Oil painting

ACQUIRED for £52,000 by the Australian businessman John Schaeffer at Christie’s, London in June 1996, this striking oil on canvas, right, A Dancing Athlete with an Olive Branch, by Frederic Leighton (1830-1896), comes under the hammer again on May 15.

THERE was no doubt about which were the two outstanding lots at Hamptons’ (15% buyer’s premium) March 24 picture sale in Godalming.

THE gulf in value between fully authenticated pictures and those with mere attributions was clearly in evidence on March 4 when this 18th century Irish School landscape, right, came up for sale at the Amersham Auction Rooms in Buckinghamshire.

EVERYONE is aware of how rich a thin stratum of Russians have become in the post-glasnost years. The buying power of Russia’s new rich was amply in evidence on March 23 at Bonhams (19.5/10% buyer’s premium) Bond Street when the spectacular 3ft 1in x 5ft 8 3/4in (94cm x 1.74m) canvas, Nero’s Torches, by Henryk Siemiradzki (1843-1902) sold at £260,000 at an otherwise fairly predictable 19th Century Paintings sale.

A POPULAR breed, a popular artist, plenty of puppies, totally fresh to the market, a come-hither estimate... When it came to dog paintings, this signed Arthur Wardle (1864-1949) canvas of a long-haired Jack Russell terrier with her pups had pretty well everything going for it when it came under the hammer at Wintertons (15% buyer’s premium) of Lichfield on March, estimated at just £2000.

ALTHOUGH Derwent Lees (1885-1931) is recorded in reference books, such as the Handbook of Modern British Painting and Print-making 1900-1990, published by Ashgate, he is not that well known outside specialist trade circles.

WITH thousands of middle-class homes being turned into white boxes every week, how on earth can English auctioneers sustain the market for middle-of-the-road Victorian pictures?

There was high excitement at the Cork rooms of Joseph Woodward & Sons (15% buyer’s premium) on February 11 when what was thought to be the earliest surviving painted view of Cork harbour fetched what is known to be the highest auction price ever paid for a painting in the city.

IF asked to nominate the subject of a commercial painting by Montague Dawson (1895-1973), most specialists and collectors would think of a clipper ship, preferably an American clipper in full sail on picturesquely choppy, but not too choppy, seas.

Dead animals are usually regarded as a major commercial no-no in a painting, as is excessive size. It was therefore hardly a surprise that a recently restored and relined 5ft 10in by 8ft (1.78 x 2.44m) Richard Ansdell (1815-1885) canvas featuring a dead wolf and a dying dog did not exactly inspire a blizzard of bids when it came under the hammer at Maxwells of Wilmslow on January 23.

Scottish, Greek and Australian subjects gave a welcome international feel to the main highlights among the pictures offered on the third day of Gorringes’ (15% buyer’s premium) January 27-29 sale in Lewes.

After years of regular sales at all the major auction houses, marine painting is an area in which top quality works by the most desirable names are in increasingly short supply.

London marine sales can be routine affairs, but there was a frisson of speculative interest in this unsigned and unattributed 19th century canvas, right, which ended the 171-lot picture section of Bonhams’ (17.5/10% buyer’s premium) October 1 marine offering in Knightsbridge.

ALTERNATIVE investment might be too strong a word for it, but the current desperate state of returns in the stock market and other investment areas does seem to be having a positive effect at art sales, at least in Scotland.

Understandably, the Russians left this one behind when they liberated the Reichstag in 1945, but a Tommy NCO with a sense of humour decided to rescue this beleaguered portrait of the First World War German Field Marshall and Weimar president Paul von Hindenburg, right, from the ruins and take him back to the West Country.

WHILE the Irish picture market continues to boom, the Scottish market showed serious jitters at Bonhams Edinburgh (17.5% buyer’s premium) on the evening of December 5.

Thanks to the combination of sporting subject matter and extremely slick technique, Sir Alfred Munnings (1878-1959) continues to be one of the few early 20th century British painters to command a truly international following among the world’s richest private collectors.

OF the three new world auction records taken at Christie’s Rockefeller Center saleroom on the evening of November 6, two of them were for pieces of sculpture. This follows on from Christie’s success in the May Impressionist and Modern sales, their best – as Sotheby’s were for them – for some time, when Constantin Brancusi’s 1913 bronze Danaïde took $16.5m (£11.6m), the highest price for any piece of sculpture sold at auction.

Over the last 10 to 15 years, the market has undergone a slow but steady shift towards 20th century painting in particular the Post-War abstraction of the St Ives school whose geometric shapes and pure blocks of colour are wholly in tune with contemporary tastes.

“Marvellously dotty” was how Peyton Skipwith of The Fine Art Society chose to describe this 14 by 12in (36 x 30cm) oil on panel by Rex Whistler (1905-1944). Entitled Miss Muffet, the panel depicts the moment when, sat upon her tuffet eating her curds and wey, a spider sits down beside the well-known nursery rhyme character.