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 |
|---|---|---|---|---|---|---|---|---|---|
Aug 29, 2023 | Bonhams | Sydney | The Fred and Elinor Wrobel Collection: The Artist's Eye | 31 | $****** - ****** | St Jean de Luz |
paintings
48.5 x 59 cm (19.09 x 23.23 in)
oil on composition board
signed and dated lower left: "R de Maistre 1931" signed and dated lower right: "R de Mestre / 1931"
Geoff K. Gray, Sydney, 25 November 1975, lot 96
Private collection
Geoff K. Gray, Sydney, 22 November 1978, lot 133
The Fred and Elinor Wrobel Collection, Sydney
possibly, Roy de Maistre , Bernheim Jeune Gallery, Paris, c.May 1931
A sleepy fishing village in the winter months, the Basque seaside town of St-Jean-de-Luz in South West France transforms into a fashionable and crowded holiday resort in the summer. One of the village"s most alluring qualities is its natural harbour and protected beaches lined with characteristic terracotta roofed buildings. Australian expatriate artist Roy de Maistre first visited St-Jean-de-Luz in 1923 following his controversial win of the New South Wales Society of Artists Travelling Scholarship earlier that year. He initially arrived in London but disenchanted with the capital, travelled to Paris and then on to St-Jean-de-Luz to stay with his cousin, Camilla Keogh, who had retired to the village in 1922 with her husband, Lieutenant General Sir Alfred Keogh.
De Maistre was immediately drawn to the region and was to return there regularly in the following year. He painted a number of views of the Basque town and indeed, numerous important portraits of Camilla. A c.1948 work, Death of Camilla, depicts St Jean de Luz in the background. In 1925 he took a studio there for three months and when he finally returned to Sydney at the end of the Scholarship he presented to the scholarship committee an oil painting depicting his beloved seaside town entitled Boat Harbour, 1925 (The Howard Hinton Collection, New England Regional Art Museum) as a summation of his progress throughout his three-year sojourn abroad.
In the present work, De Maistre"s skill with form and colour as well as his interest in perspective is evident. The straight architectural lines and angles of the boat shed ceiling are simultaneously repeated and contrasted by the straight lines and curves of the brightly coloured boats below. The composition is tight with the viewer encouraged to focus first on the foreground details and then slowly the eye is drawn back by the repeating lines of the boats, to those on the shutters at the back of the shed and finally taking in the terracotta roofed buildings in the background with their matching shutters. There is a glimpse of shimmering water whose light reflected and boats packed away suggests the quiet end to a bright summer"s day out on the water.
Roy de Maistre (1894-1968)
St Jean de Luz, 1931
signed and dated lower left: "R de Maistre 1931"
signed and dated lower right: "R de Mestre / 1931"
oil on composition board
48.5 x 59.0cm (19 1/8 x 23 1/4in).
