Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
See the measure of artist investment performance relative to risk. A higher ratio suggests better risk-adjusted returns, indicating more consistent performance with less risk.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jul 4, 2012 | Sotheby's | London | Old Master & British Paintings Evening Sale | 32 | $****** - ****** | David With The Head Of Goliath |
paintings
215.7 x 145 cm (84.92 x 57.09 in)
oil on canvas
Acquired directly from the artist in Bologna by Francesco I d'Este, Duke of Modena (1610-1658), through the agency of Cornelio Malvasia, in January 1633
Collection of Prince Eugène, Duke of Savoy (1663-1736), first in his residence in the Upper Belvedere, Vienna, then transferred to the Palazzo Reale, Turin, listed in a 1737 catalogue and by Cochin in 1746
According to Alessandro Baudi di Vesme, director of the Galleria Sabauda from 1888 until 1923, in an annotation to the 1737 catalogue of Prince Eugène's collection, the painting was requisitioned by General Dupont for the French nation but it is not listed among the 18 pictures by Guido Reni that were officially transferred in 1799, and was therefore almost certainly exported earlier (before the 1783 sale listed below)
1
Possibly Dujarry sale, Paris, Chariot, 4 July 1783, lot 4, apparently unsold ("Guido Reni, David tenant la tête de Goliath. Il est vêtu d'une peau de tigre, & est coëffé d'un chapeau avec des plumes. Hauteur 6 pieds 9 pouces, largeur 4 pieds 8 pouces. T.")
2
Probably on the London art market - first with Michael Bryan at Bryan's Gallery, then at Peter Coxe, Burrell & Foster, and subsequently with Bernard Pinney - from 1796 until 1806
3
Private collection in the north of England and then Scotland by circa 1900
From which sold, London, Sotheby's, 3 April 1985, lot 9, where acquired by the present collector.
C.N. Cochin, Voyage d'Italie, ou Recueil de Notes Sur les Ouvrages de Peinture & de Sculpture, qu'on voit dans le principales villes d'Italie, Paris 1746, 1758 and 1769 eds., vol. I, p. 9: "Un David du Guide, fort beau";; J.J. De La Lande, Voyage en Italie..., Geneva 1786, vol. I, p. 81 (1790 ed., vol. I, p. 138): "Un David du Guide, semblable à celui que possède le roi de France. Il faudroit les comparer ensemble pour juger lequel est le plus beau";; A. Venturi, La R. Galleria Estense in Modena, Modena 1882, pp. 185-186;; T. von Frimmel, Geschichte der Wiener Gemäldesammlungen, Berlin & Leipzig 1899, vol. I, Part III, pp. 34 and 42, no. 10, reproduced in Salamon Kleiner's engraving on p. 35, plate 3;; W. Buchanan, Memoirs of Painting with a chronological history of the Importation of Pictures by the Great Masters into England since the French Revolution, London 1824, vol. I, p. 276, no. 23: "Guido.-David with the Head of Goliah. Very fine";; J.P. Mariette, Les grands peintres. I. Écoles d'Italie, Paris 1969 ed., under 'Guide Rheni' as: "Le jeune David debout ayant le bras gauche appuyé sur un fust de Colonne et soutenant de l'autre la teste de Goliath sur un piedestral gravé au burin par J. Piccino d'après le tableau qui estoit resté à Bologne, le Guide en ayant peint deux, celui-ci est presentempt à Vienne chez le Prince Eugene de Savoye";; M.-T. Dirani, in Ricerche di Storia dell'Arte, 1952-53, p. 89, transcribing the letter from Cardinal Bernardino Spada to Queen Maria de Medici's agent in Italy, the Abate di San Luca, dated July 1631, where the picture is described as: "un David fatto nuovamente da Guido Reni, e venduto 200 ducatoni su l'andar del p.mo; ma secondo ch'ei dice, assai più bello";; D.S. Pepper, Guido Reni, A Complete Catalogue of his Works, London 1984, p. 217, no. 19B (as a lost work);; C. Spantigati ed., "Vecchie e Nuove Precisazioni sulla Quadreria del Principe Eugenio di Savoia", in Conoscere La Galleria Sabauda. Documenti sulla Storia delle Sue Collezioni, Turin 1982, p. 26, no. 10: "Davide colla testa di Golia in mano, di Guido Reni. A. 7'; L. 4'6"...";; J. Somerville, "David with the head of Goliath by Guido Reni", in Art at Auction. The year at Sotheby's 1984-85, 1985, pp. 14-17, reproduced in colour fig. 1;; M. Helston, "Some recently cleaned seicento paintings at the National Gallery", in The Burlington Magazine, vol. CXXVIII, no. 996, March 1986, p. 210, reproduced fig. 31 and a detail fig. 32;; D.S. Pepper, in The Age of Correggio and the Carracci, exhibition catalogue, Bologna, Pinacoteca Nazionale, 10 September - 10 November 1986; Washington, National Gallery of Art, 19 December 1986 - 16 February 1987; New York, The Metropolitan Museum of Art, 26 March - 24 May 1987, pp. 517-19, cat. no. 185, reproduced in colour on p. 518;; E.Cropper, "Exhibition Reviews: New York, Metropolitan Museum of Art, The Age of Correggio and the Carracci", in The Burlington Magazine, vol. CXXIX, no. 1009, April 1987, p. 272;; D.S. Pepper, Guido Reni, L'Opera Completa, Novara 1988, pp. 336-37, cat. no. 30, reproduced in colour plate X;; F. Valli, in Guido Reni 1575-1642, exhibition catalogue, Bologna, Pinacoteca Nazionale, 5 September - 10 November 1988; Los Angeles, County Museum of Art, 11 December 1988 - 12 February 1989; and Fort Worth, Kimbell Art Museum, 11 March - 14 May 1989, (Italian ed.), p. 44, under cat. no. 14, (English ed.), p. 184, under cat. no. 9;; D.S. Pepper, 'Regesto bio-bibliografico', in Guido Reni 1575-1642 (op. cit.), p. 205;; S. Loire, "Guido Reni, Dopo La Mostra di Bologna: Qualche Aggiunta", in Accademia Clementina. Atti e Memorie, no. 25, 1990, p. 29, under no. I.30;; D.S. Pepper, "Guido Reni's Davids: The Triumph of Illumination", in Artibus et Historiae, vol. 13, no. 25, 1992, pp. 129, 134-35, 139, and 141-43, footnotes 1, 2 and 20-30, reproduced p. 130, fig. 1;; R.E. Spear, The "Divine" Guido. Religion, Sex, Money and Art in the World of Guido Reni, New Haven & London 1997, pp. 239-40, and 373, footnote 66, reproduced on p. 239, plate 121 (as Studio of Guido Reni);; D.S. Pepper, "A new 'David with the head of Goliath' by Guido Reni", in The Burlington Magazine, vol. CXLIV, no. 1192, July 2002, p. 429, footnote 2, and p. 431, footnotes 20 and 21.
