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(1854ca). 15 cts green and FISCAL black. CREMA to CARAVAGGIO. C.d.s. CREMA, on reverse arrival straight line postmark. VERY FINE AND RARE POSTAL USAGE.

ORAZIO GENTILESCHI (attr.) (Pisa, 1563-London, 1639) The Ascension of Christ Oil on canvas, 138 x 168 cm Formerly in the collection of Claudio Strinati This painting clearly dates back to the transition phase between the 16th and 17th centuries, during which central Italy was a seething cauldron of talent in the shape of the great Mannerist masters who were already toying with modern naturalism – painters such as Giovanni Baglione, Ferraù Fenzone, Cristofano Roncalli known as Il Pomarancio, Giovanni Battista Pozzo, Tommaso Laureti, the Cavalier d'Arpino and others. The Ascension of Christ under discussion here has obvious points of contact with that environment, particularly with the circles of Pomarancio and of the Cavalier d'Arpino, yet it hints at a different culture – albeit at a culture of lofty formal and expressive quality. The work may reasonably be dated to the very early years of the 17th century, possibly even to before 1605. In this connection, it may be meaningful to link it to the still relatively obscure phase in the career of Orazio Gentileschi stretching from Jubilee Year in 1600 to 1606–7, when we can start to identify, with absolute certainty, works by Orazio that are both clearly influenced by Caravaggio and of unquestioned date. From the trial of 1603 in which Baglione brought a suit against Caravaggio and others, we learn that Caravaggio and Gentileschi had been the best of friends until the year 1600, even swapping useful tools of the painter's trade such as the pair of wings and the Capuchin friar's habit famously described in a testimony in the trial. Over the following two years, one gets the impression from the trial proceedings that relations between the two artists began to turn sour after they fell out for some unknown reason. But in 1603 we know as yet of no certain works by Gentileschi that can be clearly ascribed to the influence of Caravaggio. It is only with the Baptism of Christ in the church of Santa Maria del Popolo in Rome that we finally have a fully Caravaggesque work by Gentileschi, yet it is unlikely to have been painted before 1605–6. With the loss of the Fall of Saul that Gentileschi painted for the basilica of St. Paul's Without the Walls and of the frescoes in the apse of the church of San Nicola in Carcere, of whose existence we know from archival do- cuments, we can say nothing definite about Gentileschi's presumed intermediate phase between Mannerism and his subscription to the style of Caravaggio. The work under discussion here, however, may well provide us with some valuable clues precisely in that con- nection. Both the apostles and the three saints painted in the foreground display a level of formal sophistication and of sharp naturalism that would appear to point to the development of Gentileschi's style after his Mannerist work in the basilica of Santa Maria Maggiore in Rome (which can be dated to 1593) and in the Abbey of Farfa (which stretched up to 1600 or thereabouts) both of which still evince a heavy, residual Mannerist sediment. Moreover, a comparison between the figures in this Ascension and those in what are considered to be his earliest proto-Caravaggesque pictures, such as the Holy Family in the collection of the Cassa di Risparmio di Pisa in the Palazzo Blu, suggests that the painting under discussion here, adorned with the coat-of-arms of the Crescenzi family with whom Gentileschi may well have forged close ties precisely in the first few years of the 17th century, testifies even more effectively to the potential attribution of this work to the master.

LIONELLO SPADA Bologna 1579-Parma 1622 Salome with the head of the Baptist Oil on canvas, cm 72.1 x 58.3 The work of art can be ascribed to Lionello Spada with a wide margin of certainty. He was a maestro from Bologna and probably one of the first followers to experience an actual relationship with maestro Merisi. Some sources, recalled by Emilio Negro, confirm that the twenty-year-old Lionello was among the models who posed for the Vocation of Saint Matthew in the church Saint Louis of the French. Actually, the acquaintanceship between the two is not historically declared and, even though dates might confirm it, we all know that Caravaggio did not have any direct apprentices, he had only followers especially post mortem (after his death). Between 1610 and 1617 Spada travelled a lot, he visited Naples, Malta and probably Rome, but he spent the last phase of his short career in Parma where he created several works of art chracterised by a clear Caravaggism for the court Ranuccio Farnese. Salome's scathing and thin features surely belong to this phase, where a widespread and golden light of Flemish cut is opposed to a chromatic range that fluctuates between red and ochre of Salome's figure that stands out of the black background, merely Caravaggio's origin. Cogent comparisons are with the Good Fortune residing at Estense Gallery in Modena or with the thorn coronation residing at Condè Museum in Chantilly, while we can find the protype of Salome's face in Judith with Oloferne's head residing at the National Gallery in Bologna (inv. N. 69 cm 112.5x138; on the topic: Emilio Negro. Lionello Spada. Manerba/Reggio Emilia 2002, page 125, record 57, table XIX). Evaluation by Emilio Negro

