KM_HW1_priceofart
Kalimah Muhammad
2023-04-01
Step 1: Review and Summarize the Data
#view sample data
head(train, 10)## # A tibble: 10 x 16
## object_id artist origi~1 heigh~2 width~3 auction locat~4 details prove~5
## <chr> <chr> <chr> <chr> <chr> <chr> <chr> <chr> <chr>
## 1 vgfmo "MR DOODLE~ HKD 173 122 Mr Doo~ Hong K~ "MR DO~ "Priva~
## 2 lgvfk "Mario Mer~ GBP 126 243 The It~ London "Mario~ "Galle~
## 3 svvhb "Attribute~ USD 46.3 60.9 Old Ma~ New Yo~ "Attri~ "Anony~
## 4 zzevu "Mortimer ~ GBP 31.6 26 Glebe ~ London~ "Morti~ <NA>
## 5 iitho "Ed Ruscha~ GBP 142.3 340.5 Post-W~ London "Ed Ru~ "Mos F~
## 6 mdreb "Morgan Ru~ USD 32.4 24.1 Americ~ New Yo~ "Morga~ "The a~
## 7 ofwyj "David She~ GBP <NA> <NA> Sporti~ London~ "David~ <NA>
## 8 yhbuq "PU RU (18~ HKD 97 21.6 Fine C~ Hong K~ "PU RU~ <NA>
## 9 ezjuh "Tom Wesse~ USD 18 28.5 FIRST ~ New Yo~ "Tom W~ "Priva~
## 10 epovu "Enrico Ca~ EUR <NA> <NA> <NA> <NA> "Enric~ "L'art~
## # ... with 7 more variables: literature <chr>, exhibited <chr>, category <chr>,
## # date <date>, estimate_low_usd <dbl>, estimate_high_usd <dbl>,
## # price_realized_usd <dbl>, and abbreviated variable names
## # 1: original_currency, 2: height_cm, 3: width_cm, 4: location, 5: provenance#view dimensions
dim(train)## [1] 97571 16#view the column names
colnames(train)## [1] "object_id" "artist" "original_currency"
## [4] "height_cm" "width_cm" "auction"
## [7] "location" "details" "provenance"
## [10] "literature" "exhibited" "category"
## [13] "date" "estimate_low_usd" "estimate_high_usd"
## [16] "price_realized_usd"#summarize data
summary(train)## object_id artist original_currency height_cm
## Length:97571 Length:97571 Length:97571 Length:97571
## Class :character Class :character Class :character Class :character
## Mode :character Mode :character Mode :character Mode :character
##
##
##
## width_cm auction location details
## Length:97571 Length:97571 Length:97571 Length:97571
## Class :character Class :character Class :character Class :character
## Mode :character Mode :character Mode :character Mode :character
##
##
##
## provenance literature exhibited category
## Length:97571 Length:97571 Length:97571 Length:97571
## Class :character Class :character Class :character Class :character
## Mode :character Mode :character Mode :character Mode :character
##
##
##
## date estimate_low_usd estimate_high_usd price_realized_usd
## Min. :2008-01-11 Min. : 0 Min. : 0 Min. : 16
## 1st Qu.:2010-12-10 1st Qu.: 4508 1st Qu.: 7000 1st Qu.: 7500
## Median :2013-10-19 Median : 13211 Median : 19856 Median : 25000
## Mean :2014-04-05 Mean : 132039 Mean : 191840 Mean : 246549
## 3rd Qu.:2017-03-01 3rd Qu.: 50000 3rd Qu.: 70000 3rd Qu.: 88200
## Max. :2022-12-16 Max. :60000000 Max. :80000000 Max. :195040000#summarize NA values in each column
train %>% summarise(across(everything(), ~ sum(is.na(.))))## # A tibble: 1 x 16
## objec~1 artist origi~2 heigh~3 width~4 auction locat~5 details prove~6 liter~7
## <int> <int> <int> <int> <int> <int> <int> <int> <int> <int>
## 1 0 5 0 16914 16914 1231 1231 0 33320 75617
## # ... with 6 more variables: exhibited <int>, category <int>, date <int>,
## # estimate_low_usd <int>, estimate_high_usd <int>, price_realized_usd <int>,
## # and abbreviated variable names 1: object_id, 2: original_currency,
## # 3: height_cm, 4: width_cm, 5: location, 6: provenance, 7: literatureUpon initial review of the data, the data is comprised of 97,571 observations across 16 different variables in the training set. There are two variables with incorrect values, height_cm and width_cm, listed as characters instead of numeric values. There’s also several columns regarding size, auction, location, provenance, literature, and exhibited with missing data that will need to be addressed.
Finally, reviewing the spread of the estimated and realized prices, the third quartile, or 75% of the observations, fall well below the mean, tens of thousands compared to hundreds of thousands. The maximum values are also two figures more than the average, tens of millions compared to hundreds of thousands. This suggests that the majority of transactions are within the tens of thousands and observations above that are a rarer occurrence that may skew the data. In the next section, I will clean the data and conduct another review.
Step 2: Data Wrangling
#create new dataframe
train_clean <- as.data.frame(train)
#convert the artist name to title capitalization
train_clean$artist<- str_to_title(train_clean$artist)
#create a separate column for the artist birth and death
train_clean$artistyears<- str_extract(train_clean$artist, "[0-9][0-9][0-9][0-9]-[0-9][0-9][0-9][0-9]")
#convert height and width into numeric values
train_clean$height_cm <-as.numeric(train_clean$height_cm)## Warning: NAs introduced by coerciontrain_clean$width_cm <-as.numeric(train_clean$width_cm)## Warning: NAs introduced by coercion#address missing values
#mutate missing numeric values to zero
train_clean <- train_clean %>%
mutate_if(is.numeric, ~replace(., is.na(.), 0))
#mutate missing character values to "None"
train_clean <- train_clean %>%
mutate_if(is.character, ~replace(., is.na(.), 'None'))
#mutate character columns to dichotomous variables
train_clean$provenance_present <- if_else(train_clean$provenance == 'None', 'No', 'Yes')
train_clean$literature_present <- if_else(train_clean$literature == 'None', 'No', 'Yes')
train_clean$exhibited_present <- if_else(train_clean$exhibited == 'None', 'No', 'Yes')
train_clean$artist_dead <- if_else(train_clean$artistyears == 'None', 'No', 'Yes')
#conduct summary of data after wrangling
head(train_clean, 5)## object_id
## 1 vgfmo
## 2 lgvfk
## 3 svvhb
## 4 zzevu
## 5 iitho
## artist
## 1 Mr Doodle (B. 1994)\n
## 2 Mario Merz (1925-2003)\n
## 3 Attributed To Julius Caesar Ibbetson (Leeds 1759-1817 Masham, N. Yorks) \n
## 4 Mortimer Luddington Menpes, R.i., R.b.a., R.e. (Port Adelaide 1855-1938 Pangbourne)\n
## 5 Ed Ruscha (B. 1937) \n
## original_currency height_cm width_cm
## 1 HKD 173.0 122.0
## 2 GBP 126.0 243.0
## 3 USD 46.3 60.9
## 4 GBP 31.6 26.0
## 5 GBP 142.3 340.5
## auction
## 1 Mr Doodle: Caravan Chaos
## 2 The Italian Sale
## 3 Old Master Paintings Part II
## 4 Glebe House, Mont Pellier and Woodbury House: Three Country House Collections
## 5 Post-War and Contemporary Art Evening Auction
## location
## 1 Hong Kong
## 2 London
## 3 New York
## 4 London (South Kensigton)
## 5 London
## details
## 1 MR DOODLE (B. 1994)\nCaravan Chaos: Side 2 Panel 4\nspray paint and sticker on aluminium panel mounted on plywood\n173 x 122 cm. (68 1/8 x 48 in.)\nExecuted in 2015
## 2 Mario Merz (1925-2003)\nMeteoriti in giardino (Meteorites in the Garden)\nsigned, dated and titled ‘Mario Merz 76 Meteoriti in giardino’ (lower right)\ncharcoal, clay and snails on canvas \n49 5/8 x 95 5/8in. (126 x 243cm.)\nExecuted in 1976
## 3 Attributed to Julius Caesar Ibbetson (Leeds 1759-1817 Masham, N. Yorks) \nLandscape with a traveler on horseback and ruins in the distance \noil on canvas \n18¼ x 24 in. (46.3 x 60.9 cm.)
## 4 Mortimer Luddington Menpes, R.I., R.B.A., R.E. (Port Adelaide 1855-1938 Pangbourne)\nJapanese musicians in an interior with a shamisen\nsigned 'Mortimer Menpes.' (lower left)\noil on board\n12 ½ x 10 ¼ in. (31.6 x 26 cm.)
## 5 Ed Ruscha (b. 1937) \nShip Talk \nsigned and dated 'Ed Ruscha 1988' (on the reverse); signed, titled and dated 'ED RUSCHA 1988 "SHIP TALK"' (on the stretcher)\nacrylic on canvas \n56 x 134 1/8in. (142.3 x 340.5cm.) \nPainted in 1988
## provenance
## 1 Private collection, Europe (Acquired directly from the artist)\nPrivate collection, Europe (Acquired from the above by the present owner)
## 2 Galleria Salvatore + Caroline Ala, Milan.\nAcquired from the above by the family of the present owner.
## 3 Anonymous sale; Sotheby's, London, 6 June 1962, lot 183 (£90 to Agnew).\nwith Agnew's, London.\nAnonymous sale; Christie's, London, 18 March 1988, lot 187 (£900).
## 4 None
## 5 Mos Food Services, Tokyo.\nPaul Rusconi, Los Angeles.\nGagosian Gallery, Los Angeles.\nSandroni Rey, Los Angeles.\nAndrew and Lea Fastow, Houston.\nAnon. sale, Christie's New York, 13 November 2007, lot 66.\nAcquired at the above sale by the present owner.
## literature
## 1 None
## 2 None
## 3 None
## 4 None
## 5 T. Kinoshita, 'Edward Ruscha', in Bijutsu Techo, 1989, (illustrated in colour, p. 39).\nJ. Gibson,'Los Melbos', in Art & Text, no. 51, 1995 (illustrated in colour, pp. 20-21).\nR. Dean and E. Wright (eds.), Edward Ruscha: Catalogue Raisonné of the Paintings, Volume Four: 1988-1992, New York 2009, P1988.31, p. 82 (incorrectly illustrated in colour, p. 83).
## exhibited
## 1 None
## 2 None
## 3 None
## 4 None
## 5 Nagoya, Institute of Contemporary Arts, Edward Ruscha, 1988-1989, p. 52, pl. 25 (illustrated in colour, pp. 42-43). This exhibition later travelled to Tokyo, Touko Museum of Contemporary Art.\nVictoria, Museum of Modern Art at Heide, Downtown: Ruscha, Rooney, Arkley, 1995 (illustrated in colour, p. 15).\nHouston, Menil Collection, 2001 (on extended loan).
