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, 2020 | Christie's | Hong Kong | Important Chinese Ceramics and Works of Art | 3007 | $****** - ****** | AN INSCRIBED MARBLE STANDING FIGURE OF AVALOKITESVARA |
other
34.9 cm (13.75 in)
Wang Xuzu (1853-1919), Zhucheng, Shandong, acquired during the late Qing period
Yao Guifang, Tianjin, acquired during the Republic period
Sakamoto Goro, Japan, acquired between the 1950s and 1960s
Chinese Art Through the Eyes of Sakamoto Goro, sold at Sotheby’s Hong Kong, 8 October 2013, lot 130
Kokusho Kankokai, Shina bijutsushi choso hen (Chinese Art History: Sculpture), Tokyo, 1972, p. 261
Lu Xun jijiao shike shougao (Manuscript of inscriptions on stone edited and proofread by Lu Xun), Shanghai, 1987, case 2, vol. 2, p. 335 (text description only)
Beijing tushuguan Zhongguo lidai shike tuoben huibian·Beichao (Rubbings of Chinese Stone Sculptures in the Collection of Peking Library · Northern Dynasties), vol. 6, Henan, 1989, p. 94
Sun Guanwen, ‘Beijing Daxue tushuguan cang lidai shike tuoben caoben (san)’(Rubbings of Stone Sculptures in the Peking University Library Collection), Kaoguxue jikan (Papers on Chinese Archaeology), vol. 9, Beijing, 1995, p. 270
Shao Zhengkun, Beichao jinian zaoxiang jihuibian (Compendium of dated Buddhist figures from the Northern Dynasties), Jilin, 2014, p. 170
Huang Min, Han Wei Liuchao shike xiangli cunfang yanjiu (Research on Stone Carvings from the Han, Wei and Six Dynasties through Village Visit), Beijing, 2019, pp. 282-283
The deity is carved standing on a lotus plinth against a mandorla, with left hand holding an altar implement, and raised right hand holding a lotus bud against his chest, all supported on a rectangular base, carved on the right and back side with the original inscription dating to Dingwu first year of the Eastern Wei dynasty (543); the other two sides with a later Northern Song inscription dating to Yuanfeng first year (1078).