GIOVANNI FRANCESCO GUERRIERI da Fossombrone Fossombrone 1589 – Pesaro 1656 Amphitrite in the chariot Oil on canvas, cm 120 x 180 The artwork can be attributed to Guerrieri da Fossombrone, from the region Marche and was painted during the roman period (1615-1618), when the artist was frescoing the palazzo Borghese ascribed by Prince Marcantonio, completely derived from the Iconologia by Cesare Ripa. In 1615 Guerrieri was only 25 and had just completed very important work in the church of Santa Maria del Piano del Ponte in Sassoferrato. Taking cue from Ripa’s extraordinary representations of mythology, this artwork depicts Amphitrite in a chariot, seated on a big shell perching on four pure coral tree branches; to the left, two tritons are blowing their horns, leading her way. The general tone of the painting mirrors Mannerism, whereas the influence of early Caravaggio is very evident along with that of Reni and the Sienese culture of Gramatica. The figure of Amphitrite, both sturdy and classical in her movement can be considered a perfect blend of Renan classicism and early Roman Caravaggio style. The composition echoes the Chariot of the Hours by Reni on the vault of casino Pallavicini Rospigliosi at the Quirinal. Comparisons between this artwork and decorations in the Palazzo Borghese seem plausible, especially if considered the scene of Parnassus, where different types of feminine figures undoubtedly recall the smooth and distinct tone, although chiaroscuro, of our Amphitrite; the same goes for the Triumph of Sciences (see Andrea Emiliani, Giovanni Francesco da Fossombrone, Venezia, 1997, pp. 65). The artwork is perfectly preserved. Expertise by Andrea Emiliani, Min Gregori and Daniele Benati.

Biglietto di Banca da 100.000 Lire “Caravaggio” I tipo - Spostamento del taglio €100

DENICE MARIA PAGANO: LA FLAGELLAZIONE DI CARAVAGGIO, Napoli 1999, orig wraps d/w + DARKNESS AND LIGHT CARAVAGGIO AND HIS WORLD, Art Gallery of New South Wales and National Gallery of Victoria 2003, orig lam wraps + CESARE GNUDI: GUIDO RENI, Vallecchi Editori 1955, orig cl gt d/w + KLAUS ALBRECHT SCHRODER & OTHERS: PETER PAUL RUBENS, Wien Albertina circa 2004, orig pict wraps + JULIUS S HELD: RUBENS' SELECTED DRAWINGS, L, Phaidon Press 1959, 2 vols, ea orig cl gt, glassine d/ws, orig s.-c, (6)

After Michelangelo Merisi da Caravaggio - 'The Cardsharks', 20th century, work on canvas, 36" x 48", framed

After Caravaggio - David with the head of Goliath, oil on canvas, 59 x 77cm (the original hangs in the Galleria Borghese in Rome)

Alessandro Turchi 1578-1649 Christ and the adulteress oil on canvas 111,5 x 82 cm As it known Alessandro Turchi, Among said, belongs to the Group of Veronese painters in Rome that approach the Caravaggio`s naturalism, passing through the filter of Borgianni and Saracens. This Alchemy determines the birth of a language that you could define a kind of Classicist Caravaggisti, purified by the histrionics of the Merisi and more oriented to a bright and sharp colours, to soothe expressions. The three veronesi begin to work directly with the Saracens in 1616 at the Sala Regia of the Qurinale, fundamental experience for the maturation of this new and early form of Caravaggisti. By 1616 the Turks stayed firmly in the Papal city settling, as recalled in the sea of the parish of Santa Maria del Popolo. Among the quickly becomes a master very plugged into the Roman context, like the election as Prince of the Accademia di San Luca in 1637 and subsequent appointment as a member of the Accademia dei Virtuosi al Pantheon. The painting in question can be dated according to Marini between 1625 and 1628, in thus Among Rome`s mature and decisive phase of the relationship with Ciriaco Mattei; here his style takes well-established character in terms of a Caravaggisti obsequious and dissolved. Comparisons between the Christ and the adulteress and certain works Among the are many: you can quote the stringent assonance between the adulteress of our and the allegory of charity held at the National Gallery of Victoria in Australia, or the beautiful St. Mary Magdalene penitent to the Pinacoteca di Brera of Milan. Sweet and solid type of Adulterous women`s face is also found in the extraordinary canvas with Hercules and Omphale preserved at the Alte Pinakothek in Munich. The painting is in excellent condition.