## category date estimate_low_usd estimate_high_usd price_realized_usd
## 1 Paintings 2021-05-24 12877.97 25755.94 38633.91
## 2 Paintings 2016-10-06 126470.00 189705.00 279498.70
## 3 Paintings 2013-01-31 8000.00 10000.00 7500.00
## 4 Paintings 2015-06-17 2356.20 3927.00 7461.30
## 5 Paintings 2012-02-13 1025700.00 1341300.00 1213876.50
## artistyears provenance_present literature_present exhibited_present
## 1 None Yes No No
## 2 1925-2003 Yes No No
## 3 1759-1817 Yes No No
## 4 1855-1938 No No No
## 5 None Yes Yes Yes
## artist_dead
## 1 No
## 2 Yes
## 3 Yes
## 4 Yes
## 5 Nosummary(train_clean)## object_id artist original_currency height_cm
## Length:97571 Length:97571 Length:97571 Min. : 0
## Class :character Class :character Class :character 1st Qu.: 22
## Mode :character Mode :character Mode :character Median : 46
## Mean : 7343
## 3rd Qu.: 77
## Max. :710806045
## width_cm auction location details
## Min. : 0.0 Length:97571 Length:97571 Length:97571
## 1st Qu.: 22.0 Class :character Class :character Class :character
## Median : 46.0 Mode :character Mode :character Mode :character
## Mean : 61.5
## 3rd Qu.: 76.3
## Max. :326151.0
## provenance literature exhibited category
## Length:97571 Length:97571 Length:97571 Length:97571
## Class :character Class :character Class :character Class :character
## Mode :character Mode :character Mode :character Mode :character
##
##
##
## date estimate_low_usd estimate_high_usd price_realized_usd
## Min. :2008-01-11 Min. : 0 Min. : 0 Min. : 16
## 1st Qu.:2010-12-10 1st Qu.: 4508 1st Qu.: 7000 1st Qu.: 7500
## Median :2013-10-19 Median : 13211 Median : 19856 Median : 25000
## Mean :2014-04-05 Mean : 132039 Mean : 191840 Mean : 246549
## 3rd Qu.:2017-03-01 3rd Qu.: 50000 3rd Qu.: 70000 3rd Qu.: 88200
## Max. :2022-12-16 Max. :60000000 Max. :80000000 Max. :195040000
## artistyears provenance_present literature_present exhibited_present
## Length:97571 Length:97571 Length:97571 Length:97571
## Class :character Class :character Class :character Class :character
## Mode :character Mode :character Mode :character Mode :character
##
##
##
## artist_dead
## Length:97571
## Class :character
## Mode :character
##
##
## dim(train_clean)## [1] 97571 21In the above section, I converted the artist name to a consistent title capitalization and extracted the years of birth and death into a new column, artistyears, and the subsequent artist_dead column based on if both a year start and end date was extracted. Historically, an artist’s work is considered more valuable after the artist is deceased.
Next, I transformed the character vectors in height_cm and width_cm to numeric values and converted any missing numeric values to zero, 0. I identified significant outliers in both columns that appeared improbable. Those outliers include:
Object, mgtth, originally listed as over 710 million centimeters or over 23 million feet tall
Object, lkycm, originally listed as at 16,438 centimeters or approximately 539 feet tall
Object, vkbvu, originally listed at 326,151 centimeters or over 10,000 feet wide
I will address the uncertainty of this measure during validation of the model.
Next, I replaced all missing character vectors with “None” and created separate variables for provenance_present, literature_present, exhibited_present, and size_present to show if that information was available or not. By the end of this exercise, the data dimensions grew by five variables to 21.
Finally, I looked at the highest and lowest prices realized at auction.
## object_id artist original_currency height_cm
## 1 hdghk Andy Warhol (1928-1987)\n USD 101.6
## 2 zktev Georges Seurat (1859-1891)\n USD 39.3
## 3 qixnq Francis Bacon (1909-1992)\n USD 198.0
## 4 ufrmb Paul Cezanne (1839-1906)\n USD 65.2
## 5 qford Vincent Van Gogh (1853-1890)\n USD 65.2
## 6 meejd Pablo Picasso (1881-1973) \n USD 162.0
## 7 irrmb Gustav Klimt (1862-1918)\n USD 110.1
## 8 txowf Pablo Picasso (1881-1973)\n USD 146.0
## 9 wmapo Jean-Michel Basquiat (1960-1988)\n USD 197.8
## 10 mtyzu Mark Rothko (1903-1970) \n USD 236.2
## width_cm auction location
## 1 101.6 The Collection of Thomas and Doris Ammann Evening Sale New York
## 2 50.0 Visionary: The Paul G. Allen Collection Part I New York
## 3 147.5 Post-War and Contemporary Evening Sale New York
## 4 81.2 Visionary: The Paul G. Allen Collection Part I New York
## 5 80.2 Visionary: The Paul G. Allen Collection Part I New York
## 6 130.0 Property from the Collection of Mrs. Sidney F. Brody New York
## 7 109.8 Visionary: The Paul G. Allen Collection Part I New York
## 8 114.0 20th Century Evening Sale New York
## 9 187.3 21st Century Evening Sale New York
## 10 206.4 Post-War and Contemporary Art Evening Sale New York
## details
## 1 ANDY WARHOL (1928-1987)\nShot Sage Blue Marilyn\nsigned and dated 'Andy Warhol / 64' (on the overlap)\nacrylic and silkscreen ink on linen\n40 x 40 in. (101.6 x 101.6 cm.)\nPainted in 1964.
## 2 GEORGES SEURAT (1859-1891)\nLes Poseuses, Ensemble (Petite version)\noil on canvas\n15 1/2 x 19 3/4 in. (39.3 x 50 cm.)\nPainted in 1888
## 3 Francis Bacon (1909-1992)\nThree Studies of Lucian Freud\ntitled and dated '3 studies for portrait Lucian Freud 1969' (on the reverse of the center panel)\noil on canvas, in 3 parts\neach: 78 x 58 in. (198 x 147.5 cm.)\nPainted in 1969.
## 4 PAUL CEZANNE (1839-1906)\nLa Montagne Sainte-Victoire\noil on canvas\n25 5/8 x 31 7/8 in. (65.2 x 81.2 cm.)\nPainted in 1888-1890
## 5 VINCENT VAN GOGH (1853-1890)\nVerger avec cyprès\noil on canvas\n25 3/4 x 31 7/8 in. (65.2 x 80.2 cm.)\nPainted in Arles in April 1888
## 6 Pablo Picasso (1881-1973) \nNude, Green Leaves and Bust \nsigned and dated 'Picasso XXXII.' (upper right) \noil on canvas \n63¾ x 51¼ in. (162 x 130 cm.) \nPainted on 8 March 1932
## 7 GUSTAV KLIMT (1862-1918)\nBirch Forest\nsigned ‘GUSTAV KLIMT’ (lower left)\noil on canvas\n43 3/8 x 43 1/4 in. (110.1 x 109.8 cm.)\nPainted in 1903
## 8 Pablo Picasso (1881-1973)\nFemme assise près d'une fenêtre (Marie-Thérèse)\ndated and inscribed 'Boisgeloup 30 Octobre XXXII' (on a piece of the original stretcher affixed to the stretcher)\noil on canvas\n57 ½ x 44 7/8 in. (146 x 114 cm.)\nPainted in Boisgeloup on 30 October 1932.
## 9 Jean-Michel Basquiat (1960-1988)\nIn This Case\nsigned, titled and dated '"IN THIS CASE" 1983 Jean Michel Basquiat' (on the reverse)\nacrylic and oilstick on canvas\n77 7/8 x 73 ¾ in. (197.8 x 187.3 cm.)\nExecuted in 1983.
## 10 Mark Rothko (1903-1970) \nOrange, Red, Yellow \nsigned and dated 'MARK ROTHKO 1961' (on the reverse); signed again and with initials 'M. Rothko M.B.' (on the stretcher)\noil on canvas \n93 x 81¼ in. (236.2 x 206.4 cm.) \nPainted in 1961.
## provenance
## 1 Leon Kraushar, New York\nLeo Castelli Gallery, New York\nFred Mueller, New York\nPrivate collection\nBlum Helman Gallery, New York\nS. I. Newhouse, New York\nThomas Ammann Fine Art AG, Zurich, acquired from the above through Gagosian Gallery in 1986\nBequest from the above to the present owner
## 2 Jules F. Christophe, Paris (by 1892, then by descent). \n B.A. Edynski and Max Hochschiller, Paris (by 1908). \n Galerie Bernheim-Jeune et Cie., Paris. \n Alphonse Kann, Paris (by 1910, until at least 1917). \n Marius de Zayas, New York (by 1921).\n John Quinn, New York (by 1922). \n Julia Quinn Anderson, New York (by descent from the above, 1924). \n Mary Anderson Conroy, New York (by descent from the above). \n Henry P. McIlhenny, Esq., Philadelphia (acquired from the above, 1936); sale, Christie's, London, 30 June 1970, lot 16 (world auction record for the artist at the time of sale).\n Artemis, Luxembourg (acquired at the above sale). \n Heinz Berggruen, Paris (acquired from the above, 1973).\nMitchell-Innes & Nash, New York.\n Private collection (acquired from the above, 1997).\nAcquired by the late owner, 3 December 1999.
## 3 Left panel:\nGalleria Galatea, Turin\nPrivate collection, Paris\nPrivate collection, Japan\nGalerie H.Odermatt - Ph.Cazeau, Paris\nPrivate collection, Rome\nCenter panel:\nGalleria Galatea, Turin\nPrivate collection, Paris\nGalerie H.Odermatt - Ph.Cazeau, Paris\nPrivate collection, Rome\nRight panel:\nGalleria Galatea, Turin\nPrivate collection, Rome\nPrivate collection, Rome
## 4 Ambroise Vollard, Paris. \nAuguste Pellerin, Paris (acquired from the above). \nJean-Victor Pellerin, Paris (by descent from the above, 1929). \nGeorges A. Embiricos, Lausanne. \nHeinz Berggruen, Paris (acquired from the above, 1982); sale, Phillips, de Pury & Luxembourg, New York, 7 May 2001, lot 5. \nAcquired at the above sale by the late owner.
## 5 Theo van Gogh, Paris (acquired from the artist, 7 May 1888).\nJohanna van Gogh-Bonger, Paris (by descent from the above).\nAndries Bonger, Amsterdam (by 1905, until at least 1912). \nD'Audretsch Art Gallery, The Hague.\nJack Niekerk Art Gallery, The Hague.\nHoward Young Art Gallery, New York (1928).\nN.H. Holston, New York. \nJ.K. Newman, New York; sale, American Art Association, New York, 6 December 1935, lot 39.\nCarroll Carstairs Art Gallery, New York (acquired at the above sale).\nCharles Shipman and Joan Whitney Payson, New York (by 1938, then by descent).\nAcquired from the above by the late owner, 22 June 1998.
