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 |
|---|---|---|---|---|---|---|---|---|---|
Apr 19, 2012 | Bonhams | Edinburgh | Scottish Art | 69 | $****** - ****** | Pink Rose and Fruit |
paintings
67 x 54.5 cm (26.38 x 21.46 in)
oil on board
signed and dated 'LESLIE HUNTER/22' (lower right)
~ Purchased in Glasgow in the 1920s ~ Thence by descent ~ ~ Chronology is notoriously difficult to ascertain with the Colourists' work, particularly post-war, so the date on this rediscovered picture is significant. It belongs to a major series of still life compositions - featuring now familiar motifs such as the candlestick, Chinese bowl, pale green door and blue drapery - which are among the finest of Hunter's career. He is a distinctive and original artist working at the peak of his powers, in full command of his medium and theme, yet still beset by doubt. ~ ~ Letters to his patron Matthew Justice reveal that the artist visited Paris in March 1922, where he mocked the 'Rotonde' cafe crowd, and modern 'masters', while admiring Cezanne's still lifes. A visit to Venice inspired some of his best plein-air panels, and reinvigorated his palette, while the rest of the year was spent between Glasgow and Fife. ~ ~ The major 'Colourist' exhibition, organised by Reid for the Leicester Galleries in London in 1923, was imminent and Hunter was in close contact with Fergusson at this stage.~