Lucianus. Due dialoghi di Luciano, nuovamente tradotti per m. Lodovico Domenichi . (Al colophon): Fiorenza: [Lorenzo Torrentino], 1548 . In-8° (mm 173x106). Carte 37, [2] (di 3, manca l`ultima carta bianca). Lievi bruniture. Brossura avana, note editoriali al piatto anteriore, dorso mancante. Al frontespizio nota di possesso `Vieri Cerchi`, disegno in inchiostro bruno e timbro Gustavo Galletti; al contropiatto anteriore ex libris `Johannis Bianchi`. Prima edizione del volgarizzamento dei Dialoghi di Luciano del poligrafo piacentino Lodovico Domenichi e seconda edizione italiana assoluta. L`edizione comprende due dei dialoghi del retore di Samosata, il Convito tra Filone e Luciano e l`Incanto delle vite, seguiti da una lettera del Domenichi a Lucio Cotta, datata 28 marzo 1548, nella quale il traduttore si scusa della debolezza della sua versione, fatta per scherzo, e sottrattagli da Muzio Merato per essere data alle stampe con dedica a Muzio, marchese di Caravaggio. Cfr. Moreni, Torrentino, 10.

San Marino : Extensive collection contained in 4 large-format stockbooks. Starts with 1926 Onofri x 2 sets, 1943 Ovptd.fascism set, 1947 Reconstruction Ovptd. set, then main strength which lies in 1950`s through to 2013, with hundreds of sets and singles for the period. Noted are 1957 Flowers, 1959 games, 12960 Caravaggio, 1961 Europa x 2, 1963-5 Airmails, and many other better sets. Then about 75 Souvenir sheets from 1960 Olympics through to 2013. Virtually all are unmounted mnt, few are hinged mint. Condition is clean thoughout, but is somewhat disorganized, with some duplication. (Many 100`s + 75 MS)

San Marino : (SG 623-4,625) 1960 Riccione pair, Caravaggio, all fresh u.m. (3) Cat £21.2

JACQUES GAMELIN. ‘Les Augures’ (after Caravaggio), etching, Pl. 6 1/4 x 20 in

(†) Central Bank of Malta, an obverse and reverse composite essay on card for a £10, Law of 1967 (1972), serial number C/1 000000, brown and multicoloured, arms at right, map at centre, statue of Neptune at left, reverse painting, "The Beheading of Saint John the Baptist" by Caravaggio, the altarpiece in St John's Co-Cathedral, Valetta, at left, ornate column at right(Pick unrecorded), about uncirculated, unique (2) Subject to 20% VAT on both Hammer Price and Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

AFTER MICHELANGELO DE CARAVAGGIO (1573-1610) Head of a youth wearing a plumed cap, signed lower left ""Del Zorzon"", red chalk, 9.75"" x 8.75"", with a copy of the Skippe Collection auction catalogue (2). See illustration Provenance: The Skippe Collection, Christie`s 1958, lot 62c. (Lugt 15296) Private collection, Somerset

DELL `ACQUA (GIAN ALBERTO) IL CARAVAGGIO E LE SUE GRANDE OPERE DA SAN LUIGI DEI FRANCESI folio, col plates tipped in, half title, dust jacket, slip case, Milan 1971 and five others, art reference, Giotto, Leonardo, Mantegna, etc, all slip cased (7)

MANNER OF CARAVAGGIO - Lamentation over the body of Christ, oil on canvas laid down on board, framed, 51cm x 72cm

école italienne du XVIe siècle, d’après POLIDORE (Caravaggio 1495-Messine 1543) Feuille d’étude avec vases, costumes et personnages Plume et encre brune, lavis gris sur traits de crayon noir 23 x 38cm Diverses annotations en bas à gauche. Bandes de papiers ajoutées sur les bords verticaux, traces de restaurations, pliures et petites taches

