European Art
Artist: Luca di Tommè, Italian, Siena, active by 1357–1390

The Assumption of the Virgin

1362

Tempera on panel

121.6 x 62.2 cm (47 7/8 x 24 1/2 in.) framed: 147.7 x 68.8 cm (58 1/8 x 27 1/16 in.)
University Purchase from James Jackson Jarves
1871.12
Culture: 
Italian, Siena
Period: 
14th century
Classification: 
Paintings
Status: 
On view
Provenance: 

Oratorio dal Pedere Gazzaja, Arezzo, environs, until 1818 (removed from an altar by permission of the Bishop of Arezzo to the private chapel of the noble family in Siena who owned it); James Jackson Jarves Collection, New York, in 1860.

Bibliography: 

M. Rotili, La miniature gotica in Italia, 2 (Naples, Italy: Libreria scientifica editrice, 1968-1969), 17.

Agnes Morgan and Elizabeth Morgan, European paintings in the Timken Art Gallery (Saint Diego, Calif.: Putnam Foundation, 1969), 22.

Henk van Os, Marias Demut und Verherrlichung in der sienesischen Malerei 1300-1450’s (Gravenhage, Netherlands: Ministerie van Cultuur, Recreatie en Maatschappelijk Werk and Staatsdrukkerij- en Uitgeverijbedrijf, 1969), 166, 170, fig. 56, 65.

Sherwood A. Fehm Jr., “Notes on the Exhibition of Sienese Paintings from Dutch Collections,” Burlington Magazine 111 (September 1969): 574.

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), 78–80, fig. 53.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 113, 307, 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), 13, no. 4, (Luca di Tommè), fig. 4a–b.

Sherwood A. Fehm Jr., “Luca di Tommè’s Influence on Three Sienese Masters: The Master of the Magdalen Legend, The Master of the Panzano Triptych, and the Master of the Pieta,” Mitteilungen des Kunsthistorischen Institutes in Florenz 20 (1976): 333, fig. 2.

Cristina de Benedictis, La pittura senese 1330-1370 (Florence, Italy: Salimbeni libreria editrice, 1979), 47–48, 88, fig. 89.

Bruce Cole, Sienese Painting from Its Origins to the Fifteenth Century (New York: Harper & Row, 1980), 191–192, 195, fig. 101 (Luca di Tommè, with strong influence of Niccolò di Ser Sozzo), fig. 101.

Alan Shestack, ed., Yale University Art Gallery Selections (New Haven, Conn.: Yale University Art Gallery, 1983), 24–25, ill.

Alan Shestack, ed., Yale University Art Gallery: Selections (New Haven, Conn.: Yale University Press, 1983), 24–25.

Sherwood A. Fehm Jr., Luca di Tommè: A Sienese Fourteenth-Century Painter (Carbondale, Ill.: Southern Illinois University Press, 1986), 1, 26–30, 85–88, fig. 15.

Henk van Os, Sienese altarpieces, 1215-1460: form, content, function (Groningen, Netherlands: Bouma’s Boekhuis, 1990), 46–47, fig. 18.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 133.

Pia Palladino, Art and Devotion in Siena after 1350: Luca di Tommè and Niccolò di Buonaccorso (San Diego, Calif.: Timken Museum of Art, 1997), 34–35, Luca di Tommè; from an altarpiece c. 1362, possibly the one from San Tommaso degli Umiliati, and possibly also including a series of five heads of prophets in the Rijksmuseum, Utrecht, and formerly in a private collection, Florence, fig. 25.

Giulietta Chelazzi Dini, Alessandro Angelini, and Bernardina Sani, Pittura senese (Milan, Italy: Federico Motta, 2002), 1871, Luca di Tommè.

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), 46–47, no. 40, fig. 40.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 40–41, no. 35, fig. 35.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 16, lot 35 (as Sienese school, ca. 1350, “but by one of their best Artists”).

