UK

If, as generally accepted, the tri-annual fine art sales at Tennants (20% buyer’s premium) can be regarded as something of a barometer of the middle market, the outlook following the autumn sale on November 18 appears rather more steady than the Brexit nervousness talked about elsewhere in the economy.

Founded three years ago, the Whitchurch, Shropshire, firm of Trevanion & Dean (19% buyer’s premium) enjoyed its best sale so far when the 950 lots, ranging from Renaissance art to contemporary glass, totalled £250,000 on November 18.

The sluggish area of Victorian genre painting provided Brightwells (20% buyer’s premium) with one of its top-sellers at the November 8-9 sale in Leominster.

A collection of paintings on show at contemporary art gallery Daniel Raphael offers a glimpse into the life of a well-known dealer.

For the first time, the UK art and antiques trade has publicly made the case for a licensing system that would permit the sale of antique ivory on a case-by-case basis.

A William Nicholson (1872-1949) portrait drew admirers at Thomas R Callan (17.5% buyer’s premium) on November 19 as it was hammered down for £150,000.

Estimated at £12,000-18,000, this impressive pair of Regency four-light candelabra dipped just under hopes to sell for £11,500 at Fellows in Birmingham.

A fine pair of Victorian figural table salts in the form of sea maidens on the back of dolphins sold for £4900 (estimate £1500-2000) at Wootton Auction Rooms in Gloucestershire on October 17. Weighing 33oz, they carry marks for John Wilmin Figg, London 1841.

The last remnants of Mallett’s stock, including a clutch of 18th century pictures, were offered in a final sale in Berkshire on November 8.

An internal review into the export licence system for works of art is under way, writes Roland Arkell.