## 6 Paul Rosenberg & Co., New York (acquired from the artist, circa 1936).\nAcquired from the above by Mr. and Mrs. Sidney F. Brody, 2 January 1951.
## 7 Adele and Ferdinand Bloch-Bauer, Vienna (acquired from the artist).\nSeized by the Viennese Magistrate, May 1938 (following the Nazi Anschluss of March 1938).\nWith Dr. Erich Führer, Vienna (the state-appointed administrator for Ferdinand Bloch-Bauer).\nStädtische Sammlung, Vienna (acquired from the above, November 1942).\nÖsterreichische Galerie, Vienna (transferred from the above, 1948).\nRestituted to the heirs of Adele and Ferdinand Bloch-Bauer by the Republic of Austria, March 2006; sale, Christie's, New York, 8 November 2006, lot 51 (world auction record for the artist at the time of sale).\nAcquired at the above sale by the late owner.
## 8 Estate of the artist. \nMarina Picasso, Paris (by descent from the above). \nGalerie Jan Krugier, New York (acquired from the above). \nStephen Hahn, New York (acquired from the above,1985). \nAnon. sale, Christie’s, New York, 14 May 1997, lot 50. \nPrivate collection (acquired at the above sale). \nPrivate collection, Europe (acquired from the above); sale, Sotheby’s, London, 5 February 2013, lot 12. \nAcquired at the above sale by the present owner.
## 9 Galerie Bruno Bischofberger, Zürich\nGalerie Daniel Templon, Paris \nPrivate collection, Europe \nAnon. sale; Sotheby’s, New York, 12 November 2002, lot 26 \nGagosian Gallery, New York\nAcquired from the above by the present owner, 2007
## 10 Marlborough-Gerson Gallery, Inc., New York\nMarloborough Fine Art, Ltd., London\nAcquired from the above by the present owner, 1967
## literature
## 1 J. Coplans, Andy Warhol, London, 1970, p. 69 (illustrated). \nR. Crone, Andy Warhol, New York, 1970, p. 239, no. 71.\nWarhol, Tate Gallery, exh. cat., London, 1971, p. 97, fig. 1 (illustrated and illustrated on the front cover).\nF. Zdenek, "Die Kunst als eine Art der Dokumentation," Kunst Nachrichten, vol. 7, no. 6 February 1971 (illustrated).\nR. Crone, Das bildnerische Werk Andy Warhols, Berlin, 1976, p. 331, no. 78.\nW. Schmalenbach, Amerikaner. Kunst aus USA nach 1950, Düsseldorf, 1977, p. 35 (illustrated). \nC. Ratcliff, Andy Warhol, Munich/Lucerne, 1984, p. 86, no. 82 (illustrated and illustrated on the front cover). \nE. Billeter, "Ein Grosser starb: Andy Warhol," Art-Expo. Internationales Kunstjahrbuch, 1987, p. 239 (illustrated). \nB. Curiger, Parkett No. 12. Collaboration Andy Warhol, 1987, p. 85 (illustrated). \nD. Gimelson, "Ammann for all Seasons," Art and Auction, vol. 10, no. 4, 1987, p. 192 (illustrated).\nK. Honnef, Andy Warhol 1928-1987. Kunst als Kommerz, Cologne, 1989, p. 15 (illustrated).\nH. H. Holz, "Andy Warhol. Vom Mechanismus des Erfolgs," Artis, vol. 41, no. 7-8, July-August 1989, pp. 34-35 (illustrated).\nL. Romain, "Pop Art," PAN. Zeitschrift für Kunst und Kultur, no. 11, 1991 (illustrated on the front cover).\nT. Osterwold, Pop Art, Cologne, 1991 (illustrated on the front cover).\nL. Romain, Andy Warhol, Munich, 1993, p. 12, no. 5 (illustrated). \nA. Nemeczek, "Comeback mit Bildern aus dem zweiten Leben," Art. Das Kunstmagazin, no. 11, November 1993, p. 16 (illustrated).\nM. Klant, Bildende Kunst 3. Sehen, Verstehen, Gestalten, Hanover, 1995 (illustrated on the front cover).\nI. Walther, Malerei der Welt. Band II: Von der Romantik zur Gegenwart, Cologne, 1995, p. 659 (illustrated).\nJ. Tesch and E. Hollmann, Kunst! Das 20. Jahrhundert, Munich, 1997, p. 155 (illustrated)\nJ.M. Faerna, Andy Warhol. The Great Modern Master, New York, 1997, p. 41, pl. 35 (illustrated and illustrated on the front cover, incorrectly titled Turquoise Marilyn).\nA. Nemeczek, Das Bild der Kunst, Cologne, 1999, pp. 14-15 (illustrated).\nM. Chini, Pop art. Miti e linguaggio della comunicazione di massa, Florence, 2003, p. 38 (illustrated).\nS. Watson, Factory Made: Warhol and the Sixties, Toronto, 2003, p. 174.\nG. Frei and N. Printz, eds., The Andy Warhol Catalogue Raisonné of Paintings and Sculptures 1964-1969, vol. 2A, London, 2004, pp. 275 and 278, no. 1293 (illustrated).\nD. Fogle, Andy Warhol/Supernova: Stars, Deaths, and Disasters 1962-1964, Minneapolis, 2005, p. 16.\nV. Bockris, Warhol: The Biography, Cambridge, 2009, p. 201.\nJ. Wilcock, The Autobiography and Sex Life of Andy Warhol, New York, 2010, p. 50 (illustrated).\nJ. Blessing, Haunted. Contemporary Photography, Video, Performance, New York, 2010, p. 63.\nS. Hunter, Modern Art: Painting, Sculpture, Architecture, Photography, New York, 2020 (illustrated on the front cover).
## 2 L. Cousturier, Seurat, Paris, 1921 (illustrated, pl. 22; dated 1887-1888).\nJ.H. Langaard, "Georges Seurat" in Kunst og Kultur, 1921, vol. 9, p. 34 (illustrated; titled Toilet).\nA. Lhote, Georges Seurat, Rome, 1922 (illustrated, pl. 9).\nW. Pach, "Georges Seurat" in The Arts, March 1923, p. 163 (illustrated).\nW. Pach, Georges Seurat, New York, 1923 (illustrated, pl. 4).\nG. Coquiot, Seurat, Paris, 1924, p. 233 (illustrated).\nJohn Quinn: Collection of Paintings, Watercolors, Drawings and Sculpture, New York, 1926, no. 125 (illustrated).\nL. Cousturier, Georges Seurat, Paris, 1926 (illustrated, pl. 27; dated 1887-1888).\nO. Sitwell, "Les Poseuses" in Apollo, June 1926, vol. 3, p. 345.\nR. Rey, La renaissance du sentiment classique dans la peinture française à la fin du XIXe siècle, Paris, 1931, p. 142.\nC. Roger-Marx, Seurat, Paris, 1931 (illustrated, pl. 14; dated 1887-1888).\nEdouard-Joseph, Dictionnaire biographique des artistes contemporains 1910-1930, Paris, 1934, vol. III, p. 293 (illustrated).\nM. Renard, "In the Day of the 'Poseuses'" in Verve, January-March 1939, no. 4, p. 72 (illustrated in color).\nR. Fry, Last Lectures, London, 1939. p. 16-2 (illustrated, pl. 5).\nR.J. Goldwater, "Some Aspects of the Development of Seurat's Style" in The Art Bulletin, June 1941, vol. XXIII, no. 2, p. 119.\nJ. Rewald, Georges Seurat, New York, 1946, p. 106 (illustrated, pl. 83).\nR. Huyghe, "Trois Poseuses de Seurat" in Bulletin des musées de France, August 1947, no. 7, p. 12 (detail illustrated, fig. 10).\nJ. Rewald, Georges Seurat, Paris, 1948 (illustrated, pl. 89).\nR. Cogniat, Seurat, Paris, 1951 (illustrated, pl. 40).\nJ. Rewald, Post Impressionism: From Van Gogh to Gauguin, New York, 1956, p. 107 (illustrated in color).\nR. Bernier, "Le musée privé d'un conservateur" in L'Oeil, March 1957, no. 27, p. 22 (illustrated; with incorrect dimensions).\nR.L. Herbert, "Seurat in Chicago & New York" in The Burlington Magazine, May 1958, p. 152.\nC.D. Gaitskell, Art Education in the Elementary School, New York, 1958, p. 15 (illustrated).\nC. McCurdy, ed., Modern Art: A Pictorial Anthology, New York, 1958, p. 57 (illustrated, fig. A39; dated 1887-1888).\nM. Schapiro, "New Light on Seurat" in Art News, April 1958, vol. 57, no. 2, p. 23 (detail illustrated, fig. 2).\nJ. Canaday, Mainstreams of Modern Art, New York, 1959, p. 336 (illustrated, fig. 410).\nH. Dorra and J. Rewald, Seurat: L'oeuvre peint, biographie et catalogue critique, Paris, 1959, pp. 220-221, no. 179 (illustrated, p. 221).\nC.M. de Hauke, Seurat et son oeuvre, Paris, 1961, vol. I, p. 144, no. 184 (illustrated, p. 145).\nR.L. Herbert, Seurat's Drawings, London, 1962 (illustrated, pl. VII).\nM.W. Brown, The Story of The Armory Show, New York, 1963, p. 289 (illustrated).\nW.I. Homer, Seurat and the Science of Painting, Cambridge, 1964, pp. 167-175 (illustrated, fig. 48).\nJ. Russell, Seurat, New York, 1965, p. 282 (illustrated in color, pp. 208-209, pl. 186).\nB.L. Reid, The Man from New York: John Quinn and his Friends, New York, 1968, p. 560 (illustrated).\nP. Courthion, Georges Seurat, New York, 1969, p. 136 (illustrated in color, p. 137).\nJ. Herbert, ed., Christie's: Review of the Year 1969/1970, London, 1970, pp. 117-118 (illustrated in color, p. 116; illustrated in color again on the cover).\nA. Chastel and F. Minervino, Tout l'oeuvre peint de Seurat, Paris, 1973, pp. 105-106 (illustrated, p. 105; illustrated again in color, pl. XLIII).\nL. Hautecoeur, Les Impressionnistes: Seurat, Milan, 1974, p. 43 (illustrated in color).\nH. Haacke, Seurat's Les Poseuses (Small Version), New York, 1975. \nN. Broude, ed., Seurat in Perspective, Englewoods Cliffs, 1978, pp. 46-47.\nJ. Zilczer, “The Noble Buyer”: John Quinn, Patron of the Avant-Garde, exh. cat., Hirschhorn Museum and Sculpture Garden, Washington, D.C., 1978, pp. 52 and 186.\nJ. House and M.A. Stevens, Post-Impressionism: Cross-Currents in European Painting, exh. cat., Royal Academy of Arts, London, 1979, pp. 16-17 (illustrated, p. 17, fig. 6).\nP. Georgel and A.-M. Lecoq, La peinture dans la peinture, exh. cat., Musée des beaux-arts, Dijon, 1982, p. 150 (illustrated, fig. 171).\nS. Greenspan, "Berggruen's Picassos" in Art & Auction, April 1985, vol. VII, no. 9, p. 109 (illustrated in color).\nJ. Rewald, Seurat: A Biography, London, 1990, p. 155 (illustrated in color).\nS. Moore, Framing Modern Masters: A Conversation with Heinz Berggruen, London, 1991, pp. 4 and 7 (illustrated in color; illustrated in color again on the cover).\nM.F. Zimmermann, Les mondes de Seurat: Son oeuvre et le débat artistique de son temps, Paris, 1991, p. 333, no. 458 (illustrated in color). \nS. de Vries-Evans, The Lost Impressionists: Masterpieces from Private Collections, Niwot, 1992, p. 129 (illustrated in color).\nP. Smith, Seurat and the Avant Garde, New Haven, 1997, p. 116 (illustrated in color, fig. 127; detail illustrated in color, p. 117, fig. 128).\nL. Nochlin, Representing Women, London, 1999, p. 218 (illustrated, fig. 148).\nS. Lemoine, ed., From Puvis de Chavannes to Matisse and Picasso: Toward Modern Art, Milan, 2002, p. 25, no. 4 (illustrated in color).
