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.
Count Leon Miniszech (sale: Galerie Georges Petit, Paris, April 9-11, 1902, no. 23);
[Agnew, London];
C. Fairfax Murray, London;
[Julius Bohler, Munich, 1908];
Mr. and Mrs. Howard P. Eells, Cleveland, 1913;
Maude Stager Eells, Cleveland (unsold, Parke Bernet, New York, November 29, 1961, no. 10, illus.), b...
Count Leon Miniszech (sale: Galerie Georges Petit, Paris, April 9-11, 1902, no. 23); [Agnew, London]; C. Fairfax Murray, London; [Julius Bohler, Munich, 1908]; Mr. and Mrs. Howard P. Eells, Cleveland, 1913; Maude Stager Eells, Cleveland (unsold, Parke Bernet, New York, November 29, 1961, no. 10, illus.), by gift to the Cleveland Museum of Art, 1962.
Year in Review - 1962. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962). Portraiture: The Image of the Individual. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1983-January 22, 1984). Giovan Battista Moroni, The glance on reality. Museo Adriano Bernareggi, Bergamo, Italy (organizer) (November 13, 2004-April 3, 2005). London, Royal Academy of Art, 1908: "Winter Exhibition," cat. no. 38. Cleveland, Kinney and Levan Building, 1913: "Cleveland Art loan Exposition," cat. no. 138D. CMA, 1928: "Representative Art through the Ages," (no catalogue). CMA, November 1962: "Year in Review," cat., Bull., 9Nov. 1962), no. 94, p. 204, repr. CMA, November 22, 1983-January 22, 1984: "Portraiture: The Image of the Individual," no catalogue. Museo Adrian Bernareggi, Bergamo, Italy (11/13/2004 - 4/3/2005): "Giovan Battista Moroni, The glance on reality" ex. cat. no. 24, p. 166-167.
The Latin inscription gives the sitter's name and age (45), as well as the painting's date. Guarignoni came from a prominent family in the northern Italian city of Bergamo. His direct and thoughtful gaze enhances the painting’s lifelike quality, while the solemn detachment conveys dignity and excellence rather than an exact personality, a common approach in Renaissance portraiture.
0 observed sales · 0 comparable sales · 6 structured provenance events · 3 structured exhibitions.