FRANCISCO CORZAS Doncella y su perro Firmado y fechado 67. Óleo sobre tela. Agradecemos a la Sra. Alejandra Yturbe, de la Galería de Arte Mexicano, por la revisión de esta obra, agosto de 2013. Con etiqueta de Galería de Arte Mexicano. (N. Ciudad de México, 1936 - Ciudad de México, 1983) Corzas fue un pintor con una presencia plástica indomable, certero en su visión sobre el fin que persigue la pintura misma: crear un mundo poblado de seres propios. Siempre consciente del valor de las grandes figuras en la historia del arte, lo mismo Rembrandt y Caravaggio, que Goya y José Clemente Orozco, Francisco Corzas fue un artífice que comprendió los profundos cambios estilísticos que introducía su generación a mediados del siglo XX, en México. Por todo ello, a pesar de su temprana desaparición y los caminos que emprendió como un ser humano -vulnerable ante el destino-, Corzas está siendo, cada vez más, reevaluado como artista, con aprecio y objetividad, por parte de la crítica y los historiadores de arte. Los arquetipos femeninos de Corzas están ligados a la concepción de fin de siglo, de la femme fatale, de la mujer devoradora de hombres que es capaz de poseer el alma del artista. Tiene su aval en la poesía del simbolismo; en la pureza de su virginidad, los artistas encuentran la prueba de que la salvación para el espíritu existe; pero, asimismo, que su cuerpo es la encarnación misma de la lujuria, sendero de la perdición. Este embeleso dual parece haber atraído a Corzas. Su condición existencial, de un artista vulnerable ante la crudeza de la realidad, parece hallar paralelismos en la fragilidad, inexplicable, de lo femenino. Véase: LOZANO, Luis-Martín, et al "Francisco Corzas." México. Editorial Océano-Grupo Financiero BITAL, 2001. pp. 60 - 70. 100.5 x 125 cm

AFTER MICHELANGELO MERISI DA CARAVAGGIO ST FRANCIS OF ASISI IN ECSTACY 72 x 57.5cm, 19th c giltwood frame An old probably 18th century copy, the support lined and with some evident localised restoration. The medium thin in places and rubbed in others, unevenly varnished, the fine carved frame with some losses

Attributed to Polidoro da Caravaggio Study of a man wearing a mask, holding a large key Pencil and wash 38 x 19cm; 15 x 7½in With a further drawing of a reclining figure by an unknown hand (2) ++1 - some stains and marks, a tear lower margin; 2. one or two fox marks

'The Entombment' oil on board after Caravaggio by Donald Watson

CURTAINS, a pair, in thick black chenille with gold classical detail, Versace style, 160cm gathered by 227cm drop and another single curtain in a differing Versace style with classical portraits in the style of Caravaggio, 122cm gathered by 227cm drop. (3)

* Sonnabend (Yolanda, 1935-). The Mocking of Christ, after Caravaggio, oil on canvas, 183 x 122 cm (72 x 48 ins), framed. A large-scale and typically theatrical variation by Sonnabend on the famous original by Caravaggio in the Museo Nazionale di Capodimonte, Naples. A painter and stage designer, Yolanda Sonnabend’s work was exhibited at the Serpentine Gallery, London, 30 November 1985-5 January 1986. Provenance: Purchased by the present owner from the aforementioned exhibition of Yolanda Sonnabend at the Serpentine Gallery, 1985-86. (1)

Ten volumes: pub Thames & Hudson titles including Cartier, David Hockney, Irish Art & Architecture, Caravaggio, Fueseli, etc (10)

Two Spy cartoons, pencil drawing after Caravaggio, and two Baxter prints

Joseph E F Lambeaux (Belgian, 1852-1908): A Bronze Bust of Bacchus after Caravaggio, 19th century, the god with bunches of grapes and vine leaves in his hair, smiling and gazing downwards to sinister, signed, 52.5cm high See illustration

