1916
Except otherwise stated, all results include the premium.
See also : Top 10 Klimt Russia and Eastern Europe Schiele Gris The Woman Orientalism Flowers Abstract art II Wild West
See also : Top 10 Klimt Russia and Eastern Europe Schiele Gris The Woman Orientalism Flowers Abstract art II Wild West
KLIMT
1
1914-1916 Elisabeth Lederer
2025 SOLD for $ 236M by Sotheby's
Bildnis Elisabeth Lederer, oil on canvas 180 x 130 cm executed by Klimt in 1914-1916, was sold for $ 236M by Sotheby's on November 18, 2025, lot 8.
Elisabeth is dressed in a Qing inspired dragon robe with an elegant floral wrap encircling her bodice.
Asking Grok to compare Klimt's Portrait of Elisabeth Lederer with his Adele Bloch-Bauer II of 1912, sold by Christie's on November 8, 2006.
Historical Context and Creation
Both paintings are late works by Gustav Klimt, created during his mature period when he focused on portraits of affluent Viennese women from Jewish bourgeois families who were key patrons of his art. Portrait of Elisabeth Lederer (full title: Bildnis Elisabeth Lederer) was executed between 1914 and 1916, commissioned by the sitter's mother, Serena Lederer, a longtime Klimt supporter. In contrast, Portrait of Adele Bloch-Bauer II was painted in 1912, as the second full-length portrait of Adele Bloch-Bauer, a Vienna socialite and close friend of the artist—making her the only subject Klimt depicted twice in this format (the first being the more famous Portrait of Adele Bloch-Bauer I from 1907). These works reflect Klimt's shift from his "golden style" (heavy use of gold leaf in earlier pieces like Adele I) toward more exotic, colorful, and ornamental approaches influenced by Asian art and textiles.
Subjects
The paintings portray young women from prominent Viennese families, emphasizing their elegance and social status:
Artistic Style and Composition
Klimt's portraits from this era follow a standardized approach: realistic rendering of the face and hands for individuality, paired with freer, abstract treatments of clothing and backgrounds drawing from Impressionism, Symbolism, and Fauvism. Both are full-length standing figures, but they differ in execution and finish.
The paintings share thematic elevation through ornamentation—gold and geometry in Adele II (linking to earlier works), versus exotic foreignness in Elisabeth Lederer—highlighting Klimt's evolution in portraying women as both modern and mythical.
Aspect comparison :
Portrait of Elisabeth Lederer (1914–16)
Oil on canvas; 180.4 × 130.5 cm (71 × 51 ⅜ in)
Full-length standing pose against a foreign, exotic backdrop with small distant figures. Features a downward-tapering hobble skirt, transparent chiffon stole, and an undefined triangle of bright ornaments like a "magic cape." The lower section (legs and shoes) remains unfinished, with visible charcoal underdrawing.
Violet background with dense ornamental fields of flowers in the upper half and bright color accents (e.g., orange side table). Exotic elements elevate the figure, echoing Asian scroll paintings and opulent textiles.
Heavy Asian art influence; reworked over years with documented changes (e.g., via infrared photos). Captures "formal unrest" and protective ornamentation.
Portrait of Adele Bloch-Bauer II (1912)
Oil on canvas; 190 × 120 cm (75 × 47 in)
Full-length standing pose, with the subject dominating the canvas. Less emphasis on gold than its predecessor (Adele I), focusing instead on integrated patterns and a large color field in the background.
Prominent use of large color fields (e.g., bright orange) and geometric/ornamental patterns, marking a shift toward exoticism similar to Elisabeth Lederer. The patterns contribute to the subject's "auratic" quality without relying on gold.
Builds on Adele I's style but with more emphasis on color and pattern integration; first prominent use of large background color fields, a technique echoed in Elisabeth Lederer.
Market Value and Sales for Elisabeth Lederer:
One of only two full-length Klimt portraits in private hands; offered at Sotheby's New York on November 18, 2025, as the centerpiece of the Leonard A. Lauder collection sale. Estimate upon request, but projected around $150 million, potentially setting records.
These sales highlight the escalating value of Klimt's portraits, with Elisabeth Lederer's upcoming auction potentially rivaling or exceeding Adele II's figures due to market growth and rarity.
Pre sale Grok thought :
Quote
Artnet @artnet Sep 20
#ArtnetNews: The most anticipated auction trophy of the fall season is undoubtedly Gustav Klimt’s (1862–1918) Portrait of Elisabeth Lederer (1914–16), which is expected to bring as much as $150 million when it hits the block at Sotheby’s New York. Read more:
Elisabeth is dressed in a Qing inspired dragon robe with an elegant floral wrap encircling her bodice.
Asking Grok to compare Klimt's Portrait of Elisabeth Lederer with his Adele Bloch-Bauer II of 1912, sold by Christie's on November 8, 2006.
