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 |
|---|---|---|---|---|---|---|---|---|---|
Mar 22, 2019 | Christie's | New York | Power and Prestige: Important Early Chinese Ritual Bronzes from a Distinguished European Collection | 1501 | $****** - ****** | THE LUBO YUFU LI AN IMPORTANT BRONZE RITUAL TRIPOD FOOD VESSEL |
other
17.1 cm (6.75 in)
Ding Yanchen (1829-1873) Collection.
J.T. Tai and Co., New York, 1978.
Zou An, Zhoujinwen cun (Surviving Writings from the Zhou Dynasty), 1916, vol. 2, p. 76 (inscription only).
Luo Zhenyu, Zhensongtang jigu yiwen (Gathering of Ancient Writings at the Zhensongtang Studio), 1930, vol. 4, p. 8 (inscription only).
Liu Chenggan, Xigulou jinshi cuibian (Select Bronze and Stele Inscriptions at the Xigulou Studio), 1933, vol. 3, p. 6 (inscription only).
Fang Junyi, Zhuiyizhai yiqikuanzhi kaoshi (The Zhuiyizhai Studio’s Interpretations of Inscriptions on Ritual Vessels), 1935, vol. 27, p. 27 (inscription only).
Liu Tizhi, Xiaojiaojinge jinwen taben (Rubbings of Bronze Inscriptions at the Xiaojiaojingge Studio), 1935, vol. 3, p. 74 (inscription only).
Guo Morou, Liangzhou jinwenci daxi tulu kaoshi (Catalogue and Interpretation of Bronze Inscriptions from the Western and Eastern Zhou Dynasties), 1935, tulu (catalogue) p. 229, kaoshi (interpretation) p. 197 (inscription only).
Luo Zhenyu, Sandai jijin wencun (Surviving Writings from the Xia, Shang, and Zhou Dynasties), 1937, vol. 5, p. 33 (inscription only).
Zeng Yigong, Shandong jinwen jicun (Bronze Inscriptions from Shandong), 1940, Lu State, pp. 7-8 (inscription only).
Yan Yiping, Jinwen Zongji (Corpus of Bronze Inscriptions), Taipei, 1983, no. 1474 (inscription only).
The Institute of Archaeology, Chinese Academy of Social Sciences, Yinzhou jinwen jicheng (Compendium of Yin and Zhou Bronze Inscriptions), Beijing, 1984, no. 00693 (inscription only).
Shandong Provincial Museum, Shandong jinwen jicheng (Compendium of Bronze Inscriptions from Shandong), Jinan, 2007, no. 243 (inscription only).
Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, no. 02904 (inscription only).
The tri-lobed body is flat-cast with three pairs of dragons, each confronted on a notched flange above each hoof-form foot. A fifteen-character inscription is cast around the everted rim. The bronze has a smooth yellowish-green patina.
