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 16, 2020 | Christie's | New York | Old Masters | 27 | $****** - ****** | Hercules |
paintings
126.4 x 104.8 cm (49.75 x 41.25 in)
oil on canvas
Commissioned from the artist by Alessandro Argoli (1594-1654), auditor del campo of the papal militia in Ferrara, 6 March 1642, and by whom gifted on 30 July 1642 to
Cardinal Francesco Barberini (1597-1679), Palazzo della Cancelleria, Rome, and by descent to his nephew
Cardinal Carlo Barberini (1630-1704), Palazzo alle Quattro Fontane, Rome, and by descent to his nephew
Cardinal Francesco Barberini (1662-1738), Rome, and (possibly) by descent to
Giulio Cesare Colonna Barberini (1702-1784), Rome, and (possibly) by descent.
(Possibly) Corsini collection, Rome.
Anonymous sale; Sotheby's, London, 10 July 2002, lot 64, where acquired by the present owner.
Iglesias, Palazzina Bellavista, Le collezioni ritrovate di Guercino, 30 April-30 August 2003, pp. 9-10.
Milan, Palazzo Reale, Guercino: Poesia e sentimento nella pittura del '600, 27 September 2003-18 January 2004, no. 46.
C.C. Malvasia, Felsina Pittrice: Vite de' Pittori Bolognesi, Bologna, 1678, p. 373, as 'Al sig. Alessandro Argoli un' Ercole'.
F. Vivian, 'Guercino seen from the Archivio Barberini', The Burlington Magazine, CXIII, January 1971, p. 26, note 74.
M. Aronberg-Lavin, Seventeenth-Century Barberini Documents and Inventories of Art, New York, 1975, p. 21, doc. 165; p. 443, doc. 412.
B. Ghelfi, ed., Il libro dei conti del Guercino, 1629-1666, Vignola, 1997, p. 112, no. 271.
M. Di Penta, 'Guercino's "Endymion," "Hercules" and "Artemisia" for Alessandro Argoli', Journal of the Warburg and Courtauld Institutes, LXVII, 2004, pp. 233, 245-250.
A. Lo Bianco, 'Rubens e la nascita del Barocco. Gli artisti più Giovani e l'eredità di Rubens', in Rubens e la nascita del Barocco, exhibition catalogue, Milan, 2016-2017, p. 33, fig. 11.
N. Turner, The Paintings of Guercino: A Revised and Expanded Catalogue Raisonné, Rome, 2017, p. 571, no. 281.I.
