Annunciatory Angel, One of Three Fragments from a Folding Triptych Artist: Cenni di Francesco di Ser Cenni (Florence, documented 1369–1415)

ca. 1380

European Art

Not on view

Tempera and gold on panel


diam.: 5 3/8 in. (13.7 cm)

Credit Line

University Purchase from James Jackson Jarves

Accession Number



14th 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 (1818–1888), Florence, by 1859; Yale University Art Gallery, New Haven, Conn.
  • Richard Offner, A Critical and Historical Corpus of Florentine Painting: A Legacy of Attributions (New York: H. B. J. Maginnis, 1981), 464, 466, n. 1 (Cionesque; as 2nd half of 14th century Florentine example of the Adoration of the Magi in the left shutter of a tabernacle, and fusion of traditional Nativity elements with distinguishing features of the Birth that suggest the passage of time);.
  • Miklos Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400 (Florence, Italy: Edam, 1975), 290, Cenni di Francesco, ca. 1380-1385.
  • Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 218, 599.
  • 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), 35–36, no. 20a–c, fig. 20a–c.
  • 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), 215, unknown Florentine 1350-1420, between Jacopo di Cione and Antonio Veneziano.
  • Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 296.
  • Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 17, (as later imitator of Orcagna, ca. 1350-1360; Florentine, end of 14th century), fig. 8–8a.
  • Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols. (The Hague: M. Nijhoff, 1923–38), vol. 2, pp. 514–16.
  • Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 41–42, no. 15, (Andrea di Cione, called Orcagna), fig. 15.
  • 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), 8, no. 15, fig. 15.
  • 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): 143, later in date than Martini, "not certainly Siennese".
  • W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 13, lot 15 (Simone Martini).
  • Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 28–29, no. 15, fig. 15.
  • 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. 36.
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Additional information

Object/Work type

religious art

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