可比销售
同一艺术家的公开销售,按媒介、创作年份、尺寸和销售新近程度排序。
实际销售事实、可比证据、艺术家指数历史与模型研究保持分开。
同一艺术家的公开销售,按媒介、创作年份、尺寸和销售新近程度排序。
by 1865 - 1876: James Dugdale (1813-1876), Wroxall Abbey, Warwick
1876 - 1927: by descent to his son James Broughton Dugdale (1855-1927)
1927: James Broughton Dugdale sale, Christie's, June 24, 1927, (lot 133 with 134)
1927 - ?: "bt. Martin and Sampson, respectively The Toast of the King and The Death Chamber, both fo...
?: with Anthony Hordern, Sydney, Australia [research ongoing]
? - 2014:hitherto undisclosed American private collection [research ongoing]
2014: bought in at Christie's London "Victorian, Pre-Raphaelite & British Impressionist Art" sale on...
by 1865 - 1876: James Dugdale (1813-1876), Wroxall Abbey, Warwick 1876 - 1927: by descent to his son James Broughton Dugdale (1855-1927) 1927: James Broughton Dugdale sale, Christie's, June 24, 1927, (lot 133 with 134) 1927 - ?: "bt. Martin and Sampson, respectively The Toast of the King and The Death Chamber, both for total price of £25 4s [Christie's notes say 24 gns to Harrison with lot 134; research ongoing] ?: with Anthony Hordern, Sydney, Australia [research ongoing] ? - 2014:hitherto undisclosed American private collection [research ongoing] 2014: bought in at Christie's London "Victorian, Pre-Raphaelite & British Impressionist Art" sale on June 17, 2014 (lot 13) The Cleveland Museum of Art, Cleveland, OH
British Gallery Reinstallation (June 2020). The Cleveland Museum of Art (organizer).

Louis Hayet (French, 1864–1940) · 1887

Jean-Auguste-Dominique Ingres (French, 1780–1867) · 1833

艺术家 · 1520

Anne Vallayer-Coster (French, 1744–1818) · 1769

Franz Anton Maulbertsch (Austrian, 1724–1796) · 1745
<br>Augustus Leopold Egg’s The Life of Buckingham depicts a fictional moment in the debauched, roguish life of George Villiers (1628–1687), 2nd Duke of Buckingham (seated at the center, wearing white). Although the scene is invented, <br>the merrymakers and courtesans depicted around the table (among them King Charles II, to Buckingham’s right) were characters the duke would have personally known and were familiar to Victorian audiences who delighted in the <br>cautionary tale of excess.
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