European Art
Artist: Guido da Siena, Italian, active ca. 1250–1300

The Crucifixion

ca. 1270–80

Tempera on panel

65.1 × 96.5 × 1 cm (25 5/8 × 38 × 3/8 in.)
University Purchase from James Jackson Jarves
Made in Siena, Italy
On view
Italian, Siena
13th 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), 42, no. 12.

James Jackson Jarves, Art Studies: The “Old Masters” of Italy (New York: Derby and Jackson, 1861), 114, pl. A, fig. 3.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 24–25, no. 11.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 12, (Giunta da Pisa), fig. 11.

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), 7, no. 11.

Osvald Sirén, The Earliest Pictures in the Jarves Collection at Yale University (New York: F. F. Sherman, 1915), 277–79, Guido da Siena, fig. 1.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 7–9, no. 2, (Guido da Siena, panel might have been for a gable crowning an altarpiece), fig. 2.

Osvald Sirén and M. W. Brockwell, Catalogue of a Loan Exhibition of Italian Primitives at the Kleinberger Galleries, exh. cat. (New York: n.p., 1917), 110, (Guido da Siena).

Raimond van Marle, “La pittura senese prima di Duccio,” Rassegna d’arte antica e moderna 7 (1920): 270, (shop of Guido da Siena).

Curt H. Weigelt, “Guido da Siena,” Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart 15 (1922): 284.

Richard Offner, A Critical and Historical Corpus of Florentine Painting: A Legacy of Attributions (New York: H. B. J. Maginnis, 1981), 2, 37, shop of Guido da Siena, fig. 26.

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 2, 37, (shop of Guido da Siena), fig. 26.

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), 268, Guido da Siena.

George Harold Edgell, A History of Sienese Painting (New York: Dial Press, Inc., 1932), 33, (cites Sirén attribution to school of Guido, explaining that “Guido is still rather a classification than an individual”).

Bernard Berenson, Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere, con un indice dei luoghi (Milan, Italy: Libreria Antiquaria Hoepli, 1936), 231, (Guido da Siena).

Edward B. Garrison, Italian Romanesque Panel Painting (Florence: Leo S. Olschki, 1949), 116, no. 298, (shop of Guido da Siena, ca. 1270–80).

Millard Meiss, Painting in Florence and Siena after the Black Death (Princeton, N.J.: Princeton University Press, 1951), 150n.80, (school of Guido da Siena);.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 293, (shop of Guido da Siena).

Gertrude Coor-Achenbach, “Notes on Two Unknown Early Italian Panel Paintings,” Gazette des Beaux-Arts 42 (1953): 257–58, (shop of Guido da Siena).

James H. Stubblebine, Guido da Siena (Princeton, N.J.: Princeton University Press, 1964), 16, 91, 92, 102, no. 18, (shop of Guido da Siena, dated 1260), fig. 52.

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), vol. 1, p. 205.

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), 14–15, no. 3.

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), 12, no. 3, (shop of Guido da Siena, ca. 1260–70).

Ruth Wilkins Sullivan, “The Annointing in Bethany and Other Affirmations of Christ’s Divinity on Duccio’s Back Predella,” Art Bulletin 67, no. 1 (March 1985): 41, 43n.25, (shop of Guido da Siena, ca. 1260–70, dates based on Keach 1972), fig. 19.

Luciano Bellosi, “Per un contesto cimabusesco senese: a) Guido da Siena e il probabile Dietisalvi di Speme,” Prospettiva 61 (1991): 7–8, (Guido da Siena), fig. 8.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 131.

Clay M. Dean, Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 18–19, no. 2, (Guido da Siena).

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.