The Scottish Colourists

Posted on June 19, 2025June 19, 2025 by Jonathan Horwich

I have a long list of personal artistic heroes from all eras, each is talented in their own ways however rare among my list of heroes are groups of artists. One notable and exceptional group of my ‘hero’ artists are the Scottish Colourists, all hugely talented individuals in their own right whose love of colour, light, form and the open air sing out from all of their pictures.

The Scottish Colourists were a group of four artists—Samuel John Peploe, Francis Cadell, George Leslie Hunter, and John Duncan Fergusson—who all worked primarily in the early 20th century and are celebrated for bringing bold, modern European artistic influences into Scottish art. Though they were not a formal movement during their lifetimes, their work is now collectively recognised as a group of four and their work is admired by private collectors across the world for its vibrant palette, modernist approach, and synthesis of Scottish subject matter with the avant-garde styles of France.

The four drew heavily on French Impressionism, Fauvism, and Post-Impressionism art, particularly from the work of Manet, Cézanne and Matisse, the Colourists emphasised light, colour, and compositional clarity. Each artist had strong personal ties to France, where they absorbed the stylistic innovations of the Parisian art world, returning to Scotland with a fresh and radical aesthetic.

Francis Cadell – Artist Profile

Full Name: Francis Campbell Boileau Cadell
Birth: April 12, 1883, Edinburgh, Scotland
Death: December 6, 1937, Edinburgh, Scotland

Early Life & Family

Francis Cadell was born into a well-to-do, cultured Edinburgh family. His father, Dr. Francis Cadell, was a distinguished surgeon and Fellow of the Royal College of Surgeons of Edinburgh. His mother, Mary Hamilton Boileau, came from a family with military and aristocratic ties. Cadell was raised in a supportive environment that encouraged his artistic pursuits from an early age.

At just 16 years old, he moved to Paris to study at the prestigious Académie Julian, an experience that would shape his early style and expose him to the modernist developments then unfolding in France.

Education & Career

After Paris, Cadell continued his studies in Munich before settling back in Scotland. His career truly flourished in the years following World War I, during which he served in the army. His style matured into a distinctive blend of elegant modernism, defined by clean lines, vibrant but controlled colour, and a refined sense of composition.

Cadell was particularly associated with the New Town of Edinburgh and the Hebridean island of Iona, both of which featured prominently in his work. His paintings ranged from chic interiors and society portraits to luminous seascapes and landscapes.

Style & Legacy

Cadell’s work is known for its:

Bold yet harmonious colour palette
Strong decorative sense
Elegantly stylized compositions

He was deeply influenced by the French avant-garde, particularly Manet and Matisse, however he maintained a distinctly Scottish sensibility in his choice of subject matter.

Although he faced financial difficulties later in life and died in relative obscurity, Cadell’s reputation has since grown. Today, he is celebrated as one of the key figures in Scottish modern art and an integral member of the Scottish Colourists.

Samuel Peploe - Artist Profile

Full Name: Samuel John Peploe
Birth: January 27, 1871, Edinburgh, Scotland
Death: October 11, 1935, Edinburgh, Scotland

Early Life & Education

Samuel Peploe was born into a wealthy Edinburgh family. His father, Robert L. Peploe, was a successful banker, and the young Samuel was initially expected to carve out a professional career in law or banking. However, his artistic talent and passion for painting quickly became evident. After briefly studying law, Peploe chose instead to pursue art, enrolling first at the Trustees’ Academy in Edinburgh, and then continuing his training in Paris at the Académie Julian and later at the Académie Colarossi , also in Paris and run by the artist’s model and sculptor Filippo Colarossi.

While in Paris, Peploe was exposed to the then revolutionary work of the Impressionists and Post-Impressionists, particularly Édouard Manet, whose influence would echo throughout Peploe’s mature work.

Career Development

Peploe initially painted landscapes, portraits, and interiors, but found his distinctive voice in still-life painting. His early palette was quite restrained, characterised by tonal subtlety and a sense of quiet harmony.

By the 1910s and 1920s, Peploe had begun experimenting with bolder colour and tighter compositions, reflecting his deepening interest in Cézanne and Fauvism. His move toward high-keyed colour, simplified forms, and carefully balanced arrangements made his work instantly recognisable and marked a radical departure from the much more conservative narrative traditions of Scottish painting.

Peploe painted in France, particularly in Paris and on the coast of Brittany, he also worked extensively in Scotland, especially in the Hebrides, where he often painted alongside Francis Cadell.

