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 8, 2020 | Christie's | New York | Impressionist & Modern Art Day Sale | 502 | $****** - ****** | Milk Flower | |||
Nov 13, 2019 | Christie's | New York | Impressionist and Modern Art Works on Paper | 128 | $****** - ****** | Milk Flower |
Works on Paper
29.8 x 24.1 cm (11.75 x 9.5 in)
gouache, pencil and charcoal, paper and rubber collage on paper laid down on paper
Edith Thomas, London (wife of the artist).
Hanover Gallery, London (acquired from the above, 1955).
G. David Thompson, Pittsburgh (acquired from the above).
Galerie Beyeler, Basel (acquired from the above).
Paul Hänggi, Basel (acquired from the above, 1961).
Galerie Beyeler, Basel (acquired from the above).
Ernst Schwitters, Lysaker (acquired from the above).
Marlborough Fine Art, Ltd., London (acquired from the above, 1963).
Acquired from the above by the late owner, June 1985.
Kunsthaus Zürich; Kunstmuseum Dusseldorf; Gemeentemuseum den Haag; New York, Solomon R. Guggenheim Museum and Turin, Galleria civica d’arte moderna, Thompson, Pittsburgh: aus einer amerikanischen Privatsammlung, October 1960-November 1961, no. 241.
London, Marlborough Fine Art, Ltd., Schwitters, March-April 1963, p. 33, no. 263 (illustrated, p. 104).
Cologne, Wallraf-Richartz-Museum; Kolnischer Kunstverein and Rotterdam, Museum Boymans-van Beuningen, Kurt Schwitters, September 1963-March 1964, p. 30, no. 275 (illustrated, p. 98).
London, Marlborough Fine Art, Ltd., Modern Masters: Drawings and Watercolours, November-December 1966, p. 25, no. 104 (illustrated, p. 26).
Dusseldorf, Städtische Kunsthalle; Berlin, Akademie der Künste; Staatsgalerie Stuttgart; Kunsthalle Basel and Kunstverein in Hamburg, Kurt Schwitters, January-November 1971, p. 37, no. 270.
London, Marlborough Fine Art, Ltd.; Zurich, Marlborough Galerie SA; New York, Marlborough Gallery, Inc.; Rome, Marlborough Galleria d’Arte and Vienna, Museum des 20. Jahrhunderts, Kurt Schwitters, October 1972-December 1973, p. 28, no. 86 (illustrated, p. 89).
Edinburgh, New 57 Gallery, Kurt Schwitters, August-September 1976, no. 6.
London, Marlborough Fine Art, Ltd., Kurt Schwitters in Exile: The Late Work, 1937-1948, October 1981, pp. 114-115, no. 152 (illustrated, pp. 100 and 153).
Karuizawa, The Museum of Modern Art, Tokyo, The Seibu Museum of Art and Otsu, Seibu Department Store, Kurt Schwitters, July 1983-January 1984, p. 184, no. 221 (illustrated, p. 84).
New York, Marlborough Gallery, Inc., Kurt Schwitters, May-June 1985, p. 23, no. 59 (illustrated in color).
J. Elderfield, Kurt Schwitters, exh. cat., The Museum of Modern Art, New York, 1985, pp. 211 and 418 (illustrated, fig. 273).
E.S. Shaffer, “Kurt Schwitters, Merkünstler: Art and Word-Art,” Word & Image, vol. 6, no. 1, January-March 1990, pp. 105-106 (illustrated, p. 107, fig. 4).
D.A. Steel, “DADA-ADAD: Kurt Schwitters, Poetry, Collage, Typography and the Advert,” Word & Image, vol. 6, no. 2, April-June 1990, pp. 205-206 (illustrated, p. 206, fig. 7).
K. Orchard and I. Schulz, eds., Kurt Schwitters: Catalogue raisonné, 1937-1948, Ostfildern, 2006, vol. 3, p. 624, no. 3536 (illustrated).
