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 |
|---|---|---|---|---|---|---|---|---|---|
Jun 9, 2022 | Christie's | New York | Old Masters | New Perspectives: Masterworks from The Alana Collection | 53 | $****** - ****** | The Martyrdom of Saint Apollonia | |||
Dec 10, 1986 | Sotheby's | London | N/A | 26 | Estimates not disclosed | The martyrdom of Saint Apollonia |
paintings
44.1 x 33.7 cm (17.38 x 13.25 in)
oil on copper
(Possibly) Cardinal Ludovico Ludovisi (1595-1632), listed in inventories of 1623 and 1633.
Acquired in Rome by the Abbé Jean d'Estrées (1666-1718), Archbishop of Cambrai from 1716, by whom sold to,
Philippe II, duc d'Orléans (1674-1723), and by descent to his son,
Louis, duc d'Orléans (1703-1752), and by descent to his grandson,
Louis Philippe II Joséph d'Orléans, duc de Chartres, called ‘Philippe Egalité (1747-1793).'
Orléans sale; London, Mr. Bryan's Gallery, 26 December 1798, lot 36 (350 gns. to Troward).
Walsh Porter; (†), Christie's, London, 14 April 1810, lot 14 (346 gns. to Parson).
George Watson-Taylor, M.P. (1771-1841), Erlestoke Park, near Devizes, Wiltshire, by 1818; Christie's, London, 14 June 1823, lot 54 (420 gns. to ‘Count Woronzow').
(Probably) Count Semen (or Semyon) Romanovich Worontsow (1744-1832), or Prince Mikhail Semenovitch Vorontsov (1782-1856), Alupka, Crimea.
Princess Maria Vassilievna Vorontsova (1819-1894), Alupka, Crimea, and Villa Vorontsova, Florence, by descent to,
Nicolas Stolypin (d. 1899); his sale, Giulio Sambon, Florence, 28 April 1900, lot 415.
Anonymous sale; Sotheby's, London, 10 December 1986, lot 26, where acquired by the following,
Richard Feigen, New York, and by whom sold,
[Property from the Private Collection of Richard L. Feigen, New York], Sotheby's, London, 9 July 2008, lot 72, where acquired by a private collector, by whom sold,
[Property from a Distinguished Private Collection]; Christie's, New York, 28 January 2015, lot 22, where acquired after the sale by the present owner.
London, British Institution, 1818, no. 40.
Bologna, Pinacoteca Nazionale; Los Angeles, Los Angeles County Museum of Art; and Fort Worth, Kimbell Art Museum, Guido Reni 1575-1642 , 5 September 1988-14 May 1989, no. 27 (entry by D.S. Pepper).
Phoenix, Phoenix Art Museum; Kansas City, Nelson-Atkins Museum of Art; and The Hague, Mauritshuis, Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper 1575-1775 , 19 December 1998-2 August 1999, no. 47 (entry by E.P. Bowron).
Paris, Musée Jacquemart-André, La Collection Alana: Chefs-d'œuvres de la peinture italienne , 13 September-20 January 2020, no. 74 (entry by P. Currie).
Dubois de Saint-Gelais, Description des Tableaux du Palais-Royal , Paris, 1727, p. 193.
A.J. d'Argenville, Abrégé de la vie des plus fameux peintres , II, Paris, 1762, p. 110.
J. Couché, La Galerie du Palais-Royal gravée d'après les tableaux des différents écoles qui la composent , Paris, 1786, I, pp. 101-102.
W. Buchanan, Memoirs of Painting, with a Chronological History of the Important Pictures by the Great Masters into England since the French Revolution , I, London, 1824, p. 94, no. 2.
G. Waagen, Treasures of Art in Great Britain : Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Manuscripots , II, London, 1854, Appendix B, p. 495, no. 9.
A. Graves, A Century of Loan Exhibitions 1813-1912 , I, London, 1913, p. 458.
C. Stryienski, La Galerie du Régent Philippe, Duc d'Orléans , Paris, 1913, p. 170, no. 253.
O. Kurz, 'Guido Reni', Jahrbuch des Kunsthistorischensammlungen in Wien , II, Vienna, 1937, p. 247.
(Possibly) K. Garas, 'The Ludovisi Collection of Pictures in 1633 - II', The Burlington Magazine , CIX, 1967, p. 347, no. 224.
E. Bacchesi, L'opera completa di Guido Reni , Milan, 1971, p. 88, no. 26c.
D.S. Pepper, Guido Reni , Oxford, 1984, pp. 217-218, no. 20.
D.S. Pepper, Guido Reni. L'opera completa , Novara, 1988, p. 330, no. 16, pl. VI.
R. Spear, 'Re-viewing the "Divine" Guido', The Burlington Magazine , CXXXI, 1989, p. 370.
D.S. Pepper, 'Guido Reni: a Review Reviewed' (with a reply by Richard E. Spear), The Burlington Magazine , CXXXII, 1990, p. 221.
R. Spear, The “Divine” Guido: Religion, sex, money and art in the world of Guido Reni , New Haven and London, 1997, pp. 373-374, note 77, as 'a later replica or a fine ritocco'.
A. Henning, 'The New Technique of Painting on Copper', Captured Emotions: Baroque Painting in Bologna, 1575-1725 , exhibition catalogue, Los Angeles, 2008, pp. 26-27, fig. 2.
GUIDO RENI (BOLOGNA 1575-1642)
The Martyrdom of Saint Apollonia
oil on copper
17 3⁄8 x 13 1⁄4 in. (44.1 x 33.6 cm.)
