European Art
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Photo credit: Yale University Art Gallery
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Photo credit: Yale University Art Gallery
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Photo credit: Yale University Art Gallery
Artist: Niccolò di Pietro Gerini, Italian, ca. 1340–1414

Virgin and Child

ca. 1380

Tempera on panel

framed: 137.8 x 73.66 x 12.07 cm (54 1/4 x 29 x 4 3/4 in.) unframed: 111.13 x 55.25 cm (43 3/4 x 21 3/4 in.)
University Purchase from James Jackson Jarves
1871.26b
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), 43, no. 18.

James Jackson Jarves, Art Studies: The “Old Masters” of Italy (New York: Derby and Jackson, 1861), pl. D, fig. 12.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 34–35, no. 22.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 15, lot 22 (northern Italian, school of Giotto, ca. 1325; triptych with two shields on frame, one bearing the arms of Vecchietti family).

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): 142, no. 22 (“some Siennese affectation, though heavy and distinctly in the Florentine tradition, is a large triptych of considerable decorative quality and in good preservation. It recalls in the types and in feeling the panel of the Florence Academy…).

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. 22.

Osvald Sirén, “Trecento Pictures in American Collections-II,” The Burlington Magazine 14 (1908): 194, pl. III-2 (Niccolò di Pietro Gerini (or workshop of)).

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 71–72, no. 26, (triptych, Lorenzo di Niccolò), fig. 26.

Richard Offner, “Niccolò di Pietro Gerini,” Art in America 9 (1921): 239, immediate follower of Gerini, dated 1375, very close to lower central compartment of the polyptych in the Pieve at Impruneta; lateral wings by Lorenzo di Niccolò.

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), 303, 396, central panel and left wing by Niccolo di Pietro Gerini, right wing by Lorenzo di Niccolò.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 294.

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), 160, triptych, Niccolò di Pietro Gerini, assisted by Lorenzo di Niccolò.

Brigitte Klesse, Seidenstoff in der italienischen Malerei des vierzehnten Jahrhunderts (Bern, Switzerland: Stampfli, 1967), 319, no. 244a (Lorenzo di Niccolò Gerini (?)).

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), 53–54, no. 36b, fig. 36b.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 81, 599.

Miklos Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400 (Florence, Italy: Edam, 1975), 411, 438–439, central panel and left wing by Niccolò di Pietro Gerini, right wing by Spinello Aretino, ca. 1395-1400.

Richard Offner, A Critical and Historical Corpus of Florentine Painting: A Legacy of Attributions (New York: H. B. J. Maginnis, 1981), 83, (immediate follower of Gerini).

Angelo Tartuferi, “Spinello Aretino in San Michele Visdomini a Firenze (e alcune osservazioni su Lorenzo di Niccolò),” Paragone 34, 395 (January 1983): 8, 18, n. 34 (central panel by Lorenzo di Niccolò, later panels by Spinello Aretino).

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.