The art markets in Ireland and Scotland have had to get used to different ways of working since the pandemic struck.
Dealing with the shifting regulations over the course of the last eight months has been a challenge.
But many Irish and Scottish businesses have also had to juggle with different changes that apply across the borders.
For example, as many Irish auction houses source works both in the Republic and in Northern Ireland, and their Scottish counterparts do so in both Scotland and England, this has meant extra adjustments have been required when organising client visits, staging viewings and holding sales themselves.
However, despite these primarily logistical issues, where the consignments have come through and decent works have been offered from the real or virtual rostrum they have tended to perform relatively well, and especially well given the circumstances.
Both salerooms and buyers have responded to the situation with increased phone bidding and online activity. Indeed, a bounce has even been reported in some quarters as collectors look to spend on something they can enjoy at home at a time when other pursuits are restricted.
Over a series of articles in this issue, we pick out some recent examples of such highlights that caught our eye:
A sunny day in Ireland as Whyte's sells 'the best Paul Henry we have ever handled'
‘Belfast Boy’ O’Neill shines in summertime
Butler’s garden blooms in Wiltshire saleroom
Traquair takes the attention at Bonhams
Architect’s apprentice McGhie built an artistic legacy
Nicholson sounds the retreat with a Scottish work
