Art Market

Winter landscape. Early 20th century, possibly Russian or Scandinavian school, and ‘indistinctly signed’. That was lot 222, summed up in the catalogue at Chiswick Auctions (23% buyer’s premium) in London on October 3.

Since the Celtic Tiger’s demise a decade ago and the tailspin that ensued, the Irish art market has evolved into a more cautious and less speculative beast. The latest round of sales held towards the end of September and into October showed steady (if not spectacular) demand, especially for the big, bankable names.

The Emerald Isle was not the only place selling Irish art recently. In London on September 27, Sotheby’s (25/20/12% buyer’s premium) offered a collection of paintings and personal effects belonging to the family of Irish poet WB Yeats and his brother, artist Jack Butler Yeats.

Adam’s mammoth annual Country House Collections auction is designed to cater to those with spacious, preferably period, abodes.

During his nights spent ‘fire-spotting’ for flying bombs during the Blitz, it is said the artist and occultist Austin Osman Spare (1888-1956) would while away the hours filling sketchbooks.

Half a dozen works by the obscure British artist Valentine Dobrée (1891-1974) sold for multi-estimate sums at Reeman Dansie (20% buyer’s premium) in Colchester on September 26-27.

Modern sculpture, including a small rediscovered marine ivory piece by Eric Gill (1882-1940), took centre stage at Duke’s (22% buyer’s premium) in Dorset.

A pair of watercolours depicting Berwick-upon-Tweed, the northern-most town in England, turned up at Batemans (20% buyer’s premium) on September 2.

A nude painting by the 19th century English artist William Etty (1787-1849) starred in Sworders’ (22% buyer’s premium) sale in Essex. The 2ft 2in x 19in (66 x 49cm) oil on panel shows a naked woman in a wooded landscape, her head and body turned away from the viewer.

“There really does seem to be life in the traditional market”. Woolley & Wallis’ (22% buyer’s premium) latest Old Masters, British & European Paintings sale in Salisbury left specialist Victor Fauvelle in a buoyant mood.

Forget London. Decent Old Masters can be auctioned anywhere – so long as there is an internet connection.

Paintings by one of Wales’ more obscure artistic talents sparked fervent bidding at Rogers Jones’ (20% buyer’s premium) Welsh Sale in Cardiff.

Mabel Lucy Atwell (1879-1964) began her formal artistic training at St Martin’s School of Art in London, but abandoned her courses to pursue a career that saw her produce those sentimentalised depictions of chubby, mostly cheery, rosy cheeked children.

Details on the back of a pastel drawing lead to detective work and royal portraitist connection...

About a month ago, collector Robert Mulraine launched a website dedicated to the artist Thomas Baker of Leamington (1808-1869). A great enthusiast of the Victorian landscape painter, he has been working with the curatorial team of the Birmingham Museum and Art Gallery to create an online ‘Memoranda of Pictures’ based on the artist’s five diaries in the museum’s collection.

One of the less commonly known facts about Sir John Bernard Partridge (1861-1945), the lead cartoonist at Punch magazine, was that he had a spell as an actor in his youth.

Fieldings’ picture consultant William Lacey said he could remember a time 30 years ago when works by Wigan artist James Lawrence Isherwood (1917-89) could be bought for £30-40.

Victorian landscapes can often be difficult to shift at auction, but a fine panoramic view near Redhill in Surrey by Edward John Cobbett (1815-99) gave a boost to the Boningtons (20% buyer’s premium) sale in Epping on August 21.

Working horses painted by the Australian artist Harold Power (1878-1951) starred at Charles Ross Fine Art (17.5% buyer’s premium) on August 19 in Woburn, Bedfordshire.

Two slightly different versions of Fortunino Matania’s (1881-1963) desirable Southport Lido poster topped a July 7 online auction at Onslows (20% buyer’s premium) of Dorset.