## 3 J. Russell, Francis Bacon, London, 1971, pp. 144-145 and 201, no. 72 (illustrated).\nL. Trucchi, Francis Bacon, London, 1976, n.p., no. 129 (illustrated in color).\nM. Leiris, Francis Bacon: Full Face and in Profile, New York, 1983, n.p., no. 62 (illustrated in color).\nH. Davies and S. Yard, Francis Bacon, New York, 1986, p. 49, no. 54 (illustrated).\nE. van Alphen, Francis Bacon and the Loss of Self, London, 1992, pp. 36-38 and 44, no. 8-10, 16-18 (illustrated in color).\nJ. Farena, Great Modern Masters: Bacon, New York, 1995, pp. 22-23 and 62, no. 17 (illustrated in color).\nW. Schmied, Francis Bacon. Commitment and Conflict, Munich, 1996, p. 90, fig. 98 (central panel illustrated in color and on the cover).\nM. Cappock, Francis Bacon's Studio, London, 2005, p. 43, no. 48 (central panel illustrated in color).\nFrancis Bacon, exh. cat., London, Tate Britain, 2008, p. 183, fig. 107 (illustrated in color).
## 4 L. Venturi, Cezanne: Son art—son oeuvre, Paris, 1936, vol. I, p. 207, no. 662 (illustrated, vol. II, pl. 212; dated 1890-1894).\nJ. Rewald, Paul Cezanne, London, 1939 (illustrated, fig. 66; dated circa 1890).\nE. Loran, Cezanne’s Compositions, Berkeley, 1943, p. 100 (illustrated, pl. XXIII).\nJ. Rewald, Paul Cezanne: A Biography, New York, 1948 (illustrated, fig. 86; dated circa 1890).\nJ. Rewald, Cezanne, London, 1950 (illustrated, fig. 66).\nR.W. Ratcliffe, Cezanne's Working Methods and Their Theoretical Background, Ph.D. diss., Courtauld Institute of Art, University of London, 1961 (dated 1889).\nS. Orienti, The Complete Paintings of Cezanne, New York, 1970, p. 120, no. 751 (illustrated; dated 1890-1894).\nG.A. Embiricos, “Cezanne et la répétition” in Connaissance des Arts, May 1978, no. 315, pp. 69-70 (illustrated in color, p. 69; dated 1890-1894).\nJ. Rewald, Cezanne: A Biography, New York, 1986, p. 276 (illustrated in color, p. 177).\nJ.-J. Lévêque, La vie et l’œuvre de Paul Cezanne, Courbevoie, 1988, p. 209 (illustrated in color).\n“Gateway to Modernity: Paul Cezanne in Swiss Collections” in Du, September 1989, no. 9, p. 57 (illustrated in color).\nH. Düchting, Paul Cezanne: Natur wird Kunst, Cologne, 1989, p. 210 (illustrated in color; dated 1890-1894).\nB. Ely, “La plus haute sommité du department” in Sainte-Victoire Cezanne, exh. cat., Musée Granet, Aix-en-Provence, 1990, p. 147 (illustrated in color, fig. 107).\nS. Moore, Framing Modern Masters: A Conversation with Heinz Berggruen, London, 1991, pp. 17 and 76-77, no. 19 (illustrated).\nC. de Lartigue, Les paysages de Paul Cezanne, Lyon, 1995, p. 113 (illustrated in color; detail illustrated in color, p. 115; dated circa 1890).\nP. Sollers, Le paradis de Cezanne, Paris, 1995, pp. 118-119 (illustrated).\nD. Coutagne et al., Les sites Cezanniens du Pays d’Aix: Hommage à John Rewald, Paris, 1996, p. 69.\nJ. Rewald, The Paintings of Paul Cezanne: A Catalogue Raisonné, New York, 1996, vol. I, pp. 414-415, no. 631 (illustrated, vol. II, p. 213).\nP. Smith, Interpreting Cezanne, London, 1996, p. 43 (illustrated, fig. 34).\nB. Ely, “Gardanne, Montbriand and Bellevue” in Cezanne in Provence, exh. cat., National Gallery of Art, Washington, D.C., 2006, p. 157 (illustrated in color, p. 156, fig. 5).\nP. Machotka, Cezanne: The Eye and the Mind, Marseille, 2008, p. 159 (illustrated, fig. 235).\nD. Coutagne, “P. Cezanne, sur la colline de la Constance-Valcros" in SPLA Pays d’Aix Territoires, June 2015, p. 78 (illustrated).\nD. Bonfort, ed., Dans les pas de P. Cezanne, Aix-en-Provence, 2016, p. 30 (illustrated).\nCezanne, Jas de Bouffan: Art et histoire, Lyon, 2019, p. 86 (illustrated in color, fig. 71).\nG.-P. and F. Dauberville, Paul Cezanne chez Bernheim-Jeune, Paris, 2020, p. 448, no. 113 (illustrated, p. 449).\nP. Cezanne, Paul Cezanne dépeint par ses contemporains, Lyon, 2021 (illustrated, fig. 56).\nW. Feilchenfeldt, J. Warman and D. Nash, The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), no. FWN 258 (illustrated in color).
## 5 J.-B. de la Faille, L'oeuvre de Vincent van Gogh: Catalogue raisonné, Paris, 1928, vol. I, p. 157, no. 551 (illustrated, vol. II, pl. CLII).\nArt News, 30 November 1935, vol. 34, p. 22.\nThe New York Times, 7 December 1935, p. 15.\nW. Scherjon and J. de Gruyter, Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (Complete Catalogue), Amsterdam, 1937, p. 53, no. 21 (illustrated, p. 52). \nJ.-B. de la Faille, Vincent van Gogh, Paris, 1939, p. 400, no. 575 (illustrated; titled Spring Time).\nV.W. van Gogh, ed., The Complete Letters of Vincent van Gogh, London, 1958, vol. II, pp. 545-546, letter 477, pp. 549-556, letters 478 and 480, pp. 561-564, letters 484 and 486, pp. 573-576, letter 492 and pp. 598-600, letter 504 and vol. III, pp. 430-431, letter W 3, p. 478, letter B 3 and p. 480, letter B 4.\nCollection of Mr. and Mrs. Charles S. Payson, New York, 1960 (illustrated in color; dated 1888-1889).\nJ.-B. de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, Amsterdam, 1970, p. 232, no. F 551 (illustrated; titled Orchard in Blossom with Yellow Enclosure).\nP. Lecaldano, L’opera pittorica completa di Van Gogh, Milan, 1971, vol. 2, p. 205, no. 486 (illustrated, p. 204; titled Frutteto in fiore (con recinto e cipressi)).\nJ. Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches, Amsterdam, 1977, p. 317, no. 1396 (illustrated).\nM. Schapiro, Vincent van Gogh, New York, 1980, p. 52 (illustrated in color, p. 53; titled Orchard, Springtime).\nW. Feilchenfeldt, Vincent van Gogh & Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914, Zwolle, 1988, p. 103 (titled Orchard in Blossom with Yellow Enclosure).\nI.F. Walther and R. Metzger, Vincent van Gogh: The Complete Paintings, Cologne, 1993, vol. II, p. 328 (illustrated in color; titled Orchard with Peach Trees in Blossom).\nJ. Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches, Amsterdam, 1996, p. 317, no. 1396 (illustrated).\nI.F. Walther and R. Metzger, Vincent van Gogh, New York, 1996, p. 103 (illustrated).\nJ. Ten Berge, T. Meedendorp, A. Vergeest and R. Verhoogt, The Paintings of Vincent van Gogh in the Collection of the Kröller-Müller Museum, Otterlo, 2003, p. 215 (illustrated in color; titled Orchard with Blossoming Peach Trees).\nL. Jansen, H. Luijten and N. Bakker, Vincent van Gogh: Painted with Words, the Letters to Emile Bernard, exh. cat., The Morgan Library and Museum, New York, 2007, p. 141, no. 13 (illustrated in color).\nL. Jansen, H. Luijten and N. Bakker, eds., Vincent van Gogh: The Letters, The Complete Illustrated and Annotated Edition, London, 2009, vol. 4, p. 38, letter 590, pp. 52-53, letter 596, pp. 56-58, letter 597, pp. 61-64, letters 599-600, pp. 70-74, letter 602, p. 79, letter 606, p. 81, letter 608, pp. 96-98, letter 615 and pp. 152-153, letter 631 (illustrated in color, p. 52, fig. 1; illustrated again in color, p. 57, fig. 9, p. 61, fig. 6, p. 67, fig. 17, p. 73, fig. 11, p. 81, fig. 8, p. 96, fig. 3 and p. 152, fig. 2; titled Orchard with Peach Trees in Blossom). \nW. Feilchenfeldt, Vincent van Gogh: The Years in France, Complete Paintings 1886-1890, Dealers, Collectors, Exhibitions, Provenance, London, 2013, p. 143 (illustrated in color; titled Orchard in Blossom with Yellow Enclosure).\nR. Skea, Vincent’s Trees, London, 2013, pp. 77 and 122 (illustrated in color, pp. 76-77).\nR. Kendall, S. van Heugten and C. Stolwijk, Van Gogh and Nature, exh. cat., Clark Art Institute, Williamstown, 2015, pp. 135-136 (illustrated in color, p. 136, fig. 102; titled Orchard with Peach Trees in Blossom).
