拍品专文
Another version, with differences including a third, music-making angel, is in the Musée du Louvre, Paris, Inv. no. 1976 (Bieneck, op. cit., p. 157, no. A31, and p. 158, illustrated).
The composition is very loosely derived from Giovanni Baglione's painting in the Davidson collection, Santa Barbara (for which, see A. Moir, The Italian Followers of Caravaggio, II, 1967, pl. 29). Vorsterman engraved the composition in the opposite sense (see P. Askew, The Angelic consolation of Saint Francis of Assisi in Post-Tridentine Italian Painting, Journal of the Warburg and Courtauld Institutes, XXXII, 1969, pl. 45a; and D. Bieneck, op. cit., pp. 158-9, no. A31a).
The composition is very loosely derived from Giovanni Baglione's painting in the Davidson collection, Santa Barbara (for which, see A. Moir, The Italian Followers of Caravaggio, II, 1967, pl. 29). Vorsterman engraved the composition in the opposite sense (see P. Askew, The Angelic consolation of Saint Francis of Assisi in Post-Tridentine Italian Painting, Journal of the Warburg and Courtauld Institutes, XXXII, 1969, pl. 45a; and D. Bieneck, op. cit., pp. 158-9, no. A31a).