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 |
|---|---|---|---|---|---|---|---|---|---|
May 4, 2010 | Christie's | New York | Impressionist/ Modern Evening Sale | 37 | $****** - ****** | Matinée de printemps, Pontoise |
paintings
45 x 55 cm (17.72 x 21.65 in)
oil on canvas
signed and dated 'C. Pissarro. 1874' (lower left)
Count Armand Doria, Paris;
sale, Galerie Georges Petit, Paris, 4-5 May 1899, lot 196. Galerie Durand-Ruel et Cie., Paris and Galerie Bernheim-Jeune et Cie., Paris (acquired at the above sale). Galerie Durand-Ruel et Cie., Paris (acquired from the above, June 1901). Galerie Bernheim-Jeune et Cie., Paris (acquired from the above). Wildenstein et Cie., Paris. Oscar Schmitz, Dresden (acquired from the above, 1901). Mrs. S. Kaye, London. The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London. The Honorable Michael L. Astor, United Kingdom. Artemis Fine Art, London. Sir George Solti, London (acquired from the above, 1988). By descent from the above to the previous owner, until 2008.
Dresden, Grossen Kunstausstellung, August 1901, no. 2235. Dresden, Internationale Kunstausstellung, June-September 1926, p. 38, no. 139. Zurich, Kunsthaus, Sammlung Oscar Schmitz: Französische Malerei des XIX. Jahrhunderts, January-February 1932, p. 8, no. 42. Zurich, Kunsthaus, Sammlung Oscar Schmitz (Dresden-Zürich): Französische Impressionisten aus verschiedenem Besitz, January-February 1933, no. 54. Zurich, Kunsthaus, Französische Maler des XIX. Jahrhunderts, May-August 1933, no. 25. Paris, Paul Rosenberg, Le Grande Siècle, June-July 1936, no. 46. Paris, Wildenstein et Cie., The Oscar Schmitz Collection: Masterpieces of French Painting of the XIXth Century, November 1937, pp. 102-103, no. 46 (illustrated, p. 103). London, The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), Delacroix to Dufy: French Paintings of the 19th and 20th Centuries, June-July 1946, p. 12, no. 41. Jerusalem, The Israel Museum and New York, The Jewish Museum, Camille Pissarro: Impressionist Innovator, October 1994-July 1995, p. 123, no. 48 (illustrated in color). Glasgow, McLellen Galleries, The Birth of Impressionism: From Constable to Monet, May-September 1997, pp. 26 and 31 (illustrated in color, p. 26).
Dalligny, "La collection Doria," in Les Journal des Arts, 29 April 1899. P. Fechter, in Kunst und Künstler, 1910, p. 21. K. Scheffler, in Kunst und Künstler, 1920-1921, p. 186. M. Dormoy, in L'Amour de l'Art, 1926. L.-R. Pissarro and L. Venturi, Camille Pissarro, son art--son oeuvre, Paris, 1938, vol. I, p. 115, no. 252 (illustrated, vol. II, pl. 51). J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Paris, 2005, vol. II, p. 270, no. 353 (illustrated in color).