## 6 J. Cassou, Picasso, Paris, 1954 (illustrated in color on the frontispiece).\nF. Elgar, Picasso, A Study of His Work, New York, 1956, p. 156 (illustrated; titled Nude with Modeller's Turntable).\nJ. Berger, The Success and Failure of Picasso, New York, 1965, p. 158, fig.90 (illustrated in reverse; dated 1933).\nR. Penrose, Picasso, His Life and Work, Los Angeles, 1981, p. 264, no. 2 (illustrated).\nM.C. FitzGerald, Making Modernism, Picasso and the Creation of the Market for Twentieth Century Art, New York, 1995, p. 236 (illustrated on the front cover, opposite the title page and p. 236).\nM. Müller, Pablo Picasso and Marie-Thérèse Walter, Between Classicism and Surrealism, exh. cat., Graphikmuseum Pablo Picasso, Munster, 2004, p. 60 (illustrated).\nE. Mallén, La sintaxis de la carne: Pablo Picasso y Marie-Thérèse, Santiago, 2005, p. 283.\nJ. Richardson, A Life of Picasso, The Triumphant Years 1917-1932, New York, 2007, p. 468 (illustrated, pp. 456 and 483).\nM.C. FitzGerald and E. Cowling, Picasso's Marie-Thérèse, exh. cat., Acquavella Galleries, Inc., New York, 2008, pp. 21 and 38 (illustrated, p. 21, fig. 7).\nThe Picasso Project, ed., Picasso's Paintings, Drawings, Watercolors and Sculpture: Surrealism 1930-1936, San Francisco, 2009, p. 97, no. 32-027 (illustrated).
## 7 H.O. Miethke, Das Werk Gustav Klimt, Vienna, 1914, vol. 4 (illustrated, pl. 6).\nMitteilungen Staatsgalerie, 1921, no. 52.\nM.J. Liechtenstein, Gustav Klimt und seine oberösterreichischen Salzkammergutlandschaften, 1951, no. 25.\nI. Hatle, Gustav Klimt, ein Wiener Maler des Jugendstils, Graz, 1955 (dated 1905).\nE. Pirchan, Gustav Klimt, Vienna, 1956, no. 75 (illustrated).\nF. Novotny and J. Dobai, Gustav Klimt, Salzburg, 1967, p. 334, no. 136 (illustrated; illustrated again, fig. 50).\nJ. Dobai and S. Coradeschi, L'opera completa di Klimt, Milan, 1978, p. 102, no. 123 (illustrated; illustrated again in color, fig. XXVI).\nF. Novotny, "im Zusammenhang–Im Gegensatz" in Gustav Klimt: Goldene Pforte, Salzburg, 1978, p. 215.\nJ. Dobai, Gustav Klimt: Landscapes, London, 1981, pp. 19 and 72 (illustrated, p. 19, fig. 22; illustrated again in color, p. 73, pl. 19).\nS. Partsch, Klimt: Life and Work, London, 1990, pp. 103 and 285 (illustrated in color, p. 102, fig. 30).\nG. Frodl, Klimt, Cologne, 1992, p. 144 (illustrated in color, p. 145).\nG. Frodl, Gustav Klimt in der Österreichischen Galerie Belvedere Wien, Salzburg, 1992, p. 85 (illustrated in color).\nA. Weidinger, Neues zu den Landschaften Gustav Klimts, Ph.D. diss., Salzburg, 1992, p. 101.\nG. Fliedl, Gustav Klimt: The World in Female Form, Cologne, 1998, p. 95 (illustrated).\nS. Partsch, Klimt: Life and Work, Germering, 1999, p. 103, no. 30 (illustrated in color, p. 129).\nS. Koja, ed., Gustav Klimt Landscapes, New York, 2002, p. 215 (illustrated in color, pl. 21; detail illustrated in color).\nS. Lillie, Was einmal war. Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, p. 204.\nS. Koja, "'Frisch weht der Wind der Heimat zu...' Neue Beobachtungen zur Topographie von Klimts Landschaftsbildern" in Belvedere. Zeitschrift für Bildende Kunst, 2007, pp. 214-215.\nS. Lillie and G. Gaugusch, Portrait of Adele Bloch-Bauer, New York, 2007, pp. 43-44, 71-72, 78, 86 and 91 (illustrated in color).\nA. Weidinger, ed., Gustav Klimt, Munich, 2007, p. 281, no. 174 (illustrated in color).\nT.G. Natter, Gustav Klimt: The Complete Paintings, Cologne, 2012, pp . 593-594, no. 160 (illustrated in color, p. 593).
## 8 J. Harrison, "The Story Behind a Legend: Picasso Comes to Australia" in Arts National, September 1984, pp. 80-86 (illustrated in color, p. 81). \nJ. Palau i Fabre, Picasso: From the Minotaur to Guernica, 1927-1939, Barcelona, 2011, p. 433, no. 302 (illustrated in color, p. 108).
## 9 E. Navarra, Jean-Michel Basquiat, Vol. I, Paris, 1996, pp. 74-75, no. 9 (illustrated). \nE. Navarra et al., Jean-Michel Basquiat, Vol. II, Paris, 1996, p. 94, no. 9. (illustrated). \nT. Shafrazi, Jean-Michel Basquiat, New York, 1999, p. 184 (illustrated). \nE. Navarra et al., Jean-Michel Basquiat, Vol. I, Paris, 2000, pp. 166-167 (illustrated). \nE. Navarra et al., Jean-Michel Basquiat, Vol. II, Paris, 2000, p. 148, no. 9 (illustrated). \nBasquiat, exh. cat, The Brooklyn Museum, 2005, p. 51, fig. 7 (illustrated).\nJean-Michel Basquiat: Now’s the Time, exh. cat., Art Gallery of Ontario, 2015, p. 17. \nE. Nairne and H. Holzwarth, Jean Michel Basquiat, 2018, New York, pp. 288-289 and 495 (illustrated). \nD. Buchhart and A. Hofbauer, eds., Basquiat By Himself, Munich, 2019, p. 37 (illustrated).
## 10 H. Rosenberg, "After Next, What?," Art in America, no. 52, April 1964, p. 69 (illustrated in color, inverted).\nD. Sylvester, ed., Modern Art: From Fauvism to Abstract Expressionism, New York, 1965, p. 303 (illustrated in color, inverted).\nD. Anfam, Mark Rothko: The Works on Canvas, Catalogue Raisonné, New Haven, 1998, p. 550, no. 693 (illustrated in color).
## exhibited
## 1 New York, Solomon R. Guggenheim Museum, The Photographic Image, January-February 1966, n.p., no. 28. \nPasadena Art Museum; Chicago, Museum of Contemporary Art; Eindhoven, Stedelijk van Abbemuseum, Andy Warhol, May-November 1970, p. 14, no. 105.\nZurich, Thomas Ammann Fine Art AG, Faces and Figures, June-September 1989, no. 29 (illustrated).\nLondon, Royal Academy of Arts; Cologne, Museum Ludwig; Madrid, Centro de Arte Reina Sofía, Pop Art, September 1991-September 1992, p. 113, pl. 65, no. 244 (London, illustrated); pl. 63 (Cologne, illustrated); p. 117 (Madrid, illustrated).\nBasel, Fondation Beyeler, Andy Warhol. Series and Singles, September-December 2000, p. 135, no. 72 (illustrated).\nParis, Centre Georges Pompidou, Les années Pop, March-June 2001, n.p., no. 64.43 (illustrated).\nBerlin, Neue Nationalgalerie; Los Angeles, Museum of Contemporary Art, Andy Warhol. Retrospective, October 2001-August 2002, p. 145, no. 96 (illustrated). \nZurich, Thomas Ammann Fine Art AG, Thirty Three Women, June-September 2003, no. 16 (illustrated).
## 2 Paris, Pavillon de Ia Ville de Paris, Cours Ia Reine, Société des artistes indépendants, 8me exposition, March-April 1892, p. 66, no. 1083. \n Paris, Galerie Bernheim-Jeune & Cie., Exposition Georges Seurat, December 1908-January 1909, p. 13, no. 70. \n Paris, Galerie Bernheim-Jeune & Cie., Nus, May 1910, no. 105. \n New York, Armory of the Sixty-Ninth Infantry; The Art Institute of Chicago and Boston, Copley Hall, International Exhibition of Modern Art, February-May 1913, nos. 455, 371 and 198, respectively.\n Copenhagen, Royal Museum, Fransk Malerkunst fra det 19nde Aarhundrede, May-June 1914, p. 43, no. 192. \n New York, Galleries of Joseph Brummer, Paintings and Drawings by Georges Seurat, December 1924, no. 17. \n The Brooklyn Art Museum, 1926. \n Cambridge, Fogg Art Museum, Harvard University and Philadelphia Museum of Art, French Artists of the 18th and 19th Centuries, 1936-1937, no. 190.\nPhiladelphia Museum of Art, Inaugural Opening of the French Gallery, 1937. \n Paris, Exposition Universelle, Palais national des arts, Chefs-d'oeuvre de I’art français à l'Exposition Internationale de 1937, 1937, pp. 199-200, no. 414 (dated 1887-1888).\n New York, The Museum of Modern Art, Art in Our Time, May-September 1939, no. 75 (illustrated).\n Baltimore Museum of Art, Exhibition of Modern Painting "Isms" and How They Grew, January-February 1940.\n Detroit Institute of Arts, The Age of Impressionism & Objective Realism, 1940, no. 38.\n Worcester Art Museum, The Art of the Third Republic, February-March 1941, no. 17 (illustrated).\n Philadelphia Museum of Art, Masterpieces of Philadelphia Private Collections, May 1947, p. 73, no. 27. \n New York, Wildenstein & Co. Inc., A Loan Exhibition of Six Masters of Post-Impressionism, Benefit of Girl Scout Council of Greater New York, April-May 1948, p. 57, no. 51 (illustrated on the frontispiece).\n New York, M. Knoedler & Co., Inc., Seurat: Paintings and Drawings, Loan Exhibition for the Benefit of the Home for the Destitute Blind, April-May 1949, no. 19 (illustrated).\n Philadelphia Museum of Art, The Henry P. McIlhenny Collection, 1949.\n Philadelphia Museum of Art, Diamond Jubilee Exhibition: Masterpieces of Painting, November 1950-February 1951, no. 81 (illustrated).\n Paris, Musée de l'Orangerie, De David à Toulouse-Lautrec: Chefs-d'oeuvre des collections américaines, 1955, no. 52 (illustrated, pl. 90). \nThe Art Institute of Chicago and New York, The Museum of Modern Art, Seurat: Paintings and Drawings, January-May 1958, pp. 16 and 33, no. 136 (illustrated in color). \n San Francisco, The California Palace of the Legion of Honor, The Henry P. McIlhenny Collection, June-July 1962, no. 38 (illustrated in color). \nUtica, Munson-Williams-Proctor Institute and New York, Armory of the Sixty-Ninth Regiment, 1913 Armory Show: 50th Anniversary Exhibition, February-April 1963, p. 211, no. 455 (illustrated in color, p. 24). \n London, David Carritt Ltd., Seurat: Paintings and Drawings, November-December 1978, p. 63, no. 23 (illustrated).\nKunsthalle Bielefeld; Baden-Baden, Staatliche Kunsthalle and Kunthaus Zürich, Georges Seurat: Zeichnungen, October 1983-May 1984 (illustrated in color, pl. 11; dated 1887-1888). \n Geneva, Musée d'art et d'histoire, Berggruen Collection, June-October 1988, p. 72, no. 25 (illustrated in color, p. 73; illustrated in color again on the cover). \n Paris, Galeries nationales du Grand Palais and New York, The Metropolitan Museum of Art, Georges Seurat, April 1991-January 1992, pp. 292-294, no. 191 (illustrated in color, p. 293; illustrated in color again on the cover). \n London, The National Gallery, Seurat and "The Bathers", July-September 1997, pp. 146-147, no. 60 (illustrated in color, p. 147, pl. 172). \n Seattle, Experience Music Project, DoubleTake: From Monet to Lichtenstein, April 2006-January 2007, pp. 18-19 (illustrated in color). \n New York, The Metropolitan Museum of Art, Seurat's Circus Sideshow, February-May 2017, p. 130 (illustrated in color, p. 55, fig. 49; dated 1887-1888). \n London, The National Gallery (on extended loan).
