Comparable Sales
Same-artist public sales ranked by medium, creation year, dimensions and sale recency.
Observed sale facts, comparable evidence, artist index history and modeled research remain separate.
Same-artist public sales ranked by medium, creation year, dimensions and sale recency.
Private Collection, Amsterdam, The Netherlands
(Sale: "Tableaux Anciens", C.F. Roos, Amsterdam, March 14-15, 1882, lot 27.)
Dirksen (?).
Raedt van Oldenbarnevelt
(Sale: Frederik Muller, Amsterdam, November 6-9, 1900, lot 35)
M. le Chevalier de Stuers
(Sale: Frederik Muller, Amsterdam, December 11, 1923, lot 473).
Private Collection, Amsterdam, The Netherlands (Sale: "Tableaux Anciens", C.F. Roos, Amsterdam, March 14-15, 1882, lot 27.) Dirksen (?). Raedt van Oldenbarnevelt (Sale: Frederik Muller, Amsterdam, November 6-9, 1900, lot 35) M. le Chevalier de Stuers (Sale: Frederik Muller, Amsterdam, December 11, 1923, lot 473). Hoschek, Prague, Czech Republic. Farrar (Sale: Sotheby’s, London, July 8, 1925, lot 42). Rothstien Kenyon-Slaney (Sale: Sotheby’s, London, December 10, 1925, lot 44). (Sale: Gebr. Douwes, Amsterdam, The Netherlands, 1926). Victor de Stuers, Utrecht, The Netherlands Dr. Cornelis Johannes Karel van Aalst (1866-1939), Hoevelaken, The Netherlands, upon his death, by inheritance to his heirs. Heirs of C. J. K. van Aalst Cramer, The Hague, The Netherlands. Mr. and Mrs. Noah L. Butkin, Shaker Heights, Ohio, by gift to the Cleveland Museum of Art, 1977. The Cleveland Museum of Art, Cleveland, OH
Year in Review: 1977. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978). Exposition des Grands et Petits Maîtres Hollandis du XVII e Siècle, Galerie du jeu de Paume, Paris, France (1911). Lustrumtentoonstelling uit hed kunstbezit van Reünisten van het Utrechtsch Sudenten Corps, Centraal Museum, Utrecht, (1956). Collection of Victor de Stuers: Long-term Loan to the Rijksmuseum, Rijksmuseum, Utrecht, The Netherlands.
Because of an inscription on the back, this painting was long considered a portrait of Anna Maria van Schurman, a prominent Dutch scholar and artist. These words, however, were added much later and incorrectly state that Anna Maria was 42 years old, when in reality she would have been 39. Furthermore, Flinck's likeness does not resemble other known portraits of this famous woman. Although her identity remains unknown, his sitter has an austere dignity and emotional complexity that captures her individuality through the careful description of her expression and dress. Due to this naturalism and elegant formality, Flinck achieved wealth and a high social standing throughout the 1640s as one of Amsterdam's most popular portraitists, rivaling his former master, Rembrandt. Joachim Sandrart, a contemporary German painter, once commented that compared to Rembrandt's portraits, Flinck's "were more felicitous in the exactness and in the pleasing quality of the portrayal."
0 observed sales · 0 comparable sales · 20 structured provenance events · 1 structured exhibitions.