After Michelangelo Merisi Da Caravaggio (1571-1610) Continental School 18th/19th century-`The Card Sharps`, large scale oil on canvas, bears an indistinct signature bottom left, three old wax seals applied verso, 99x137cm (3ft 3inx4ft 6in), inset large and ornate 19th century Florentine carved and gilded frame. NB: Caravaggio`s original was among his most popular and influential compositions and was painted circa 1594, it was acquired by Caravaggio`s most important patron, Cardinal Francesco Maria del Monte (1549-1626), for the Poalazzo Madama in Rome. The card game depicted is Primiera, it was one of the most popular gambling games of the period, and an ancestor of the modern poker. It was played with only forty cards, but the aim of the game was very similar. Only four cards are dealt to each of the players and there are only four combinations, a Primiera (one card of each suit), Supremus (6,7,Ace of the same suit), Fluxus (four cards of the same suit) and a Chorus (four of a kind). The game is otherwise decided by Face points, as in Poker (illustrated)

An album of engravings and etchings including The rape of the Sabines by Cherubino Alberti, after Caravaggio, c.1570-1615 or later, with collector`s stamp of Martin Folkes [Lugt 1034], Adoration of the Shepherds after Carlo Maratti, c.1680-1720, 6 Piranesi etchings from Archi Trionfali, a Franciscus de Neve etching, published by Giovanni Giacomo de` Rossi, a Paul Sandby etching, c.1758, with etchings after Fragonard, Boucher, Veronese, and others, total c.145 prints, 18th and 19th century, v.s., all neatly tipped into album leaves, straight-grained morocco, gilt, worn, 4to. Condition report: Occassional spotting, browning, surface dirt and stains.

HEINRICH GOLTZIUS (1558-1616) after POLIDORO DA CARAVAGGIO (c.1499-1543) SOL; PLUTO; VULCANUS; NEPTUNUS; BACHUS; JUPPITER; SATURNUS; MARCURIUS Eight, engravings Each 35 x 21.5cm. (8) ++ Each with some foxing; trimmed close to the image

Prints.- An album c.85 lithographs engravings and soft-ground etchings of urns and vases by or after Polidoro da Caravaggio B. Pecheux and others many cropped and mounted v.s. roan-backed boards folio v.d.

AFTER CARAVAGGIO "The Virgin worshipping the infant Saviour", oil on board, unsigned, indistinctly signed and inscribed verso, 33 x 26 cm, within a carved giltwood and gesso Florentine style frame

After Caravaggio, supper at Emmaus, oil on canvas, 160cm x 222cm

Giustiniani Galleria Giustiniani 1631 2 vol. 2 engraved armorial titles 2 portraits of Giustiniani and 326 plates some damp-staining to lower margins of plates of vol.2 heavier to first few ff. causing a little fraying attractive contemporary mottled calf spines in compartments richly gilt and with double morocco labels [Brunet II 1453; Cicognara 3397] folio Rome [1631]. ***Giustiniani (1564 -1637) was an aristocratic Italian banker art collector and the patron of Caravaggio. The family art collection one of the best of its time contained over 300 paintings (15 by Caravaggio) and more than 1200 pieces of sculpture..

Friedlaender (Walter) Caravaggio Studies Princeton 1955 § Moir (Alfred) The Italian Followers of Caravaggio 2 vol. Cambridge Mass. 1967; Caravaggio and his Copyists New York 1976. illustrations original cloth; and 4 others on Caravaggio and his followers 4to & 8vo (8)

AFTER POLIDORO CALDARA (POLIDORO DA CARAVAGGIO) - Cherubs with music scores, three engravings monogrammed "CAB", 8 1/4" x 4 1/2"; and one further engraved with two classical vases; (all mounted but unframed) (4).

FOLLOWER OF CARAVAGGIO. Study of a Relief with groups of Figures and two Studies of Children, pencil and red chalk, 8 1/2 x 12 1/2 in

AFTER MICHELANGELO DA CARAVAGGIO, ENGRAVED BY FRESCHI, HAND COLOURED ENGRAVING, PUBLISHED 1815, "Gamesters", 9" x 12"

Circle of Gerrit Van Honthorst 1590-1656- Portrait of a young woman, bust-length wearing a black dress and white lace collar, dark hair curled and natural, with pearl necklace, earnings and head piece; oil on canvas, held in a n English 18th century carved and gilded frame, the raised and pierced corners with acanthus flanked by oak leaf and flower head sprays, 70x59cm. Note: This work compares stylistically and compositionally to the formula Van Honthorst seems to have applied to his commissioned portraits, this work having undergone an early restoration and apparent removal of the feigned oval. Van Honthorst became known for nocturnal scenes, usually religious subjects, a single candle serving as the only light source and creating a striking dramatized scene. The chiaroscuro lighting effects were influenced by Caravaggio`s works. Honthorst`s night paintings caused such a sensation in Rome that he was known as "Gherardo delle Notti" (Gerard of the Night Scenes).

