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
Study for "The Assumption of the Virgin" for San Augustín, Seville
c. 1670–72
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
PublicProvenance event
George Brown (Christies, London sale, 12-14-1917, lot 129, as A. Cano)
Provenance event
Viscount Lascelles, Sixth Earl of Harewood, Harewood House, Leeds (1917, 1980)
Provenance event
(Agnews, London)
Provenance event
George Brown (Christies, London sale , 12-14-1917, lot 129, as A. Cano);
Provenance event
Viscount Lascelles, Sixth Earl of Harewood, Harewood House, Leeds (1917, 1980);
Provenance event
(Agnews, London), sold to the Cleveland Museum of Art, 1987.
Source provenance text
George Brown (Christies, London sale, 12-14-1917, lot 129, as A. Cano) Viscount Lascelles, Sixth Earl of Harewood, Harewood House, Leeds (1917, 1980) (Agnews, London) George Brown (Christies, London sale , 12-14-1917, lot 129, as A. Cano); Viscount Lascelles, Sixth Earl of Harewood, Harewood House, Leeds (1917, 1980); (Agnews, London), sold to the Cleveland Museum of Art, 1987.
The Cleveland Museum of Artconfidence 100%
Exhibitions
PublicSource exhibition text
The Year in Review for 1987. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988). CMA 1998: "Year in Review 1987," no. 24.
The Cleveland Museum of Artconfidence 100%
Sourced Overview Evidence
This painting is a sketch for a large altarpiece. The rough, flickering surface, the unusually sharp contrast of hot and cool hues, and the compression of space all characterize the artist’s intense spirituality and unique technique. While often held apart from the sweetness and grace of Murillo (also represented in the collection), his contemporary in Seville, the two artists worked closely together on commissions and often presented their work side by side, speaking to the stylistic diversity and religious complexity preferred by patrons in Seville during the late 1600s.
The Cleveland Museum of Artconfidence 100%
Evidence state
0 observed sales · 0 comparable sales · 6 structured provenance events · 1 structured exhibitions.
Place Of OriginShort DescriptionProvenance TextExhibition HistoryCredit Line