Virgin and Child Enthroned between Saints Albert of Trapani and Peter and Saints Paul and Anthony Abbot; The Annunciation Artist, attributed to: Lippo d' Andrea (Florence, 1370/71–before 1451)

ca. 1413–20

European Art

Not on view

Tempera and gold on panel


overall: 81 1/8 × 93 1/2 in. (206 × 237.5 cm)
central panel: overall: 81 1/8 × 29 1/8 in. (206 × 74 cm)
picture surface (central panel: picture surface): 64 3/16 × 28 3/4 in. (163 × 73 cm)
left lateral panel: overall: 75 9/16 × 32 1/16 in. (192 × 81.5 cm)
picture surface (left lateral panel: picture surface): 55 7/8 × 31 7/8 in. (142 × 81 cm)
right lateral panel: overall: 75 9/16 × 32 5/16 in. (192 × 82 cm)
picture surface (right lateral panel: picture surface): 56 5/16 × 31 3/4 in. (143 × 80.6 cm)

Credit Line

University Purchase from James Jackson Jarves

Accession Number



15th century


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 records is ongoing.



James Jackson Jarves Collection, Florence; reported to have been purchased from the Convent of S. Martino alle Selve at Signa, near Florence.
  • Katherine Renell Smith Abbott et al., The Art of Devotion: Panel Painting in Early Renaissance Italy, exh. cat. (Lebanon, N.H.: Middlebury College Museum of Art, 2009), 12; 88–89, no. 7, ill
  • Christa Gardner von Teuffel, From Duccio's Maesta to Raphael's Transfiguration: Italian Altarpieces and their Settings (London: Pindar Press, 2005),
  • Andrea Staderini, "Primitivi' fiorentini dalla collezione Artaaud de Montor. Parte I: Lippo d'Andrea e Stefano d'Antonio," Arte Cristiana 92 (July/August, 2004), 261, 265–266, note 14 (Lippo d'Andrea)
  • Linda Pisani, "Pittura Tardogotica a Firenz negli Anni Trenta del Quattrocento: Il Caso dello Pseudo-Ambrogio di Baldese," Mitteilungen des Kunsthistorischen Institutes in Florenz 45 (2001), 8, 10, Lippo d'Andrea, fig. 12
  • William Levine, "Advertising Charity in Trecento: the Public Decorations of the Misericordia in Florence," Studies in Iconography 17 (1996), 215–233, discusses mural painting of Ambrogio in Florence
  • Laurence Kanter, Italian Paintings in the Museum of Fine Arts Boston (Boston, Mass.: Northeastern University Press, 1994), 149, note 1 (Ventura di Moro)
  • Saur allgemeines Künstler-Lexikon, 3 (Munich: K.G. Saur, 1992), 134–135
  • Howard Mayer Brown, "A Corpus of Trecento Pictures with Musical Subject Matter, Part II/1, Installment 4," Sonderdruck aus Imago Musicae (1988), 167–168, 234–235, Florentine, ca. 1420, fig. 676
  • Miklos Boskovits, "Il percorso di Masolino: precisazioni sulla cronologia e sul catalogo," Arte Cristiana (1987), 51, Lippo d'Andrea, fig. 6
  • Christa Gardner von Teuffel, "Masaccio and the Pisa Altarpiece: A New Approach," Jahrbuch der Berliner Museen 19 (1977), 54, notes 90 and 92; follower of Angolo Gaddi, a high altarpiece produced for the Carmelite foundation Le Selve near Signa, fig. 19
  • Enzo Carli and Valerio Mariani, Chi e lo Pseudo-Ambrogio di Baldese? (Naples, Italy: Libreria scientifica editrice, 1972), 109–112
  • Charles Seymour Jr. et al., Italian Primitives: The Case History of a Collection and Its Conservation (New Haven, Conn.: Yale University Art Gallery, 1972), 18, (as Pseudo-Ambrogio di Baldese[?] and assistants)
  • 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
  • Charles Seymour Jr. and Everett Fahy, Annotated Copy of Charles Seymour, Jr., Early Italian Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1970), Lippo d'Andrea, with Saints Peter and Albert painted by a workshop assistant
  • Charles Seymour Jr., Early Italian Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 1970), 112
  • 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), 219, under Florentine unknown, 1420-1465, so-called Baldese
  • Albert G. Hess, Italian Renaissance Paintings with Musical Subjects: A Corpus of such Works in American Collections, with Detailed Descriptions of the Musical Features (New York: Libra Press, 1955), no. LXXb (Italian unknown, 15th century)
  • Rediscovered Italian Paintings, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1952), 20–21, attributed to Ambrogio di Baldese, from the suppressed convent of San Martino alle Selve, near Florence
  • Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 296
  • 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), 195, under Florentine unknown, 1420-1465, so-called Baldese
  • Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 19–20, (follower of Agnolo Gaddi), fig. 11
  • Raimond van Marle, The Development of the Italian Schools of Painting, 1–19 (The Hague: M. Nijhoff, 1923–38), 87, Vol. 9; gives Sirén's attribution of 1909 and 1916
  • Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 58–62, no. 22, (Ambrogio di Baldese), fig. 22
  • Osvald Sirén, "Trecento Pictures in American Collections-III," Burlington Magazine 14 (1908-1909), 326, Ambrogio di Baldese, fig. 2
  • Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale College, 1868), 29–30, no. 16
  • 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, 1860), 46, no. 37
Object copyright
Additional information

Object/Work type

religious art


Seymour contends that modern frame repeats the inscription of the original: SCS ALBERUS. SCS PETRUS APOSTOL./ANNO DOMINI MCCC (C)XX DIE XV APRILE/SCS PAULUS APOSTOLUS. SCS ANTONISU ABBAS.\r\n\r\nInscribed on the base of the frame: SCS ALBERTUS SCS PETRUS APOSTOL. ANNO DOMINI MCCC[C]XX DIE XV APRILE SCS PAULUS APOSTOLUS. SCS ANTONIUS ABBAS. From the Carmelite church of Santa Maria alle Selve near Signa (Florence)- Carl Strehlke, Draft Checklist of the Italian Paintings in the Yale University Art Gallery, 1998-2000.

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