The Cardsharps
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The Cardsharps
I bari (Italian)
ArtistCaravaggio
Yearc. 1596–1597
MediumOil on canvas
Dimensions94.2 cm × 130.9 cm (37.1 in × 51.5 in)
Location

The Cardsharps (Italian: I bari) is a c. 1596–1597 painting by the Italian Baroque artist Caravaggio. The original is generally agreed to be the work acquired by the Kimbell Art Museum in 1987, although Caravaggio may have painted more than one version.

History

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The work represents an important milestone for Caravaggio.[1] He painted it when he was attempting an independent career after leaving the workshop of the Cavaliere Giuseppe Cesari d'Arpino, for whom he had been painting "flowers and fruit", finishing the details for the Cavaliere's mass-produced (and massive) output. Caravaggio left Arpino's workshop in January 1594 and began selling works through the dealer Costantino, with the assistance of Prospero Orsi, an established painter of Mannerist grotesques. Orsi introduced Caravaggio to his extensive network of contacts in the world of collectors and patrons.

Composition

[edit]
The Cardsharp with the Ace of Diamonds by Georges de La Tour, c. 1620–1640.

The painting shows an expensively-dressed but unworldly boy playing cards with another boy. The second boy, a cardsharp, has extra cards tucked in his belt behind his back, out of sight of the mark but not the viewer, and a sinister older man is peering over the dupe's shoulder and signaling to his young accomplice. The second boy has a dagger handy at his side.

It was the second such painting Caravaggio created. The first, The Fortune Teller, had drawn attention, and this painting extended his reputation, small though it was at this stage. The subjects of The Fortune Teller and Cardsharps offered something new: realistic scenes of street life, especially with this beautifully rendered attention to little details such as the split fingers on the older man's gloves, or the teenage cheat's anxious glance at his master. The psychological insight is equally striking, the three figures bound together by the common drama, yet each with his own unique part within the larger play – for if the innocent is being duped, the other boy is no older, another innocent being corrupted even as he cheats his gull.

The Cardsharps, with its mixture of brutal low-life realism and luminous Venetian delicacy, was much admired, and Orsi "went around acclaiming (Caravaggio's) new style and heightening the reputation of his work." Caravaggio appears to have produced more than one version of the work (as discussed in the provenance section below). Over fifty copies and variants made by other painters have survived, with artists such as Georges de La Tour painting their own appreciations of the theme.

Provenance

[edit]

Whether through Costantino or Orsi, Caravaggio came to the notice of the prominent collector Cardinal Francesco Maria del Monte, who purchased Cardsharps and became the artist's first important patron, giving him lodgings in his Palazzo Madama behind the Piazza Navona,[2] then as now one of the principal squares in Rome.

From del Monte's collection the work entered the collection of Cardinal Antonio Barberini, nephew of the Pope Urban VIII (whose pre-elevation portrait, Portrait of Maffeo Barberini, Caravaggio would paint in 1598), in Rome. It passed by descent to his nephew Maffeo Barberini, Prince of Palestrina, and then through the Colonna-Sciarra family.[3] It eventually disappeared in the 1890s, and was rediscovered in 1987 in a private collection in Zürich;[4] it was subsequently sold to and is currently in the collection of the Kimbell Art Museum in Fort Worth, Texas.

The British art historian Sir Denis Mahon acquired a copy of Cardsharps at auction in 2006.[5] Although it had been sold by Sotheby's as being a copy of the work in the Kimbell Art Museum and by an artist other than Caravaggio, Mahon argued that it was a replica by Caravaggio himself. There is a pentimento, in which full detail of the face of one of the cheats had been sketched in spite of being painted over by the page's hat. This suggests that it is unlikely that it was done by a copy artist.[6] The attribution of this version to Caravaggio has been widely accepted, although in 2014 it became the subject of a legal dispute.[7] This suggested that Caravaggio might have painted at least two versions of the work, as he is believed to have done with Boy Bitten by a Lizard, The Fortune Teller, and The Lute Player. Mahon died in 2011 and the painting had been loaned to London's Museum of the Order of St John and insured for £10,000,000.[8] On 16 January 2015 the High Court of England and Wales ruled in favor of Sotheby's,[9] saying that, relying on qualified experts, Sotheby's had reasonably come to the view that the painting was not likely a Caravaggio; the judge consequently ordered the plaintiff, Lancelot Thwaytes, to pay Sotheby's £1.8 million for its legal fees.[10][8]

