Allégorie des cinq sens, huile sur toile, 174x250 cmBibliographie: ,J.T. Spike, Mattia Preti. Catalogo ragionato dei dipinti, Florence, 1999, p. 394, n. 404Provenance:- Galerie Gismondi, Paris, 1986: ,- ,collection Henri-Ferdinand Lavanchy, Suisse, depuis 1986Nous sommes reconnaissants au prof. Riccardo Lattuada d?avoir confirmé l?attribution de cette oeuvre à Mattia Preti, après examen de visu de la peinture. En 1999, John T. Spike rapportait que ?Cette importante composition a été attribuée à Preti par Federico Zeri sur la base d?informations reçues de la galerie [Gismondi] en 1986. La surface peinte semble inhabituellement lisse et légère, et le tableau ne peut être jugé sur la base d?une photographie. Un inventaire de la collection de Geronimo Ferdinando Alarcon de Mendoza, marquis della Valle Siciliana, Naples, 13 janvier 1703, liste quatre peintures de la main de Preti (probablement la série de Liverpool) et ?un altro di 7 x 9 istoriato li cinque sensi del corpo che viene dal Cavalier Mattia? (Labrot 1992, p. 223)?. Dans la fiche de la Fototeca Zeri est mentionnée l?existence d?une note autographe de Federico Zeri, à la plume, au dos de la photographie en noir et blanc: ?Mattia Preti / copy or shop?. Le tableau, réapparu à l?occasion de la présente vente, se confirme être une oeuvre autographe de Mattia Preti, probablement exécutée pendant la cinquième décennie du XVIIe s., quand l?artiste calabrais commençait à distinguer nettement sa propre recherche formelle de celle de son frère Gregorio. Pour la plus grande partie des figures, il est en effet possible de repérer des parallèles dans le répertoire des oeuvres de jeunesse de Mattia. Par exemple, le garçon qui hume le bouquet de fleurs (l?odorat) se base sur le même dessin utilisé pour le jeune chanteur du Concert à trois figures (ill. ci-contre, collection privée, à propos duquel, p. ex. A. D?Amico, in V. Sgarbi (a cura di), Mattia Preti, Soveria Mannelli, 2013, pp. 72-73, n. 10, avec bibliographie précédente). Les types physiques ainsi que la conception des autres figures sont récurrents dans la production de jeunesse de Preti. Dans cette ambitieuse composition, Preti élabore un thème typique du caravagisme sous l?angle d?une auberge d?extérieur ? d?ailleurs déjà expérimenté dans des oeuvres de collaboration avec son frère Gregorio, comme celle conservée à l?Accademia Albertina de Turin ? mais il montre ici une sensibilité déjà baroque par l?expansion en profondeur de l?espace figuratif, dans le refus de l?encombrement de la composition typique des interprétations caravagesques des Cinq Sens, et dans l?adoption d?une matière picturale plus fine, étendue en touches plus rapides (pour les débuts de Mattia Preti dans l?atelier de son frère cf. Mattia Preti, un giovane nella Roma dopo Caravaggio, a cura di G. Leone, Soveria Mannelli, 2015). Le format et les dimensions de la toile incitent à retenir que celle-ci était destinée à une galerie de tableaux, tel qu?indiqué indirectement aussi par la possible provenance de la collection du marquis Alarcon de Mendoza.

A large and impressive Derby vase in the Antique style c.1775, the ovoid body moulded around the shoulder each side with two lions around a grotesque face mask between Greek key and leaf borders, the handles formed as the heads of dolphins biting the rim, issuing from a lion's leg resting on the head of a ram, the rich blue body decorated with a gilt caillouté design, the whole raised on a square base, some restoration, 42cm. Cf. The Victoria and Albert Museum, Accession No. 414:437-1885 for a vase of identical form previously in the collection of Lady Charlotte Schreiber. The design for the vase is taken from a print by G.B. Galestruzzi, published in 1658 and based on Decoration by Polidoro da Caravaggio. Provenance: the Cordwent Collection.

