Fine Art

HIGHLIGHT of Sotheby’s (23.92/14.35% buyer's premium) book and manuscript sale on June 30 was Antonin Artaud’s 1947 portrait of his publisher Alain Gheerbrant, pencil, 14 x 20in (35 x 50cm), seen right, that made a double-estimate €210,000 (£140,000) to set a record for an Artaud drawing.

THESE two half-length images of women, right, could hardly be more different in date or technique, but their prices proved as uncannily similar as their poses when they came under the hammer at recent fine art auctions.

ATTEMPTING to tap into the burgeoning Russian market, Tajan (20.33% buyer’s premium) appointed Moscow-born Tatyana Barysheva as in-house specialist last year. She is gradually building up a following for sales of Russian silver, vertu and works of art.

KATE Dickens adored her father but found the situation at home after her parents’ separation to be intolerable and in 1860, desperate to get away, she entered into what was to prove a less than happy marriage to Wilkie Collins’ younger brother Charles.

A LARGE scale oil by Kathleen Hale of Orlando Reclining Amongst Flowers failed to sell against a £10,000-15,000 estimate at Sotheby’s on July 8, but the autograph draft manuscript of Orlando (The Marmalade Cat) becomes a Doctor of 1944, right, each page with pencil and coloured crayon drawings (some with added wash or gouache, a few unfinished) did sell at £5000 to a London gallery.

A 56-sheet sketch book by Camille Pissarro, 8 x 11in (21 x 28cm), dating from his stay in Venezuela between April and August 1854, sold for €150,000 (£100,000) at Piasa (20.33/13.16% buyer's premium) on June 18.

THE pencilled Assumption (with white highlights), 20 x 15in (50 x 37cm), shown right, turned up at Doutrebente on June 25 with a €4000 estimate.

A Christie’s New York sale of June 9 included a collection of Dr Seuss books, illustrated letters and other ephemera formed by Jed Mattes, who in 1977, following the death of Theodor Geisel’s long-term agent Phyllis Jackson, took over as his representative.

IT was, perhaps, a telling sign of the current shortage of high-quality, market-fresh Old Master paintings in the salerooms that Bonhams (19.5/10% buyer’s premium) July 7 Old Master Paintings sale should be headed by this hitherto unrecorded John Constable (1776-1837) plein air oil on canvas sketch, right, of the artist’s home village, East Bergholt.

BASED in Stoke-on-Trent, auctioneers Louis Taylor (buyer’s premium 12.5 per cent) are better known for their ceramics than their pictures but their quarterly Fine sale held from June 14-16 was led by this Dorothea Sharp oil on canvas, right, Children with a Dog on a Summer’s Day.

SOTHEBY’S have announced that they are merging their Modern British art and Victorian art departments to create a new one called British Art 1850 – Present Day.

“WHEN Mr Woods came into our saleroom and invited us to see his collection,” said Anderson & Garland’s collectables specialist John Anderson, “we just couldn’t believe that such a unique selection of memorabilia could have been sitting in a house only a dozen miles from our premises.”

DECADES before Damien Hirst’s formaldehyde sheep and the 1990s explosion of Britart, London was swinging to the rhythm of Pop Art’s movers and shakers. Forty years have now passed since the height of this international movement prompting Christie’s South Kensington (19.5/12% buyer’s premium) to host the first of what they hope will become an annual Pop Art themed sale on June 30.

RIGHT: despite the occasionally negative press the antiques trade has received in recent weeks a media circus arrived at Sotheby’s on July 7 to watch the Bond Street auctioneers sell Young Woman Seated at the Virginals, a newly-acknowledged picture by Johannes Vermeer (1632-75).

THOMAS Rowlandson’s (1756-1827) watercolour Place des Victoires, Paris (estimated £60,000-80,000) failed to find a buyer when offered at Sotheby’s (20/12% buyer’s premium) on July 1.

DAVID Teniers the Younger’s whimsical 6 x 8 1/2in (16 x 22cm), oil on copper view of Monkeys Playing Cards, sold to a private buyer against the London trade for a double-estimate €220,000 (£146,665) at Tajan on June 24.

THE problem with over-ambitious estimates does not just apply to the sort of significant paintings which consignors may be led to believe are worth sums in the £100,000-£1m range.

WITH selling rates that rarely dip below 80 per cent and steadily increasing totals that are the envy of more traditional departments, auctions of Contemporary art continue to go from strength to strength.

IT is not often that an antiques dealer ends up on the walls of the National Portrait Gallery, but until September 19 that is just what is happening.

IN the eyes of many of today’s collectors, it is the realist interiors, which range from old farm buildings to grand rooms, and the figure subjects of William Henry Hunt (1790-1864), which are most desirable, a fact highlighted by the artist’s sale results.