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 · Delia E. Holden and L. E. Holden Funds
Museum
The Sacrifice of Isaac
c. 1527
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
PublicBy 1649
Cardinal Carlo de' Medici, Florence
Provenance event
Possibly the Montalvi Collection, Florence
Provenance event
Possibly the Peruzzi Collection, Florence
By 1829
Zondadari Collection, Florence
1846 - 1858
William Cave, died 1858 (Brentry House, near Bristol, bought in Florence in 1846), by inheritance to...
1858
Mrs. William Cave
1858
Sold, Christie's, London, June 22, 1858, lot 102
Source provenance text
Cardinal Carlo de' Medici, Florence Possibly the Montalvi Collection, Florence Possibly the Peruzzi Collection, Florence Zondadari Collection, Florence William Cave, died 1858 (Brentry House, near Bristol, bought in Florence in 1846), by inheritance to his wife. Mrs. William Cave Sold, Christie's, London, June 22, 1858, lot 102 Possibly Peters George Cornwall Legh, High Legh, Co. Chester Lieutenant Colonel Henry Cornwall Legh, High Legh, Co. Chester Sold at Sotheby's, London, May 21, 1935, to Spencer Samuels Spencer Samuels, T. Harris, London, and Durlacher Brothers, New York The Cleveland Museum of Art, Cleveland, OH
The Cleveland Museum of Artconfidence 100%
Exhibitions
PublicSource exhibition text
The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936). The Silver Jubilee Exhibition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941). Art and Humanism in the Renaissance. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 23-February 25, 1962). Leonardo, Michelangelo and the Renaissance in Florence. National Gallery of Canada, Ottawa, Ont.,, Canada (organizer) (May 27-September 5, 2005). Masterpieces of European Painting from The Cleveland Museum of Art. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007). Masterpieces of European Painting from the Cleveland Museum of Art. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007). Andrea del Sarto: The Renaissance Workshop in Action. J. Paul Getty Museum, Los Angeles, CA (organizer) (June 23-September 13, 2015). Pier Francesco Foschi (1502-1567) Florentine Painter. Galleria dell’Accademia di Firenze, Florence, Italy (organizer) (November 27, 2023-March 10, 2024) https://www.galleriaaccademiafirenze.it/en/expositions/pier-francesco-foschi-1502-1567-pittore-fiorentino/. Winter Exhibition. Burlington House, Royal Academy, London, United Kingdom (1882). Florence and the Arts: Five Centuries of Patronage. The Cleveland Museum of Art, Cleveland, OH (1971).
The Cleveland Museum of Artconfidence 100%
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Sourced Overview Evidence
In this dramatic test of faith from the Old Testament book of Genesis, Abraham agrees to slay his son Isaac on God’s command. As Abraham raises the knife, an angel suddenly appears to halt the sacrifice. This work gains its power from the complex expressions of father and son, combining grief, strength, resignation, fear, and realization in their faces and bodies, the latter inspired by ancient sculpture and Michelangelo. Andrea del Sarto never finished this painting, and it lays bare his working methods. He transferred the design to the panel from a drawing, reinforcing the chalk with painted lines—best seen in the donkey at the far right. He then worked over the whole panel at once with thin, brushy veils of color, letting him alter the composition while painting—especially evident in the angel, Isaac’s body, and Abraham’s head.
The Cleveland Museum of Artconfidence 100%
Evidence state
0 observed sales · 0 comparable sales · 13 structured provenance events · 8 structured exhibitions.
Place Of OriginShort DescriptionProvenance TextExhibition HistoryCredit Line