Christie's

HARRY Potter prices are not quite as strong as they once were, but the fine “unread” copy of the 1997 first of Harry Potter and the Philosopher’s Stone seen right was sold on June 17 for £11,000 at Bloomsbury Auctions, who had it hopefully estimated it at £15,000-20,000.

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.

EVERY country house sale should have at least one sleeper and at Christie's (19.5/12% buyer's premium) Chirk Castle sale this honour went to a sandstone grave slab.

THE servants’ quarters, very much a part of the history of any great house, are always hugely popular with visitors and the National Trust was keen to buy items at Christie’s (19.5/12% buyer's premium) Chirk Castle sale on June 21 which represented life below stairs.

ROUNDING off the European furniture, carpets and works of art sale at Christie’s South Kensington (19.5/12% buyer’s premium) on June 15 was a 78-lot collection of hall stands, mostly made in cast iron.

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.

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.

CHRISTIE'S have strengthened their photography and 20th century design team by appointing Joshua Holdeman, formerly international director of photographs at Phillips, de Pury & Co.

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.

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.

THE forerunners of their kind may have been a relatively humble form of seating, but, as two lots in the recent English furniture sales showed, it wasn’t long before the Windsor chair began to branch out.

THE highlight of Christie's (20.93/11.96% buyer's premium) sale on June 14 was this 16in (40cm) high Benin bronze plaque (c.1580-1620), right, featuring a warrior chief, brandishing a sceptre in his right hand and a short eben sword in his left. The plaque, formerly owned by Edgar Dimsey, a surgeon on the British punitive expedition to Benin in February 1897, retained sharp detailing and sold to a European collector for a hefty €450,000 (£300,000) against an estimate of €150,000-200,000.

THE work of the pioneering Victorian designer Christopher Dresser is soon to have a major public airing in an exhibition at the Victoria and Albert Museum opening this September. In the meantime the rarest examples of his iconic designs continue to command high prices in the marketplace.

A SMALL group of animal stirrup cups provided the high points at Christie’s South Kensington’s silver sale held on June 16 affirming the evergreen appeal of novelty and collectors items over more useful hollowares.

AS a follow-up to last week’s report on the Conan Doyle collection sold at King Street in May, I bring belated news of The Adventure of the Sussex Vampire.

WAS it a case of not being market-fresh or a change in fashion that resulted in such a dramatic nose-dive in value for this black chalk, stump and watercolour, right, by Thomas Gainsborough (1727-1788), when it came up at Christie’s King Street on June 3? Against hopes of £40,000-60,000 it scraped home with a final bid of £35,000 (£41,825 with premium) from a private collector.

TWENTIETH century and Contemporary art underlined their status as the key growth areas for the major auction houses when London’s June round of Part I Impressionist, Modern and Contemporary sales netted £120.4m. Six months ago the equivalent sales took £94m, while back in June 2003 – when war was raging in Iraq – they could only muster a relatively modest £81m.

AUCTIONS are often the best way of settling whether a work is genuine or not. Of the speculative entries in Christie’s South Kensington’s 584-lot sale on June 11, most were contested by Hong Kong and mainland Chinese dealers. Before the sale, trade and auction specialist opinion was divided as to whether this 10 1/2in (27cm) high blue and white vase (shown right) was a Yongzheng (1723-35) mark and period vessel or a 19th/20th century copy as catalogued.

IT was amongst the shaded woodland of the Thames Valley that Windsor chairs are thought to have originated. The forerunners of their kind may have been merely a humble form of seating, but, as two lots in forthcoming English furniture sales show, it wasn’t long before the form began to branch out.