Historical Context and Creation
Both paintings are late works by Gustav Klimt, created during his mature period when he focused on portraits of affluent Viennese women from Jewish bourgeois families who were key patrons of his art. Portrait of Elisabeth Lederer (full title: Bildnis Elisabeth Lederer) was executed between 1914 and 1916, commissioned by the sitter's mother, Serena Lederer, a longtime Klimt supporter. In contrast, Portrait of Adele Bloch-Bauer II was painted in 1912, as the second full-length portrait of Adele Bloch-Bauer, a Vienna socialite and close friend of the artist—making her the only subject Klimt depicted twice in this format (the first being the more famous Portrait of Adele Bloch-Bauer I from 1907). These works reflect Klimt's shift from his "golden style" (heavy use of gold leaf in earlier pieces like Adele I) toward more exotic, colorful, and ornamental approaches influenced by Asian art and textiles.
Subjects
The paintings portray young women from prominent Viennese families, emphasizing their elegance and social status:
- Elisabeth Lederer: Depicts Elisabeth Franziska Lederer (born 1894, later Baroness Elisabeth Bachofen-Echt after her 1921 marriage), daughter of Serena and August Lederer. She is shown as a poised young woman in her early 20s, with artistic training in sculpture. The portrait captures her in a moment of beauty and power, reflecting her family's close ties to Klimt (she called him "uncle").
- Adele Bloch-Bauer: Features Adele Bloch-Bauer (1881–1925), wife of industrialist Ferdinand Bloch-Bauer and a salon hostess who supported modernist artists. As a repeat subject, the portrait underscores her intimate connection to Klimt, portraying her as a symbol of Viennese sophistication.
Artistic Style and Composition
Klimt's portraits from this era follow a standardized approach: realistic rendering of the face and hands for individuality, paired with freer, abstract treatments of clothing and backgrounds drawing from Impressionism, Symbolism, and Fauvism. Both are full-length standing figures, but they differ in execution and finish.
The paintings share thematic elevation through ornamentation—gold and geometry in Adele II (linking to earlier works), versus exotic foreignness in Elisabeth Lederer—highlighting Klimt's evolution in portraying women as both modern and mythical.
Aspect comparison :
Portrait of Elisabeth Lederer (1914–16)
Oil on canvas; 180.4 × 130.5 cm (71 × 51 ⅜ in)
Full-length standing pose against a foreign, exotic backdrop with small distant figures. Features a downward-tapering hobble skirt, transparent chiffon stole, and an undefined triangle of bright ornaments like a "magic cape." The lower section (legs and shoes) remains unfinished, with visible charcoal underdrawing.
Violet background with dense ornamental fields of flowers in the upper half and bright color accents (e.g., orange side table). Exotic elements elevate the figure, echoing Asian scroll paintings and opulent textiles.
Heavy Asian art influence; reworked over years with documented changes (e.g., via infrared photos). Captures "formal unrest" and protective ornamentation.
Portrait of Adele Bloch-Bauer II (1912)
Oil on canvas; 190 × 120 cm (75 × 47 in)
Full-length standing pose, with the subject dominating the canvas. Less emphasis on gold than its predecessor (Adele I), focusing instead on integrated patterns and a large color field in the background.
Prominent use of large color fields (e.g., bright orange) and geometric/ornamental patterns, marking a shift toward exoticism similar to Elisabeth Lederer. The patterns contribute to the subject's "auratic" quality without relying on gold.
Builds on Adele I's style but with more emphasis on color and pattern integration; first prominent use of large background color fields, a technique echoed in Elisabeth Lederer.
Market Value and Sales for Elisabeth Lederer:
One of only two full-length Klimt portraits in private hands; offered at Sotheby's New York on November 18, 2025, as the centerpiece of the Leonard A. Lauder collection sale. Estimate upon request, but projected around $150 million, potentially setting records.
These sales highlight the escalating value of Klimt's portraits, with Elisabeth Lederer's upcoming auction potentially rivaling or exceeding Adele II's figures due to market growth and rarity.
Pre sale Grok thought :
Quote
Artnet @artnet Sep 20
#ArtnetNews: The most anticipated auction trophy of the fall season is undoubtedly Gustav Klimt’s (1862–1918) Portrait of Elisabeth Lederer (1914–16), which is expected to bring as much as $150 million when it hits the block at Sotheby’s New York. Read more:
- Artnet highlights Gustav Klimt's Portrait of Elisabeth Lederer (1914–16) as the fall season's top auction lot, estimating up to $150 million at Sotheby's New York on November 18, 2025, potentially shattering the artist's $108 million record from 2023.
