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Identification and Creation

Object Number
1917.195.B
People
Lippo di Benivieni, Italian (1300 - 1325)
Title
Saint John the Evangelist with Christ taking leave of the Virgin, between Saints Peter and James the Less
Classification
Paintings
Work Type
painting
Date
c. 1320
Places
Creation Place: Europe, Italy, Tuscany, Florence
Culture
Italian
Persistent Link
https://hvrd.art/o/231929

Physical Descriptions

Medium
Tempera and gold leaf on wood panel
Dimensions
including engaged frame: 49.7 × 35 cm (19 9/16 × 13 3/4 in.)

Provenance

Recorded Ownership History
Abigail Osgood Williams and Mary Elizabeth Williams [1], Salem, by descent [?]; to Henry M. Williams, Boston, their nephew, sold; to Fogg Art Museum, 1917

Notes
[1] According to a letter from Henry Williams to Edward W. Forbes, the painting was likely purchased in Rome between 1860 and 1872

Acquisition and Rights

Credit Line
Harvard Art Museums/Fogg Museum, William M. Prichard Fund
Accession Year
1917
Object Number
1917.195.B
Division
European and American Art
Contact
am_europeanamerican@harvard.edu
Permissions

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Publication History

  • George Harold Edgell, "[Review] The Loan Exhibition of Italian Paintings in the Fogg Museum, Cambridge", Art and Archaeology (July 1915), Vol. 2, pp.13
  • Chandler R. Post, "The Loan Exhibition of Italian Painting at the Fogg Museum", The Nation, v. 100, no. 2594, March 18, 1915, pp.314
  • "Museum and Societies; grouped by States", American Art Annual, ed. Florence N. Levy (Washington, D.C., 1917), vol. XIV, pp. 135
  • William N. Bates, "Archaeological News: Notes on Recent Excavations and Discoveres; Other News", American Journal of Archaeology (January - March 1918), Vol. 22, No. 1, pp. 73-100, pp.97
  • Collection of Mediaeval and Renaissance Paintings, Fogg Art Museum (Cambridge, Massachusetts, 1919), pp. 106, no. 18B
  • Raimond Van Marle, The Development of the Italian Schools of Painting, M. Nijhoff Publishers (The Hague, 1923-1938), vol. II, pp. 301-303, 608
  • Evelyn Sandberg Vavalà, La Croce Dipinta Italiana e L'iconografia della Passione (Verona, 1929), pp. 463-463
  • Bernard Berenson, "Quadri senza Casa: Trecento e Quattrocento Senese", Dedalo (November 1930), vol. 11, pp. 329-362, pp. 347
  • Piero Misciatelli, "Le Pitture Senesi del Museo Fogg", La Diana (1932), Vol. 7
  • Bernard Berenson, Italian Pictures of the Renaissance: a list of the principal artists and their works, with an index of places, The Clarendon Press (Oxford, England, 1932), p.9
  • Anna Maria Gabbrielli, "Ancora del barna pittore delle storie del Nuovo Testamento nella Collegiata di S. Gimignano", Bollettino senese (1936), ser. 7, pp.128
  • Cesare Brandi, Quattrocentisti senesi (Milan, 1949), pp. 173-174, no. 6
  • Millard Meiss, Painting in Florence and Siena after the Black Death, Princeton University Press (Princeton, 1951), pp. 61 n. 6
  • William E. Suida, The Samuel H. Kress Collection: Brooks Memorial Art Gallery Memphis, Tennessee (1966), pp. 22
  • Sebastiana Delogu Ventroni, Barna da Siena (Pisa, 1972), pp. 44 no. 11, pp. 61 cat. no. 11, fig. 66
  • Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Harvard University Press (Cambridge, MA, 1972), p. 242 [as 14th century Umbria]
  • Roberto Longhi, La Pittura Umbra della prima meta del Trecento, ed. Mina Gregori (1973)
  • Luciano Bellosi, Buffalmacco e il Trionfo della Morte (Turin, 1974), pp. 75-76, fig. 141
  • Giulietta Chelazzi Dini, "Miniatori toscani e miniatori umbri: il caso del Laudario B.R. 18 della Biblioteca Nazionale di Frienze", Prospettiva (October 1979), 19, pp. 14-35, pp. 21-22, 35 n. 41
  • Michele Cordaro, "Le Raccolte Civiche", Museo Civico di Pistoia: Catalogo delle collezioni, ed. Maria Cecilia Mazzi (Florence, 1982), pp. 96
  • Miklós Boskovits, A Critical and Historical Corpus of Florentine Painting (Florence, 1984), 28, 30, 176-177, pl. XLVIIIa
  • Pier Paolo Donati, "Nell'ambito di Lippo di Benivieni", Paragone (1985), 36, pp. 17-21, pp. 18
  • Miklós Boskovits, Frühe Italienische Malerei, Gebr. Mann Verlag (Berlin, 1988), pp. 51
  • Monica Bietti Favi, "Indizi Documentari du Lippo di Benivieni", Studi di Storia dell'Arte (1990), vol. 1, pp. 243
  • Edgar Peters Bowron, European Paintings Before 1900 in the Fogg Art Museum: A Summary Catalogue including Paintings in the Busch-Reisinger Museum, Harvard University Art Museums (Cambridge, MA, 1990), pp. 116, 283, repr. b/w cat. no. 488
  • Luciano Bellosi, Un Cimabue per Piero de' Medici e il 'Maestro della Pieta di Pistoia', Prospettiva (July 1992), no. 67, 49-52, pp. 50, fig. 2
  • Christopher Fulton, An Earthly Paradise: The Medici, their Collection and the Foundations of Modern Art, L. S. Olschki (Florence, 2006), pp. 277-278, fig. 101
  • Jacqueline Musacchio, Art, Marriage, and Family in the Florentine Renaissance Palace, Yale University Press (New Haven, 2008), pp. 222-223, fig. 228a
  • Alexander Nagel and Christopher S. Wood, Anachronic Renaissance, Zone Books (New York, 2010), pp. 396, n. 26

Related Works

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu