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 17, 2017 | Sotheby's | New York | Impressionist & Modern Art Day Sale | 182 | $****** - ****** | Very Good | SELBSTBILDNIS IM ANZUG DER SAFFELEI (SELF-PORTRAIT WEARING A SUIT STANDING NEXT TO AN EASEL) | ||
Feb 5, 2007 | Sotheby's | London | German Art | 23 | $****** - ****** | Very Good | Self-portrait wearing suit, standing by easel | ||
Dec 1, 1987 | Christie's | London | Impressionist and Modern Paintings and Sculpture. Sale No. 3729 | 164 | Estimates not disclosed | Very Good | Self portrait at the easel |
paintings
90 x 75.3 cm (35.43 x 29.65 in)
Oil on canvas
Signed M Liebermann and dated 1922 (lower right)
Leo Lewin, Breslau (acquired directly from the artist in 1922)
Max Glaeser, Eselsfürth & Pfalz (acquired by 1926)
Sale: Christie's, London, December 1, 1987, lot 164
Gemälde-Cabinett Unger, Munich (acquired by 1988)
Kunstsalon Franke, Munich (acquired by 1996)
Private Collection, London (acquired from the above by 1996 and sold: Sotheby's, London, February 5, 2007, lot 23)
Acquired at the above sale
Zurich, Kunsthaus Zurich, Max Liebermann, 1923, no. 102, illustrated in the catalogue
Dusseldorf, Kunstverein für die Rheinlande und Westfalen, Max Liebermann, 1925, no. 72
Munich, Gemälde-Cabinett Unger, Max Liebermann, Carl Hagemeister, 1988, illustrated in color on the cover of the catalogue
Cologne, Zurich & Berlin, Kunstsalon Franke, Max Liebermann, 1992, no. 29, illustrated in color in the catalogue
Bremen, Kunsthalle Bremen, "Nichts trügt weniger als der Schein" Max Liebermann der deutsche Impressionist, 1995-96, no. 63, illustrated in color in the catalogue
Berlin, Alte Nationalgalerie, Max Liebermann-Jahrhundertwende, 1997, no. 5, illustrated in color in the catalogue
Munich, Kunstsalon Franke & Zurich, Galerie Dr. Schenk, Historien-und Landschaftsbilder aus fünf Jahrhunderten, 2002, no. 31, illustrated in color in the catalogue
Kunst und Künstler, 1921-22, illustrated p. 334
Karl Scheffler, "Breslauer Kunstleben" in Kunst und Künstler, 1923, p. 120
Erich Hancke & Max Liebermann, Sein Leben und seine Werke, Berlin, 1923, p. 524
Alfred Kuhn, Max Liebermann, Gedanken und Bilder, Munich, 1923, illustrated on the frontispiece
Karl Scheffler, "Kunstausstellungen Düsseldorf (Kunstverein)" in Kunst und Künstler, 1925, p. 497
Edmund Hausen, "Die Sammlung Glaeser" in Hand und Maschine, Mitteilungsblatt der Pfälzischen Landesgewerbeanstalt Kaiserslautern, 1926, no. 6, pp. 111 & 117
Peter Thoene, Modern German Art, London, 1938, no. 1, illustrated p. 65
Karl Scheffler, "Rückblick auf Max Liebermann" in Kunst und Volk, 1950, illustrated p. 113
Weltkunst, Munich, 1990, illustrated p. 1243
Matthias Eberle, Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien 1900-1935, vol. II, Munich, 1996, no. 1922/9, illustrated in color p. 1054
Signed M Liebermann and dated 1922 (lower right)
Oil on canvas
35 1/2 by 29 5/8 in.
90 by 75.3 cm
Painted in 1922.