See also

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References

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Further reading

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The Cardsharps

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The Cardsharps is an oil-on-canvas painting by the Italian Baroque artist Michelangelo Merisi da Caravaggio, created c. 1596–97 and measuring approximately 37 by 51½ inches (94.2 by 130.9 cm) after restoration to its original dimensions.[1] The work depicts a tense scene of deception during a game of primero, featuring a naive young dupe, an older cardsharp, and a younger accomplice.[1] This early masterpiece exemplifies Caravaggio's revolutionary use of dramatic chiaroscuro lighting and psychological realism, helping to invent a genre of "trickery pictures" that influenced 17th-century European art, including works by followers like Georges de La Tour.[2][1] Painted during Caravaggio's early independent career in Rome after leaving the workshop of Giuseppe Cesari, The Cardsharps was likely sold through dealer Costantino to Cardinal Francesco Maria del Monte, who provided the artist with patronage and lodgings in his palace.[3] The painting bears the cardinal's wax seal on the reverse and was inventoried among his possessions after his death in 1627, but it vanished from records until rediscovery in 1987 in a European private collection, when it was acquired by the Kimbell Art Foundation.[1][3]

Background and Creation

Caravaggio's Early Career

Michelangelo Merisi da Caravaggio was born in 1571 in Milan to Fermo Merisi, an architect and administrator, and Lucia Aratori; his family relocated to the town of Caravaggio in 1576 amid a plague outbreak, and he was orphaned by age 13 following his father's death in 1577 and his mother's in 1584.[4] At age 12, in 1584, he began a four-year apprenticeship under the Lombard painter Simone Peterzano, a former pupil of Titian, in Milan; this training immersed him in the region's naturalist traditions, including influences from Leonardo da Vinci's Last Supper and the emphasis on detailed observation in Milanese art.[4][5] In mid-1592, at around age 21, Caravaggio fled Milan for Rome following involvement in quarrels, including the wounding of a police officer, arriving in the city destitute and in need of support.[4] He initially found employment in the bustling workshop of Giuseppe Cesari, known as the Cavaliere d'Arpino and a favored artist of Pope Clement VIII, where from late 1592 he specialized in painting flowers and fruits as decorative elements for larger compositions; documented works from this period include Boy Peeling a Fruit (c. 1592–1593) and Boy with a Basket of Fruit (c. 1593), which were later confiscated from Cesari's collection in a 1607 legal settlement.[4][6] His time there ended in January 1594, likely due to illness, marking the conclusion of his formal workshop training.[4] As an independent artist in Rome from 1594, Caravaggio faced financial hardships and relied on a network of dealers and patrons to sustain his career; he sold paintings through the art dealer Costantino, with crucial assistance from the established Mannerist painter Prospero Orsi, who provided lodging, introductions to collectors like Monsignor Fantino Petrignani, and encouragement to produce marketable works.[4][7] He also formed key alliances with figures such as the painter Onorio Longhi and the Sicilian model Mario Minniti, who posed for several early pieces and helped secure patronage.[4] This period of struggle honed his determination to break from decorative assignments, as seen in works like The Cardsharps (c. 1594–1595), which exemplified his emerging autonomy.[4] Caravaggio's early independent output signaled a pivotal shift from still-life and single-figure studies to multi-figure genre scenes depicting everyday life, establishing the foundations of his revolutionary realistic style characterized by direct observation, unidealized human forms, and dramatic tenebrism.[4][8] Representative examples include The Fortune Teller (c. 1596–1597), where he portrayed ordinary Romans in narrative interactions, prioritizing psychological depth and lifelike detail over Mannerist elegance to capture the gritty social realities of late-16th-century Rome.[4] This evolution not only reflected his Lombard roots but also anticipated the broader impact of his naturalism on Baroque art.[9]

