European Art
Artist: Master of the Ashmolean Predella, Italian, active ca.1365–ca.1390

Holy Trinity with the Virgin and Saints Mary Magdalen, John the Baptist, and John the Evangelist

ca. 1390

Tempera on panel

106.7 x 50.2 cm (42 x 19 3/4 in.)
University Purchase from James Jackson Jarves
1871.18
Culture: 
Italian, Florence
Period: 
14th century
Classification: 
Paintings
Status: 
Not on view
Provenance: 

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

Bibliography: 

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. 20.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 37, no. 27.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 15, lot 27 (Puccio Capanna).

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, follower of Giotto.

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. 27.

Osvald Sirén, “Pictures in America by Bernardo Daddi, Taddeo Gaddi, Andrea Orcagna, and his Brothers: I,” Art in America 2–4 (June 1914): 336, Gerinesque with Jacopo’s collaboration.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 45–46, no. 18, (style of Cione workshop at late period after Orcagna’s death), fig. 18.

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 17–18, (as circle of Jacopo 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), 274, Jacopo di Cione with Niccolò di Pietro Gerini.

Millard Meiss, Painting in Florence and Siena after the Black Death (Princeton, N.J.: Princeton University Press, 1951), 34n.83, (as Cionesque).

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

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), 105, Jacopo di Cione with Niccolò di Pietro Gerini.

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), 48, no. 30, fig. 30.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 101, 599, school or shop of Jacopo di Cione.

Miklos Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400 (Florence, Italy: Edam, 1975), 327, Jacopo di Cione, ca. 1390-1395.

Richard Offner, A Critical and Historical Corpus of Florentine Painting: A Legacy of Attributions (New York: H. B. J. Maginnis, 1981), 29, (Master of the Academy Crucifixion, with close affinities with the Infancy Master).

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.