- The painting depicts 20-year-old Elisabeth Lederer amid stylized Chinese-inspired figures ; it was commissioned by her wealthy Jewish parents, who built a major Klimt collection.
- Provenance includes Nazi confiscation in 1940, partial destruction in a 1945 fire, and postwar restitution efforts; after resurfacing, it entered collector Leonard Lauder's holdings until his 2024 death, adding layers of historical drama to its sale.
Sotheby’s to offer major Klimt portrait as $400m Leonard Lauder collection comes to auction:https://t.co/n4Vm3zU1PE pic.twitter.com/Y4nDOY7ceB
— AntiquesTradeGazette (@ATG_Editorial) September 17, 2025
2
1916 Unterach am Attersee
2025 SOLD for $ 68M by Sotheby's
Waldhabhang bei Unterach am Attersee, oil on canvas 110 x 110 cm painted by Klimt in 1916, was sold for $ 68M by Sotheby's on November 18, 2025, lot 14.
Asking Grok to compare it with the Litzlberg am Attersee, sold by Sotheby's on November 2, 2011, lot 7.
Grok thought :
Overview
Gustav Klimt's landscapes from his summer stays at Lake Attersee in Austria represent a significant portion of his oeuvre, characterized by a square format, vibrant color palettes, mosaic-like brushwork, and a flattened perspective that blends natural and man-made elements into decorative, almost abstract compositions. Both Waldabhang bei Unterach am Attersee (1916) and Litzlberg am Attersee (c. 1914–15) exemplify this phase, painted during World War I when Klimt sought refuge in the Austrian countryside. They share stylistic influences from artists like Van Gogh and Cézanne, with bold strokes and jewel-toned surfaces, but differ in focus: the former emphasizes a forested slope with panoramic elements, while the latter highlights lakeside houses against a wooded hillside. Below is a detailed comparison.
Title and Date
Waldabhang bei Unterach am Attersee, executed in 1916 (sometimes dated 1917 in catalogs; alternative titles include "Unterach on Lake Attersee" or "Unterach am Attersee").Litzlberg am Attersee, painted in the latter half of 1914 (historically dated to 1915).
Medium and Size
Both oil on canvas, 110 x 110 cm (43 ¼ x 43 ¼ in.), square format. Unterach : Signed "Gustav Klimt" lower right.
Subject and Visual Description
Unterach depicts a forest slope near Unterach on Lake Attersee, with a long-distance panoramic view incorporating a village below. Features variegated blue and green brushwork inspired by Cézanne and Van Gogh, using larger-than-normal strokes for a sweeping effect. A central swathe of green meadow interrupts the viewer's line of sight, directing the eye downward to the village and upward to the sky. The composition emphasizes earthy tones, greens, and blues, creating a balanced, symmetrical arrangement with textured layering for a vibrant, natural scenery. This work is believed to be one of Klimt's final landscapes, showcasing his liberation from traditional perspective through flattened, decorative elements.
Litzlberg : A dramatic view of the lush lakeside environs near Litzlberg on Lake Attersee, featuring lakefront houses (including a brewery and farm), a narrow band of water in the foreground, a massive wooded hillside, and a sliver of sky at the top-right. The sumptuous palette includes cool blues and greens punctuated by bright orange roofs, built up as a mosaic of tessellated colors. Influenced by Egon Schiele's townscapes, it uses strong outlines and geometric shapes for a flattened, richly textured surface that retains depth through subtle color modulation. Houses appear stacked in a vertiginous perspective, evoking folk tapestry or stained glass techniques, blending natural splendor with man-made artifacts.
Style and Techniques
Unterach : Klimt's mature landscape style: pointillist influences giving way to flatter structures, with loose brushstrokes, color blocks, and a focus on schematic tensions. The square format enhances geometric abstraction, verging on modernism while celebrating the Attersee region's beauty.
Litzlberg : Similar mature style: poetic opulence with jewel-like surfaces, decorative tendencies, and flattening for abstraction. Bold mosaic patterning, heavy outlines, and rhythmic brushwork create visual depth and tension, reflecting early 20th-century interest in geometric forms and non-traditional perspectives.
Key Similarities
Asking Grok to compare it with the Litzlberg am Attersee, sold by Sotheby's on November 2, 2011, lot 7.
Grok thought :
Overview
Gustav Klimt's landscapes from his summer stays at Lake Attersee in Austria represent a significant portion of his oeuvre, characterized by a square format, vibrant color palettes, mosaic-like brushwork, and a flattened perspective that blends natural and man-made elements into decorative, almost abstract compositions. Both Waldabhang bei Unterach am Attersee (1916) and Litzlberg am Attersee (c. 1914–15) exemplify this phase, painted during World War I when Klimt sought refuge in the Austrian countryside. They share stylistic influences from artists like Van Gogh and Cézanne, with bold strokes and jewel-toned surfaces, but differ in focus: the former emphasizes a forested slope with panoramic elements, while the latter highlights lakeside houses against a wooded hillside. Below is a detailed comparison.
