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 · Mr. and Mrs. William H. Marlatt Fund
Museum
The Annunciation
1380s
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
Public1863-1925
Duke of Anhalt-Dessau, Germany
Provenance event
(C. A. de Burlet, Berlin, Germany)
?-1926
(R. Langton Douglas)
1926-1954
Arthur Sachs, New York sold to the Cleveland Museum of Art
1954-
The Cleveland Museum of Art, Cleveland, OH
Source provenance text
Duke of Anhalt-Dessau, Germany (C. A. de Burlet, Berlin, Germany) (R. Langton Douglas) Arthur Sachs, New York sold to the Cleveland Museum of Art The Cleveland Museum of Art, Cleveland, OH
The Cleveland Museum of Artconfidence 100%
Exhibitions
PublicSource exhibition text
Gothic Art 1360-1440. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 6-September 15, 1963). Juxtapositions. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965). Treasures of Medieval France. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1966-January 29, 1967). When Angels Bent Near the Earth to Touch Their Harps of Gold: The Christmas Story. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 1, 1981-January 17, 1982). Dukes and Angels: Art from the Court of Burgundy (1364-1419). Musée des Beaux-Arts, Dijon, Dijon, France (May 27-September 15, 2004); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24, 2004-January 9, 2005). Sacred Gifts and Worldly Treasures: Medieval Masterworks from the Cleveland Museum of Art. National Museum of Bavaria, Munich, Germany (May 10-September 16, 2007); J. Paul Getty Museum, Los Angeles, CA (October 30, 2007-January 20, 2008); Frist Art Museum, Nashville, TN (February 13-June 7, 2009). Emperor Charles IV (1316-1378). National Gallery Prague, Prague, Czech Republic (organizer) (May 14-September 25, 2016); Germanisches Nationalmuseum, 90402 Nürnberg, Germany (October 20, 2016-March 5, 2017). Fogg Art Museum, Cambridge, MA (1927). French Painting 1100-1900, Carnegie Institute, Pittsburgh, PA (Oct. 18th-Dec. 2, 1951). La Vierge dans l'art Français, Petit Palais, Paris, France (June 1950). Collection of Arthur Sachs, Santa Barbara Museum of Art, CA (July 22-October 18, 1946). French Art 1200-1900, Royal Academy, London (January-March 1932). French Gothic Art of the 13th to 15th Century, Detroit Institute of Arts, MI (Nov. 16 to Dec. 5, 1928). French Primitives and Objects of Art, Kleinberger Galleries, New York, NY (Oct. 15 - Nov. 12, 1927). Religious Art, Jacques Seligman & Co. Gallery, New York, NY (March-April 1927).
The Cleveland Museum of Artconfidence 100%
Related public works
Explore catalog →Visual neighbours
Rest on the Flight into Egypt
Claude Lorrain (French, 1604–1682) · 1640
Welcoming Descent of Jizō
Unknown artist · 1200
Shah Jahan
Hashim (Indian, active 1598-c.1650) · 1623
Morning Sun over Heavenly Citadel Peak
Ding Yunpeng (Chinese, 1547-c. 1628) · 1614
Icon of the Mother of God and Infant Christ (Virgin Eleousa)
Angelos Akotantos (Cretan, died 1450) · 1420
Sourced Overview Evidence
This small but opulent panel painting was once joined to another panel with hinges to form a diptych. Given its small size, its original function was for private devotional use. It could be folded like a book when not in use and was highly portable. The missing panel has not been positively identified but probably represented another biblical scene like the Crucifixion. The painting’s refined and ornate style reflects the courtly aesthetic that appealed to royal and aristocratic patrons in the decades around 1400. On the panel’s richly tooled reverse (not visible) are the arms of the house of Hainault quartered with those of Bavaria. While this coat of arms is certainly that of the work’s patron, probably a member of the united dynasties of Hainault and Bavaria, their identity remains elusive.
The Cleveland Museum of Artconfidence 100%
Evidence state
0 observed sales · 0 comparable sales · 5 structured provenance events · 7 structured exhibitions.
Place Of OriginShort DescriptionProvenance TextExhibition HistoryCredit Line