Giovanni Antonio Galli detto lo Spadarino (Roma circa 1585 - 1651), Tre teste di angeli olio su tela, cm 37x70, Il Galli fu detto “Lo Spadarino” perché di temperamento infiammabile come il suo maestro. Gli esordi del pittore furono in stretta osservanza caravaggesca, come ben si evince dalle “Considerazioni sulla pittura” del Mancini, edite a Roma intorno al 1617, dove, in un celebre passo, l’autore descrive il Galli come alunno del Caravaggio e lo annovera tra i cinque più convinti seguaci della sua maniera. La prima produzione dell’ancor giovane artista mostra evidenti tracce dell’addestramento sui testi romani del maestro lombardo.Tra la fine degli anni venti e durante il decennio seguente giunge a maturare una perso- nale formulazione espressiva, in parte rielaborata in ragione del contatti avuti con Carlo Saraceni (decorazioni del P.zzo del Quirinale, 1616-17). Sono di questo periodo le tele che mostrano una maggiore attenzione al clima psicologico, superando l’immediatezza della drammaticità narrativa: si percepisce un meditato impreziosimento formale nell’osservazione dei dettagli e si nota l’allentamento ad duro asservaggio del realismo caravaggesco. E’ questa la fase dove la stesura pittorica ottiene sui manti soffici impasti lanosi, i piumaggi vivificano soffici e vaporosi, oggetti e particolari sono a tratti animati da riverberi luministici, le pieghe delle vesti mostrano un’eleganza accentuata se raffrontate a quelle giovanili, più scarne e stiacciate. L’ombra non è più concepita come violenta contrapposizione alla luce, ma come atmosfera fonda e vibrante, espediente pittorico per mediare impercettibili vibrazioni del cuore, come nel dipinto “Narciso”, della Galleria Barberini, opera considerata tra i più alti traguardi del lirismo pittorico seicentesco. Sovente confuso con il grande maestro, lo Spadarino, nelle opere di certa attribuzione, palesa una sensibilità raffinata, sospesa tra meditazione e contem- plazione, con un continuum di sentimento malinconico che lo rende diverso dal Caravaggio. In tal senso si percepisce una calibrata misura poetica, forte e silenziosa, che nella pratica si traduce in animazioni che coabitano in un’atmosfera di sospensione, magnetizzata in fissità iconiche permeate dall’enigma. Il Galli giunge a formulare un lessico più incline all’adozione di pochi elementi figurati, dominati da una più sensuale e calma matericità pittorica, l’elemento umano nello Spadarino è descritto in rapporto di comunicazione diretto e interno. Raffigura, a mezzo busto, i ritratti di tre personaggi, probabilmente adulti, ma effigiati in forma di bambini e nelle sembianze di cherubini. Per antica tradizione orale, si tramanda che in questi volti si debba riconoscere l’autoritratto del pittore (a destra), il ritratto di un nobile, mecenate del Caravaggio (al centro) e del Caravaggio (a sinistra). In effetti, comparando questa immagine di “Caravaggio bambino” agli autoritratti noti di Caravaggio, la somiglianza pare verosimile. La tela è custodita entro l’originaria cornice sagomata e modanata (cm. 54,7 x 87,7), dipinta con marezzature a marmorino e apici dorati e bulinati a foglia acantiforme. La cornice, tipicamente marchigiana, sembra confermare che il primo committente fosse di questa regione. L’opera in giudicato può essere messa a confronto con la tela di medesimo soggetto conservata alla Galleria Spada di Roma.

William Gaunt (1900-1980) - Bandits in a Landscape, a study of romantic painting from Caravaggio to Delacroix. Approximately 43 original Photogravure copper plates from the 1937 publication.

Follower of Bernardo Strozzi (1582-1644) The Madonna and Child, oil on board, framed, 25 x 20cm Strozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest). Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.

Circle of MICHELANGELO MERISI CARAVAGGIO (1571-1610) Italian Reading the Scriptures Oil on canvas 188 x 133 cm, framed CONDITION REPORTS: Poor, in need of restoration.

Manner of Caravaggio, The Lute Player, oil on canvas, 99 x 99 cm Condition report Report by RB Modern, some crazing and a few indentations to the canvas

A large 16th/17th old master painting in the manner of Caravaggio, heavy restoration needed. Gilt framed. 133cm x 190cm