Art Market: Up for sale

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The Independent Culture
A Burne-Jones 1876 study, Figures on a Balcony, priced at pounds 16,000, is a highlight of the first exhibition since 1975 devoted to the famous Pre-Raphaelite, now at the Maas Gallery, 15a Clifford Street, London W1. It is worked in pastel on paper covered with a terracotta wash and heightened with gold. This elaborate procedure demonstrates that Burne-Jones looked on the drawing as an artwork in its own right, not just as a study for a painting. There are echoes of the composition in several of his 'medieval' pictures. The drawing has belonged to relatives of the artist

An Arts and Crafts oak centre table circa 1905, with a signed Eltonware vase circa 1880 (right), priced at pounds 1,645 and pounds 310 respectively, will be included in the Liberty Collectables show opening at the Regent Street store on Thursday. The exhibition celebrates Liberty's pioneering design role at the turn of the century - Art Nouveau is still known in Italian as stile Liberty

A Staffordshire pottery group of Bacchus and Ariadne, standing almost two feet high, which will be offered at pounds 4,000 by Jonathan Horne Antiques at the International Fine Art and Antique Dealers Show opening in New York on Friday. English 18th-century pottery, which is Horne's speciality, is far more popular in America than here. He is one of 33 British dealers who have taken stands at the show. In all there will be 78 top European and US dealers exhibiting in the Seventh Regiment Armory hall on Park Avenue. This will be the fourth year Brian and Anna Haughton of London have

organised the show, despite fierce opposition from some American dealers

Three Crosses by Philip Braham, a 22 x 52 inch oil on canvas, is available at pounds 3,150 plus VAT in the exhibition of Jeffrey Archer's Art Parcels at Frost & Reed, 16 Old Bond St, London W1, from Wednesday. The ennobled Tory novelist has demonstrated his devotion to the arts and charitable causes by helping to select a fund-raising exhibition of contemporary figurative painting for the gallery. Proceeds will be shared between the Red Cross, Frost & Reed and the artists

WHAT I like about Lewty's work is this all-over and many-layered readability. It has the same sense of accumulated intrigue that's offered by the heavily graffitied wall of a public toilet, a carved-up school-desk, or a book that's passed through the hands of many annotators and doodlers. The appearance of something to be puzzled through at length.

The question is, whether this is only an appearance, a show of mysteriousness. For what Lewty's pictures look like above all are the works of certain 'outsider' artists, obsessively involved and detailed, made for themselves alone. Documents of deeply strange minds, whose fascination is that they did make some kind of sense to their makers. But Lewty himself, though hardly mainstream, is a more or less conscious operator. He knows his sources. The work is for exhibition. The pictures are not really 'documents' in that way - just as (another of their charms) they're not really old, but have been given an aged look.

Many artists this century have tried to get back to a pre-conscious mode.

Terra Incongnita: Castle Museum, Nottingham, 0602-483504, til 8 Nov. Then at Mead Gallery, Warwick University, Coventry, 0203- 524524, 16 November to 19 December.

(Photograph omitted)