Saint George and the Dragon

1. Probably commissioned for the chapel of Saint George, Palau de la Generalitat, Barcelona [Sobré in Wolff 2008]; Don Francesc de Sales de Rocabruna i Jordà, Baron of Albi, by 1867, died 1874 [lent by him to Barcelona 1867, along with the four lateral panels now in the Louvre, Paris, and a painting of the Virgin, probably the painting now in the Philadelphia Museum of Art]; when his estate was divided between his sister Maria Josepa de Rocabruna i Jordà (d. 1890) and his widow Josepa de Rocabruna i Pascual (died 1884), Saint George and the Dragon is likely to have passed to his widow, since two of her three executors correspond to the executors mentioned in the confused account of the painting’s sale in Sanpere y Miquel 1906, vol. 1, p. 195, vol. 2, p. 275 [see Macías and Cornudella 2011-2012, pp. 21-22 for the family relationships and likely transmission]. Don José Ferrer-Vidal i Soler, Barcelona, by 1906, until 1917 [Sanpere y Miquel 1906, vol. 1, p. 194, see also Macías and Cornudella 2012, p. 22 and Sánchez Sauleda 2014, p. 429]; sold by him to Charles Deering, Marycel, Sitges, near Barcelona, and Chicago, in 1917 [see Sánchez Sauleda 2014]; the painting was placed on loan at the Art Institute in 1921; loan agreement, Nov. 18, 1921, Art Institute Archives]; given to his daughters, Marion Deering McCormick and Barbara Deering Danielson, 1924 [Art Institute Archives]; given by them to the Art Institute, 1933.

Recorded by Art Institute of Chicago.

• Barcelona, Academia de Bellas Artes, Exposición retrospectiva de obras de pintura, de escultura y artes suntuarias, 1867, nos. 2139–44.
• Chicago, The Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections, June 1 - November 1, 1933, cat. 178 (ill.).
• Chicago, The Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections, June 1 - November 1, 1934, cat. 78.
• Art Institute of Chicago, Masterpiece of the Month, July 1939 (no cat.).
• The Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June—14 September 2008, no cat.

• José Puiggarí, Estudios de indumentaria española concreta y comparada, Barcelona, 1890, p. 380.
• S[alvador] Sanpere y Miquel, Los cuatrocentistas catalanes: Historia de la pintura en Cataluña en el siglo XV, Barcelona, 1906, vol. 1, pp. 193–94 (ill.), vol. 2, pp. 275–82.
• É[mile] Bertaux, “Les Primitifs espagnols,” La Revue de l’art ancien et moderne 22 (1907), pp. 258–61, fig. 5; 23 (1908), pp. 341–46.
• Émile Bertaux, “La Peinture et la sculpture espagnoles au XIVe et au XVe siècle jusqu’au temps des rois catholiques,” in Histoire de l’art, ed. André Michel, vol. 3, pt. 2, Paris, 1908, pp. 772–75, fig. 453.
• C. de Mandach, “Un Atelier provençal du XVe siècle,” Fondation Eugène Piot, L’Académie des inscriptions et belles lettres, Monuments et mémoires 16 (1909), pp. 151–52, fig. 2.
• Leandro Ozzola, “Il Trionfo della Morte nel Palazzo Sclafani di Palermo,”
• Monatshefte fu_r Kunstwissenschaft 2 (1909), pp. 198–205.
• Marcel Dieulafoy, Art in Spain and Portugal, London, 1913, p. 175, fig. 347.
• Seymour de Ricci, Description raisonnée des peintures du Louvre: Écoles étrangères; Italie et Espagne, Paris, 1913, p. 212.
• “El retaule de Sant Jordi atribuit a en Benet Martorell,” Vell i nou 3 (1917), pp. 495–96 (ill.).
• “Altra vegada el retaule de Sant Jordi abribuit a en Benet Martorell,” Vell i nou 3 (1917), p. 583.
• “An Altar Panel by Benito Martorell,” International Studio 76, 305 (1922), p. 59.

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