W.A.P., “Two Panels Illustrating the Legend of Saint Christopher,”
Bulletin of the Art Institute of Chicago 21 (1927), pp. 5–7.
Chandler Rathfon Post, A History of Spanish Painting, vol. 8, Cambridge, Mass., 1941, pp. 354–56, 368, 378, fig. 153.
Chandler Rathfon Post, A History of Spanish Painting, vol. 9, Cambridge, Mass., 1947, p. 883.
José Gudiol Ricart, Pintura gótica, Ars hispaniae 9, Madrid, 1953, p. 302.
Juan Antonio Gaya Nuño, La pintura española fuera de España, Madrid, 1958, pp. 43, 307, nos. 2679–80.
Art Institute of Chicago Annual Report 1962–63, p. 13.
José Gudiol, Pintura medieval en Aragón, Saragossa, 1971, pp. 58, 83, no. 280.
Fabián Mañas Ballestin, Pintura gótica aragonesa, Saragossa, 1979, p. 134.
Judith Berg Sobré in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 111-16, ill.
Possibly from the monastery of Piedra, near Saragossa [Gudiol 1953, p. 302,]. Charles Deering, Palau “Marycel,” Sitges, near Barcelona, and Chicago, before 1921 [a photograph shows the panels installed at “Marycel”; the paintings and other works from Deering’s collection were placed on loan at the Art Institute in 1921; loan agreement, Nov. 18, 1921, Art Institute Archives].; given to his daughters Mrs. Chauncey McCormick and Mrs. Richard E. Danielson, 1924; Mrs. Chauncey McCormick, in a division of their joint property, 1937 [registrar’s records]; given to the Art Institute, 1962.
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