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 |
|---|---|---|---|---|---|---|---|---|---|
Mar 15, 2016 | Bonhams | Knightsbridge | Modern British and Irish Art | 78 | $****** - ****** | Portrait of a young lady | |||
Nov 18, 2015 | Bonhams | London | Modern British and Irish Art | 45 | $****** - ****** | Portrait of a young lady |
paintings
77.5 x 64.2 cm (30.51 x 25.28 in)
oil on canvas
signed and dated 'J Lavery 1886' (on a canvas fragment attached to the stretcher)
With Frederick Thom Gallery, Toronto,
Acquired by the present owner in 1993,
Private Collection, U.K
When he returned from France at the end of 1884, the young John Lavery immediately re-established his studio in Glasgow. Living in Paisley, within easy commuting distance, he was looking for an eye-catching subject that would give much-needed publicity, when he painted The Tennis Party (Aberdeen Art Gallery). This iconic picture, after being in London and Edinburgh, secured a gold medal at the Paris Salon, and effectively launched his career. A controversial canvas like this would open the door to more lucrative portrait commissions.The young lady's dress in the present canvas, at least in its upper portion, is nevertheless of great interest, being modelled on one designed by Worth, and worn by the subject in Whistler's Harmony in White and Ivory, Lady Colin Campbell (unlocated, probably destroyed). Lavery, who was aware of the great importance of the American artist for members of his generation, met him at this time and was showing at the Society of British Artists when the Lady Colin Campbell portrait was . Pictorial harmony was, and would remain, a primary characteristic of his approach to the sitter and his subject in the present canvas was 'symphonic' in the Whistlerian sense - silver-blues in her glove ties, complementing subtle notes of cream, gold and pink in the hair and dress accessories