Title and Date
Waldabhang bei Unterach am Attersee, executed in 1916 (sometimes dated 1917 in catalogs; alternative titles include "Unterach on Lake Attersee" or "Unterach am Attersee").Litzlberg am Attersee, painted in the latter half of 1914 (historically dated to 1915).
Medium and Size
Both oil on canvas, 110 x 110 cm (43 ¼ x 43 ¼ in.), square format. Unterach : Signed "Gustav Klimt" lower right.
Subject and Visual Description
Unterach depicts a forest slope near Unterach on Lake Attersee, with a long-distance panoramic view incorporating a village below. Features variegated blue and green brushwork inspired by Cézanne and Van Gogh, using larger-than-normal strokes for a sweeping effect. A central swathe of green meadow interrupts the viewer's line of sight, directing the eye downward to the village and upward to the sky. The composition emphasizes earthy tones, greens, and blues, creating a balanced, symmetrical arrangement with textured layering for a vibrant, natural scenery. This work is believed to be one of Klimt's final landscapes, showcasing his liberation from traditional perspective through flattened, decorative elements.
Litzlberg : A dramatic view of the lush lakeside environs near Litzlberg on Lake Attersee, featuring lakefront houses (including a brewery and farm), a narrow band of water in the foreground, a massive wooded hillside, and a sliver of sky at the top-right. The sumptuous palette includes cool blues and greens punctuated by bright orange roofs, built up as a mosaic of tessellated colors. Influenced by Egon Schiele's townscapes, it uses strong outlines and geometric shapes for a flattened, richly textured surface that retains depth through subtle color modulation. Houses appear stacked in a vertiginous perspective, evoking folk tapestry or stained glass techniques, blending natural splendor with man-made artifacts.
Style and Techniques
Unterach : Klimt's mature landscape style: pointillist influences giving way to flatter structures, with loose brushstrokes, color blocks, and a focus on schematic tensions. The square format enhances geometric abstraction, verging on modernism while celebrating the Attersee region's beauty.
Litzlberg : Similar mature style: poetic opulence with jewel-like surfaces, decorative tendencies, and flattening for abstraction. Bold mosaic patterning, heavy outlines, and rhythmic brushwork create visual depth and tension, reflecting early 20th-century interest in geometric forms and non-traditional perspectives.
Key Similarities
- Artistic Context: Both are from Klimt's Attersee series (1900–1916), painted during summers at the lake where he found inspiration in the natural beauty. They share a square format, oil medium, and dimensions, typical of his landscapes. Stylistically, they employ mosaic-like color application, flattened depth, and decorative abstraction, influenced by contemporaries like Schiele and broader modernist trends.
- Thematic Elements: Each captures the interplay of nature (wooded hillsides, greenery) and subtle human presence (villages or houses), using vibrant palettes to evoke a sense of opulence and harmony. Compositions often draw from photographs or direct observation, with bands of color guiding the viewer's eye.
- Market Value Trends: Both highlight the escalating value of Klimt's landscapes. The 2011 sale of Litzlberg at $40.4 million reflects post-restitution interest, while Waldabhang's 2025 estimate (> $70 million) accounts for inflation, rarity (as potentially his last landscape), and the prestige of the Lauder collection. If it sells near estimate, it could set a new benchmark for similar works.
- Focus and Composition: Waldabhang prioritizes the forest slope and panoramic nature, with a more meadow-centric interruption for dynamic viewing. Litzlberg integrates architecture more prominently (stacked houses, orange roofs), creating a vertigo-like rise against the hillside.
- Historical Narrative: Litzlberg carries the weight of Nazi looting and restitution, enhancing its cultural significance. Waldabhang has a cleaner, private collector provenance, tied to the Böhler and Lauder families.
- Auction Timing and Value: Litzlberg was sold over a decade ago for under half the estimate of Waldabhang, illustrating market growth for Klimt's works amid rising demand for modernist landscapes. The 2025 sale positions Waldabhang in a high-profile collection dispersal, potentially boosting its price through association with other masterpieces like Klimt's Portrait of Elisabeth Lederer (est. > $150 million).
3
1916 Houses at Unterach
2006 SOLD for $ 31.4M by Christie's
It is illusory to represent a volume on a canvas or on a photograph. Klimt takes this into account in his paintings, whatever the subject.
He does not work from a photo, but his removal of the perspective seems to be independent of Cézanne's deconstructions. He finds textures and geometric elements in the landscape, using a viewfinder made up of a hole in a cardboard. Later a friend will give him an ivory eyeglass.
