Art Market

Two versions of Edward Bawden’s (1903-89) famous 'Brighton Pier' linocut came up at UK auctions within a day of each other.

Once enthusiastic buyers on the art market, today’s cash-strapped councils have taken on the role of vendor, pushed in an age of austerity to sell their collections and other assets to balance the books.

This 19th century painted photograph of an Indian maharaja was the stand-out picture in Sworders’ (23% buyer’s premium) dispersal of the Chelsea home of the late Henry Wilson – a World of Interiors photographer who died in a bicycle accident in 2017.

Three modestly valued works selling at regional sales under £1300, including an Albert Goodwin view of Whitby.

David Fulton (1848-1930) was a Glasgow painter who, like his contemporaries Gemmell Hutchison and William Marshall Brown, specialised in painting children in sentimental settings.

Burne-Jones’ studio assistant shows his own artistic skills in the Pre-Raphaelite genre.

Consigned from a deceased estate in Oxfordshire, a loosely bound album containing nearly 100 watercolours of marine and topographical views drew multiple bids at an Oxford saleroom.

It was during a period of intense industrialisation that the 19th century pastoral tradition in British print making flourished.

The Old Master section of Dominic Winter’s sale on March 7 yielded multi-estimate sums for two works that were linked to major names in Renaissance and marine art.

Three modestly valued works selling at regional sales under £2000, including a work by Scottish painter John Maxwell.

Some areas of the secondary pictures market march to their own beat, appearing to defy the usual forces that determine value. Ancestral paintings are such a category.

An abstract creation by the revered Singaporean artist Cheong Soo Pieng (1917-83) took £15,500 at Derbyshire saleroom Hansons (20% buyer’s premium).

Three modestly valued works selling at regional sales at £1000 and below, including an oval oil head study by the Victorian painter Joshua Hargrave Sams Mann (1826-88).

Marie-Louise von Motesiczky (1906-96) was one of those artists who took little pleasure in selling their work. Indeed, Motesiczky’s obituary in The Independent described her “aristocratic disdain for the marketplace” and stated that “while she half welcomed exhibitions, they remained uncomfortable experiences… she never needed to sell her paintings, indeed she preferred to keep them around her.”

A Cardiff estate has provided a highly useful consignment to Welsh saleroom Rogers Jones (18% buyer’s premium inc VAT) with around 45 modern British paintings in all.

An impressive collection of 20th century British pictures will be offered at Cheffins in Cambridge on March 21 after Hertfordshire County Council took the decision to offload them.

Edward Seago (1910-74), perhaps the best-known 20th century artist who lived and worked almost exclusively in Norfolk, captured the atmosphere of his beloved East Anglia with sweeping compositions and a delicate palette.

A wave of fresh interest in female artists is sweeping the UK, forcing museums and galleries to rethink their displays and purchasing policies – and driving demand at dealerships and auction houses in the process.

Art historian Magdalen Evans is holding a series of lectures on Women Artists of the Second World War for the Arts Society with the next date set for Harpenden, Hertfordshire, on March 20, followed by Colchester, Essex, in May and Ely, Cambridgeshire, in September.

Sylvia Gosse (1881-1968) was perhaps the best known of the women artists who worked closely with Camden Town Group luminary Walter Sickert.