Date and Circumstances of Painting

The Cardsharps was created circa 1594, shortly after Caravaggio departed from the workshop of Giuseppe Cesari, known as the Cavaliere d'Arpino, in January of that year.[10][4] This marked one of the artist's earliest independent commissions in Rome, where he had arrived in the early 1590s following his apprenticeship in Milan.[10] The painting was sold through the dealer Costantino, with assistance from the established painter Prospero Orsi, who introduced Caravaggio to influential collectors amid his precarious circumstances.[4] At the time, Caravaggio faced significant financial instability in Rome, arriving "naked and extremely needy ... without fixed address and without provision ... short of money," which prompted a strategic shift toward producing marketable genre scenes depicting street life and themes of deception.[4] The Cardsharps, known in Italian as I Bari—referring to cheats or cardsharps—aligned with this pivot, capitalizing on the contemporary Roman fascination with low-life subjects known as bari, often portrayed in popular theater and visual arts for their moral and psychological intrigue.[11][1] The work's success in this vein soon attracted the patronage of Cardinal Francesco Maria del Monte, who acquired it and provided Caravaggio with stable quarters in his palace.[10][4]

Description and Composition

Subject Matter

The Cardsharps depicts a tense moment in a cheating card game known as primiera, an early precursor to poker, where a naive young boy serves as the unwitting victim. Positioned at the left, the boy, dressed in elegant attire with a fine embroidered collar, is deeply focused on his hand of cards, oblivious to the deception unfolding around him.[1][12] To his right sits a sly young cardsharp, clad in a simple doublet with black stripes typical of streetwear, who conceals an extra card behind his back while peering slyly at the boy's hand. Standing behind the boy is an older accomplice, dressed in more ostentatious silk brocade and a glove on one hand, who gestures subtly to signal the winning card to his younger partner. This contrast in clothing highlights the social disparity between the innocent youth from a privileged background and the roguish cheats from the urban underclass.[1][12] The painting captures the essence of deception in the everyday life of late 16th-century Rome, portraying a fleeting instant of high-stakes tension during the game as the boy teeters on the brink of loss. This work exemplifies Caravaggio's early turn toward genre scenes of ordinary urban encounters following his arrival in Rome around 1594. Painted in oil on canvas, it measures 94 cm × 131 cm.[1][3]

Key Visual Elements

The composition of The Cardsharps centers on three figures arranged in a tight triangular formation that draws the viewer's eye into the intimate card game scene. The young dupe, positioned on the left and facing slightly toward the viewer, sits engrossed in his hand of cards, his posture conveying absorption. The older cardsharp, standing behind the dupe and leaning closely over his shoulder from the center, peers at the cards while raising a gloved hand in a subtle gesture. On the far right, a younger accomplice stands expectantly, his body angled as he reaches behind his back toward his belt, completing the leaning-in dynamic that heightens the scene's immediacy.[1][12] Prominent props scattered across the foreground table and figures reinforce the composition's focus on the game's tension. The table holds a scatter of playing cards, including visible suits and ranks such as the ace of coins, alongside a pile of stakes; an exposed dagger rests conspicuously on the table's edge near the dupe, its blade catching attention. A discarded cloak drapes over the back of a chair, adding to the disheveled atmosphere, while the older cardsharp's torn glove—slit to reveal his fingertips—serves as a tactile detail on his signaling hand. The accomplice's elongated shadow stretches across the wall behind the group, emphasizing their clustered positions and adding a layer of spatial extension.[3][13] This arrangement creates spatial depth through the figures' overlap with the table's edge, positioning their torsos and arms as if protruding toward the viewer and immersing the audience in the confined, charged space. The color palette employs muted earth tones—browns, grays, and subdued reds from the cards' suits and fabrics—providing a grounded realism, with brighter highlights selectively illuminating the faces, hands, and key props to guide focus amid the dim surroundings. These elements collectively capture the narrative of cheating at cards without overt drama.[1][12]

Artistic Techniques

Chiaroscuro and Lighting

Caravaggio's The Cardsharps exemplifies his pioneering use of tenebrism, a form of dramatic chiaroscuro characterized by intense contrasts between light and shadow, where a single artificial light source positioned from the upper left illuminates the principal figures while casting the background into profound darkness.[14] This side-lighting creates sharp relief on the faces and hands of the card players, emphasizing their gestures and expressions against the enveloping obscurity, a technique that heightens the painting's sculptural depth and theatrical intensity.[14] The strategic placement of light directs the viewer's attention to critical narrative elements, such as the innocent face of the young victim brightly lit to convey vulnerability and the shadowed cheating hand of the accomplice subtly revealed to build suspense.[15][14] This interplay of illumination and shadow generates psychological tension, drawing the audience into the moral drama unfolding in the dimly lit space and mimicking the focused spotlight of a stage production.[14] The light also catches highlights on key props, such as the dagger at the standing figure's belt, underscoring the threat inherent in the scene.[14] Caravaggio achieved this lighting effect through an innovative process that eschewed preparatory drawings, painting the figures directly onto the canvas from live models to allow for spontaneous modeling of light and form.[14] This direct approach enabled precise observation of natural light patterns, resulting in the work's immediate and lifelike luminosity.[14] Building on his earlier painting The Fortune Teller, where similar theatrical lighting introduced themes of deception, Caravaggio intensified the tenebrism in The Cardsharps to amplify emotional impact and viewer engagement.[14] This evolution marked a heightened mastery of light as a narrative tool, distinguishing the work among his early Roman productions.[14]

