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European Art
Artist, formerly attributed to: Lippo d’ Andrea, Italian, Florence, ca. 1370–before 1451
Artist, attributed to: Ventura di Moro, Italian, ca. 1395–1486

Virgin and Child Enthroned with Saints


Tempera on panel

1871.22a: 142.2 × 83.8 × 7.6 cm (56 × 33 × 3 in.) 1871.22b: 163.2 × 76.2 × 7.6 cm (64 1/4 × 30 × 3 in.) 1871.22c: 142.2 × 83.8 × 7.6 cm (56 × 33 × 3 in.) framed: 221 × 251.1 × 17.1 cm (87 × 98 7/8 × 6 3/4 in.)
University Purchase from James Jackson Jarves
Made in Florence, Italy
Not on view
Italian, Florence
15th century

James Jackson Jarves Collection, Florence; reported to have been purchased from the Convent of S. Martino alle Selve at Signa, near Florence.


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, no. 37.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 29–30, no. 16.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 13–14, lot 16 (Unknown, Sienese School, dated 1370).

Osvald Sirén, “Trecento Pictures in American Collections-III,” Burlington Magazine 14 (1908-1909): 326, Ambrogio di Baldese, fig. 2.

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.

Raimond van Marle, Development of the Italian Schools of Painting, 1, 3, 9, 17 (The Hague: M. Nijhoff, 1923), 87, Vol. 9; gives Sirén’s attribution of 1909 and 1916.

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.

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.

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

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.

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).

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.

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: A Catalogue by Charles Seymour, Jr. (New Haven, Conn.: Yale University Press, 1970), 112.

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.

Enzo Carli and Valerio Mariani, Chi e lo Pseudo-Ambrogio di Baldese? (Naples, Italy: Libreria scientifica editrice, 1972), 109–112.

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), 18, (as Pseudo-Ambrogio di Baldese[?] and assistants).

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.

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.

Saur allgemeines Künstler-Lexikon, 3 (Munich: K.G. Saur, 1992), 134–135.

Laurence Kanter, Italian Paintings in the Museum of Fine Arts Boston (Boston, Mass.: Northeastern University Press, 1994), 149, note 1 (Ventura di Moro).

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.

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.

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).

Christa Gardner von Teuffel, From Duccio’s Maesta to Raphael’s Transfiguration: Italian Altarpieces and their Settings (London: Pindar Press, 2005).

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.

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.