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Cayetano Barraquer y Roviralta, Los religiosos en Cataluña durante la primera mitad del siglo XIX, vol. 4, Barcelona, 1917, pp. 407, 453–54 (ill. opp. p. 464).
José M. Martino Arroyo, Marycel, Publicaciones de Arquetectura, Barcelona, 1918, p. 46 (ill.).
Elizabeth du Gué Trapier, Catalogue of Paintings (14th and 15th Centuries) in the Collection of the Hispanic Society of America, New York, 1930, p. xxxvi.
Chandler Rathfon Post, A History of Spanish Painting, vol. 7, Cambridge, Mass., 1938, pp. 472–73, fig. 168.
Juan Antonio Gaya Nuño, La pintura española fuera de España, Madrid, 1958, pp. 42, 331, nos. 2921–22.
José Camón Aznar, Pintura medieval española, Summa artis 22, Madrid, 1966, p. 411.
Judith Berg Sobré, Behind the Altar Table: The Development of the Painted Retable in Spain, 1350–1500, Columbia, Mo., 1989, fig. 24.
Judith Berg Sobré in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 121-24, ill.
Sebastià Sánchez Sauleda, “Entre Bernat Martorell i els Vergós: la col.lecció Deering i el patrimoni català a la diaspora” in Rosa Alcoy, ed., Art fugitiu: Estudis d’art medieval desplaçat, Barcelona, 2014, pp. 429-32, fig. 5.
Sanctuary of the Virgin at Bellulla at Canovellas del Vallés, Barcelona, 1909 [Barraquer y Roviralta 1917, p. 407 and Post 1938, p. 472 n. 1, who noted that Barraquer published illustrations of Saint Lucy and a Crucifixion from the same altarpiece as they existed in the church in 1909]. Emili Cabot i Rovita, Barcelona, by 1915 [see Sánchez Sauleda 2014, p. 431]; sold 1 October 1915 through the agency of Miquel Utrillo to Charles Deering,“Marycel,” Sitges, near Barcelona, and Chicago [Sánchez Sauleda 2014, Martino Arroyo 1918, shows the paintings installed at “Marycel]; given to his daughters Mrs. Chauncey McCormick and Mrs. Richard E. Danielson, 1924 [Art Institute Archives]; Mrs. Richard E. Danielson, in a division of their joint property, 1937 [Registrar’s records]; given to her son James Deering Danielson, 1970 [Registrar’s records]; given to the Art Institute, 1970.
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