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): 142–143, “earliest example of Sienese painting in the Jarves collection”, “very characteristic of the symmetry and graceful affectation of the lesser XIV century craftsman,” later than Lorenzetti).

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), 9, no. 35, fig. 35.

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

F. Mason Perkins, “Alcuni dipinti italiani in America,” Rassegna d’Arte 9 (1909): 145, 145 (as Luca di Tommè).

Frank Jewett Mather Jr., “The Jarves Collection,” Yale Alumni Weekly 23 (1914): 967, follower of Lorenzetti about 1350.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 37–38, (Luca di Tommè), fig. 12.

Raimond van Marle, Simone Martini et les peintres de son école (Strasbourg, France: J. H. E. Heitz, 1920), 144–145.

F. Mason Perkins, “Some Sienese Pictures in American Collections, Part Two,” Art in America 8 (1920): 288.

Frank Jewett Mather Jr., A History of Italian Painting (London: Stanley Paul & Co., Ltd., 1923), 85–86, 85–86, fig. 54 (Luca di Tommè, “may be as late as 1370, repeats loyally the formulas which Pietro Lorenzetti invented fifty years earlier.”), fig. 54.

Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols. (The Hague: M. Nijhoff, 1923–38), vol. 2, p. 481, fig. 313.

Ernest T. DeWald, “The Master of the Ovile Madonna,” Art Studies 1 (1923): 54, fig. 24.

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 4–5, 38–39, (Luca di Tommè), fig. 29–29a.

Emilio Cecchi, Les peintres siennois (Trecentisti senesi) (Paris: G. Crès, 1928), 148, fig. 223.

Helen Comstock, “Luca di Tommè in American Collections,” International Studio 89 (January 1928): 58–59.

Raimond van Marle, “Ancora quadri senesi,” La Diana 6 (1931): 170, 170, Luca di Tommè.

Associates in Fine Arts, Yale University, “Handbook: A Description of the Gallery of Fine Arts and the Collections,” Bulletin of the Associates in Fine Arts at Yale University 5, nos. 1–3 (1931): 28, ill.

Lionello Venturi, Pitture Italiane in America (Milan, Italy: U. Hoepli, 1931), pl. 84, fig. 84.

George Harold Edgell, A History of Sienese Painting (New York: Dial Press, Inc., 1932), 157, (Luca di Tommè), fig. 191.

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), 313, (Luca di Tommè).

Bernard Berenson, Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere, con un indice dei luoghi (Milan, Italy: U. Hoepli, 1936), 269, (Luca di Tommè).

Helen Comstock, “The Yale Collection of Italian Paintings,” The Connoisseur 118 (September 1946): 50.

Millard Meiss, Painting in Florence and Siena after the Black Death (Princeton, N.J.: Princeton University Press, 1951), 21–24, (Luca di Tommè).

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 297, fig. 6.

F. Mazzini, “Resti di un ciclo senese trecentesco in S. Domenico d’Urbino,” Bolletino d’Arte 37 (1952): 65–66.

Federico Zeri, “Un pittore di Narni del 1409,” Paragone 9 (1958): 9, 9 (as Luca di Tommè).

Enzo Carli, Pittura italiana (Milan: A. Martello, 1961), 20.

Gianna Dalli Regoli, Miniatura Pisana del Trecento (Vicenza, Italy: N. Pozza, 1963), 56.

Millard Meiss, “Notes on Three Linked Sienese Styles,” Art Bulletin 45 (March 1963): 47–48, fig. 7.

Mario Bucci, “Proposte per Niccolò di ser Sozzo Tegliacci,” Paragone 16 (March 1965): 59–60, fig. 2.

Brigitte Klesse, Seidenstoff in der italienischen Malerei des vierzehnten Jahrhunderts (Bern, Switzerland: Stampfli, 1967), 259, 259, no. 151k and 407, no. 394e (Niccolò di Ser Sozzo Tegliacci and Luca di Tommè), fig. 151k, 394e, 407.

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.