The pair of saints represented in this panel has attracted considerable scholarly attention since Chandler R. Post and Josep Gudiol, in their pioneering studies of medieval Hispanic art, placed the work within the circle of Lluís Borrassà. This attribution was subsequently accepted by Santiago Alcolea and Gudiol in their landmark catalogues of Catalan Gothic painting published in 1986. More recent studies, including those by Francesc Ruiz and Rosa Alcoy, have questioned this association, noting insufficient stylistic affinities with the master’s documented oeuvre.

Its provenance from the monastery of Santes Creus suggests a date prior to the great high altarpiece commissioned from Guerau Gener for the Cistercian monastery. The panel belongs to the dynamic artistic milieu of late-14th-century Catalunya Nova, a region open to both Valencian influences and the Italianising tendencies introduced by painters such as Gherardo Starnina.

The work is notable for both its unusual iconography and its distinctive format. Saint John the Baptist holds a flabellum surmounted by the Agnus Dei, rendered at an exceptionally small scale, while Saint John the Evangelist appears with the tools of his vocation as a writer: a quill and an inkwell. The robust, volumetric treatment of the figures and their pronounced Italianate character depart from the elegant stylisations associated with Gener and instead evoke Tuscan models. Now part of the Casacuberta Marsans Collection, the panel remains a key work for understanding artistic exchanges between Catalan and Valencian workshops around 1400.