Penzance

One of the most important groups of works by the artists’ colony to emerge recently indicates level of demand in this market

The handstitched booklet titled Balls & My Partners, 1844-1845 was written by Adelaide Horatia Elizabeth Seymour (1825-77) as she enjoyed the life of a debutante.

Cast-iron provenances and first appearances on the market combine to boost value in a Cornish saleroom

Two portraits and a shipping scene by the Newlyn School artist were consigned from three different sources

One of two texts in a single volume revealed after eager bidding to be by Hungarian Jesuit

Jewellery from the estate of Ella Naper (1886-1972) was offered at Lay’s (21% buyer’s premium) in Lanner, Cornwall on August 10-11.

In the oeuvre of ‘primitive’ painter Bryan Pearce (1929-2006), still-lifes are significantly rarer than his marine and harbour scenes.

Works by Reginald Pepper (fl.1970s-90s) are not very common at auction – and this is not just because he doesn’t exist.

This pair of silver wine decanter stands or bottle coasters by Philip Rundell (1746-1827) for Rundell, Bridge & Rundell, (London 1819 and 1820) sold for £10,500.

A collection of 32 letters and cards written by Diana, Princess of Wales to two friends came for sale at Lay’s (18% buyer’s premium).

La Lutine, launched by the French in 1779 and later requisitioned into the Royal Navy, is today best known for its sinking.

Lay’s Auctioneers (previously known as David Lay) has expanded with a second saleroom in its home county of Cornwall.

Simple, nature-inspired motifs and geometric shapes run through the work of St Ives artist Breon O’Casey (1928-2011).

A combination of artist, sitter, date and quality ensured a compelling Newlyn school portrait caught the eye at David Lay’s latest auction in Penzance.

This late 18th century portrait bust of a gentleman by a sculptor from the circle of Joseph Nollekens (1737-1823) is traditionally thought to depict the prominent British Whig statesman Charles James Fox (1749-1806).

Teapots made in delftware were never particularly functional nor popular in either England or the Netherlands.

Works also sold in Penzance but not for six figures help to understand this market