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 |
|---|---|---|---|---|---|---|---|---|---|
Feb 3, 2016 | Sotheby's | London | Impressionist & Modern Art Evening Sale | 20 | $****** - ****** | La Grand-mère À L'évier |
paintings
22.5 x 18.3 cm (8.86 x 7.2 in)
oil on board
Estate of the artist Sam Salz, New York William & Edith Mayer Goetz, Los Angeles (a gift from the above by 1951. Sold:
Christie’s, New York, 14th November 1988, lot 13) Galerie Bellier, Paris
Acquired from the above by the present owner in 2007
San Francisco, California Palace of the Legion of Honor, The Collection of Mr & Mrs William Goetz, 1959, no. 66, illustrated in the catalogue (titled My Grandmother and as dating from 1892) Houston, The Museum of Fine Arts; Washington, D.C., The Phillips Collection & New York, The Brooklyn Museum, The Intimate Interiors of Edouard Vuillard, 1989-90 (not in the catalogue) Lyon, Musée des Beaux-Arts; Barcelona, Fundación Caixa de Pensiones & Nantes, Musée des Beaux-Arts, Vuillard, 1990-91, no. 27, illustrated in colour in the catalogue (titled La Femme à la soupière and as dating from circa 1890-91) Berlin, Kunsthandel Wolfgang Werner, Edouard Vuillard. Intérieurs et Paysages de Paris, 1992, no. 2, illustrated in colour in the catalogue (titled Grand-mère à la soupière and with incorrect medium) Gifu, Japan, The Museum of Fine Arts, Tournant de la peinture, 1993, no. 178, illustrated in the catalogue Zurich, Kunsthaus, Die Nabis, Propheten der Moderne, 1993, no. 142, illustrated in colour in the catalogue Florence, Palazzo Corsini, Il Tempo dei Nabis, 1998, no. 6, illustrated in colour in the catalogue Montreal, Musée des Beaux-Arts, Le Temps de Nabis, 1998, no. 157, illustrated in colour in the catalogue Saint-Tropez, Musée de l’Annonciade & Lausanne, Musée Cantonal des Beaux-Arts, Edouard Vuillard. La porte entrebâillée, 2000-01, no. 6, illustrated in colour in the catalogue (titled La Grand-mère à la soupière) Washington D.C., National Gallery of Art; Montreal, The Montreal Museum of Fine Arts; Paris, Galeries Nationales du Grand Palais & London, Royal Academy of Arts, Edouard Vuillard, 2003-04, no. 4, illustrated in colour in the catalogue
Alfred M. Frankfurter, ‘The Goetz Collection’, in Art News 50, no. 5, September 1951, p. 57 Post-Impressionism. From Van Gogh to Gauguin (exhibition catalogue), The Museum of Modern Art, New York, 1956, illustrated pp. 418-419 Guy Cogeval, Vuillard. Le temps détourné, Paris, 1993, illustrated in colour p. 22 Natasha Staller, ‘Babel. Hermetic Languages, Universal Languages, and Anti-Languages in Fin de Siècle Parisian Culture’, in Art Bulletin 76, no. 2, June 1994, illustrated fig. 16 Antoine Salomon & Guy Cogeval, Vuillard: The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, Paris, 2003, vol. I, no. II-3, illustrated in colour p. 75
