Fine Art

THE controversy over whether fox hunting should be banned may rumble on, but, presumably, even the most committed hunt saboteur could not take exception to this intriguing Victorian fantasy painting.

RIGHT: Indoor Athlete, a signed “first stone” lithograph of 1921 by American artist George Bellows, which made $13,000 (£7065) in a May 21-23 sale held by Northeast Auctions of Portsmouth, New Hampshire.

The Parrot Pen-man, an ink and watercolour drawing by Quentin Blake that sold for £1200, was among 40 lots offered at Sotheby’s on July 8 on behalf of the Arvon Foundation, a literary charity that provides residential creative writing courses.

EIGHT market-fresh female bronzes by Aristide Maillol, ranging in height from 8-12in (20-30cm) and designed between 1896 and 1905, surfaced in the Binoche (20% buyer’s premium) saleroom on July 2.

THE June 11 Aguttes (20.33% buyer’s premium) sale was dominated by late 19th century pictures, including this 1891 Venetian Conversation, seen right, 2ft 5in x 3ft 4in (73 x 1.01m), by American artist Julius Leblanc Stewart (1855-1919), who often painted Venetian scenes – Kaiser Wilhelm II acquired his Sirocco Effects in 1895. The work here claimed a handsome €85,000 (£56,665).

FIVE previously unknown photographic prints by Edgar Degas totalled €380,000 (£253,335) at Beaussant-Lefèvre (20.93/11.96% buyer’s premium) on July 2. All featured group portraits taken at the Paris home of Degas’s friend, the painter Henri Lerolle (1848-1929), and were consigned by Lerolle’s descendants.

One of the most mysterious objects in Bonhams’ Made in Scotland sale from August 18-20, was a fascinating 18th century anamorphic painting – one of a whole class of pictures that required cylindrical mirrors to view the true image.

THE latest figures published by Customs and Excise show a large decline in fine art imports to the UK for 2003.

IN The Sunday Telegraph of July 25, Sarah Jane Checkland offered that old chestnut “what paintings sell”. Much of the analysis was predictable – “paintings of women and children outstrip those of men and the younger and more attractive the better” and “prospects are grim for dead animals”. However, a few results of her survey were more intriguing.

AT the Royal Academy Summer Exhibition this year, the end wall of Gallery II was completely taken up with a work which John Hoyland, Professor of Painting at the Academy Schools, described as “Terry Frost’s magnum opus”.

ON view at the Belgrave Gallery, St Ives, these two works by the late Sir Terry Frost represent a gap of some 60 years.

ONE of the most exciting aspects of the ever-growing interest in 20th century British art is the opportunity it offers to rediscover significant, but neglected, talent of the period. For those with a keen eye and prepared to look beyond the mere ‘big’ names, there really are some impressive things out in the market place. Such works, of course, also have the added bonus, more often than not, of falling into the category of affordability.

HELPED by contacts with the Traquair family, Shapes have a great track record selling the work of Phoebe Anna Traquair (1852-1936), the Dublin-born mixed-media artist who became a leading member of Scotland’s Arts and Crafts movement.

PAINTINGS offered at Lyon & Turnbull’s (17.5% buyer's premium) July 21 Jordantone dispersal were mostly comfortable furnishing pictures of some quality including this uncharacteristic Joseph Farquharson oil, right, entitled Fisherwoman on a Deserted Sandy Beach. Very different from the artist’s trademark mix of sheep, heather and swirling snow, the 22in x 3ft (55x 91cm) image of a solitary figure walking barefoot on the shimmering sand went to a private buyer at £17,000.

SOME steady selling of material which has been hard to shift of late provided some encouragement for the trade generally at Lawrences of Bletchingley's (12.5 buyer's premium) July 20-22 sale and among the 2000 lots – which totalled nearly £200,000 – there were enough of those quirky offerings which make provincial British auctions the fascinating events they can be.

HIGHLIGHT of Sotheby’s (23.92/14.35% buyer's premium) book and manuscript sale on June 30 was Antonin Artaud’s 1947 portrait of his publisher Alain Gheerbrant, pencil, 14 x 20in (35 x 50cm), seen right, that made a double-estimate €210,000 (£140,000) to set a record for an Artaud drawing.

THESE two half-length images of women, right, could hardly be more different in date or technique, but their prices proved as uncannily similar as their poses when they came under the hammer at recent fine art auctions.

ATTEMPTING to tap into the burgeoning Russian market, Tajan (20.33% buyer’s premium) appointed Moscow-born Tatyana Barysheva as in-house specialist last year. She is gradually building up a following for sales of Russian silver, vertu and works of art.

KATE Dickens adored her father but found the situation at home after her parents’ separation to be intolerable and in 1860, desperate to get away, she entered into what was to prove a less than happy marriage to Wilkie Collins’ younger brother Charles.

A LARGE scale oil by Kathleen Hale of Orlando Reclining Amongst Flowers failed to sell against a £10,000-15,000 estimate at Sotheby’s on July 8, but the autograph draft manuscript of Orlando (The Marmalade Cat) becomes a Doctor of 1944, right, each page with pencil and coloured crayon drawings (some with added wash or gouache, a few unfinished) did sell at £5000 to a London gallery.