After choosing his elements, Klimt reassembles them in square formats. His villages can be compared to the accumulations of houses in Krumau by Schiele. Both artists thus obtain a personification of the buildings in their compositions with no characters. Their final effect, however, is in opposition. Schiele wants to annihilate his haunted city but Klimt is on holidays : his colors are happy.
Klimt spends every summer at the residence of Emilie's family in Litzlberg on the Attersee. Unterach is a very picturesque village at the other end of the lake. To avoid any temptation of perspective and horizon, the artist takes his view with a telescope from the other side of the lake.
A view of Unterach, oil on canvas 110 x 110 cm painted circa 1916 and coming from the Bloch-Bauer restitution, was sold for $ 31.4M from a lower estimate of $ 18M by Christie's on November 8, 2006, lot 52. The image is shared by Wikimedia.
He does not work from a photo, but his removal of the perspective seems to be independent of Cézanne's deconstructions. He finds textures and geometric elements in the landscape, using a viewfinder made up of a hole in a cardboard. Later a friend will give him an ivory eyeglass.
After choosing his elements, Klimt reassembles them in square formats. His villages can be compared to the accumulations of houses in Krumau by Schiele. Both artists thus obtain a personification of the buildings in their compositions with no characters. Their final effect, however, is in opposition. Schiele wants to annihilate his haunted city but Klimt is on holidays : his colors are happy.
Klimt spends every summer at the residence of Emilie's family in Litzlberg on the Attersee. Unterach is a very picturesque village at the other end of the lake. To avoid any temptation of perspective and horizon, the artist takes his view with a telescope from the other side of the lake.
A view of Unterach, oil on canvas 110 x 110 cm painted circa 1916 and coming from the Bloch-Bauer restitution, was sold for $ 31.4M from a lower estimate of $ 18M by Christie's on November 8, 2006, lot 52. The image is shared by Wikimedia.
1916 Suprematist Composition by Malevich
2018 SOLD for $ 86M by Christie's
After the closing of the exhibition 0.10 in January 1916, Malevich restarts his search for the ultimate expression of colors. Suprematist Composition, oil on canvas 89 x 71 cm painted in 1916, was sold for $ 60M by Sotheby's on November 3, 2008, lot 6 and for $ 86M by Christie's on May 15, 2018, lot 12 A. The image is shared by Wikimedia.
The painting no longer produces an illusion : it is a composition based on about fifty colored beams spread over a white background. The size, the proportions and the colors are varied. The angular positions show an opposition between the big purple beam and most of the others.
Malevich has succeeded here in his approach to an art that completely escapes nature and feeling, to retain only the aesthetics of color and geometry. He wanted his art to be understandable in the same way in all countries.
Grok thought :
Quote
Javier Aznar @guardian_el_ May 21, 2018
En 86 millones de dólares han rematado este cuadro de Malevich ('Suprematist Composition', 1916) en Christie's Nueva York
The painting no longer produces an illusion : it is a composition based on about fifty colored beams spread over a white background. The size, the proportions and the colors are varied. The angular positions show an opposition between the big purple beam and most of the others.
Malevich has succeeded here in his approach to an art that completely escapes nature and feeling, to retain only the aesthetics of color and geometry. He wanted his art to be understandable in the same way in all countries.
Grok thought :
Quote
Javier Aznar @guardian_el_ May 21, 2018
En 86 millones de dólares han rematado este cuadro de Malevich ('Suprematist Composition', 1916) en Christie's Nueva York
- The post announces the May 2018 Christie's auction sale of Kazimir Malevich's 1916 "Suprematist Composition" for $85.8 million, a record for the artist, featuring an image of the abstract geometric work with overlapping shapes in primary colors on white canvas.
- Malevich pioneered Suprematism in 1915, rejecting representational art for pure geometric forms to evoke spiritual sensations, marking a pivotal shift in 20th-century abstraction that influenced movements like De Stijl and Constructivism.
- The sale, up from $60 million in 2008, highlights surging demand for Russian avant-garde works amid global art market speculation, as echoed in replies critiquing the price as reflective of hype rather than intrinsic value.
1915-1916 Vegetal Screens by Wu Changshuo
2017 SOLD for RMB 210M by Poly
Wu Changshuo had been ruined by the civil wars of the later Qing. This artist might have been the last of the great imperial literati but had to be content with a minor job in the administration, which certainly helped him to continue working under the new regime.
Through his original training as a seal engraver, Wu understood the importance of allowing a free movement to his hand. He specializes in images of plants, with a brushstroke inspired by the emotional art of the calligrapher. He likes to express the density of the foliage. His spontaneity made him compared to Bada Shanren, the great non-conforming artist of the early Qing.
Wu innovated by the simplicity and liveliness of the line and by the use of bright colors. When Qi Baishi moved to Beijing in 1917, Wu encouraged him to modernize the Chinese pictorial art forever.
