Features

Familiar striking shapes and bright colours retain a strong following despite a fall in demand from the 1980s-90s heyday.

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.

Scottish artist Craigie Aitchison (1926-2009) painted few subjects more obsessively throughout his career than the crucifixion.

Post-war art stored in a cupboard for “many years” by an academic institution in Leicestershire drew strong bidding for two British artists in particular at Derbyshire saleroom Hansons (20% buyer’s premium).

Lyon & Turnbull is holding an auction of Modern & Contemporary art, sculpture and design at The Mall Galleries in London on March 27 under the title Modern Made.

Among the lots drawing keen interest at Sworders’ Modern British and 20th century sale in Essex on February 26 was a privately consigned 2ft x 2ft 8in (61 x 83cm) oil on canvas of Burmese women collecting water by Royal portraitist Gerald Kelly (1879-1972).

Waterhouse & Dodd’s Jamie Anderson attributes a recent flurry of interest in the works of Dorothy Mead (1928-75) to her inclusion in the Tate Britain’s 'All Too Human' show last year.

A 16 x 15in (42 x 38cm) linocut by Great Bardfield artist Sheila Robinson (1925-88) more than doubled its estimate to sell for £1000 at Cheffins (22.5% buyer’s premium) of Cambridge.

Women artists – historically overlooked in scholarship and undervalued on the market – have emerged more and more at auction over the last few years.

Dreweatts’ Modern and Contemporary art sale in Newbury on April 3 will offer a range of Modern British pictures, including a selection of St Ives School group works. However, one of the main highlights in this category is a wartime painting by John Armstrong (1893-1973) which carries an estimate of £20,000-30,000.

An intriguing find by a dealer new to TEFAF Maastricht leads a look at some of the highlights on offer at the huge event.

A surge of fresh faces in the Modern section, a shift in the global vetting policy and stronger links with the host city are among the recent shake-ups at TEFAF Maastricht, as CEO Patrick van Maris tells ATG.

Old Master art dealer Mark Weiss began exhibiting at TEFAF Maastricht in 1988. But for all the important 16th and 17th century portraits Weiss has sold at the Dutch fair since then, few are likely to have made a local connection quite like his gallery’s star object for 2019.

Art dealers and auction house experts were struck from all TEFAF vetting panels following the introduction of a new global policy last year.

It’s 12 months since Oliver Moss took the helm of fourth-generation Chinese and Japanese art dealership Sydney L. Moss. A busy year culminated in Moss making Japanese sculpture discoveries that will form the centrepiece of the dealership’s 2019 TEFAF Maastricht stand.

This exceptional candlestick belongs to a small group of cast and enamelled brass wares made in the second half of the 17th century. All are distinguished by their method of production: unlike champlévé or cloisonné decoration, the enamelled fields were cast in the mould.

The sale of two great collections at auction – one in London, the other in New York – has highlighted the ebbs and flows of the market for early British pottery and furniture.

This 2ft (60cm) high Charles II needlework looking glass worked with figures and fantastical beasts emblematic of the seasons was estimated at $10,000-15,000 but sold at $80,000 (£61,500) in the Vogel collection auction at Sotheby's New York.

The models used in 17th century ceramics were typically derived from contemporary metalwork – and occasionally vice versa.