Realism and Detailing

Caravaggio's The Cardsharps exemplifies his dedication to naturalism, drawing from live models sourced from the streets of Rome to capture unidealized human forms and interactions, eschewing classical sculptures in favor of observed reality. This approach is evident in the painting's direct execution on canvas without preparatory drawings, allowing for spontaneous yet precise depictions of everyday figures engaged in a game of primero.[1][3] The hyper-realistic rendering of fabrics underscores Caravaggio's attention to material textures, such as the intricate folds and sheen of the central figure's silk brocade sleeve, achieved through techniques like blotting wet paint with fingers to mimic luxurious drapery. Similarly, the accomplice's worn leather glove, split at the fingertips to reveal skin, conveys tactile wear and functionality, highlighting the socioeconomic contrasts among the characters through detailed embroidery and surface irregularities on clothing. These elements elevate the mundane attire of low-life subjects into vividly lifelike representations.[1][3] Anatomical precision is paramount in the expressive hand gestures that drive the narrative of deception, including the gloved hand subtly signaling with exposed fingertips and the young cardsharp's tense reach toward a hidden card, rendered with accurate joint articulations and vein details. Facial expressions further enhance this realism, portraying the accomplice's cunning squint and parted lips of nervous anticipation alongside the naive dupe's oblivious focus, all derived from close observation of real individuals to convey subtle emotional nuances without exaggeration.[1][3][12] Mundane details like the frayed edges of playing cards, subtle dirt under the nails of the rougher characters contrasting with the clean hands of the wealthier youth, and the coarse weave of the tablecloth reject artistic idealization in favor of tangible, observed reality. This photographic-like detailing innovates genre painting by transforming scenes of urban vice into immersive studies of human behavior, influencing later Baroque naturalism. The painting also features subtle incisions in the wet ground to define fine details, such as fingertips and card edges, and reveals pentimenti—alterations including changes to the older man's hand and card positions—evidencing Caravaggio's improvisational process. Well-preserved red lake glazes contribute to the vivid realism of the figures' clothing.[1][3][1]

Interpretation and Analysis

Symbolism and Moral Themes

The Cardsharps serves as a moral warning against gullibility and the vices associated with gambling, portraying the central young boy as a symbol of youthful innocence vulnerable to corruption by urban deceit in a manner reminiscent of 16th-century cautionary tales that depicted the perils of naivety in everyday encounters.[1] The painting's narrative underscores the ethical peril of trusting appearances, with the boy's engrossed focus on the cards highlighting how inexperience can lead to exploitation by more cunning figures.[16] This theme aligns with broader Renaissance artistic traditions that used genre scenes to caution viewers against moral lapses in social interactions.[17] Symbolic props in the composition deepen these allegorical layers: the dagger tucked into one cheat's belt evokes the threat of violence inherent in gambling disputes, while its shadow falls ominously across the boy's back, representing the lurking danger of betrayal.[1] The torn glove on the standing cheat's hand, with its exposed fingertips, signals complicity in the deception, as it allows for sleight-of-hand tricks like marking or palming cards, thereby illustrating the subtle mechanics of treachery.[16] These elements collectively emphasize the painting's critique of hidden vices that undermine trust.[17] The work further explores themes of social deception prevalent in Renaissance Rome, critiquing the stark class contrasts between the boy's fine attire—marked by a luxurious red jacket and lace collar—and the rogues' shabby, mismatched clothing, which underscores how poverty-driven cunning preys on the privileged and unwary.[1] This portrayal reflects the era's anxieties over urban fraud and social mobility, where encounters between different strata could lead to moral and financial ruin.[16] Caravaggio connects these motifs to Christian morality plays, in which figures like cardsharps traditionally embodied sin and temptation, but he secularizes the narrative through unflinching realism, shifting the focus from overt didacticism to a more ambiguous, humanized exploration of ethical ambiguity without explicit religious judgment.[17] By grounding the allegory in observable street life, the painting invites viewers to contemplate vice as an intrinsic part of society rather than a supernatural force.[1] This approach transforms the cautionary tale into a subtle indictment of complicity, where the observer, like the boy, risks overlooking the deceit.[16]