On December 17, 2017, Poly sold for RMB 210M a set of twelve screens 133 x 53 cm each painted in black ink by Wu Changshuo in 1915-1916, lot 2638. This plant anthology includes peony, narcissus, pomegranate, lotus, pine, plum, bamboo, chrysanthemum, orchid, wisteria, cabbage and one that my source forgot to list, each with a text or a poem.
All of them are illustrated as the second entry in the article shared by The Value after this very important sale, alongside the twelve landscapes by Qi Baishi sold for RMB 930M.
Through his original training as a seal engraver, Wu understood the importance of allowing a free movement to his hand. He specializes in images of plants, with a brushstroke inspired by the emotional art of the calligrapher. He likes to express the density of the foliage. His spontaneity made him compared to Bada Shanren, the great non-conforming artist of the early Qing.
Wu innovated by the simplicity and liveliness of the line and by the use of bright colors. When Qi Baishi moved to Beijing in 1917, Wu encouraged him to modernize the Chinese pictorial art forever.
On December 17, 2017, Poly sold for RMB 210M a set of twelve screens 133 x 53 cm each painted in black ink by Wu Changshuo in 1915-1916, lot 2638. This plant anthology includes peony, narcissus, pomegranate, lotus, pine, plum, bamboo, chrysanthemum, orchid, wisteria, cabbage and one that my source forgot to list, each with a text or a poem.
All of them are illustrated as the second entry in the article shared by The Value after this very important sale, alongside the twelve landscapes by Qi Baishi sold for RMB 930M.
1916 Portrait by MODIGLIANI
1
Madame Dorival
2022 SOLD for $ 17.6M by Sotheby's
Amedeo Modigliani reluctantly stopped practicing sculpture due to poor health in 1914. Looking for self destruction in alcohol and drugs, he restarted painting on the recommendation of the poet Max Jacob and of the art dealer Paul Guillaume. He then painted portraits heads of Montparnasse artists, poets, actors, patrons and demi mondaines in a simplified drawing and rich colors.
Madame Dorival was the wife of an actor. In her portrait by Modigliani, the shape of the head and the elongated neck are directly in the follow of the 1911-1912 stone busts. The eyes are nearly closed without a visible pupil. The head is tilted to her right and the sensuous lips are bright red.
This oil on canvas 61 x 46 cm in rich tones of green, ochre, black and burgundy was sold for $ 17.6M from a lower estimate of $ 10M by Sotheby's on May 17, 2022, lot 28. Please watch the video shared by the auction house.
Grok thought :
Quote
Sotheby's @Sothebys May 18, 2022
#AuctionUpdate: Amedeo Modigliani’s ‘Madam Dorival’ sells for $17.5 million #SothebysModern
Madame Dorival was the wife of an actor. In her portrait by Modigliani, the shape of the head and the elongated neck are directly in the follow of the 1911-1912 stone busts. The eyes are nearly closed without a visible pupil. The head is tilted to her right and the sensuous lips are bright red.
This oil on canvas 61 x 46 cm in rich tones of green, ochre, black and burgundy was sold for $ 17.6M from a lower estimate of $ 10M by Sotheby's on May 17, 2022, lot 28. Please watch the video shared by the auction house.
Grok thought :
Quote
Sotheby's @Sothebys May 18, 2022
#AuctionUpdate: Amedeo Modigliani’s ‘Madam Dorival’ sells for $17.5 million #SothebysModern
- Sotheby's 2022 post celebrates the $17.5 million sale of Amedeo Modigliani's 1916 oil painting "Madame Dorival" from a New York family collection during its Modern Evening Auction. This is a canvas portrait in his elongated, stylized style.
- Created after Modigliani's brief sculpture phase (1910-1914), the painting captures his return to oils with earthy tones and a poised female subject, echoing influences from African art and fetching a price below its $20-30 million estimate per Sotheby's records.
#AuctionUpdate: Amedeo Modigliani’s ‘Madam Dorival’ sculpture sells for $17.5 million #SothebysModern pic.twitter.com/XmYQw2ci6T
— Sotheby's (@Sothebys) May 18, 2022
2
Paul Guillaume
2013 SOLD for £ 6.8M by Christie's
The art dealer Paul Guillaume represented Modigliani from 1914 to 1916, although they did not contract. Guillaume was also an early self taught authority in the African tribal art whose purified forms had highly influenced the artist. Modigliani made four portraits of him.
A head portrait of Guillaume was executed in 1916 for the use of the sitter. This oil on cardboard laid down on panel 53 x 37.5 cm was sold for £ 6.8M by Christie's on June 18, 2013, lot 22.
As usual in Modigliani's paintings of that time, the head is tilted to the sitter's right. A slight dyssymmetry adds some intimacy. Mouth and moustache are diminutive in the broad face.
