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 |
|---|---|---|---|---|---|---|---|---|---|
Nov 27, 2013 | Dorotheum | Vienna | Contemporary Art, Part I | 902 | $****** - ****** | Concave Mirror Object |
sculpture
108 x 185 x 7.2 cm (42.52 x 72.83 x 2.83 in)
10 x 6 rectangular mirrors with concave mirror strips in grey wooden frame on black wooden board
signed, dated Luther 75, stamped in red Luther - Licht und Materie, on the reverse
Private Collection, Rhineland - directly from the artist The work has been registered by the Adolf-Luther Foundation Krefeld under the archive number Hsp/75/004. We are grateful to Dr Magdalena Broska for her assistance in cataloguing this work. The concave mirror objects serve as instruments. Their instrumental function is, on the one hand, by means of the many identical concave mirrors to optically multiply a given reality in the form of numerous irreal, often inverted appearances which irritate the observer, and on the other, by changing their position the observer themself inspires, as it were, an ever-changing sensation of reflection. The concave mirror objects are instruments because they reflect and react to the observer’s movements. Underlying this instrumental function lies the serial structure of the concave mirror objects, which itself has become important to minimalist art. Here the serial nature is not the common cause, but rather a function of the instrumental. (Imdahl, Max in: Honisch, Dieter ed., Adolf Luther, Licht und Materie, Recklinghausen 1978, p. 22)
