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Caravaggio, Second Revised Edition CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio. Only seventeenth-century copies executed on canvas are listed. Author-date citations can be found in the Bibliography arranged chronologically through autumn 2009. Exhibition citations are found in a separate section of the Bibliography, arranged alphabetically by city, i.e., Cleveland, Rome, Valletta. Many of the citations are accompanied by a parenthetical synopsis of the author’s views on attribution or date; the absence of a summary usually indicates that the author sustains the attribution. Most of the entries contain a brief description of physical condition; a full account of the technical examinations and ongoing restorations of Caravaggio’s paintings is beyond the scope of this book. 2 Abbreviations ASAP Archivio dell’Arciconfraternità di Sant’Anna dei Palafrenieri ASF Archivio di Stato, Florence ASM Archivio di Stato, Milan ASN Archivio di Stato, Naples ASR Archivio di Stato, Rome ASV Archivio Segreto Vaticano NLM National Library of Malta How to Use This CD-ROM To Find a Word or Name On a Mac: Open the Edit menu and choose Find, or type a combination of the command (apple) and F keys. A dialog box will appear highlighted; enter a term to be located and click on “Find” or press the Return key. The search function will locate the first occurrence of the term, on or after the page that is open. To locate the next occurrence of the same term, click on the left or right arrow to scroll through the pages of the document to continue your search. When the end of the search is reached, a dialog box will appear to inform you that Acrobat has finished searching the document and that no more matches were found. If you click “OK,” the search will end. 3 On a PC: On the toolbar, type term in the Find box, or type a combination of the control (Ctrl) and F keys. Press the Return key. The search function will locate the first occurrence of the term, on or after the page that is open. To locate the next occurrence of the same term, press Enter again, or type a combination of the control (Ctrl) and G keys. When the end of the search is reached, a dialog box will appear indicating no more matches have been found. How to Use the Bookmarks On a Mac: This document is set to launch with the Navigation Panel open, to the left of the document, with the Bookmarks visible. If only the document is visible, go to the View menu, then select Navigation Panels/select Bookmarks. The bookmark panel will open on the left. To make more room on the desktop for the document, click on the X at the top right of the Bookmarks window to hide the Bookmarks; the Navigation Panel can also be made narrower by dragging the frame bar between the text and the bookmarks to the left. The Bookmarks constitute a directory of the catalogue. Document icons with arrows to the left of them function like folders in a desktop file directory: clicking on the arrow displays the contents of the folder. Clicking on a document icon or the heading text to the right of the icon opens the document at the page where the corresponding term is found (the term will be in large type). 4 On a PC: This document is set to launch with the Navigation Panel open, to the left of the document, with the Bookmarks visible. If only the document is visible, click on the Bookmarks icon to the left of the page or go to the View menu and select Navigation Panels and then Bookmarks. To make more room on the desktop for the document, click on the X at the top right of the Bookmarks window to hide the Bookmarks; the Navigation Panel can also be made narrower by dragging the frame bar between the text and the bookmarks to the left. The Bookmarks constitute a directory of the catalogue. Document icons with a plus to the left of them function like folders in a desktop file directory: clicking on the arrow displays the contents of the folder. Clicking on a document icon or the heading text to the right of the icon opens the document at the page where the corresponding term is found (the term will be in large type in the document). Changing the Display Size On a Mac: The document is set to open with a full document page visible. If the text is too small to read easily on a particular monitor, magnify the display by clicking the magnifying glass icon in the Acrobat menu bar or choose a sizing option from the View menu. On a PC: The document is set to open with a full document page visible. If the text is too small to read easily on a particular monitor, magnify the display by clicking the magnifying glass icon or plus and minus keys in the Acrobat menu bar or choose a sizing option from the View menu. For Further Assistance Under the Help menu, click Reader Guide. 5 Autograph Works 1. Boy Peeling Fruit, c. 1592 Oil on canvas, 25¼ x 20¼ in. (64.2 x 51.4 cm) The Dickinson Group, London Provenance: Possibly the work painted by Caravaggio for Pandolfo Pucci da Recanati soon after the artist’s arrival in Rome, around 1592 (Mancini). Another painting of this subject attributed to Caravaggio was in the collection of Cesare Crispolti, a poet who died in Perugia in 1608; sale Phillips, London, December 10, 1996, lot 67 (as attributed). Document: 1. August 16, 1608: Letter sent by Lorenzo Sarego, Perugia, to Cardinal Scipione Borghese, Rome, regarding the paintings in the estate of Cesare Crispolti (ASV, Carte Borghese 54/5; Fumagalli 1994, pp. 101–17; Macioce 1996, pp. 123–24, 132 n. 12 (perhaps a copy), Fumagalli 1994, p. 149: “And further a painting by Michelangelo Caravaggio, living, that is a figure of a youth seen from the belt up who is peeling a peach in oil.” [“E più un quadretto di Michel Ang(el)o Caravaggio vivo, cioè una figura d’un giovane dalla cintura in sù che monda un persico a olio.”]. Sources: 1. Mancini 1619–25 (1956, I, p. 224), Caravaggio “passed to Rome when he was about 20 years old where, having little funds, he stayed with Pandolfo Pucci da Recanati, recipient of a stipend from Saint Peter’s . whom he left after some months of meager satisfaction. In this period he made for him some copies of pious paintings that are in Recanati and, to sell, a boy who cries at being bitten by a lizard that he holds in his hand, and afterwards a boy who peels a pear with a knife” (codice Marciano; codice Palatino, “who peels an apple with 6 a knife”). [“Se ne passò a Roma d’età incirca 20 anni dove, essendo poco provisto di denari, stette con Pandolfo Pucci da Recanati, benefitiato di S. Pietro . Donde dopo alcuni mesi [si parti] con poca soddisfatione . In questo tempo fece per esso alcune copie di devotione che sono in Recanati e, per vendere, un putto che piange per essere stato morso da un racano che tiene in mano [London, National Gallery], e dopo pur un putto che mondava una pera con il cortello” (codice Marciano; codice Palatino, “che mondava con un cultello una mela”).] Exhibitions: Sydney-Melbourne 2003–4, cat. no. 2; Düsseldorf 2006, cat. no. 27. Bibliography: Spike in Phillips 1996, pp. 106–9 (c. 1592); Langdon 1998, pp. 57–58, 421; Puglisi 1998, no. 1B (c. 1593–94); Gash 2001, p. 429 (possibly first version); Marini 2001, pp. 134–35; Spike 2001, cat. no. 1 (c. 1592); Capon 2003, pp. 82–83, 227, cat. no. 2 (c. 1593–94); Hartje in Düsseldorf 2006, ill. p. 96, p. 236, cat. no. 27 (1593); Varriano 2006, pp. 105, 116, fig.94 ; Whitaker–Clayton 2007, p. 262. Numerous copies attest to the popularity of this deceptively simple image, whose possible emblematic significance is discussed in the text, pp.
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