المبيعات المقارنة
مبيعات معلنة لأعمال الفنان نفسه، مرتّبة بحسب الخامة والتقنية وسنة إنجاز العمل وأبعاده وتاريخ بيعه.
تُعرض سجلات المبيعات المرصودة وبيانات المبيعات المقارنة وتاريخ مؤشر الفنان والأبحاث القائمة على النماذج كلٌّ على حدة.
مبيعات معلنة لأعمال الفنان نفسه، مرتّبة بحسب الخامة والتقنية وسنة إنجاز العمل وأبعاده وتاريخ بيعه.
Du Pre Alexander, Second Earl of Caledon, purchased through George Augustus Wallis in Florence, Marc...
J. Pierpont Morgan (1837-1913), London and New York, by 1902;
[M. Knoedler & Co., New York], sold to the Cleveland Museum of Art, 1954.
Du Pre Alexander, Second Earl of Caledon, purchased through George Augustus Wallis in Florence, March 1829; J. Pierpont Morgan (1837-1913), London and New York, by 1902; [M. Knoedler & Co., New York], sold to the Cleveland Museum of Art, 1954.
The Venetian Tradition. The Cleveland Museum of Art, Cleveland, OH (November 8, 1956-January 1, 1957). In Memoriam: Leonard C. Hanna, Jr.. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958). Style, Truth and the Portrait. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963). Juxtapositions. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965). Van Dyck. Grande pittura e Collezionismo a Genova. Palazzo Ducale, Venice (March 22-July 13, 1997). Anton van Dyck, Riflessi italiani. Palazzo Reale, Milano, Italy (organizer) (February 19-July 4, 2004). Renaissance to Runway: The Enduring Italian Houses. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9, 2025-February 1, 2026). London, British Institution, 1832, cat. no. 46. London, British Institution, 1854, cat. no. 62 London, Royal Academy of Arts, 1902: "Exhibition of Works by the Old Masters," cat. no. 102. Brussels, Nouveau Palais, 1910: "Tresor de l'art belge au XVIIe siecle," no. LXIX, p. 154, plate 60 (catalogue published in 1912: see also literature) New York, NY, The Metropolitan Museum of Art, 1913: "A Loan Exhibition of Mr. Morgan's Paintings," Metropolitan Museum of Art Bulletin VIII (January, 1913), p. 6, reproduced p. 4. Washington, D.C., The National Gallery of Art, 1990: "Anthony Van Dyck: Paintings in the Grand Manner," cat. no. 37, reproduced in color p. 179.

Hendrik van Balen (Flemish, 1575–1632) · 1615

Francesco Solimena (Italian, 1657–1747) · 1703

Xiao Yuncong (Chinese, 1596–1673) · 1668

الفنان · 1805

Basavana (Indian, active c. 1560–1600) · 1595
Prior to the 1600s, large, full-length portraits of wealthy clients usually emphasized the trappings of status above any other qualities. The accuracy of the likeness and vivacity of the person remained subordinate to an easily readable sense of the sitter’s power and position in society. Artists such as Van Dyck transformed this tradition, which sent shockwaves through Genoa, instantly changing the direction of elite portraiture in the city. While the elaborate garb of this unidentified sitter and the scale of the image certainly mark her status, the warmth Van Dyck imparted to her face, the drama of the background, and the touching detail of the child spontaneously reaching upward add life, energy, and theatricality to the work.
المبيعات المرصودة: 0 · المبيعات المقارنة: 0 · سجل المنشأ والملكية: 3 · المعارض: 7.