Style and Technique

Peploe’s work is known for:

Vibrant colour and a bold, deliberate brushstroke
Carefully structured compositions, often with objects placed on crisp white tablecloths or against dramatic black backdrops
A modernist sensibility rooted in observation, yet transformed by formal abstraction

He is particularly celebrated for his still lifes—featuring flowers, fruit, ceramics, and drapery—which demonstrate his acute sensitivity to form, space, and light. He was not fully appreciated during his lifetime, however Peploe’s work gained greater recognition after his death. Today, he is widely regarded as one of the most significant Scottish artists of the 20th century. His paintings are held in major collections, including the Scottish National Gallery of Modern Art, and continue to be highly sought after by collectors.

Personal Life

Peploe married Margaret MacKay in 1910. The couple had one son, Denis Peploe, who also became a painter. Despite periods of financial hardship, particularly during World War I, Peploe remained dedicated to his artistic vision until his death in 1935.

George Leslie Hunter – Artist Profile

Full Name: George Leslie Hunter
Birth: August 7, 1877, Rothesay, Isle of Bute, Scotland
Death: December 7, 1931, Glasgow, Scotland

Early Life & Background

George Leslie Hunter was born into a large family in Rothesay on the Isle of Bute, but at the age of 15, he emigrated with his family to California, settling near San Francisco. Unlike the other Scottish Colourists, Hunter was largely self-taught, and his route to painting was highly unconventional.

In his early years, Hunter worked as a graphic illustrator and cartoonist, producing drawings for magazines and newspapers. He also studied briefly at the California School of Design, but his development was largely informal. After the 1906 San Francisco earthquake, which destroyed much of his early work, he returned to Scotland, determined to devote himself fully to painting.

Career Development

Hunter’s career was a story of struggle, persistence, and transformation. He began exhibiting in Glasgow and quickly became known for his expressive landscapes and still lifes. In 1908, a trip to Paris introduced him to French modernism, especially the work of the Impressionists and Post-Impressionists, and began a shift in his style toward more vivid colour and looser brushwork.

A pivotal moment came in 1922 when Alexander Reid, a prominent Glasgow art dealer, organized a joint exhibition of Hunter’s work alongside that of Peploe, Fergusson, and Cadell. This show helped solidify the public’s perception of the four artists as the Scottish Colourists, though they never formally operated as a group.

Style & Technique

Hunter’s style is marked by:

Luminous, radiant colour, often layered in broken brushstrokes or loose, spontaneous patches
A sensitive, emotionally charged handling of paint, conveying a direct response to nature and atmosphere
A focus on landscapes, still lifes, and harbour scenes, especially views in around Fife, Loch Lomond, Provence, and the south of France

His still lifes—particularly those with fruit, jugs, and flowers—show his remarkable ability to create harmony and vitality with colour and form. His landscapes, meanwhile, often capture a shimmering, almost dreamlike sense of place.

Despite his technical sophistication, Hunter remained plagued by self-doubt, frequently reworking or even destroying his own paintings, believing them inadequate. This insecurity, combined with physical and mental health struggles, affected both his output and recognition during his lifetime.

Personality & Later Years

Hunter was known for his eccentric and unpredictable temperament, often struggling with bouts of depression and illness. He lived a somewhat bohemian lifestyle, moving between France and Scotland, and was known for his intense periods of creativity followed by periods of complete withdrawal.

By the late 1920s, Hunter’s work had matured into a distinct and powerful style. However, his health deteriorated sharply. He died in 1931 at the age of 54, just as he was beginning to receive the recognition he had long sought.

J.D. Fergusson – Artist Profile

Full Name: John Duncan Fergusson
Birth: March 9, 1874, Leith, Edinburgh, Scotland
Death: January 30, 1961, Glasgow, Scotland

Early Life & Education

J.D. Fergusson was born in Leith, the port district of Edinburgh, into a middle-class family. Originally intended for a career in medicine, he soon abandoned formal education to pursue his passion for art. He studied briefly at the Trustees’ Academy in Edinburgh but quickly rejected its academic approach. Like Hunter, Fergusson was largely self-taught, relying on travel, observation, and personal exploration to shape his style.

In the late 1890s, he began spending time in Paris, a city that would deeply influence his artistic direction. There, he immersed himself in café culture, intellectual life, and the art scene, encountering the work of Impressionists, Fauves, and Post-Impressionists firsthand.

Paris and the Avant-Garde

From 1907 to 1914, Fergusson lived in Paris, and this period proved to be a catalyst for his future development as an artist.During this time he connected with artists and writers in the heart of the European avant-garde, including Matisse, Derain, and members of the École de Paris. He exhibited at the Salon d’Automne, becoming part of the broader modernist movement.

Fergusson embraced the Fauvist love of vibrant, unmixed colour, as well as Cubist ideas about structure and form, although he remained committed to a personal and sensual response to the world, particularly the human figure.

Artistic Style and Themes

Fergusson’s work is distinguished by:

Vivid, expressive colourful and confident brushwork
A strong focus on the female form, often idealized and stylized, exploring themes of vitality, movement, and beauty
Engagement with dance and performance, especially during his time in Paris
A tendency toward rhythmic composition and sculptural solidity, blending Fauvism with classical influences

His later work shows a shift toward a more structured, monumental style, especially in his depictions of nudes and dancers, which reflect both modernist abstraction and an enduring interest in classical balance.