## 3 Turin, Galleria Galatea, Francis Bacon, March-April 1970, p. 11 (illustrated in color).\nParis, Galeries nationales du Grand Palais and Düsseldorf, Kunsthalle, Francis Bacon, October 1971-May 1972, pp. 42-44 and 53, no. 83 (illustrated in color).\nLondon, Tate Gallery; Stuttgart, Staatsgalerie and Berlin, Nationalgalerie, Francis Bacon, May 1985-March 1986, n.p., no. 59 (right panel exhibited; illustrated in color).\nNew Haven, Yale Center for British Art; Minneapolis Institute of Arts; The Fine Arts Museums of San Francisco and Modern Art Museum of Fort Worth, Francis Bacon. A Retrospective, January-October 1999, pp. 143, 154-156, no. 46 (illustrated in color).\nRome, Galleria Borghese, Caravaggio Bacon, October 2009-January 2010, pp. 198-199 (illustrated in color).
## 4 Geneva, Musée d’art et d’histoire, Berggruen Collection, June-October 1988, p. 32, no. 6 (illustrated in color, p. 33). \n London, The National Gallery, Van Gogh to Picasso: The Berggruen Collection at The National Gallery, 1991-1998 (on extended loan).\n Berlin, Staatliche Museen zu Berlin, Sammlung Berggruen, 1998-2000 (on extended loan).\n Berlin, Sammlung Berggruen, Cezanne in Berlin 28 Werke aus den Staatlichen Museen und aus Privatbesitz, October 2000-January 2001, pp. 55-58, no. 14 (illustrated in color, pp. 56-57).\n Seattle, Experience Music Project, DoubleTake: From Monet to Lichtenstein, April 2006-January 2007, p. 13 (illustrated in color, p. 12). \n The Hague, Gemeentemuseum, Cezanne, Picasso, Mondriaan: In nieuw perspectief, October 2009-January 2010, no. 35 (illustrated). \nOregon, Portland Art Museum; Washington, D.C., The Phillips Collection; Minneapolis Institute of Arts; New Orleans Museum of Art and Seattle Art Museum, Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, October 2015-May 2017, pp. 26-27 and 78, no. 16 (illustrated in color, p. 79; detail illustrated in color, pp. 80-81; detail illustrated in color again, p. 27, fig. 5).
## 5 Amsterdam, Stedelijk Museum, Vincent van Gogh, July-August 1905, p. 26, no. 169.\n Cologne, Internationale Kunstausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler zu Köln, May-September 1912, p. 22, no. 22 (titled Blühender Obstgarten and dated 1887).\n Haarlem, Teylers Museum, Vincent van Gogh, April-May 1923, no. 14 or 29.\n New York, Reinhardt Galleries, Loan Exhibition of Paintings from Memling, Holbein and Titian to Renoir and Picasso, in Aid of the Greenwich House Health Center, February-March 1928, no. 22 (illustrated; titled Garden at Arles).\nNew York, Carroll Carstairs Gallery, French Impressionists and After, December 1935-January 1936, no. 10. \n New York, M. Knoedler & Co., Inc., Fourteen Masterpieces: Van Gogh, Loan Exhibition for the Benefit of the Home for the Destitute Blind, March-April 1948, no. 1 (illustrated; titled Printemps, près d'Arles).\n Houston, Contemporary Arts Museum, Vincent van Gogh, February 1951, pp. 21, 38 and 49, no. 11 (illustrated in color, p. 39; titled Springtime (Orchard)).\n New York, Wildenstein & Co. Inc., Loan Exhibition: Van Gogh, for the Benefit of the Public Education Association, March-April 1955, p. 21, no. 27 (illustrated, p. 42; titled Springtime).\n New York, The Metropolitan Museum of Art, Van Gogh in Arles, October-December 1984, p. 51, no. 12 (illustrated in color; titled Orchard with Peach Blossom).\n Amsterdam, Rijksmuseum, Vincent van Gogh: Paintings, March-July 1990, pp. 114-115, no. 43 (illustrated in color, p. 117; titled Orchard with Peach Trees in Blossom).\n Seattle, Experience Music Project, DoubleTake: From Monet to Lichtenstein, April 2006-January 2007, p. 23 (illustrated in color; titled Orchard with Peach Trees in Blossom).\n London, Royal Academy of Arts, The Real Van Gogh: The Artist and His Letters, January-April 2010, pp. 203-204, no. 111 (illustrated in color, p. 204; titled Orchard with Peach Trees in Blossom).
## 6 Paris, Galerie Georges Petit, Picasso, June-July 1932, p. 70, no. 223 (titled Nu à la draperie bleue).\nZurich, Kunsthaus, Picasso, September-November 1932, p. 16, no. 217 (titled Akt vor blauem Vorhang).\nParis, Galerie Paul Rosenberg, Exposition d'oeuvres récentes de Picasso, March 1936.\nLos Angeles, UCLA Galleries, "Bonne Fête" Monsieur Picasso from Southern California Collectors, October-November 1961, p. 25 (illustrated).
## 7 Vienna Secession, XVIII. Ausstellung, Gustav Klimt, November-December 1903, no. 3 or 4.\nBerlin, Zweite Ausstellung des Deutschen Künstlerbunds, 1905, p. 21, no. 112.\nVienna, Kunstschau, 1908, p. 47, no. 9.\nVenice, IX. Esposizione Internazionale di Venezia, 1910, p. 60, no. 3 (titled I faggi).\nKunsthaus Zürich, Ein Jahrhundert Wiener Malerei, May-June 1918, p. 12, no. 60 or 66.\nVienna, Österreichische Staatsgalerie, Neuerwerbungen 1918-1921, June 1921, p. 11, no. 52.\nVienna Secession, Klimt-Gedächtnisausstellung, XCIX. Ausstellung der Vereinigung Bildender Künstler Wiener Secession, June-July 1928, p. 12, no. 39.\n(possibly) Bern Kunsthalle, 1937, no. 4\nVienna, Ausstellungshaus Friedrichstrasse, Gustav Klimt Ausstellung, February-March 1943, no. 10 (illustrated).\nAmsterdam, Stedelijk Museum, Austria, 1956, no. 121.\nKunsthalle Bern, Kunst aus Österreich, February-March 1957, no. 44 (dated 1905).\nSt. Gallen, Kunstmuseum, Kunst aus Österreich, 1957, no. 29.\nTokyo, Sezon Museum, Vienna at the Turn of the Century–Klimt, Schiele and their Time, October-December 1989.\nMadrid, Museo Reina Sofia, Viena 1900, October 1993-January 1994, p. 189, no. 347 (illustrated in color).\nLos Angeles County Museum of Art and New York, Neue Galerie, Gustav Klimt: Five Paintings from the Collection of Ferdinand Bloch-Bauer, April-October 2006 (illustrated in color).\nBelvedere Wien, Gustav Klimt und Die Kunstschau 1908, October 2008-January 2009, p. 290 (illustrated in color; dated 1904).\nOregon, Portland Art Museum; Washington, D.C., The Phillips Collection; Minneapolis Institute of Arts; New Orleans Museum of Art and Seattle Art Museum, Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, October 2015-May 2017, pp. 16, 18-19, 26, 29 and 86, no. 18 (illustrated in color, p. 87; illustrated in color again on the cover).
## 8 Munich, Haus der Kunst; Cologne, Josef-Haubrich-Kunsthalle; Frankfurt, Städtische Galerie im Städelschen Kunstinstitut and Kunsthaus Zürich, Pablo Picasso, Sammlung Marina Picasso, February 1981-March 1982, p. 328, no. 164 (illustrated in color, p. 106, pl. 35; illustrated again, p. 328). \nVenice, Centro di Cultura di Palazzo Grassi, Picasso, Opere dal 1895 al 1971 dalla Collezione Marina Picasso, May-July 1981, p. 319, no. 210 (illustrated in color, p. 117, pl. 45; illustrated again, p. 319). \nTokyo, The National Museum of Modern Art and Kyoto Municipal Museum, Picasso, Masterpieces from Marina Picasso Collection and Museums in U.S.A. and U.S.S.R., April-July 1983, p. 111, no. 128 (illustrated in color). \nMelbourne, National Gallery of Victoria and Sydney, Art Gallery of New South Wales, Picasso, July-December 1984, pp. 109 and 211, no. 100 (illustrated in color, p. 109; illustrated again in color on the back cover). \nNew York, William Beadleston, Inc., Through the Eye of Picasso, 1928-1934: The Dinard Sketchbook and Related Paintings and Sculpture, October-December 1985, no. 72 (illustrated in color; detail illustrated on the frontispiece). \nNew York, Acquavella Galleries, Inc., Picasso’s Marie-Thérèse, October-November 2008, pp. 55 and 77 (illustrated in color, p. 54, pl. 5). \nNew York, Gagosian Gallery, L’Amour fou: Picasso and Marie-Thérèse, April-June 2011, p. 164 (illustrated in color, p. 165). \nHamburg, Bucerius Kunst Forum, Fenster zur Welt, February-May 2016, p. 102, no. 19 (illustrated in color, p. 103; detail illustrated in color, p. 105). \nParis, Musée national Picasso, Picasso 1932, année érotique, October 2017-February 2018, pp. 190 and 232, no. 143 (illustrated in color, p. 191). \nLondon, Tate Modern, The EY Exhibition: Picasso 1932, Love Fame Tragedy, March-September 2018, pp. 25 and 259 (illustrated in color, p. 215).
