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, 2016 | Dorotheum | Vienna | Old Master Paintings | 89 | $****** - ****** | The Immaculate Conception |
paintings
43.5 x 36.5 cm (17.13 x 14.37 in)
oil on canvas
Private European collection
A. Morassi, A. Morassi, Settecento veneziano inedito, Settecento veneziano inedito, in: Arte veneta 3.1949, in: Arte veneta 3.1949, 1950, 1950, p. 83, p. 83, no.81;, no.81;, A. Morassi, A. Morassi, Guardi, Guardi, L’opera completa di Antonio e Francesco Guardi, L’opera completa di Antonio e Francesco Guardi, Venice 1973, Venice 1973, p. 344, p. 344, cat. 197, cat. 197, fig. 216;, fig. 216;, L. R. Bortolatto, L. R. Bortolatto, L’opera completa di Francesco Guardi, L’opera completa di Francesco Guardi, Milano 1974, Milano 1974, pp. 111-112, pp. 111-112, no. 385, no. 385, In line with the iconographic tradition of representations of the Immaculate Conception, In line with the iconographic tradition of representations of the Immaculate Conception, the present painting shows the Madonna standing on a crescent moon amidst clouds, the present painting shows the Madonna standing on a crescent moon amidst clouds, her transfigured gaze directed towards heaven. Between her feet appears a serpent carrying an apple in its mouth, her transfigured gaze directed towards heaven. Between her feet appears a serpent carrying an apple in its mouth, an allusion to the Fall of Man., an allusion to the Fall of Man., The present painting stands out for its atmospheric qualities, The present painting stands out for its atmospheric qualities, achieved by the facile and dynamic brushwork typical of Guardi’s maturity. In terms of colouring, achieved by the facile and dynamic brushwork typical of Guardi’s maturity. In terms of colouring, an overall pale palette mixed with silvery tones and blues prevails., an overall pale palette mixed with silvery tones and blues prevails., A second version of the Immaculate Conception by Guardi exists that is considerably larger than the present compostion (168 x 69 cm); it features a more pronounced upright rectangular composition with an arched top (M. Crespi Collection; Morassi 1973, A second version of the Immaculate Conception by Guardi exists that is considerably larger than the present compostion (168 x 69 cm); it features a more pronounced upright rectangular composition with an arched top (M. Crespi Collection; Morassi 1973, cat. 196, cat. 196, fig. 215) in which a figure closely resembling the present Madonna is embedded in a much vaster heavenly zone (populated by three angels instead of two). Morassi dates the present painting into the period between 1760 and 1770 and believes that the larger version was painted ten years earlier. A preliminary drawing on which both compositions may have been based is in the Museo Correr in Venice (see R. Pallucchini (ed.) I disegni del Guardi al Museo di Venezia, fig. 215) in which a figure closely resembling the present Madonna is embedded in a much vaster heavenly zone (populated by three angels instead of two). Morassi dates the present painting into the period between 1760 and 1770 and believes that the larger version was painted ten years earlier. A preliminary drawing on which both compositions may have been based is in the Museo Correr in Venice (see R. Pallucchini (ed.) I disegni del Guardi al Museo di Venezia, Venezia 1943 p. 38, Venezia 1943 p. 38, n. 8)., n. 8).
