Museum North Carolina Museum Of Art

Museum

Triptych for Vic-le-Comte

1495–1498

ArtistUnknown French or South Netherlandish artist , active circa 1480–1500

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Medium: Tempera and oil on panel; center cradled
Dimensions: Overall: 26 11/16 x 38 5/8 in. (67.8 x 98.1 cm) Center panel (including original engaged frame): 26 11/16 x 19 3/8 in. (67.8 x 49.3 cm.) Left panel: 26 5/8 x 9 1/2 in. (67.6 x 24.2 cm.) Right panel: 26 5/8 x 9 5/8 in. (67.6 x 24.5 cm.)
Classification: Paintings
Institution: North Carolina Museum of Art
Object number: GL.60.17.61
Credit: Gift of the Samuel H. Kress Foundation

Market Intelligence

Observed sale facts, comparable evidence, artist index history and modeled research remain separate.

Public evidence

Last known price $74,000 Dealer sale · May 8, 1957

+582.7% vs previous observed sale

Matched price history · normalized USD · Foundry provisional

$11K1954

$74K1957

Last known price$74,0002 matched observed sales

Observed median$42,420

Observed sales2

Artist index682.7

1957-05-08Dealer sale$74,000.00

1954-02-19Dealer purchase$10,840.00

Artist index contextLatest public build 682.7 · base 100 · n=1.Artist-level context is not an artwork valuation.

Comparable Sales

Same-artist public sales ranked by medium, creation year, dimensions and sale recency.

Evidence ranked

No public-rights comparable sales meet the current evidence criteria. RELICT does not fill the table with research-only or licensed-only facts.

Provenance

Public

Jean and Jeanne de la Tour, Vic-le Comte, ca. 1498

Jean and Jeanne de la Tour, Vic-le Comte, ca. 1498

bequeathed by Jeanne de la Tour (d.1512) to the Cordeliers (Franciscans?) de Vic-le-Comte, ca. 1512

bequeathed by Jeanne de la Tour (d.1512) to the Cordeliers (Franciscans?) de Vic-le-Comte, ca. 1512

presented by Cordeliers to Emmanuel Theodosius de La Tour d'Auvergne, Cardinal de Bouillon, Grand Almoner of France, July 27, 1703

presented by Cordeliers to Emmanuel Theodosius de La Tour d'Auvergne, Cardinal de Bouillon, Grand Al...

unknown sale (Paris), 1872-74

unknown sale (Paris), 1872-74

Prince de Latour d'Auvergne

Prince de Latour d'Auvergne

Princesse de La Tour d'Auvergne, 1909

Princesse de La Tour d'Auvergne, 1909

M. Knoedler & Co., Inc., New York

M. Knoedler & Co., Inc., New York

Source provenance text

Jean and Jeanne de la Tour, Vic-le Comte, ca. 1498; bequeathed by Jeanne de la Tour (d.1512) to the Cordeliers (Franciscans?) de Vic-le-Comte, ca. 1512; presented by Cordeliers to Emmanuel Theodosius de La Tour d'Auvergne, Cardinal de Bouillon, Grand Almoner of France, July 27, 1703; unknown sale (Paris), 1872-74; Prince de Latour d'Auvergne; Princesse de La Tour d'Auvergne, 1909; M. Knoedler & Co., Inc., New York; Samuel H. Kress Foundation, 1957; given to NCMA, 1960.

Museum North Carolina Museum Of Artconfidence 100%

Exhibitions

Public

Washington, DC, National Gallery of Art, “Art Treasures for America from the Samuel H.

Kress Collection,” December 10, 1961-February 4, 1962, cat. no. 30 (as French School, late XV century). Raleigh, NC, North Carolina Museum of Art, Mary Duke Biddle Education Gallery, “The Story of a Picture,” August 26, 1995-July 21, 1996. Paris, France,

Source exhibition text

Washington, DC, National Gallery of Art, “Art Treasures for America from the Samuel H. Kress Collection,” December 10, 1961-February 4, 1962, cat. no. 30 (as French School, late XV century). Raleigh, NC, North Carolina Museum of Art, Mary Duke Biddle Education Gallery, “The Story of a Picture,” August 26, 1995-July 21, 1996. Paris, France, Réunion des Musées Nationaux, "France 1500: Entre moyen-Âge et Renaissance," October 4, 2010-January 11, 2011; Chicago, IL, Art Institute of Chicago, February 26-May 29, 2011, cat. No. 77, illus (color); [Chicago catalogue]: cat. no. 69, illus. (color), 138. Raleigh, NC, North Carolina Museum of Art, "The People's Collection, Reimagined," October 7, 2022–present.

Museum North Carolina Museum Of Artconfidence 100%

Sourced Overview Evidence

The wings of the triptych, which can be closed inward, have preserved the painting in excellent condition. They bear the likenesses of the donors of the work, whose names, Jean and Jeanne, are the French masculine and feminine equivalents of the name John and therefore link the subjects with their patron saints John the Baptist and John the Evangelist, depicted behind them. An eighteenth-century inscription painted in gold on the backs of the shutters and a paper attached to the back of the central panel provide an unusually complete history of its ownership. [L. Humphrey, "The People's Collection, Reimagined," 2022] Discover more at NCMA Learn.

Museum North Carolina Museum Of Artconfidence 100%

Evidence state

2 observed sales · 0 comparable sales · 9 structured provenance events · 2 structured exhibitions.

Short DescriptionProvenance TextExhibition HistoryCredit Line