Art Market

Albert Moulton Foweraker’s (1873-1942) main interest as a watercolourist was the effect of blue moonlight on the landscape.

Group of works from the Cornish school underpins a positive Modern British offering

A group of “historically important” watercolour and pencil drawings of the London Blitz sparked a bidding war at Cirencester saleroom Dominic Winter (20% buyer’s premium).

As his reputation began to grow in the early 1940s, Michael Ayrton (1921-75) embarked on a series of melancholic paintings in the Neo-Romantic style.

Three modestly valued works selling at regional sales including a John Varley watercolour.

This oil below depicts the Victoria & Albert II, the largest royal yacht of the Victorian era which remained in service until the end of Queen Victoria’s life.

The British Museum has added this rare hand-coloured lithograph to its two-million-strong print collection after securing it at an auction in west London.

Appetite remains for biannual specialist auction which is still a stalwart of the calendar.

Robert Hillingford (1826-1904) was a Victorian painter of historical scenes, whose subjects included the Duke of Wellington and Napoleon, as well as scenes taken from Shakespearean plays.

Three modestly valued works selling at regional sales including a Sara Wells Page portrait.

A flurry of bids emerged for this late-17th century canine study at Bearnes Hampton & Littlewood of Exeter (23% buyer’s premium).

Three modestly valued works selling at regional sales including a Graham Sutherland watercolour.

The growing demand in recent years to own pictures by women artists has brought this long-overlooked area of the art market to the fore. In an auction at Cirencester auction house Dominic Winter (20% buyer’s premium) two works by women painters stood out.

Focus on one of only two notable women painters to be associated with the Norwich School.

A crayon portrait by Dante Gabriel Rossetti (1828-82) surfaced at Oxford saleroom Mallams (22.5% buyer’s premium) together with another of the sitter’s father.

Like John Constable before him, the 19th century painter John Arnesby Brown (1866-1955) found endless inspiration in the low horizons and expansive skies of East Anglia. He was also interested in light and atmosphere and the effect of sunshine and shadow on the landscape.

Morris record takes the headlines but his pupil is also in demand at same sale.

The year after Cedric Morris painted his verdant Foxgloves in 1932, a severe drought cut through much of southern Britain. The parched soil and the hardship it brought were a source of artistic inspiration for those who painted the form and the character of the rural landscape.

Three modestly valued works selling at regional sales including a Stanley Spencer sketch.

A 1940s view of Swansea described as ‘historically important’ by the auction house which sold it featured among some good results for 20th century Welsh art in the regions.