Fine Art

IN addition to technical excellence, decorative appeal and early date, sentiment is an important player in the sampler market.

WITH collectors’ taste in Modern British art shifting in recent years from pre-war to post-war, the once all-conquering Newlyn School has not generated as many headline-stealing results as it did in the late 1980s.

TWO views of New York from what were, at the time, the city’s tallest buildings, are illustrated here. Both were part of the February 17 Swann’s sale of ‘100 Fine Photographs’, where ‘The Movement’, another of Frantisek Drtikol’s much admired pigment prints was scheduled to have become the sale’s best seller for the third time in a row, but in this instance failed to live up to expectations of $340,000-60,000.

“Probably the best sale of this type in a very long time. Very strong across the board,” enthused specialist Roy Bolton after his February 27 auction of Old Master Pictures at Christie’s South Kensington (17.5/10% buyers premium).

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?

NONE of the February auctions in Brussels were timed to coincide with the Foire des Antiquaires de Belgique (Belgian Antique Dealers’ Fair), staged from February 6-15, perhaps because this was the first year that the new-look fair had attracted such international attention.

Christie’s are to hold their first auction in Spain since 1999 this autumn when they offer a sale devoted to Spanish paintings in Madrid on October 6. Although they have maintained an office in Madrid, Christie’s last Spanish auction was five years ago when they held the Bendinat House sale in Mallorca.

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.

NINE prominent London specialist dealers have joined forces to launch London Sculpture Week this June. In recent years a number of such initiatives have been launched successfully to focus attention on an area of expertise in the capital. With increasing interest in sculpture it was thought it was time to highlight London’s considerable credentials in this field.

PORTRAIT MINIATURES: At just under £92,000 for 287 lots, Bonhams Bond Street’s (19.5/10% buyer’s premium) first portrait miniature sale of the year on February 3 was essentially a middle-ranking offering.

Five early 18th century ivory relief portraits by celebrated carver David Le Marchand stolen from the Art Gallery of Ontario on January 17 have been recovered.

What Bonhams are billing as “one of the world’s greatest portrait miniature collections” will go on sale in their Bond Street rooms on April 22. The 175 English and Continental miniatures, which have been on loan to the Scottish National Portrait Gallery for the past three years, date from the 16th to the 19th century and are estimated to fetch in excess of £1m.

Cheffins of Cambridge are celebrating what must rank as one of the most dramatic – and certainly one of the highest – prices ever recorded in the UK provinces after their February 11-12 sale that included a pair of white marble seated figures by Sir Henry Cheere (1703-81).

Total turnover at UK picture and sculpture sales in 2003 was down 10 per cent on the previous year, according to figures just published by Art Sales Index. This reflects the similar contraction in the international market during the 2002-2003 season announced by ASI in the autumn.

An unprecedented crowd of over 500 people turned up to watch, if not bid, at Sotheby’s near sell-out Part I auction of contemporary art on February 5. A stream of telephone bids created numerous eye-catching results, including new auction highs for Nicolas de Staël (£1.15m), Richard Hamilton (£100,000), R.B. Kitaj (£220,000), Paul Pfeiffer (£40,000) and last year’s Turner Prizewinner Grayson Perry (b.1960).

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.

Although it might have been small beer by the standards of the New York Old Master sales reported last week, the presence of a £13,000 Italian still-life painting gave a welcome financial boost to Brightwells’ (15% buyer’s premium) inaugural auction at their new purpose-built Easters Court saleroom on the eastern outskirts of Leominster on January 15.

Contemporary art shines in London: The February round of Impressionist, Modern and Contemporary sales in London gave plenty of evidence that the top end of the art market has made a strong recovery from last year’s bout of Iraq War syndrome.