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 |
|---|---|---|---|---|---|---|---|---|---|
Oct 22, 2019 | Dorotheum | Vienna | Old Master Paintings I | 110 | $****** - ****** | Immortalia, the nymph of immortality, receiving nameplates from two swans; and Silvia, decorating herself with flowers while observed by Daphne |
paintings
81.8 x 73 cm (32.2 x 28.74 in)
oil on canvas laid down on panel
Probably commissioned by Don Onorato Gaetani (also Caetani) dell’Aquila d’Aragona, Duca di Miranda, Naples, 1783;
A. Jandolo, Rome;
Collection of H. Murray Haskard;
from whom acquired in December 1898 by the art dealer Agnew’s, London, no. 8650 [untitled], 8662 [Immortalia], 8684, 8685 [possibly Silvia, Erminia, or Constanza];
acquired from Agnew’s by A. Goldschmidt, London, on 21 January 1899;
thence by descent to Edward Goldschmidt, London;
his sale, Christie’s, 19 December 1930, lot 64 (as A. Kauffmann, R. A. – a set of three);
sale, Christie’s, 20 November 1953, lot 86 (as Kauffmann, Allegorical Subjects – a set of three);
where acquired by Bolton (handwritten note in the catalogue);
Federico Zeri collection, Mentana, at least from 1972;
Private European collection
Vienna/Rome, Akademie der Bildender Künste/Museo di Roma Palazzo Braschi, Österreichische Künstler und Rom: vom Barock zur Secession, May – July 1972, cat. no. 151 (Nymphe der Unsterblichkeit) and cat. no. 152 (Flora);
London, The Royal Academy and The Victoria & Albert Museum, The Age of Neoclassicism, 9 September – 19 November 1972, cat. no. 161 (Flora) and cat. no. 162 (The Nymph of Immortality);
Bregenz, Vorarlberg Museum, Angelika Kauffmann – Unbekannte Schätze aus Vorarlberger Privatsammlungen, 15 June – 6 October 2019, p. 177 (Silvia), pp. 231-232 (Immortalia)
V. Manners/G. C. Williamson, Angelica Kauffmann, R. A., Her Life and Her Works, London 1924, p. 190;
D. Moulton Mayer, Angelica Kauffmann, R. A. 1741-1807. A Biography, Gerrards Cross 1972, fig. 21 (Immortalia);
S. Roettgen, in: Österreichische Künstler und Rom: vom Barock zur Secession, exhibition catalogue, ed. by J. Garms, Rome/Vienna 1972, pp. 139-140, cat. no. 151, pl. 65 (Nymphe der Unsterblichkeit) and cat. no. 152, pl. 66 (erroneously as Flora instead of Silvia and Daphne) (as Kauffmann A.);
H. Honour et al. (eds.), The Age of Neoclassicism, exhibition catalogue, London 1972, pp. 106-107, cat. no. 161 (erroneously as Flora instead Silvia and Daphne) and cat. no. 162 (The Nymph of Immortality);
B. Baumgärtel (ed.), in: Angelika Kauffmann 1741–1807. Eine Retrospektive, exhibition catalogue, Düsseldorf 1998, p. 252, cited under cat. no. 120, 121 (as Silvia and Daphne for the first time);
B. Baumgärtel (ed.), in: Angelika Kauffmann - unbekannte Schätze aus Vorarlberger Privatsammlungen, exhibition catalogue, Munich 2019, p. 177 (Silvia), pp. 231-232 (Immortalia)
oil on canvas laid down on panel, 81.8 x 73 cm and 81.8 x 62.2 cm, framed, a pair (2)
