European Art
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Photo credit: Yale University Art Gallery
PrevNext2 of 2
Photo credit: Yale University Art Gallery
Artist: Master of Monte Oliveto, Italian, Siena, active ca. 1305–35

The Crucifixion and the Virgin and Child Enthroned

ca. 1315

Tempera on panel

unframed, Cruxifixion: 33 × 21.5 cm (13 × 8 7/16 in.)
unframed, Virgin and Child: 33 × 22 cm (13 × 8 11/16 in.)
University Purchase from James Jackson Jarves
Made in Siena, Italy
On view
Italian, Siena
14th century

James Jackson Jarves Collection, Florence, to 1871; Yale University Art Gallery, New Haven, Conn.


James Jackson Jarves, Descriptive Catalogue of “Old Masters,” Collected by James J. Jarves, to Illustrate the History of Painting from A.D. 1200 to the Best Periods of Italian Art (Cambridge, Mass.: H. O. Houghton and Co., 1860), 44, no. 21, fig. 21.

James Jackson Jarves, Art Studies: The “Old Masters” of Italy (New York: Derby and Jackson, 1861), pl. C, fig. 10.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 27–28, no. 14, fig. 14.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 13, lot 14 (Duccio).

William Rankin, “Some Early Italian Pictures in the Jarves Collection of the Yale School of Fine Arts at New Haven,” American Journal of Archaeology 10 (April-June 1895): 139–140, incorrectly ascribed to Duccio, contemporary of Duccio.

F. Mason Perkins, “Pitture Senesi negli Stati Uniti,” Rassegna d’arte senese 1, no. 2 (1905): 76.

William Rankin, Notes on the Collections of Old Masters at Yale University, the Boston Museum of Fine Arts, the Fogg Museum of Harvard University (Wellesley, Mass.: Department of Art of Wellesley College, 1905), 8, no. 14.

Giacomo de Nicola, “Duccio di Buoninsegna and his School in Mostra di Duccio at Siena,” The Burlington Magazine 22 (1912): 147, 147 (Monte Oliveto Master).

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 31–33, no. 10, (follower of Duccio), fig. 10.

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 4, 38, (follower of Duccio), fig. 27.

Lionello Venturi, Pitture Italiane in America, 2 (Milan, Italy: Libreria Antiquaria Hoepli, 1931), pl. XIX, XX.

Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works, with an Index of Places (Oxford: Clarendon Press, 1932), 524, (as Segna di Bonaventura).

Cesare Brandi, La Regia Pinacoteca di Siena (Rome, Italy: La Libreria dello stato, 1933), 176.

Harry B. Wehle, A Catalogue of Italian, Spanish, and Byzantine Paintings (New York: The Metropolitan Museum of Art, 1940), 74, 74 (cites Offner’s verbal opinion that triptych in Metropolitan Museum of Art is by same painter as Yale diptych).

Cesare Brandi, Duccio (Florence, Itlay: Vellecchi, 1951), 141.

Gertrude Coor, A New Attribution to the Monte Oliveto Master and some Observations concerning the Chronology of his Works, 97 (London, England: The Burlington Magazine, July 1955), 203, 204, 207, 203, 204, 207, figs. 28 and 29 (Monte Oliveto Master, dated after 1315), fig. 28, 29.

Charles Seymour Jr., Early Italian Paintings in the Yale University Art Gallery: A Catalogue by Charles Seymour, Jr. (New Haven, Conn.: Yale University Press, 1970), 71–72, no. 49a–b, fig. 49a–b.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 599.

Daniel L. Arnheim, Charles Seymour Jr., and Gloria Kury Keach, Italian Primitives: The Case History of a Collection and Its Conservation (New Haven, Conn.: Yale University Art Gallery, 1972), 43, no. 34, (Sienese school).

James H. Stubblebine, “Duccio’s Maestà of 1302 for the Chapel of the Nove,” The Art Quarterly 35, no. 3 (1972): 240–241, 243, 251, fig. 2, 21.

Luisa Vertova, “The New Yale Catalogue,” The Burlington Magazine 115 (March 1973): 159–160.

Federico Zeri, Italian Paintings in the Walters Art Gallery, ed. Ursula E. McCracken (Baltimore, Md.: The Walters Art Museum, 1976), 36.

James H. Stubblebine, Duccio di Buoninsegna and his school, 1, 2 (Princeton, New Jersey: Princeton University Press, 1979), 8, 10, 92, 94–95, 96, 100, fig. 212–213.

Anne Derbes and Amy Neff, Byzantium: Faith and Power (1261–1557), ed. Helen C. Evans (New York; New Haven, Conn.: The Metropolitan Museum of Art, 2004), 460, 605, 460, 605, notes 90, 93.

Brigitte Klesse, Seidenstoff in der italienischen Malerei des vierzehnten Jahrhunderts (Bern, Switzerland: Stampfli, 1967), 328, workshop of Duccio di Duoninsegna.

Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places, 3 (London: Phaidon Press, 1968), 393, vol. 1, p. 393.

Laurence Kanter, “Some Early Sienese Paintings: Cleaned, Uncleaned, Restored, Unrestored. What Have We Learned?,” Yale University Art Gallery Bulletin (2010): 46–65, fig. 12–16.

Martina Bagnoli, “A Crucifixion by Naddo Ceccarelli,” The Journal of the Walters Art Museum 70–71 (2012–13): 16–7, fig. 3.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 294.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.