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 |
|---|---|---|---|---|---|---|---|---|---|
Nov 30, 2018 | Lempertz | Cologne | Modern Art | 240 | $****** - ****** | Deux jeunes filles, mantille et noeud rouge | |||
Jun 2, 2016 | Kunsthaus Lempertz | Cologne | Moderne Kunst | 324 | $****** - ****** | Deux jeunes filles, mantille et noeud rouge | |||
Jun 24, 2015 | Christie's | London | Impressionist and Modern Works on Paper | 124 | $****** - ****** | Deux jeunes filles, mantille et noeud rouge |
Works on Paper
45 x 36.2 cm (17.72 x 14.25 in)
Watercolour, pencil and Indian ink on white watercolour paper
Signed 'Marie Laurencin' in pen and ink lower right
Galerie Paul Pétridès, Paris (gallery label on support card), acquired there by the previous owner in the 1980s.
Tall and slender figures formed out of flowing lines, upright oval faces with deep and dark almond-shaped eyes and sharply accentuated noses - these constitute the unmistakable bodily and facial type that provide Marie Laurencin's oil and watercolour paintings with their distinctive formal idiom. Real and imaginary portraits of elegant ladies, delicate girls or graceful ballet dancers form her preferred subject matter. Despite Laurencin's chequered life, her extensive oeuvre is characterised by an extraordinary independence and indicates her self-confident artistic attitude. Without a doubt, she is one of the twentieth century's important female artists.
In the milieu of the "bande Picasso", Laurencin came into contact with the circle of artists and writers out of which the Cubist movement would grow. While the artist participated intensely in the theoretical debate of this circle, the art theoretical considerations of Cubism entered into her work only to a limited extent.
In 1907 Laurencin began a six-year liaison with Guillaume Apollinaire, whom she met during her first exhibition at the "Salon des Indépendants". He was to become one of her strongest advocates and prominently acknowledged her artistic independence in his 1913 book "Les peintres cubistes". Gertrude Stein purchased the first version of Laurencin's key work "Apollinaire et ses amis" (Marchesseau 48), which shows the artist in the company of Guillaume Apollinaire, Pablo Picasso and Fernande Olivier (now in the Baltimore Museum of Art; the second version, which is from 1909, Marchesseau 49, is to be found at Paris's Centre Georges Pompidou).
Marie Laurencin found her own unique pictorial idiom in the course of the 1910s. The two young girls with a mantilla and bow are an outstanding example of her sensitive occupation with the realm at the border of figurative and abstract art. The artist subtly suggests the dissolution of both half-length figures within the pictorial space, and in her typical manner, she uses her delicate palette to capture the girls within the fragile interspace between appearance and disappearance.
Marie Laurencin
1885 - Paris - 1956
Deux jeunes filles, mantille et noeud rouge
Watercolour, pencil and India ink on white watercolour paper. 45 x 36.2 cm. Framed under glass. Signed 'Marie Laurencin' in pen and ink lower right. - Circumferentially mounted to support card verso in margin.