Influences and Comparisons

The Cardsharps draws direct inspiration from Caravaggio's earlier genre painting The Fortune Teller (c. 1594, Capitoline Museums, Rome), which also depicts street deception through a young man being tricked by a fortune-telling gypsy, but advances the composition by introducing a more complex group dynamic and heightened dramatic tension among three figures.[16] Both works, characterized as "comedies of deceivers," share thematic elements of moral ambiguity and viewer complicity in the ruse, yet The Cardsharps refines the narrative by emphasizing spatial intimacy and psychological interplay, marking an evolution in Caravaggio's exploration of everyday vice.[18] The painting's roots trace to Northern European print traditions, particularly Hans Sebald Beham's 1512 woodcut Gamblers, which features a similar two-fingered signaling gesture by a cheater to alert an accomplice, a motif echoed in Caravaggio's depiction of the older cardsharp.[19] In Italy, precursors include Bolognese genre scenes by Bartolomeo Passerotti, whose market and vendor compositions from the 1580s introduced naturalistic portrayals of low-life activities, influencing Caravaggio's shift toward unidealized urban subjects in Rome.[20] The Cardsharps exerted significant influence on later European tenebrism, notably in Georges de La Tour's The Cheat with the Ace of Clubs (c. 1630–1634, Kimbell Art Museum), which adopts the theme of card deception but employs a more subdued candlelit interior to heighten moral ambiguity and visual focus on the protagonists' gestures.[1] This parallel underscores The Cardsharps' role in propagating Caravaggio's dramatic lighting and genre innovation across France, where La Tour transformed the motif into introspective nocturnal scenes. The work played a pivotal role in establishing Caravaggio's reputation, as its purchase by Cardinal Francesco Maria del Monte around 1597 provided the artist with stable patronage, lodging in the cardinal's palace, and access to influential Roman circles, elevating his status from workshop assistant to independent master.[1]

Provenance and Legacy

Ownership History

Following its creation around 1594, The Cardsharps entered the collection of Cardinal Francesco Maria del Monte, Caravaggio's early patron, at Palazzo Madama in Rome by approximately 1595–1600, where it formed part of a group of the artist's works acquired during his residence with the cardinal.[1] Upon del Monte's death in 1627, the painting passed by inheritance to his nephew, Alessandro del Monte, Bishop of Gubbio, remaining in Rome.[1] In 1628, Cardinal Antonio Barberini acquired the work, integrating it into the Barberini family holdings at Palazzo Barberini alle Quattro Fontane and Palazzo ai Giubbonari in Rome; it descended through the Barberini line, including to Don Maffeo Barberini, Prince of Palestrina (1631–1685), Don Urbano Barberini, Prince of Palestrina (1664–1722), and Cardinal Francesco Barberini, Prince of Palestrina (1662–1738).[1] By the late 18th century, through marriage and inheritance, it reached Donna Cornelia Costanza Barberini and Don Giulio Cesare Colonna di Sciarra, transitioning into the Colonna-Sciarra family collection at Palazzo Barberini in Rome.[1] In 1812, Don Maffeo Barberini Colonna di Sciarra, 7th Prince of Carbognano (1796–1849), received the painting as part of a family allocation, and it stayed with his heirs, including Don Maffeo Barberini Colonna di Sciarra, 8th Prince of Carbognano (1850–1925), at Palazzo Sciarra in Rome and later in Paris until around 1895, where it appears in a 1890 inventory.[1] After 1895, the painting's location remained unknown for nearly a century, entering a private European collection and likely hidden during and after World War II.[1] It was rediscovered in 1987 in a private collection in Zurich, Switzerland, authenticated as the original through the presence of Cardinal del Monte's wax seal.[21] The Kimbell Art Foundation purchased it that year from the anonymous European owner, marking one of the highest prices for a private art sale at the time.[22] The work has since resided at the Kimbell Art Museum in Fort Worth, Texas, where it remains on view.[1]

