Modern British Art

For the second time in the space of a week a UK provincial auctioneer was celebrating a million-pound sale of works by one of the world’s most famous artists.

Works by Eric Ravilious (1903-1942) are only very occasionally seen on the market. So when this evocative watercolour Salt Marsh was offered at Sworders (15% buyer’s premium) sale in Stansted Mountfitchet on April 11 it attracted at least seven interested parties.

On a cold January 26 night in Edinburgh, a packed saleroom at Lyon & Turnbull witnessed a defining moment in the Scottish art market.

THE market for the paintings of Winifred Nicholson (1893-1981) continues to be on a roll, particularly up in Cumbria, where the former wife of Ben Nicholson lived in the town of Brampton, some 10 miles east of Carlisle, during the latter stages of her career after her return from Paris in 1938.

PICK up the Modern British reference books and you might just find a small mention of Edgar Hubert: born in Billingshurst, West Sussex in 1906; trained at the Slade; an exhibitor with the London Group from 1931 to 1947; died in obscurity (actually it was in Scafold, West Sussex) in 1985.

The Cheltenham Art Gallery & Museum have added two paintings by Joseph Southall (1861-1944) to their internationally recognised collection of British Arts & Crafts.

The rise and rise of Winifred Nicholson (1893-1981) out of the shadow of her husband, Ben, can be compared to that of Gwen John, now recognised as at very least equal to the artistic talent of her brother Augustus.

JACK Vettriano (b.1951) is not an artist normally associated with the North East of England, but one of the lesser known facts about Britain’s Most Popular Artist is that one of his first one-man exhibitions, if not the first, was held at the Corrymella Scott Gallery in Jesmond, an upmarket suburb of Newcastle upon Tyne, in 1992.

WHAT should the art world do when the going gets tough? Many in the trade sit back and whine. Others go into battle. Those who do get up from their derrières and practise a little innovation and lots of enthusiasm often do well in the most difficult of periods.

REGULAR readers of Scott Reyburn’s Art Market will be only too aware that many equestrian paintings by Sir Alfred James Munnings (1878-1959) have in recent years shown significant increases in value. As he reported as recently as Antiques Trade Gazette No 1648, July 17, Munnings’ oil sketch Newmarket Cheveley was the only work to dramatically exceed its estimate in Sotheby’s Important British Picture sale on July 1.

OMENS could not be better for the 20/21 British Art Fair, which, from September 15 to 19, returns to its roots at the Royal College of Art, Kensington Gore, London SW7 after a couple of years down the road at The Commonwealth Institute.

TURN the clock back some 30 years, and regulars to Bonhams’ Knightbridge rooms might just recall a rather dapper, pinstripe-suited auctioneer by the name of Alexander Meddowes.

THE Fergusson show at Alexander Meddowes, coincides with Edinburgh’s exhilarating annual Festival, which brings with it not only hundreds of incredibly diverse theatrical shows but a good sprinkling of art exhibitions too.

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.

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.

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.

SOTHEBY’S have announced that they are merging their Modern British art and Victorian art departments to create a new one called British Art 1850 – Present Day.

BASED in Stoke-on-Trent, auctioneers Louis Taylor (buyer’s premium 12.5 per cent) are better known for their ceramics than their pictures but their quarterly Fine sale held from June 14-16 was led by this Dorothea Sharp oil on canvas, right, Children with a Dog on a Summer’s Day.