The Crucifixion, with Saints
painter
Andrea Vanni
(about 1332 - about 1414)
Date1353-1414
Place MadeSiena, Tuscany, Italy, Europe
MediumTempera and gold on panel
Dimensions61.7 x 17.3 cm (24 5/16 x 6 13/16 in.)
ClassificationsPaintings
Credit LineIsabella Stewart Gardner Museum, Boston
Accession numberP15n2
eMuseum ID718621
EmbARK ObjectID10796
TMS Source ID64
Last Updated8/9/24
Status
Not on viewWeb CommentaryIsabella Stewart Gardner kept meticulous records of many of her acquisitions. In keeping with this legacy, object information is continually being reviewed, updated, and enriched in order to give greater access to the collection.
BibliographyNotesF. Mason Perkins. "Pitture senesi negli Stati Uniti." Rassegna d'arte Senese 1 (1905), p. 75 (as manner of Andrea Vanni)
Bernard Berenson. The Central Italian Painters of the Renaissance, 2nd ed. (New York, 1909), p. 261. (as Andrea Vanni, described erroneously as "Madonna and Saints")
Raimond van Marle. The Development of the Italian Schools of Painting, vol. 2 (The Hague, 1924), pp. 534-35 (as Paolo di Giovanni Fei)
Philip Hendy. Catalogue of Exhibited Paintings and Drawings (Boston, 1931), pp. 5-7. (as Andrea di Vanni)
Bernard Berenson. Italian Pictures of the Renaissance (Oxford, 1932), p. 586 (as Andrea Vanni, described correctly as "Portable altar: Crucifixion with Madonna and six Saints; Annunciation above")
Gilbert Wendel Longstreet and Morris Carter. General Catalogue (Boston, 1935), p. 97 (as Andrea Vanni)
Morris Carter. "Mrs. Gardner & The Treasures of Fenway Court" in Alfred M. Frankfurter (ed.). The Gardner Collection (New York, 1946), p. 60.
Bernard Berenson. Italian Pictures of the Renaissance, Central Italian and North Italian Schools, vol. 1 (London, 1968), p. 440, pl. 392 (as Andrea Vanni)
Cristina de Benedictis. La Pittura Senese, 1330-1370 (Florence, 1970), p. 96.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, 1972), p. 208 (as Andrea Vanni)
Philip Hendy. European and American Paintings in the Isabella Stewart Gardner Museum (Boston, 1974), pp. 87-89 (as Paolo di Giovanni Fei)
Mojmir S. Frinta. "Notes on Early Italian Panel Paintings in Belgrade." Recueil du Musee National 13 (1987), p. 43, fig. 4.
Wolfgang Fritz Volbach. Il Trecento, Firenze e Siena. Catalogo della Pinacoteca Vaticana, vol. 2 (Vatican City, 1987), p. 57.
Miklós Boskovits in V.E. Markova. Gosudarstvennyi muzei izobrazitel 'nykh iskusstv imeni A. S. Pushkina, Ital'ianskaia zhivopis' XIII-XVIII vekov (Moscow, 1992), pp. 52-53, no. 19, pl. 20. (as attributed to Andrea Vanni)
Laurence Kanter in Hilliard Goldfarb et al. Italian Paintings and Drawings Before 1800 in the Isabella Stewart Gardner Museum. Unpublished manuscript. (Boston, 1996-2000). (as attributed to Andrea Vanni; as a late work c. 1400-1410; or, as conceivably painted by Taddeo di Bartolo to Andrea's design)
Galerie G. Sarti. The Madonna Eternal Woman, Catalogue 17-2019 (London, 2019), pp. 120, fig. 2 .
Bernard Berenson. The Central Italian Painters of the Renaissance, 2nd ed. (New York, 1909), p. 261. (as Andrea Vanni, described erroneously as "Madonna and Saints")
Raimond van Marle. The Development of the Italian Schools of Painting, vol. 2 (The Hague, 1924), pp. 534-35 (as Paolo di Giovanni Fei)
Philip Hendy. Catalogue of Exhibited Paintings and Drawings (Boston, 1931), pp. 5-7. (as Andrea di Vanni)
Bernard Berenson. Italian Pictures of the Renaissance (Oxford, 1932), p. 586 (as Andrea Vanni, described correctly as "Portable altar: Crucifixion with Madonna and six Saints; Annunciation above")
Gilbert Wendel Longstreet and Morris Carter. General Catalogue (Boston, 1935), p. 97 (as Andrea Vanni)
Morris Carter. "Mrs. Gardner & The Treasures of Fenway Court" in Alfred M. Frankfurter (ed.). The Gardner Collection (New York, 1946), p. 60.
Bernard Berenson. Italian Pictures of the Renaissance, Central Italian and North Italian Schools, vol. 1 (London, 1968), p. 440, pl. 392 (as Andrea Vanni)
Cristina de Benedictis. La Pittura Senese, 1330-1370 (Florence, 1970), p. 96.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, 1972), p. 208 (as Andrea Vanni)
Philip Hendy. European and American Paintings in the Isabella Stewart Gardner Museum (Boston, 1974), pp. 87-89 (as Paolo di Giovanni Fei)
Mojmir S. Frinta. "Notes on Early Italian Panel Paintings in Belgrade." Recueil du Musee National 13 (1987), p. 43, fig. 4.
Wolfgang Fritz Volbach. Il Trecento, Firenze e Siena. Catalogo della Pinacoteca Vaticana, vol. 2 (Vatican City, 1987), p. 57.
Miklós Boskovits in V.E. Markova. Gosudarstvennyi muzei izobrazitel 'nykh iskusstv imeni A. S. Pushkina, Ital'ianskaia zhivopis' XIII-XVIII vekov (Moscow, 1992), pp. 52-53, no. 19, pl. 20. (as attributed to Andrea Vanni)
Laurence Kanter in Hilliard Goldfarb et al. Italian Paintings and Drawings Before 1800 in the Isabella Stewart Gardner Museum. Unpublished manuscript. (Boston, 1996-2000). (as attributed to Andrea Vanni; as a late work c. 1400-1410; or, as conceivably painted by Taddeo di Bartolo to Andrea's design)
Galerie G. Sarti. The Madonna Eternal Woman, Catalogue 17-2019 (London, 2019), pp. 120, fig. 2 .
ProvenanceNotesPurchased by Isabella Stewart Gardner from the Italian artist and dealer Attilio Simonetti (1843-1928), Rome for 3,000 lire on 27 October 1902, through the painter Joseph Lindon Smith (1863-1950). (as Tuscan school)
Andrea Mantegna
about 1497-1500
