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Closing a Chapter: How a Hidden Masterpiece Brought a 10,000-Painting Estate to a Record-Breaking Finale


July 2025

Every so often, an estate comes along that captures the imagination – not just for its scale, but for the story it tells. Two years ago, we began working with the family of a late West Yorkshire collector who had, quite simply, dedicated his life to art. His home was filled to the brim – paintings on the walls, stacked in corners, stored in attics. The collection was vast, undocumented, and incredibly varied.

Over time, we estimated the total to be in the region of 10,000 works. It was a logistical challenge, certainly – but more than that, it was a curatorial journey. Across multiple sales, we’ve gradually worked through this remarkable assemblage, unearthing forgotten gems, researching hidden histories, and helping thousands of artworks find new homes.

And now, that journey has reached its end – marked by one extraordinary painting.

Among the final group of works consigned to our Summer Art Sale in June, a striking still life caught our attention. Though unsigned, the expressive brushwork, confident composition, and colour harmonies immediately suggested the hand of Dame Ethel Walker (1861–1951) – a pioneering figure in British art, celebrated for her painterly approach and subtle explorations of femininity, nature and still life.

But what made this painting exceptional wasn’t just its quality – it was its provenance. Affixed to the reverse was a label from the 1939–40 New Zealand Centennial Exhibition, one of the most ambitious international showcases of the era. Organised to mark 100 years since the Treaty of Waitangi, the exhibition featured contributions from across the Commonwealth, including the UK. We believe this painting was part of the British pavilion – a rare and historically significant connection.

We catalogued the work as Attributed to Dame Ethel Walker, with a cautious estimate – but we also knew it had the makings of something special.

Interest gathered quickly, including an early commission bid from New Zealand. On the day, five UK phone lines and online bidders competed fiercely, until finally the hammer fell at £24,500 – setting a new auction record for Dame Ethel Walker and bringing a fitting sense of closure to one of the largest private art collections we’ve handled.

It was the last lot from the estate. The final piece in a two-year story of discovery and dedication. And we couldn’t have asked for a more perfect end.

 

Beyond the Bouquet: Highlights from a Landmark Collection

Of course, Mixed Bouquet wasn’t the only success in the sale – nor was it the only remarkable discovery from this extraordinary estate. Over the past two years, dozens of carefully curated selections from the same collection have passed through our salerooms, each bringing its own surprises. The following are just a few highlights from among the many outstanding results we achieved.

Among the most consistent performers was Herbert F. Royle (1870–1958) – his tranquil views and luminous colour palettes clearly struck a chord with buyers. In our Summer Art Sale alone we saw some excellent results for the artist.

Church in Winter (pictured above, left) – a quiet, light-filled composition, made a confident £3,500
The Bluebell Wood  (pictured above, centre) – a gentle glimpse of Wharfedale, sold for £7,200
Views Across Burnsall (pictured above, right) – a truly captivating example of Royle’s skill with atmosphere and tone, soared to £800
 
 
Other works proved that variety was this collection’s great strength, with a range of artists and genres performing exceedingly well.
 
John Mackie (Scottish 1953-) Venice – The Grand Canal at Night (pictured above, left) – Sold for £1,100
Frederic Whiting (British 1874-1962) Study for Portrait: King George V in Uniform on Horseback (pictured above, centre) – galloped to £2,300
John Alfred Arnesby Brown (British 1866-1955) Clouds Gathering Over a Pasture (pictured above, right) – sold for an excellent £3,900

 

Earlier sales revealed equally rich offerings. Staithes Group pieces in particular drew significant attention – their immediacy and honesty clearly resonating:
James William Booth (Staithes Group 1867-1953) Ponies and Chickens in the Farmyard (pictured above, left) achieved £3,000 in The Spring Art Sale 2025
Attributed to David Jagger RP ROI (British 1891-1958) Male Nude Hanging Drapery (pictured above, centre). This powerful, academic nude was testament to the collector’s eye for quality across genres and sold for £4,300 in The Spring Art Sale 2025
Ernest Higgins Rigg (Staithes Group 1868-1947) Young Boy in a Straw Hat (pictured above, right). Full of warmth and character, this charming oil on canvas achieved £3,800 in The Spring Art Sale 2025
 
 

And from earlier sales still, the strength of the collection shone through:

Peter Brook (Northern British 1927–2009)  Telegraph Wires at the Road Junction (pictured above, left) sold for £2,600 in The Summer Art Sale 2024, and Father Returning (Unsteadily) for a Late Sunday Dinner (pictured above, right), which achieved £3,000 in The Spring Art Sale 2024
John Anthony Park (Cornish 1880–1962) Boats in St Ives Harbour (pictured above, centre) sold for £2,600 in The Winter Art Sale 2023

 

Together, these examples reflect just a fraction of what this collection had to offer – a testament to the late collector’s remarkable eye, and to the strength of the market when artworks are properly researched, presented and placed. But it is Mixed Bouquet – bold, painterly, and quietly radiant – that will remain in our minds as the lasting image of this extraordinary appointment. We’re proud to have helped bring this private lifetime of collecting into the public eye. From the first painting to the last, we approached this estate with care, curiosity and commitment – and we thank the family for placing their trust in us.

Some collections are simply meant to be remembered. This was one of them.

 

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