Saint Francis before the Pope (The Approval of the Franciscan Rule)

1. Private collection, Città di Castello, Umbria, possibly that of Count Donino Pierleoni (according to Frederick Mason Perkins, “Una tavola d’altare di Spinello Aretino,” Rassegna d’arte 18 (1918), p. 6 n. 4 and Giovanni Magherini Graziani, L’arte a Città di Castello, Città di Castello, 1897, p. 159 n. 5); sold by a dealer in Città di Castello to Horace Morison, Boston, by 1915 (according to Frederick Mason Perkins, see above; a letter from Morison to Martin A. Ryerson of December 17, 1915, indicates that Morison owned the painting by that time, Archives, The Art Institute of Chicago); sold by Morison to Martin A. Ryerson (d. 1932), Chicago, 1916 (according to a letter from Morison to Ryerson of February 16, 1916, Archives, The Art Institute of Chicago); intermittently on loan to the Art Institute from 1916; bequeathed to the Art Institute, 1933.

Recorded by Art Institute of Chicago.

• Art Institute of Chicago, A Century of Progress, June 1 - November 1, 1933, no. 96.
• Art Institute of Chicago, A Century in Progress, June 1 - November 1, 1934, no. 38.
• Cleveland Museum of Art, The Caporali Missal: A Masterpiece of Renaissance Illumination, February 17 - June 2, 2013, no. 14 (entry by Virginia Brilliant)
• Nashville, TN, Frist Center for the Visual Arts, Sanctity Pictured: The Art of the Dominican and Franciscan Orders in Renaissance Italy, October 31, 2014 - January 25, 2015.

• The Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture, and Architecture, August 1917, p. 166.
• Frederick Mason Perkins, “Una tavola d’altare di Spinello Aretino,” Rassegna d’arte 18 (1918), pp. 5–6 (ill.).
• Fogg Art Museum, Harvard University, Collection of Medieval and Renaissance Paintings, Cambridge, Massachusetts, 1919, p. 41.
• The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, 1920, p. 64.
• R. Wyer, “Two Panels by Spinello Aretino,” Art in America 8, 4 (1920), p. 211 n. 1.
• The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 74.
• The Art Institute of Chicago, The Handbook of Sculpture, Architecture, and Paintings, 1923, p. 74.
• Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols., The Hague, 1923–38, vol. 3, 1924, p. 606 n. 1.
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 160, no. 2078.
• György Gombosi, Spinello Aretino: Eine stilgeschichtliche Studie über die florentinische Malerei der ausgehenden XIV. Jahrhunderts, Budapest, 1926, pp. 39–40, p. 135.
• Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpublished manuscript, Ryerson Library, The Art Institute of Chicago, 1926, pp. 11–12.
• Ugo Procacci, review of Spinello Aretino by György Gombosi, in Rivista d’arte 11 (1929), p. 276.

A Saint, Possibly James the Greater

The Metropolitan Museum of Art

Saint Mary Magdalen Holding a Crucifix; (reverse) The Flagellation

The Metropolitan Museum of Art

One of a pair of pilaster panels

The Metropolitan Museum of Art

Tabernacle frame

The Metropolitan Museum of Art

The Crucified Christ between the Virgin and Saint John the Evangelist

The Metropolitan Museum of Art

Saint Reparata before the Emperor Decius

The Metropolitan Museum of Art

Saints John the Baptist and an Evangelist (Matthew?)

The Metropolitan Museum of Art

Madonna and Child

The Metropolitan Museum of Art

Museum holdings, not sale records. Auction results are only shown when a licensed price source is connected.