European Art
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Photo credit: Yale University Art Gallery
PrevNext2 of 2
Photo credit: Yale University Art Gallery
Artist: Spinello Aretino, Italian, 1346–1410

Saints with Angel Annunciate

ca. 1400

Tempera on panel

141.3 × 37.8 cm (55 5/8 × 14 7/8 in.)
University Purchase from James Jackson Jarves
Not on view
Italian, Arezzo
15th century

James Jackson Jarves Collection, Florence, to 1871; Yale University Art Gallery, New Haven, Conn.


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, 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.

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.

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.

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.

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).

Richard Offner, “Niccolò di Pietro Gerini,” Art in America 9 (1921): 239, both lateral panels by Lorenzo di Niccolò, with central panel by immediate follower of Gerini.

Miklos Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400 (Florence, Italy: Edam, 1975), 411, 438–439, Spinello Aretino, with remainder of triptych as collaboration with Niccolò di Pietro Gerini, ca. 1395-1400.

Stefan Weppelmann, Spinello Aretino und die Toskanische Malerei des 14. Jahrhunderts. (Florence, Italy: Edifir, 2003), 258–260, no. 60, plate VII/17 (Spinello Arentino), fig. 60.

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

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.