Scottish abstract expressionist Alan Davie came out on top for Modern British art, with his 1950s work which sold for £180 000 at Mark Goodman. Interestingly, the same work sold at Goodman for the same figure last year. Former member of CoBrA, Scot William Gear, sold at Alan Wheatley and Redfern Gallery for prices ranging from £25 000-35 000, an increase on prices paid for Gear in 2015.

William Gear, Landscape Structure, 1955 Image via Redfern Gallery William Gear, Landscape Structure, 1955
Image via Redfern Gallery

"It's been very successful for us, the best in all our outings at the Fair, selling right across the board," said Alan Wheatley of Alan Wheatley Art, who sold works for prices ranging from £1 000 to £60 000.

Piano Nobile saw a record price for a John Golding painting of £50 000 and also sold work by William Crozier in the region of £100 000.

Marcus Harvey's bronze TRAGIC HISTORICAL Head, a charming poke at icons of British history and culture, had a price tag of £30 000 at Vigo. The work by the former YBA is a series of five and it is reported that Damien Hirst purchased the first cast from each edition.

The standout sale of the fair was a 'glass bong,' from which 'Lord Byron smoked opium,' which may have sold at Pertwee, Anderson and Gold for the high price of £1.1 million.

Lord Byron's bong Image via the Independent Lord Byron's bong
Image via the Independent

Contemporary Asian art proved strong as Skipwiths' sold works by Korean artist Kwang Young Chun from £50 000-£100 000 and London-based emerging artist Hyojin Park. French gallery Very Art Space had success with the sales of two sculptures by acclaimed Chinese artist Yiming Min, taken from his recent UK debut exhibition and selling for £10 000 each.

Belgian artist Joachim Coucke, presented by NEST was awarded the £2 500 De'Longhi Art Projects Artist Award. His winning work Fishing the Pool, 2015, extends Coucke's themes to cryptocurrency, by gathering 'lightcoins' (similar to Bitcoin) via an Ethernet cable connected to the Internet. The work demonstrates how our relationship with currency has transformed, necessitating an extended element of trust that such virtual money has legitimate value.

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