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

Meeting of Solomon and the Queen of Sheba

ca. 1440–50

Tempera on panel

44.5 × 150.5 × 3.2 cm (17 1/2 × 59 1/4 × 1 1/4 in.) framed: 56.8 × 163.5 × 6.7 cm (22 3/8 × 64 3/8 × 2 5/8 in.)
University Purchase from James Jackson Jarves
1871.36
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), 51, no. 61.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 65, no. 69.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 69, Piero della Francesca, perhaps Benozzo Gozzoli.

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.

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

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

William Rankin, “Cassone Fronts in American Collections - IV,” The Burlington Magazine for Connoisseurs 11 (May 1907): 131, 132.

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

Frank Jewett Mather Jr., “The Jarves Collection,” Yale Alumni Weekly 23 (1914): 968–969, same shop as Aeneid panels.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 91–92, Florentine, c.1450.

Paul Schubring, Cassoni: Truhen und Truhenbilder der Italienischen Frührenaissance. Ein Beitrag zur Profanmalerei im Quattrocento (Leipzig, Germany: Karl W. Hiersemann, 1923), 267, pl. XLII (Cassone Master).

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 6, 27, 28–29, Virgil Master.

Raimond van Marle, The Development of the Italian Schools of Painting, 10 (The Hague: Martinus Nijhoff, 1928), 551.

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): 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): 2.

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.

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): 21, workshop of Apollonio di Giovanni.

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.

Bernhard Degenhart and Annegrit Schmitt, Corpus der italienischen Zeichnungen, 1300-1450 (Berlin: Gebr. Mann, 1968), 561.

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), 123–126, 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.

Vera K. Ostoia, “Two Riddles of the Queen of Sheba,” Metropolitan Museum Journal 6 (1972): 79–80, workshop of the Virgil Master, c. 1450, fig. 7.

Ellen Callmann, Apollonio di Giovanni (Oxford, United Kingdom: Clarendon Press, 1974), 66, Apollonio di Giovanni.

Millard Meiss, French Painting in the Time of Jean de Berry: the Limbourgs and their Contemporaries (New York: George Braziller, 1974), 218, fig. 726.

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 236.

Jennifer Klein Morrison, “Apollonio di Giovanni’s ‘Aeneid’ Cassoni and the Virgil Commentators,” Yale University Art Gallery Bulletin (1992): 29–30.

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.