## 9 Lugano, Museo d'Arte Moderna della Città di Lugano, Villa Malpensata, Jean-Michel Basquiat, March-June 2005, pp. 71 and 164, no. 32 (illustrated).\nMilan, Fondazione La Triennale di Milano, The Jean-Michel Basquiat Show, September 2006-January 2007, pp. 250-251, no. 119 (illustrated). \nNew York, Gagosian Gallery, Jean-Michel Basquiat, February-April 2013, pp. 123 and 205 (illustrated). \nParis, Fondation Louis Vuitton, Jean-Michel Basquiat, October 2018-January 2019, pp. 59 and 204-205, cat. no. 3 (illustrated).
## 10 London, Marlborough New London Gallery, Mark Rothko, February-March 1964, no. 4 (illustrated in color). \nPhiladelphia Museum of Art, Philadelphia Collects: Art Since 1940, September-November 1986, p. 20 (illustrated in color). \nUniversity Park, Pennsylvania State University, Palmer Museum of Art, Abstraction to Figuration: Selections of Contemporary Art from the Pincus Collection, June-December 1996.\nPhiladelphia Museum of Art (on extended loan).
## category date estimate_low_usd estimate_high_usd price_realized_usd
## 1 Paintings 2022-05-08 0.0e+00 0.0e+00 195040000
## 2 Paintings 2022-11-08 0.0e+00 0.0e+00 149240000
## 3 Paintings 2013-11-12 0.0e+00 0.0e+00 142405000
## 4 Paintings 2022-11-08 0.0e+00 0.0e+00 137790000
## 5 Paintings 2022-11-08 0.0e+00 0.0e+00 117180000
## 6 Paintings 2010-05-03 0.0e+00 0.0e+00 106482500
## 7 Paintings 2022-11-08 0.0e+00 0.0e+00 104585000
## 8 Paintings 2021-05-12 0.0e+00 0.0e+00 103410000
## 9 Paintings 2021-05-10 0.0e+00 0.0e+00 93105000
## 10 Paintings 2012-05-07 3.5e+07 4.5e+07 86882500
## artistyears provenance_present literature_present exhibited_present
## 1 1928-1987 Yes Yes Yes
## 2 1859-1891 Yes Yes Yes
## 3 1909-1992 Yes Yes Yes
## 4 1839-1906 Yes Yes Yes
## 5 1853-1890 Yes Yes Yes
## 6 1881-1973 Yes Yes Yes
## 7 1862-1918 Yes Yes Yes
## 8 1881-1973 Yes Yes Yes
## 9 1960-1988 Yes Yes Yes
## 10 1903-1970 Yes Yes Yes
## artist_dead
## 1 Yes
## 2 Yes
## 3 Yes
## 4 Yes
## 5 Yes
## 6 Yes
## 7 Yes
## 8 Yes
## 9 Yes
## 10 Yes## object_id artist original_currency height_cm
## 1 jiykd Richard Luboski (1934-1982) \n EUR 185.0
## 2 ycyoq Amalia Jakob \n EUR 32.0
## 3 fngdm Ecole Francaise Du Xxe Siecle \n EUR 0.0
## 4 mdbgb Ger Van Elk (1914-2014)\n GBP 39.5
## 5 pjfak Moshekwa Langa (B. 1975)\n GBP 74.0
## 6 vkjxj Cadence Giersbach (B. 1966)\n USD 0.0
## 7 oruqs Ecole Moderne Du Xxeme Siecle \n EUR 0.0
## 8 jceho Ecole Moderne Du Xxe Siècle \n EUR 26.7
## 9 qgvth Ecole Francaise Du Xixeme Siecle \n EUR 13.0
## 10 kmpoq Alexandre Bonnin \n EUR 55.0
## width_cm
## 1 122.0
## 2 20.0
## 3 0.0
## 4 80.0
## 5 104.5
## 6 0.0
## 7 0.0
## 8 35.8
## 9 9.5
## 10 38.0
## auction
## 1 Collection de Madame Darthea Speyer, une Américaine à Paris (Vente Sans Prix de Réserve)
## 2 Collection Willem Peppler
## 3 Collection Jean Claude Abreu
## 4 A Visual Odyssey Selections from LAC (Lambert Art Collection) Staged by Jacques Grange
## 5 A Visual Odyssey Selections from LAC (Lambert Art Collection) Staged by Jacques Grange
## 6 First Open
## 7 Collection d'un amateur
## 8 Pierre Berès à livre ouvert
## 9 Palais Abbatial de Royaumont - Exposition au Palais Abbatial de Royaumont - Vente chez Christie's
## 10 L'oeil d'un poète. Collection André et Bona Pieyre de Mandiargues.
## location
## 1 Paris
## 2 Paris
## 3 Paris
## 4 London
## 5 London
## 6 New York
## 7 Paris
## 8 Paris
## 9 Paris
## 10 Paris
## details
## 1 RICHARD LUBOSKI (1934-1982) \nCouple \nsigné et titré 'Luboski Couple' (au dos) \nhuile, sable et ciment sur panneau \n185 x 122 cm. (72¾ x 48 in.)
## 2 AMALIA JAKOB \nUn ensemble de deux encres sur papier \nchaque: signae, signé et inscrit 'Amalia Jakob gava av konstnârinnan 28 oktober 1980 i Jerusalem' (au dos)\nchaque: 32 x 20 cm. (12 5/8 x 7 7/8 in.) \nRéalisés en 1980. \t (2)
## 3 ECOLE FRANCAISE DU XXe SIECLE \nPinceaux dans un pot en terre cuite \nsigné 'M LEGARD' (en bas à droite) \nhuile sur toile \n30.6 x 30.5 cm. (12 x 12 in.)
## 4 Ger van Elk (1914-2014)\nMont Blanc Mountain\ntitled, inscribed and numbered 'Mont Blanc Mountain A/P 17/20' (lower left), signed and dated 'Ger Van Elk 79' (lower right)\ncolour offset lithograph\n15 ½ x 31 ½in. (39.5 x 80cm.)\nExecuted in 1979, this work is number seventeen from an edition of twenty
## 5 Moshekwa Langa (B. 1975)\nUntitled\nballpoint pen, watercolour and gouache on paper\n29 1/8 x 41 1/8in. (74 x 104.5cm.)\nExecuted in 1999
## 6 Cadence Giersbach (b. 1966)\nScenes from the Looking Glass House #3\nenamel on vinyl\n48 x 48 in. (121.9 x 121.9 cm.)\nExecuted in 1997.\nProvenance:\nJoseph Helman, New York\nAcquired from the above by the present owner\nScenes from the Looking Glass House #4\nenamel on vinyl\n48 x 48 in. (121.9 x 121.9 cm.)\nExecuted in 1997.\nProvenance:\nJoseph Helman, New York\nAcquired from the above by the present owner\nUntitled\nenamel on vinyl\n48 x 48 in. (121.9 x 121.9 cm.)\nExecuted in 1998.\nProvenance:\nJoseph Helman, New York\nAcquired from the above by the present owner
## 7 ECOLE MODERNE DU XXEME SIECLE \nPORTRAIT D'ELLEN TERRY \nINSCRIT 'ELLEN TERRY D'APRèS UNE PHOTOGRAPHIE DE LEWIS CARROLL.' (EN BAS à DROITE)\nAQUARELLE ET ENCRE DE CHINE SUR PAPIER \n34.5 X 26.5 CM. (13 5/8 X 10 3/8 IN.)
## 8 Ecole moderne du XXe siècle \nNature morte aux fruits \nsigné illisiblement (en bas à droite) \nhuile sur papier marouflé sur carton \n26.7 x 35.8 cm. (10½ x 14 in.)
## 9 ECOLE FRANCAISE DU XIXEME SIECLE \nPortrait présumé de Madame Halperson \naquarelle et gouache, rehaussé de gomme arabique, ovale \n13 x 9,5 cm. (5 1/8 x 3¾ in.); on joint Une élégante parmi les fleurs de l'Ecole française du XIXème siècle \t (2)
## 10 ALEXANDRE BONNIN \nSans titre \nsigné et daté 'Alexandre Bonnin 64' (en bas à droite) \nhuile sur toile \n55 x 38 cm. (21 5/8 x 15 in.) \nPeint en 1964.
## provenance
## 1 None
## 2 Acquis directement auprès de l'artiste
## 3 None
## 4 Lambert Art Collection (Baron Leon Lambert), Brussels.
## 5 Galerie Tanya Rumpff, Haarlem.\nAcquired from the above by the present owner in 1999.
## 6 None
## 7 None
## 8 None
## 9 None
## 10 None
## literature exhibited category date estimate_low_usd
## 1 None None Paintings 2010-07-07 1259.400
## 2 None None Drawings & Watercolors 2014-10-29 127.620
## 3 None None Paintings 2011-01-27 68.440
## 4 None None Paintings 2015-10-14 772.250
## 5 None None Paintings 2015-10-14 772.250
## 6 None None Drawings & Watercolors 2015-09-30 2000.000
## 7 None None Drawings & Watercolors 2012-10-03 64.545
## 8 None None Paintings 2012-12-12 130.380
## 9 None None Drawings & Watercolors 2011-09-19 681.800
## 10 None None Paintings 2011-10-24 278.640
## estimate_high_usd price_realized_usd artistyears provenance_present
## 1 1889.100 15.74250 1934-1982 No
## 2 191.430 15.95250 None Yes
## 3 109.504 17.11000 None No
## 4 1235.600 19.30625 1914-2014 Yes
## 5 1081.150 19.30625 None Yes
## 6 3000.000 25.00000 None No
## 7 90.363 32.27250 None No
## 8 195.570 32.59500 None No
## 9 954.520 34.09000 None No
## 10 417.960 34.83000 None No
## literature_present exhibited_present artist_dead
## 1 No No Yes
## 2 No No No
## 3 No No No
## 4 No No Yes
## 5 No No No
## 6 No No No
## 7 No No No
## 8 No No No
## 9 No No No
## 10 No No NoThe top 10 highest priced artworks (over 86 million USD) were paintings auctioned in New York by artist who were deceased, many born in the late 1800s and early 1900s. Each object included information on provenance, literature, and prior exhibitions with approximately 70% auctioned between the years 2021-2022.
The opposite was true for the lowest priced artworks (less than 35 USD). In these cases, 80% of the artists were alive with varying mediums of paintings and drawings/watercolors but no literature or exhibition information present. The artworks in this subset were also auctioned in Paris 7 out of the 10 instances and all prior to 2015.
This early review may suggest the following as potential predictors:
if the artist is alive or dead
the auction year
if prior literature, provenance, or exhibition information is present
location of auction
category
Step 3: Model Selection and Fit using the Training Data
I used a mixed selection to decide on potential predictors. The variables included those identified in earlier findings as common among the highest and lowest prices at auction as well as the addition of the low and high estimated price. I performed a log transformation on the response variable to address skewed values.
