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 |
|---|---|---|---|---|---|---|---|---|---|
Jan 25, 2012 | Christie's | New York | The Art of France | 139 | $****** - ****** | Portrait of the artist's mother, Madame Le Sèvre |
paintings
65 x 54 cm (25.59 x 21.26 in)
oil on canvas, oval
Collection of the artist, Paris, until her death in 1842; presumably by inheritance to her niece, Caroline Vigée Rivière, Paris and Louveciennes, and by descent in the family through the second half of the 19th century. Comtesse de la Ferronays, Paris; (+), Paris, Hôtel Drouot, 12 April 1897, lot 18 as 'Portrait de L. de Lostenges, Marquise de la Ferronays' (5800 francs).
Private collection, France, until 1985. Anonymous sale; Sotheby's, Monaco, 22 June 1985, lot 179 (the sitter misidentified as the Marquise de la Ferronnays). with Stair Sainty Matthiesen, New York, until 1985. Anonymous sale; Christie's, New York, 27 January 2000, lot 68, ($134,500), where acquired by the present owner.
New York, Colnaghi, The French Portrait 1550-1850, 10 January-10 February 1996, p. 55, pl. 15, pp. 56-57, 99 (catalogue by A. Wintermute and D. Garstang).
J. Tripier Le Franc, 'Notice sur la vie et les ouvrages de Madame Vigée-Lebrun,' Journal dictionnaire de biographie, 1828, pp. 179-180 ('Trois ans á peine s'étaient écoulés depuis ses premiers succès, quand la jeune Louise fixa sur la toile un portrait qui devait lui en valoir encore. (..) La jeune Louise ne pouvait certes mieux faire que de consacrer à sa mère les premières couleurs de sa palette. (..) Malgré le jeune âge dans lequel i fut achevé , il peut toujours être mis au rang des beaux portraits. Son ton n'a rien perdu de sa fraîcheur..'). E.L. Vigée-Le Brun, Souvenirs, 1835, I, pp. 6, 22-23 (and note 1) and 318. P. de Nolhac, Madame Vigée-Le Brun, peintre de la reine Marie Antoinette.., 1908, p. 11 ('Son chef-d'oeuvre d'alors est un portrait ovale de sa mère, peint à quinze ans et demi; le jolie visage est presque de face et les épaules son recouvertes d'une pelisse de satin blanc bordée d'une fourrure de cygne.'); also cited in catalogue by H. Pannier, p. 138. W.H. Helm, Vigée-Le Brun: Her Life, Works, and Friendships, n.d. [1915], p. 197. H.T. Douwes Dekker, Mme. L.E. Vigée-Le Brun, catalogue des portraits enhuile et pastel retrouvés, 1978, no. 095. J. Baillio, 'Quelques peintures réattribuées à Vigée Le Brun,' Gazette des Beaux-Arts, 6e pér., XCIX, January 1982, p. 14 (fallacious information provided by the Masclary family led the author to state incorrectly that the original version of the portrait of Madame Le Sèvre 'en pelisse blanche' was destroyed). E.L. Vigée-Le Brun, Mémoires d'une portraitiste, 1989, p. 21. E.L. Vigée-Le Brun, Memorie di una ritrattista, 1990, illustrated between pp. 144-145.