After StÚphano Mulinari 1741-1790- Roman Soldiers, after Caravaggio; etching, this being a late 20th century example, 37x26cm: together with four further decorative etchings depicting classical scenes after the antique, all late 20th century examples and in matching decorative ebonised frames, (5)

DONALD WATSON; Portrait of Alof de Wigacourt, after CARAVAGGIO; oil on board, 33 1/2" (85cms ) x 27" (70cms) and a watercolour portrait by DAVID McEWEN.

* Caravaggio, British quad poster, 1986,. directed Derek Jarman, rolled poster in very fine condition, 30 x 40 (1)

A watercolour after Caravaggio of a flower girl in a 19th century gilt painted and gesso decorative frame. 8in. (20cm) x 7in. (18cm).

Roy Jenkins, A Life at the Centre, proof copy 1991, signed; together with Remi Kapo, A Savage Culture, 1981, signed and dedicated and Derek Jarman, Caravaggio, first edition, signed and dedicated, (3).

AFTER CARAVAGGIO ADORATION OF THE SHEPHERDS Oil on canvas 66cm x 47cm

[CARAVAGGIO]. SADELER (Marco), Vasa a Polydoro Caravagino Pictore Antiquitaso Imitatore Presentatiss Inventae Egidius Sadeler ..., folio, 10 engraved numbered plates (incl. title), bound as an album, 19th C. 1/2 red morocco, Rome, 1605.

Whitfield, Clovis, & Martineau, Jane, eds. Painting in Naples 1606-1705: From Caravaggio to Giordano. London: Royal Academy of Arts / Weidenfeld & Nicolson, 1982. 1st edn, square 8vo, illus. throughout, brown cloth, dustjacket (with 'slightly damaged in transit' label); and assorted other works of art interest, (box).

Follower of Polidoro Caldara, called Polidoro da Caravaggio Four bound captives sitting among trophies of war with inscription 'polidore' black chalk, pen and brown ink, brown and grey wash, watermark device 8? x 17 3/8 in. (217 x 447 mm.); and drawings by or formerly attributed to Calvaert, Guercino, Rosa and other hands (6) "Derived from Polidoro's freize om the fa?ade of the Palazzo Ricci ( q.v. L. Ravelli, Polidoro Caldara da Caravaggio , Milan, 1978, nos. 531-537).

Schiff (Gert). Johann Heinrich Fussili, 1741-1825, 2 vols. (text/plts.) Zurich & Munich, 1973, numerous b&w illusts. from photos, orig. cloth in slightly torn d.j.s, with slipcase, together with Nicolson (Benedict), The International Caravaggesque Movement. Lists of Pictures by Caravaggio and his Followers throughout Europe from 1590 to 1650, together with Bissell (R. Ward), Orazio Gentileschi and the Poetic Tradition in Caravaggesque Painting, 1981, and Maccari (Patrizia Giusti), Pietro Paolini Pittore Luccese, 1603-1681, pub. Lucca, 1987, col. and b&w illusts, all orig. cloth in d.j.s, 4to, plus three others related, and Clark (Nicholas), Melozzo da Forli, Pictor Papalis, Sotheby's Publications, 1990, together with Briganti (Giuliano, Trezzani, Ludovica and Laureati, Laura), I Bamboccianti. Pittori della vita quotidiana a Roma nel Seicento, pub. Rome, 1983, and Briganti (Giuliano), Pietro da Cortona, o della Pittura Barocca, 2nd ed, Firenze, 1982, and others related, all 4to. (15)

FOLLOWER OF CARAVAGGIO (1573-1610) DETAIL FROM 'THE CALLING OF ST. MATTHEW' Bears inscription 'Del Zorzon' lower left, red chalk 25.2 x 21.2cm. ++ Laid down. Some foxing and small stains. * Apparently a copy in reverse, with variations, of the central figure in Caravaggio's oil of c.1599-1600 in S. Luigi dei Francesi, Rome.