#create model of early predictors
lm_price1 <-lm(log(price_realized_usd) ~ artist_dead + category + literature_present + provenance_present + exhibited_present + estimate_high_usd + estimate_low_usd + date + location, data=train_clean)
#create summary of model
summary(lm_price1)##
## Call:
## lm(formula = log(price_realized_usd) ~ artist_dead + category +
## literature_present + provenance_present + exhibited_present +
## estimate_high_usd + estimate_low_usd + date + location, data = train_clean)
##
## Residuals:
## Min 1Q Median 3Q Max
## -22.9997 -0.8679 -0.0127 0.8849 7.5034
##
## Coefficients:
## Estimate Std. Error t value Pr(>|t|)
## (Intercept) 7.169e+00 5.222e-02 137.297 < 2e-16 ***
## artist_deadYes 2.184e-01 9.482e-03 23.037 < 2e-16 ***
## categoryPaintings 7.710e-01 1.054e-02 73.171 < 2e-16 ***
## literature_presentYes 7.484e-01 1.188e-02 62.970 < 2e-16 ***
## provenance_presentYes 7.390e-01 1.044e-02 70.756 < 2e-16 ***
## exhibited_presentYes 5.555e-01 1.188e-02 46.750 < 2e-16 ***
## estimate_high_usd -7.023e-08 2.866e-08 -2.450 0.0143 *
## estimate_low_usd 5.846e-07 4.193e-08 13.940 < 2e-16 ***
## date 4.190e-05 3.191e-06 13.128 < 2e-16 ***
## locationDubai 1.391e+00 4.265e-02 32.612 < 2e-16 ***
## locationGeneva 2.042e-01 5.188e-02 3.937 8.25e-05 ***
## locationHong Kong 1.608e+00 1.893e-02 84.934 < 2e-16 ***
## locationLondon 1.218e+00 1.806e-02 67.448 < 2e-16 ***
## locationLondon (South Kensigton) -2.269e-01 1.792e-02 -12.663 < 2e-16 ***
## locationMilan 1.268e+00 9.717e-02 13.046 < 2e-16 ***
## locationMumbai 1.374e+00 1.029e-01 13.351 < 2e-16 ***
## locationNew York 1.115e+00 1.723e-02 64.697 < 2e-16 ***
## locationNone 8.902e-01 4.120e-02 21.607 < 2e-16 ***
## locationParis 5.747e-01 2.104e-02 27.313 < 2e-16 ***
## locationShanghai 1.715e+00 8.141e-02 21.068 < 2e-16 ***
## locationZürich 7.341e-02 9.176e-02 0.800 0.4237
## ---
## Signif. codes: 0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1
##
## Residual standard error: 1.346 on 97550 degrees of freedom
## Multiple R-squared: 0.4639, Adjusted R-squared: 0.4637
## F-statistic: 4220 on 20 and 97550 DF, p-value: < 2.2e-16The F-statistic, 4220, suggests there is a relationship between the response and the predictors. Each predictors p-value is also statistically significant, with the exception of the Zurich auction location, providing strong evidence that these variables are associated with changes to the realized price.
A moderate R-squared value, 0.46, explains a portion of the variance in the response variables. The RSE of 1.346 is another decent sign of model fit. Next, I reviewed the diagnostic plots for the model.
#plot model for diagnostics
par(mfrow=c(2,2))
plot(lm_price1)
There are clear issues with the first model regarding linearity and normality, especially in observations at the extreme ends. For the next model, I removed the outlier in object, jooev, which was a painting by Mark Rothko priced 66,800,000 USD at auction and added in quadratic terms for the estimated low and high values.
#remove outlier 18572 - object jooev
train_clean2<-train_clean[-c(18572),]#create second model using quadratic terms for high and low estimated prices
lm_price2 <-lm(log(price_realized_usd) ~ category + date + date +location + estimate_high_usd + I(estimate_high_usd^2) +estimate_low_usd+ I(estimate_low_usd^2) + provenance_present +literature_present +exhibited_present + artist_dead, data=train_clean2)
#summary of second model
summary(lm_price2)##
## Call:
## lm(formula = log(price_realized_usd) ~ category + date + date +
## location + estimate_high_usd + I(estimate_high_usd^2) + estimate_low_usd +
## I(estimate_low_usd^2) + provenance_present + literature_present +
## exhibited_present + artist_dead, data = train_clean2)
##
## Residuals:
## Min 1Q Median 3Q Max
## -7.8872 -0.8258 0.0156 0.8633 20.4083
##
## Coefficients:
## Estimate Std. Error t value Pr(>|t|)
## (Intercept) 7.284e+00 4.993e-02 145.885 < 2e-16 ***
## categoryPaintings 7.131e-01 1.009e-02 70.706 < 2e-16 ***
## date 4.011e-05 3.050e-06 13.148 < 2e-16 ***
## locationDubai 1.374e+00 4.076e-02 33.712 < 2e-16 ***
## locationGeneva 1.963e-01 4.957e-02 3.959 7.52e-05 ***
## locationHong Kong 1.549e+00 1.810e-02 85.571 < 2e-16 ***
## locationLondon 1.146e+00 1.727e-02 66.336 < 2e-16 ***
## locationLondon (South Kensigton) -2.453e-01 1.712e-02 -14.324 < 2e-16 ***
## locationMilan 1.275e+00 9.285e-02 13.733 < 2e-16 ***
## locationMumbai 1.324e+00 9.833e-02 13.467 < 2e-16 ***
## locationNew York 1.037e+00 1.648e-02 62.904 < 2e-16 ***
## locationNone 8.808e-01 3.937e-02 22.373 < 2e-16 ***
## locationParis 5.414e-01 2.011e-02 26.923 < 2e-16 ***
## locationShanghai 1.626e+00 7.780e-02 20.903 < 2e-16 ***
## locationZürich 8.345e-02 8.769e-02 0.952 0.34127
## estimate_high_usd 4.186e-07 6.635e-08 6.308 2.83e-10 ***
## I(estimate_high_usd^2) -1.859e-15 6.652e-16 -2.794 0.00521 **
## estimate_low_usd 6.453e-07 9.625e-08 6.705 2.03e-11 ***
## I(estimate_low_usd^2) -3.069e-14 1.491e-15 -20.577 < 2e-16 ***
## provenance_presentYes 7.124e-01 9.984e-03 71.360 < 2e-16 ***
## literature_presentYes 6.416e-01 1.141e-02 56.226 < 2e-16 ***
## exhibited_presentYes 4.712e-01 1.139e-02 41.372 < 2e-16 ***
## artist_deadYes 2.119e-01 9.062e-03 23.384 < 2e-16 ***
## ---
## Signif. codes: 0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1
##
## Residual standard error: 1.286 on 97547 degrees of freedom
## Multiple R-squared: 0.5104, Adjusted R-squared: 0.5103
## F-statistic: 4622 on 22 and 97547 DF, p-value: < 2.2e-16Here we see an improvement in the model as shown in the increase of R-squared to 0.51 from 0.46 and the F-statistic to 4622 from 4220 and the decrease in RSE to 1.286 from 1.346.
#plot model 2 for diagnostics
par(mfrow=c(2,2))
plot(lm_price2)
Diagnostics on the second model shows some improvement as well, although there now appears outliers to the left of the clustered variables. The extreme values are fit closer to the line and oriented more horizontally the in Residual vs. Fitted and Normal Q-Q plots.
Step 4: Predictions on the Test Data
There are 48,786 observations across 15 variables in the test data set. The first step was to conduct preprocessing on the new data set.
#preprocess test data
dim(test)## [1] 48786 15#create new dataframe
test_clean <- as.data.frame(test)
#convert the artist name to title capitalization
test_clean$artist<- str_to_title(test_clean$artist)
#create a separate column for the artist birth and death
test_clean$artistyears<- str_extract(test_clean$artist, "[0-9][0-9][0-9][0-9]-[0-9][0-9][0-9][0-9]")
#convert height and width into numeric values
test_clean$height_cm <-as.numeric(test_clean$height_cm)
test_clean$width_cm <-as.numeric(test_clean$width_cm)
#address missing values
#mutate missing numeric values to zero
test_clean <- test_clean %>%
mutate_if(is.numeric, ~replace(., is.na(.), 0))
#mutate missing character values to "None"
test_clean <- test_clean %>%
mutate_if(is.character, ~replace(., is.na(.), 'None'))
#mutate character columns to dichotomous variables
test_clean$provenance_present <- if_else(test_clean$provenance == 'None', 'No', 'Yes')
test_clean$literature_present <- if_else(test_clean$literature == 'None', 'No', 'Yes')
test_clean$exhibited_present <- if_else(test_clean$exhibited == 'None', 'No', 'Yes')
test_clean$artist_dead <- if_else(test_clean$artistyears == 'None', 'No', 'Yes')
#conduct summary of data after wrangling
summary(test_clean)## object_id artist original_currency height_cm
## Length:48786 Length:48786 Length:48786 Min. : 0.0
## Class :character Class :character Class :character 1st Qu.: 21.6
## Mode :character Mode :character Mode :character Median : 45.7
## Mean : 57.4
## 3rd Qu.: 77.5
## Max. :4670.0
## width_cm auction location details
## Min. : 0.00 Length:48786 Length:48786 Length:48786
## 1st Qu.: 21.93 Class :character Class :character Class :character
## Median : 45.70 Mode :character Mode :character Mode :character
## Mean : 58.36
## 3rd Qu.: 76.50
## Max. :2613.00
## provenance literature exhibited category
## Length:48786 Length:48786 Length:48786 Length:48786
## Class :character Class :character Class :character Class :character
## Mode :character Mode :character Mode :character Mode :character
##
##
##
## date estimate_low_usd estimate_high_usd artistyears
## Min. :2008-01-11 Min. : 0 Min. : 0 Length:48786
## 1st Qu.:2010-12-14 1st Qu.: 4492 1st Qu.: 7000 Class :character
## Median :2013-10-19 Median : 13060 Median : 19610 Mode :character
## Mean :2014-04-01 Mean : 131190 Mean : 190529
## 3rd Qu.:2016-12-13 3rd Qu.: 50000 3rd Qu.: 70964
## Max. :2022-12-16 Max. :46966500 Max. :73804500
## provenance_present literature_present exhibited_present artist_dead
## Length:48786 Length:48786 Length:48786 Length:48786
## Class :character Class :character Class :character Class :character
## Mode :character Mode :character Mode :character Mode :character
##
##
## dim(test_clean)## [1] 48786 20Next, I used the second model to make predictions on the price at auction for the new test data.
#predict prices based on model 2 and the clean test data
predict <- predict(lm_price2, test_clean)
#create data frame of predictions and add in the matching object id
predict<- as.data.frame(predict, test_clean$object_id)#removing log values with exponential transformation
predict$predict <-exp(predict$predict)
#view first ten observations
head(predict,10)## predict
## hxjim 28452.535
## ouyzj 9424.330
## vztxu 60375.003
## dbwnd 237054.418
## dmrus 4683.189
## zguak 13020.510
## gtebk 40610.712
## dzvld 5118.629
## xmohd 73667.848
## yosjb 35321.967#write data frame to "submission.csv"
write_csv(predict,"submission.csv")The final step is to see how the predictions performed in the competition!