Copies, Exhibitions, and Cultural Impact

Numerous copies of The Cardsharps were produced during the 17th and 18th centuries, reflecting the painting's widespread popularity and Caravaggio's influence on contemporary artists. At least 30 versions are documented, including workshop replicas and independent works by followers such as those in the circle of Caravaggio, as well as thematic adaptations by later painters like Georges de La Tour, who explored similar motifs of deception in card games.[22][23][16] A notable controversy arose in 2006 when a version surfaced at Sotheby's auction, initially cataloged as a copy but later contested by its owner as an original Caravaggio. The 2015 court case Thwaytes v Sotheby's ruled in favor of the auction house, affirming the work as a non-autograph imitation rather than an authentic piece by the master, highlighting ongoing debates over attribution in Caravaggesque production.[24][25] The original painting has been featured in several major exhibitions since its rediscovery and acquisition by the Kimbell Art Museum in 1987. It was displayed at the Metropolitan Museum of Art shortly after its attribution to Caravaggio, underscoring its significance in early reassessments of his oeuvre. More recently, it has been loaned for shows such as "Among Friends and Rivals: Caravaggio in Rome" at the Art Institute of Chicago in 2023, and it rotates periodically within the Kimbell's permanent collection to ensure preservation.[26][3][1] Culturally, The Cardsharps stands as an emblem of Baroque realism, pioneering the genre of "trickery pictures" that captured everyday vice with dramatic intensity and influenced subsequent depictions of moral ambiguity in art. Its theme of deception has resonated in modern media, appearing in film representations of art heists and con artistry, as well as in literature exploring themes of betrayal and human frailty, such as biographical works on Caravaggio's turbulent life. The painting underwent restoration in 1987 at the Kimbell, where conservators removed old varnish and lining to reveal original details, including a seal from Cardinal del Monte's collection, enhancing its visual clarity without recorded major damages.[27][28][1] Scholarship on The Cardsharps has proliferated since its 1987 rediscovery, with studies emphasizing its pivotal role in Caravaggio's early career and the broader Caravaggisti movement, including analyses of its compositional innovations and thematic depth in over a dozen key publications from the late 1980s onward.[13]

References

  1. The Cardsharps, 1594 by Caravaggio
  2. The Cardsharps | Kimbell Art Museum
  3. There's Much More to Caravaggio's 'The Cardsharps' Than Vice ...
  4. Caravaggio Biography In Details
  5. Caravaggio Was the Other Michelangelo of the Renaissance
  6. Caravaggio, Boy with a Basket of Fruit - Smarthistory
  7. [PDF] Caravaggio (1571–1610) - Laurence Shafe
  8. Caravaggio and Caravaggisti in 17th-century Europe - Smarthistory
  9. Caravaggio Paintings, Bio, Ideas - The Art Story
  10. Caravaggio (Michelangelo Merisi) (1571–1610) and His Followers
  11. The Cardplayer: A Copyist's Winning Hand - Sothebys.com
  12. The Cardsharps - Caravaggio (Michelangelo Merisi)
  13. Perspective | Caravaggio's 'The Cardsharps,' at the Kimbell ...
  14. [PDF] caravaggio's drama: art, theater, and religion during italy's
  15. [PDF] Volume-18.pdf - Rutgers Art Review
  16. [PDF] Elements of Art - Kimbell Art Museum
  17. Cardsharps and Fortune Tellers by Caravaggio and La Tour
  18. https://doi.org/10.4324/9781315095974-16
  19. Caravaggio's Patron – And His Fingerprints | Art&Seek
  20. https://www.jstor.org/stable/41479760
  21. (PDF) Caravaggio : still life with fruit on a stone ledge - Academia.edu
  22. Timeline - 50th Anniversary Celebration | Kimbell Art Museum
  23. Kimbell adds Caravaggio masterpiece to collection - UPI Archives
  24. The Cardsharps (after Caravaggio) - National Trust Collections
  25. Sotheby's Wins Case Over $15.8 Million Caravaggio - Artnet News
  26. Sotheby's Caravaggio case: Former owner of 'The Cardsharps' loses ...
  27. [PDF] A Caravaggio Rediscovered: The Lute Player
  28. Caravaggio: Cardsharps (1595) - The Independent
  29. Sinners and Saints - The New York Times
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