Modern British Art

If the forthcoming 20/21 British Art Fair at the Commonwealth Institute proves as successful as many dealers are hoping, there will be no shortage of competition for this signed and inscribed Eric Ravilious (1903-1942) watercolour, right, Hull’s Mill, coming up for sale at the Stansted Mountfichet rooms of Sworders (15% buyer’s premium) on October 21.

The Spring Fine Art & Antiques Fair at Olympia, which will be held in London from February 25 to March 2, has received a record amount of publicity thanks to this Graham Sutherland (1903-1980) portrait of Churchill, right.

Thanks to the combination of sporting subject matter and extremely slick technique, Sir Alfred Munnings (1878-1959) continues to be one of the few early 20th century British painters to command a truly international following among the world’s richest private collectors.

Over the last 10 to 15 years, the market has undergone a slow but steady shift towards 20th century painting in particular the Post-War abstraction of the St Ives school whose geometric shapes and pure blocks of colour are wholly in tune with contemporary tastes.

“Marvellously dotty” was how Peyton Skipwith of The Fine Art Society chose to describe this 14 by 12in (36 x 30cm) oil on panel by Rex Whistler (1905-1944). Entitled Miss Muffet, the panel depicts the moment when, sat upon her tuffet eating her curds and wey, a spider sits down beside the well-known nursery rhyme character.

For those who can’t afford paintings by L.S. Lowry, the Manchester townscapes of Arthur Delaney (1927-87 appear to be becoming an increasingly popular substitute.

THE Italian painter Pietro Annigoni (1910-1988) is forever associated in English minds with his dramatic 1955 portrait of The Queen, which now hangs in The National Portrait Gallery and which still has plenty of admirers, including HM herself.

Quality paintings have been extremely thin on the ground in the provinces in the last few weeks, but this Dorothea Sharp (1874-1955) oil did at least create a stir at the Leominster rooms of Brightwells (15% buyer’s premium) on August 29 when it climbed to £41,000 against an estimate of £3000-5000.

It wasn’t until Campbell Archibald Mellon (1876-1955) retired from business at the end of the First World War that he devoted himself to painting. He moved to Gorleston-on-Sea in Norfolk and the bulk of his artistic output is focused on the beaches and holidaymakers in the area.

CONDITION is a prime concern in the 20th century print market but occasionally images come on the market that are so rare and so striking that condition concerns take a lower priority – particularly if the buyer has been searching for such a piece for 30 years.

Artists at Walberswick: East Anglian Interludes 1880-2000 by Richard Scott, published by Art Dictionaries Ltd. ISBN 0953260941 £29.95hb

SINCE the 1920s, Shell have commissioned paintings from key British artists for Shell county guides, calendars and school wall charts. In order to raise funds to create a new exhibition space in the National Motor Museum in Beaulieu for the earlier works from the company’s collection, Shell decided to sell 193 lots dating from 1950-1990, most of which had never been seen in public before, at Sotheby’s Olympia (17.5% buyer’s premium) on July 4.

Sir John Lavery R.A. (1856-1941) is one of the hottest names in the booming Irish picture market and back in 1998 The Bridge at Grez, a large oil on canvas, took a record £1.3m at Christie’s London.

THE strength of the Irish picture market will be tested in May when Sotheby’s and Christie’s hold their annual Irish sales in London. Recent sales in Ireland indicate things look promising, and that interest is still strong Stateside was confirmed at Dennis Auction Service (10% buyer’s premium) in Stewartsville, New Jersey on March 9 sale when this early work, right, by Jack Butler Yeats (1871-1957) came up for auction.

ROBERT Lenkiewicz, one of Britain’s most controversial artists, has been burgled for the third time in five weeks in what is widely believed to be a ‘stolen to order’ theft.

THE names of two women artists, one very well known, the other undeservedly obscure, provided talking points at two provincial sales in March.

THE Staithes Group, the band of artists who made the North Yorkshire fishing village their home before some moved to the South West and Newlyn, are the subject of an impressive exhibition put together by Cumbrian dealer Peter Haworth (Tel: 015395 62352).

Rise of Winifred Nicholson goes on apace with amazing bid of £100,000 for portrait of Ben: Over the last two or three years Winifred Nicholson (1893-1981), the first wife of Ben Nicholson, has become an increasingly significant figure in the Modern British market, culminating in the record £52,000 paid last July at Phillips for one of her trademark window still lives.

Modern British in date, but blissfully unaffected by Fauvism, Cubism, Vorticism and just about every other ‘ism’ that was changing the face of Western art, Edgar Hunt (1876-1953) enjoys perennial popularity among picture buyers with more traditional tastes.

“There was a certain amount of watching. People were there to see what was happening, which was why it was slightly less active than last year, particularly for the nice, but less fashionable 19th century watercolours.”