Saint Agatha

c. 1500

Vergós Workshop (Spanish, documented 1439–1503)

Status: On View, Gallery 236
Department: Painting and Sculpture of Europe

Artist: Rafael Vergós
Title: Saint Agatha
Place: Spain (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1492–1505
Medium: Oil and gold on panel
Dimensions: 175.8 × 93.3 cm (69 1/4 × 36 3/4 in.); Framed: 195 × 109.9 cm (76 3/4 × 43 1/4 in.)
Credit Line: Gift of James Deering Danielson
Reference Number: 1970.1024
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/35229/manifest.json

Cayetano Barraquer y Roviralta, Los religiosos en Cataluña durante la primera mitad del siglo XIX, vol. 4, Barcelona, 1917, pp. 407, 453–54
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 through the agency of Miquel Utrillo to Charles Deering, Oct. 1, 1915, “Marycel,” Sitges, Spain 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, 1937 [in a division of their joint property, Registrar’s records]; given to her son James Deering Danielson, 1970 [Registrar’s records]; given to the Art Institute, 1970.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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