Comparable Sales
Same-artist public sales ranked by medium, creation year, dimensions and sale recency.
No public-rights comparable sales meet the current evidence criteria. RELICT does not fill the table with research-only or licensed-only facts.
The Cleveland Museum of Art · Leonard C. Hanna Jr. Fund
Museum
An Elderly Man in Prayer
1660s or later
Market Intelligence
Observed sale facts, comparable evidence, artist index history and modeled research remain separate.
Last known price—0 matched observed sales
Observed median—
Observed sales0
Artist index—
No rights-cleared normalized observed sale is attached to this artwork. No synthetic price history is shown.
Artist index unavailableNo completed public artist-index build exists.Artist-level context is not an artwork valuation.
Evidence ranked
Provenance
Publicincluding 1889-1897
Counts von Harrach, Schloss Rohrau and Vienna, Austira (inventories of 1889 and 1897, no. 218)
Provenance event
Walter Bareiss (1920-2007), Zurich, Switzerland
by 1956
Charlotte Barreiss, Zurich, Switzerland
June 24, 1964
(Sale: Sotheby's, London, June 24, 1964, lot 5)
-1967
(Pinakos, Inc., New York, NY, sold to the Cleveland Museum of Art)
1967-
The Cleveland Museum of Art, Cleveland, OH
Source provenance text
Counts von Harrach, Schloss Rohrau and Vienna, Austira (inventories of 1889 and 1897, no. 218) Walter Bareiss (1920-2007), Zurich, Switzerland Charlotte Barreiss, Zurich, Switzerland (Sale: Sotheby's, London, June 24, 1964, lot 5) (Pinakos, Inc., New York, NY, sold to the Cleveland Museum of Art) The Cleveland Museum of Art, Cleveland, OH
The Cleveland Museum of Artconfidence 100%
Exhibitions
PublicSource exhibition text
Year in Review: 1967. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967). Dutch Art and Life in the Seventeenth Century. The Cleveland Museum of Art, Cleveland, OH (July 10-September 2, 1973). Re-presenting the Baroque. Samuel P. Harn Museum of Art (organizer) (October 1, 1997-April 1, 1998). Study purposes for Rembrandt exhibition in May 2002. National Gallery of Art (organizer). Study purposes/The Apostle Paul. National Gallery of Art, Landover, MD (organizer) (March 17, 2000-March 17, 2001). Rembrandt in America. North Carolina Museum of Art, Raleigh, NC (organizer) (October 30, 2011-January 22, 2012); The Cleveland Museum of Art, Cleveland, OH (February 19-May 28, 2012); Minneapolis Institute of Art, Minneapolis, MN (June 24-September 16, 2012). Harrach Gallery, Vienna from before 1904 to 1939. Rembrandt und Seine Zeit, Schaffhausen, Museum zu Allerheiligen, 1949: no. 141. Thirty-one paintings of the 15th-18th centuries from a Private Collection, Schaffhausen, Museum zu Allerheiligen, 1952: no. 22, (repr.) Rembrandt Tentoonstellung, Rijksmuseum, Amsterdam, May-August 1956, Rotterdam, Boymans Museum, August-October 1956, cat. no. 89, repr. p. 182 (as a "Praying Apostle") Munich, Alte Pinakothek (on loan, 1963) The Year in Review for 1967, no. 63, The Cleveland Museum of Art. Rembrandt After Three Hundred Years, Art Institute of Chicago, Oct. 25- Dec. 7, 1969, no 19. Dutch Art and Life in the Seveneteenth Century, The Cleveland Museum of Art, July 10- September 2, 1973. (no catalogue) Gainesville, FL: Samuel P. Harn Museum of Art, 10/97 - 4/19/98 Re-presenting the Baroque.(no catalogue) North Carolina Museum of Art (10/30/2011 - 1/22/2012), The Cleveland Museum of Art (2/19/2012 - 5/28/2012), and Minneapolis Institute of Arts (6/24/2012 - 9/16/2012): "Rembrandt Paintings in America: Collecting and Connoisseurship"
The Cleveland Museum of Artconfidence 100%
Sourced Overview Evidence
Toward the end of his life, Rembrandt explored religious themes from an intimate perspective, producing a number of works for a possible Apostle series. The personal religiosity of <em>An Elderly Man in Prayer</em>, formerly attributed to Rembrandt, bears resemblance to such late works. Seated with eyes nearly closed and hands clasped in prayer over a large book, the figure appears still and introspective. While the dramatic lighting and dark color palette are reminiscent of Rembrandt's late works, this painting, formerly attributed to the artist, has since been assigned to a follower or a later eighteenth-century imitator of Rembrandt's style for reasons associated with the broad, flat brushwork of the garment, the poor handling of shadow on the hands, and the uniform treatment of the hair.
The Cleveland Museum of Artconfidence 100%
Evidence state
0 observed sales · 0 comparable sales · 6 structured provenance events · 6 structured exhibitions.
Place Of OriginShort DescriptionProvenance TextExhibition HistoryCredit Line