Modigliani was introduced in 1915 by the Polish born painter Kisling to Zborowski who was to become his dealer in the next year. A bearded man identified as "le photographe Dilewski" has no identified biography. He was arguably an acquaintance of Modigliani through Kisling.
His portrait, oil on canvas 73 x 50 cm painted by Modigliani in 1916, was sold for £ 4.4M by Christie's on March 23, 2021, lot 29. The symmetric face is elusive, including empty blue almond shaped eyes in the new signature style of Amedeo.
A head portrait of Guillaume was executed in 1916 for the use of the sitter. This oil on cardboard laid down on panel 53 x 37.5 cm was sold for £ 6.8M by Christie's on June 18, 2013, lot 22.
As usual in Modigliani's paintings of that time, the head is tilted to the sitter's right. A slight dyssymmetry adds some intimacy. Mouth and moustache are diminutive in the broad face.
Modigliani was introduced in 1915 by the Polish born painter Kisling to Zborowski who was to become his dealer in the next year. A bearded man identified as "le photographe Dilewski" has no identified biography. He was arguably an acquaintance of Modigliani through Kisling.
His portrait, oil on canvas 73 x 50 cm painted by Modigliani in 1916, was sold for £ 4.4M by Christie's on March 23, 2021, lot 29. The symmetric face is elusive, including empty blue almond shaped eyes in the new signature style of Amedeo.
1916 Krumauer Landschaft by Schiele
2003 SOLD for £ 12.7M by Sotheby's
Krumauer Landschaft, subtitled Stadt und Fluss, oil, tempera and colored chalk on canvas 110 x 140 cm painted in 1916 by Egon Schiele, was sold for £ 12.7M from a lower estimate of £ 5M by Sotheby's on June 23, 2003, lot 6, after being restituted from a Nazi looting. The image is shared by Wikimedia.
Krumauer Landschaft (Stadt und Fluss / Krumau Landscape: Town and River) (1916): A view of Krumau's town and winding river, emphasizing the "blue river" motif with dark, sonorous tones and geometric house blocks. It captures the town's island-like configuration from a high perch, symbolizing persistence amid decay. Looted from Daisy Hellmann during the Nazi era and restituted in 2003; one of Schiele's later townscapes reflecting wartime melancholy.
Krumauer Landschaft (Stadt und Fluss / Krumau Landscape: Town and River) (1916): A view of Krumau's town and winding river, emphasizing the "blue river" motif with dark, sonorous tones and geometric house blocks. It captures the town's island-like configuration from a high perch, symbolizing persistence amid decay. Looted from Daisy Hellmann during the Nazi era and restituted in 2003; one of Schiele's later townscapes reflecting wartime melancholy.
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1916 Coming through the Rye by Remington (posthumous)
2026 SOLD for $ 10M by Christie's
Compare two casts of Coming through the Rye by Frederic Remington : sold by Christie's on May 23, 2017, lot 7 (to be taken as the reference) and sold by Christie's on January 20, 2026, lot 8A (Price realised USD 9,950,000 from a lower estimate of $ 4M).
Comparison of the Two Casts
Both casts are from the Roman Bronze Works foundry using the lost-wax process, modeled in 1902, and depict the same dynamic scene of four cowboys on horseback. They share extensive literature and exhibition histories, appearing in key references like Harold McCracken's Frederic Remington: Artist of the Old West (1947) and Michael Edward Shapiro's Cast and Recast: The Sculpture of Frederic Remington (1981), as well as exhibitions such as the Amon Carter Museum's inaugural show (1961). However, they differ in casting details, condition indicators (e.g., patina), provenance, and market performance, reflecting the premium placed on lifetime casts. The 2017 cast (lot 7) serves as the reference here, as specified.
Aspect2017 Cast (Lot 7, Reference)2026 Cast (Lot 8A)
Casting Details
Lifetime : Numbered '3'; cast by 1906 (lifetime cast, one of approximately 8 completed before Remington partially destroyed the model in 1908). Inscribed 'Frederic Remington' (base), 'Roman Bronze Works N.Y. 1905' and '3' (along base).
Posthumous : Numbered 'No. 11' (beneath base); cast by 1916 (posthumous). Inscribed 'Copyright by./Frederic Remington' and 'ROMAN BRONZE WORKS N-Y-' (base).
Dimensions
Lifetime : 30 ¼ in. (76.8 cm.) high.
Posthumous : 28 in. (71.1 cm.) high (slight variation possibly due to measurement methods or base inclusion).
Patina/Condition
Lifetime : Bronze with brown patina; no specific condition notes, but as a lifetime cast, it retains high detail in musculature, expressions, and accessories from Remington's direct oversight.
