European Art
Artist: Apollonio di Giovanni, Italian, ca. 1416–1465

The Shipwreck of Aeneas

ca. 1450–60

Tempera on panel

framed: 50.17 × 164.15 × 6.03 cm (19 3/4 × 64 5/8 × 2 3/8 in.)
University purchase from James Jackson Jarves
1871.34
Culture: 
Italian, Florence
Period: 
15th 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), 49, no. 58.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 50–51, no. 43.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 18, Paolo Uccello.

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): 146, attributed to Paolo Uccello.

Mary Logan, “Compagno di Pesellino et quelques peintures de l’école,” Gazette des Beaux-Arts 26 (1901): 335, shop of Pesellino.

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), 10, no. 43, Uccello.

William Rankin, “Cassone Fronts in American Collections,” The Burlington Magazine for Connoisseurs 9 (June 1906): 288, Compagno di Pesellino.

William Rankin, “Cassone Fronts in American Collections - IV,” The Burlington Magazine for Connoisseurs 11 (May 1907): 131–2, ascribed to Paolo Uccello.

William Rankin, “Cassone Fronts in American Collections - V, Part I,” The Burlington Magazine for Connoisseurs 11 (August 1907): 340.

William Rankin, “Cassone Fronts in American Collections - VI,” The Burlington Magazine for Connoisseurs 12 (October 1907): 64.

William Rankin, “Cassone Fronts and Salvers in American Collections-VII (conclusion),” The Burlington Magazine for Connoisseurs 13 (September 1908): 382.

Attilio Schiaparelli, La casa fiorentina e i suoi arredi nei secoli XIV e XV, 1 (Florence: Sansoni, 1908), 284.

Christian Hülsen, “Di alcune nuove vedute prospettiche di Roma,” Bullettino della commissione archeologica comunale di Roma (1911): 5–6.

Walter Bombe, “Der Palazzo Medici-Riccardi und seine Wiederherstellung,” Monatshefte für Kunstwissenschaft 5 (1912): 217.

Frank Jewett Mather Jr., “The Jarves Collection,” Yale Alumni Weekly 23 (1914): 968.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 87–88, Florentine, c.1450.

Paul Schubring, “Cassone Pictures in America: Part One,” Art in America 11 (August 1923): 241–42, Dido Master.

Paul Schubring, Cassoni: Truhen und Truhenbilder der Italienischen Frührenaissance. Ein Beitrag zur Profanmalerei im Quattrocento (Leipzig, Germany: Karl W. Hiersemann, 1923), 31–32, 85, 113, 254, no. 223, Plate 48, Dido Master.

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 6, 27–30, Virgil Master.

Paolo d’Ancona, “Virgilio e le arti rappresentative,” Emporium 65 (1927): 258, 261–62.

Raimond van Marle, The Development of the Italian Schools of Painting, 10 (The Hague: Martinus Nijhoff, 1928), 548–554.

Mario Salmi, “Richard Offner, Italian Primitives at Yale Univeristy. New Haven: Yale University Press 1927,” Revista d’Arte 11 (1929): 272.

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), 347, Master of the Jarves Cassoni.

Wolfgang Stechow, “Marco del Buono and Apollonio di Giovanni: Cassone Painter,” Bulletin of the Allen Memorial Art Museum, Oberlin College 1 (1942): 14–17, Marco del Buono and/or Apollonio di Giovanni.

“Pagan Imagery in Renaissance Art,” Bulletin of the Associates in Fine Arts at Yale University 11, no. 1 (February 1942): 1, 2.

“Picture Book Number One,” Bulletin of the Associates in Fine Arts at Yale University 15, nos.1–3 (October 1946): no. 1–3, fig. 13.

Ulrich Thieme, Felix Becker, and Hans Vollmer, eds., Allgemeines-Lexikon der Bildenden Künstler, 37 (Leipzig, Germany: E.A. Seemann, 1950), 79.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 299, fig. 14.

Sandra Vagaggini, La miniature florentine aux XIVe et XVe siècles (Milan: Electa, 1952), 14.

Rediscovered Italian Paintings, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1952), 32––33, The Virgil Master.

Ernst H. Gombrich, “di Giovanni: A Florentine Cassone Workshop Seen Through the Eyes of a Humanist Poet,” Journal of the Warburg and Courtauld Institutes 18 (1955): Marco del Buono and/or Apollonio di Giovanni.

Mirella Levi-d’Ancona, Miniatura e miniatori a Firenze dal XIV al XVI secolo: Documenti per la storia della miniatura (Italy: Leo S. Olschki, 1962), 23–25.

Frederick B. Robinson, “A Mid-Fifteenth Century Cassone Panel,” Museum of Fine Arts Bulletin 29 (February and March 1963): unpaginated.

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), 18, Apollonio di Giovanni.

Margaret Scherer, The Legends of Troy in Art and Literature (New York: Phaidon Press, 1964), 185–6, 241.

Wolfgang Stechow, Catalogue of European and American Paintings and Sculpture in the Allen Memorial Art Museum, Oberlin College (Oberlin, Ohio: Allen Memorial Art Museum at Oberlin College, 1967), 8.

Bernhard Degenhart and Annegrit Schmitt, Corpus der italienischen Zeichnungen, 1300-1450 (Berlin: Gebr. Mann, 1968), 564.

Virgil, Opera: Bucolica, Georgica, Aeneis; Manoscritto 492 della Biblioteca Riccardiana di Firenze, ed. Berta Maracchi-Bigiarelli (Italy: Mycron, 1969), 15–18.

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), 119–122, no. 81, shop of Apollonio di Giovanni.

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.

Wendy Gifford, Italian Primitives: The Case History of a Collection and its Conservation (New Haven, Conn.: Yale University Art Gallery, 1972), 19.

Ellen Callmann, Apollonio di Giovanni (Oxford, United Kingdom: Clarendon Press, 1974), 1–3, 7, 11, 19–20, 22–23, 41, 47, 54–55, 62, 68, Apollonio di Giovanni.

Paul F. Watson, Garden of Love in Tuscan Art of the Early Renaissance (Philadelphia: Philadelphia, 1979).

Rita Parma Baudille, Virgilio nell’arte e nella cultura europea, ed. Marcello Fagiolo (Rome: De Luca, 1981), 224–5.

Bettie Forte, “Vergil’s Aeneid in Literature and Art of the Italian Renaissance,” Vergilius 28 (1982): 4.

Attilio Schiaparelli, La casa fiorentina e i suoi arredi nei secoli XIV e XV, eds. Maria Sframelo, Laura Pagnotta, and Mina Gregori, 2 (Florence: Le Lettere, 1983), 81, note 233.

Jennifer Klein Morrison, “Apollonio di Giovanni’s ‘Aeneid’ Cassoni and the Virgil Commentators,” Yale University Art Gallery Bulletin (1992): 34–35.

Ellen Callmann, “Apollonio di Giovanni,” Allgemeines Künstler-Lexikon 4 (1992): 525.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 135.

Ellen Callmann, “Apollonio di Giovanni,” Dictionary of Art 2 (1996): 228.

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.