WHITBY auctioneers Bairstow Eves' annual sale of North-East and marine paintings came on the day after the attack on America, so many people were distracted or subdued, and perhaps some did not make the sale.

In the cafes in the cascades of back streets that make up the salesroom hinterland, dealers pored over their catalogues marking up bids. As usual, some would give one just the hardened glance of the opposition, but others would talk and within minutes of, say, a discussion on the status of English impressionists would be musing on transatlantic death, the state of the art market in a depression or, for that matter, in war.

The first 50 lots were a tedious run of unframed prints and lesser paintings, with craft rather than art doing best in the form of a maple framed sampler that made £300. One sensed impatience in the crowded room. Then the sale kicked in, bids rose in units of £100, and a Frank Walmsley watercolour of Whitby harbour hit a rapid £1,000, double its estimate.

This optimism lasted precisely one lot because next under the hammer was the first of 16 softly-painted local watercolours by Frank Rousse. A sum of £500 was chivvied out of a buyer for the Rousse fishing boats and one guessed then that it was not going to be plain sailing for auctioneer Mr Des Burton.

He rose to the challenge, employing to the maximum his knowledge of the coastal towns. One would be told where the painter would have been sitting; there would be speculation on the provenance of donkeys, Whitby donkeys being adjudged more valuable than those from Scarborough. The downslide to the geography and history lessons was that the sale proceeded slowly.

Nevertheless many pictures sold at an average of about £500 each. A dark thing called The Blacksmith by J Kirk Patrick banged out £1,300, Fisherfolk by Rousse failed to attract, and various renditions of chocolate box girls on beaches masquerading as "fisherladies" did not delight, clawing their way to reserve prices with their baskets of crabs and such. A vivid view of Staithes by Rowland Henry Hill made a justifiable £2,000. A buoyant Fishing yawls at sea by Ernest Dade sank without trace.

The auctioneers had done quite well considering the circumstances but the big test was to come. First up and the best picture I have seen of Whitby and carrying an estimate of £20,000 to £30,000, was Whitby harbour by moonlight by John Atkinson Grimshaw, The little 19th century oil was beautiful, luminous green and serene, all green except the black of rigging and the white of moon and a few orange yellow jags of light on the water from dark houses. It was withdrawn at £13,000; the dealer next to me said it had been withdrawn at £19,000 last year at Phillips in Leeds. The hoped-for local money was not there for it.

Next and in absolute contrast was Richard Weatherill's take on Whitby harbour, big and bright and teeming with detail - cargo ships, rowing boat, paddle steamer, red smoking roofs, sharp shaped abbey, seagulls - countless brush strokes, not my style but iconic, and it sailed comfortably past its top estimate to £19,500.

The following lot was the same artist and a similar theme but though in original frame and uncleaned (and better for it) Old Whitby colliers could not carry its expected £10,000 and was withdrawn at £8,500. George Weatherill's very pleasant and understated Mussel gatherers harvested a tasty £5,200 and to complete the familial trio, Mary Weatherill's Grand Canal, Venice sold at more than £5,000