Posthumous : Bronze with dark green patina; no specific condition notes, but posthumous casts may show minor variations in finishing due to foundry execution without the artist's input.
Market Performance
Lifetime : Pre-sale estimate: $7,000,000–$10,000,000; realized: $11,223,500 (world auction record for Remington and pre-WWII American sculpture at the time).
Posthumous : Pre-sale estimate: $4,000,000–$6,000,000; realized: $9,950,000 (exceeded estimate but below 2017 record, reflecting lower valuation for posthumous casts).
Significance/Notes
Lifetime : As an early lifetime cast (no. 3), it exemplifies Remington's peak technical collaboration with Bertelli; two ledger entries (1903 and 1906) suggest order and completion dates. Represents rarity and direct artist involvement, contributing to higher estimate and price.
Posthumous : Posthumous cast (no. 11 of at least 15 total recorded); lacks the artist's final touches but maintains the model's ingenuity. Lower estimate aligns with market preference for lifetime editions, though strong demand drove the price up significantly.
These differences highlight how lifetime casts like the 2017 example command a premium due to their scarcity and proximity to Remington's vision, while posthumous ones like the 2026 cast, though faithful reproductions, are valued slightly less but still fetch impressive sums amid growing collector interest in Western art.
Comparison of the Two Casts
Both casts are from the Roman Bronze Works foundry using the lost-wax process, modeled in 1902, and depict the same dynamic scene of four cowboys on horseback. They share extensive literature and exhibition histories, appearing in key references like Harold McCracken's Frederic Remington: Artist of the Old West (1947) and Michael Edward Shapiro's Cast and Recast: The Sculpture of Frederic Remington (1981), as well as exhibitions such as the Amon Carter Museum's inaugural show (1961). However, they differ in casting details, condition indicators (e.g., patina), provenance, and market performance, reflecting the premium placed on lifetime casts. The 2017 cast (lot 7) serves as the reference here, as specified.
Aspect2017 Cast (Lot 7, Reference)2026 Cast (Lot 8A)
Casting Details
Lifetime : Numbered '3'; cast by 1906 (lifetime cast, one of approximately 8 completed before Remington partially destroyed the model in 1908). Inscribed 'Frederic Remington' (base), 'Roman Bronze Works N.Y. 1905' and '3' (along base).
Posthumous : Numbered 'No. 11' (beneath base); cast by 1916 (posthumous). Inscribed 'Copyright by./Frederic Remington' and 'ROMAN BRONZE WORKS N-Y-' (base).
Dimensions
Lifetime : 30 ¼ in. (76.8 cm.) high.
Posthumous : 28 in. (71.1 cm.) high (slight variation possibly due to measurement methods or base inclusion).
Patina/Condition
Lifetime : Bronze with brown patina; no specific condition notes, but as a lifetime cast, it retains high detail in musculature, expressions, and accessories from Remington's direct oversight.
Posthumous : Bronze with dark green patina; no specific condition notes, but posthumous casts may show minor variations in finishing due to foundry execution without the artist's input.
Market Performance
Lifetime : Pre-sale estimate: $7,000,000–$10,000,000; realized: $11,223,500 (world auction record for Remington and pre-WWII American sculpture at the time).
Posthumous : Pre-sale estimate: $4,000,000–$6,000,000; realized: $9,950,000 (exceeded estimate but below 2017 record, reflecting lower valuation for posthumous casts).
Significance/Notes
Lifetime : As an early lifetime cast (no. 3), it exemplifies Remington's peak technical collaboration with Bertelli; two ledger entries (1903 and 1906) suggest order and completion dates. Represents rarity and direct artist involvement, contributing to higher estimate and price.
Posthumous : Posthumous cast (no. 11 of at least 15 total recorded); lacks the artist's final touches but maintains the model's ingenuity. Lower estimate aligns with market preference for lifetime editions, though strong demand drove the price up significantly.
These differences highlight how lifetime casts like the 2017 example command a premium due to their scarcity and proximity to Remington's vision, while posthumous ones like the 2026 cast, though faithful reproductions, are valued slightly less but still fetch impressive sums amid growing collector interest in Western art.
1916 Guitare sur une Table by Gris
2013 SOLD for $ 9.1M by Christie's
Guitare sur une table, painted in January 1916 by Juan Gris for sale by the Galerie L'Effort Moderne of Léonce Rosenberg, is a later example of synthetic Cubism but with a simplified stacking of planar elements over a table which is tilted in another angle. The tabletop is viewed from over. The instrument is well shaped excepted that it is trimmed on its left edge. It is accompanied by two sheets of music.
This oil on canvas 92 x 59 cm was sold for $ 9.1M by Christie's on November 5, 2013, lot 11.
This oil on canvas 92 x 59 cm was sold for $ 9.1M by Christie's on November 5, 2013, lot 11.
