The canvas is lined, the paint surface is relatively clean and the varnish is discoloured. The canvas shows some evidence of wear throughout, as well as spots of paint loss along the upper and left edges. Retouchings are visible throughout, for example in and around Saint Peter's proper right shoulder, in the background upper right, and in the upper left edge of his beard, as well as small spots of paint loss in a cluster just above and to the left of that. Inspection under ultraviolet light reveals a thick milky varnish underneath which it is difficult to discern much, but more recent retouchings are visible, including the aforementioned area in and to the left of his beard, in and below his proper left hand, in his neck and chest, and scattered throughout his clothing. In overall fair condition. Offered in a carved and gilt wood frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This painting, of which two other versions are known,¹ is believed to derive from an as yet unidentified prototype by Jusepe de Ribera.  We are grateful to Professor Nicola Spinosa for proposing a tentative attribution to Francesco Fracanzano, and for dating this painting to the 1630s, on the basis of a digital image. Francesco, along with his brother, Cesare, trained in Ribera's workshop in Naples and imitated in particular their master's famous half-length figures of apostles and Antique philosophers.

1. The paintings sold New York, Christie's, 6 June 2012, lot 36 (as Attributed to Ribera), and London, Sotheby's, 30 October 1996, lot 55 (as Follower of Ribera).