European Art
Artist: Andrea di Cione (Orcagna), Italian, Florence, ca. 1315–1368

Saint John the Baptist

ca. 1355–60

Tempera on panel

picture surface: 99.4 × 40 cm (39 1/8 × 15 3/4 in.)
University Purchase from James Jackson Jarves
Made in Florence, Italy
On view
Italian, Florence
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), 45–46, no. 25, fig. 25.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 36, no. 25, fig. 25.

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): 141, Orcagnesque, “rather too coarse for Andrea’s own hand”.

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. 26.

Osvald Sirén, “Trecento Pictures in American Collections-II,” The Burlington Magazine 14 (1908): 193, pl. II-1 (Orcagna).

Osvald Sirén, Giottino und seine Stellung in der gleichzeitigen florentinischen Malerei (Leipzig, German: Klinkhardt & Biermann, 1908), 70, 89, Orcagna.

Bernard Berenson, The Florentine painters of the Renaissance, with an index to their works (New York, London: G.P. Putnam’s Sons, 1909), 162.

Osvald Sirén, “Pictures in America by Bernardo Daddi, Taddeo Gaddi, Andrea Orcagna, and his Brothers: I,” Art in America 2–4 (June 1914): 270, Orcagna, fig. 4.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 39–40, no. 14, (Orcagna), fig. 14.

Osvald Sirén, Giotto and Some of His Followers, 1, 2 (Cambridge, Mass.: Harvard University Press, 1917), 222–224, 275, Vol. I, pp. 222-224, 275 and II, pl. 190 (Orcagna);.

Richard Offner, “Nardo di Cione and his Triptych in the Goldman Collection,” Art in America (April 1924): 101–103, Nardo di Cione, fig. 2.

Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols. (The Hague: M. Nijhoff, 1923–38), vol. 2, pp. 468–69, fig. 263.

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 3, 16–17, (Nardo di Cione), fig. 7–7a.

Richard Offner, Studies in Florentine painting, the fourteenth century (New York: Junius Press, 1927), 97.

Lionello Venturi, Pitture Italiane in America, 2 (Milan, Italy: Libreria Antiquaria Hoepli, 1931), pl. XLV (Nardo di Cione).

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), 384, Nardo di Cione.

Lionello Venturi, Italian Paintings in America, 1 (New York: E. Weyhe, Inc., 1933), pl. 55 (Nardo di Cione).

Hans D. Gronau, Andrea Orcagna und Nardo di Cione: eine stilgeschictliche Untersuchung (Berlin: Deutscher Kunstverlag, 1937), 59, 85–86, 59, 85-86 note 146, fig. 49, fig. 49.

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).

Rediscovered Italian Paintings, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1952), 18–19, Nardo di Cione.

Bernard Berenson, Italian Pictures of the Renaissance: a list of the principal artists and their works, with an index of places, 1 (New York; Greenwich, Conn.: Phaidon, 1963), 152, as Nardo di Cione.

Brigitte Klesse, Seidenstoff in der italienischen Malerei des vierzehnten Jahrhunderts (Bern, Switzerland: Stampfli, 1967), 156, 339, no. 277 (Nardo di Cione), fig. 206–207.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 146, 599.

E. Selver, Italian Primitives: The Case History of A Collection and Its Conservation. Exhibition catalogue., exh. cat. (New Haven, Conn.: Yale University Press, 1972), 14, fig. 6d.

Miklos Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400 (Florence, Italy: Edam, 1975), 244, 244, n. 211 (Nardo di Cione).

Richard Fremantle, Florentine Gothic painters from Giotto to Masaccio: a guide to painting in and near Florence, 1300 to 1450 (London: Secker & Warburg, 1975), Orcagna, fig. 312.

Richard Offner, Ada Labriola, and Martina Ingendaay Rodio, The Fourteenth Century, Bernardo Daddi and His Circle, ed. Miklos Boskovits, 5 (Florence, Italy: Giunti Editore, 1986), 383.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 134.

Angelo Tartuferi, Dal duecento agli Orcagna: il restauro della Madonna col Bambino di ignoto fiorentino del Duecento e del trittico di Santa Maria degli Angeli di Nardo di Cione (Livorno, Italy: Sillabe, 2001), 66, 70, Nardo di Cione, fig. 24.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 15, lot 25 (Orcagna), fig. 25.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 296.

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.