War and Return to Britain

With the outbreak of World War I, Fergusson returned to the UK and was devastated by the loss of many Parisian friends and the fragmentation of the vibrant prewar cultural scene. He spent time in London and Edinburgh, eventually settling in Glasgow.

During the interwar years, he became a driving force in the Scottish art world, founding the New Art Club in Glasgow and later the New Scottish Group, advocating for modernist principles in Scottish art.

Personal Life

A deeply cosmopolitan and passionate figure, Fergusson was also a writer, thinker, and art theorist. He had a lifelong partnership with Margaret Morris, a pioneering dancer and choreographer whose work strongly influenced his art. Through Morris, Fergusson developed a keen interest in movement, rhythm, and human anatomy, which became central motifs in his paintings and sculptures.

Later Years and Legacy

Fergusson lived a long and productive life, remaining active into his 80s. He died in 1961 in Glasgow, by which time his reputation had undergone a significant revival. His legacy is that of a true modernist—one who brought the spirit of European avant-garde into Scottish art and insisted on the emotional and intellectual richness of modern painting.

The Fergusson Gallery in Perth, Scotland, holds an extensive collection of his work and remains a major centre for studying his contributions to British and European art.

Legacy of the Colourists

While J.D. Fergusson was perhaps the most forward-looking and intellectually ambitious of the Scottish Colourists, Peploe and Cadell refined the still life and landscape, and Hunter brought lyrical spontaneity, Fergusson aimed for something larger: a synthesis of body, rhythm, and spirit in a modern idiom.

The legacy of the Scottish Colourists perhaps most significantly lies in their transformation of Scottish painting, bridging the gap between traditional academic approaches and the modernist spirit of the early 20th century. Today, they are recognised not only for their technical skill and aesthetic innovation, but also for their pivotal role in placing Scottish art on an international stage.

What Went Wrong (And What Went Right) at Sotheby’s Old Masters Sale?

Posted on June 12, 2025June 12, 2025 by David Dallas

The much-vaunted sale at Sotheby’s in New York of the collection of Old Masters from the Jordan and Thomas A. Saunders III collection did not hit the high notes, which Sotheby’s had predicted, when offered on May 21st.

The title of the sale was “Elegance and Wonder: Masterpieces from the collection of Jordan and Thomas A. Saunders III”. A more accurate description might have been “Unchallenging Old Masters, in lovely state, from….”, but perhaps that is a little uncharitable. There were, however, no religious pictures, only one from classical mythology, no history paintings and no portraits of characterful old codgers, just pretty young people and children. In fact, one of the most expensive casualties was the charming portrait of Miss Julia Peel by Sir Thomas Lawrence P.R.A., (1769-1830) which was unsold against an estimate of $6-8M, the low estimate being more than double the current world record for the artist at auction!

16 of the 43 paintings (37%) failed to find buyers on the day and the sale total of $65 million was well below the pre-sale estimate of $80-120 million.

So what went wrong? Apart from the state of geo-politics, surprising economic upheavals triggered by the Trump administration and the volatility of crypto currencies, which all contribute to a feeling of uncertainty, what else might have made the sale feel a bit of a damp squib?

I think the first thing to focus on is the estimates. These were probably set a year ago, when the world was a rather different place and proved to be ambitious and seldom exceeded. Furthermore, if one delves into the specifics of the sale, certain facts reveal themselves, which may, in part, explain what happened. The last couple of years, for instance, has shown a softening of the market for Dutch and Flemish pictures and this may explain why two van Kessels, a Brueghel, a Bosschaert, and a Hulsdonck still life all failed to sell. The Osias Beert (1580-1623), however, did sell at $1.39M, so it’s not simply that the genre feels outdated.

The beautiful little still life by the Utrecht artist, Adriaen Coorte (1665-1707), of a porcelain bowl of wild strawberries made $2.978m, a strong price, when one considers that the three small paintings by Coorte in the Ashmolean Museum, Oxford, bought for Daisy Linda Ward by her husband and gifted to the Ashmolean by her, cost £24 for the three in the 1920s. Different times, I know, but all the same, to have risen 372,250 times in 100 years is a significant uplift!

Among other Dutch pictures to catch the eye was the Brazilian landscape by Frans Post (1612-1680).

Apparently, this came from the attic of a barn on a farm in Connecticut, covered in soot. It cleaned up very nicely and made a world record price for the artist of $7.4M, over 50% more than his previous best. It shows the town of Olinda in Brazil, with the ruins of the Jesuit church and various exotic plants. It must have been painted by Post from drawings done on the spot, when he was back home in Haarlem, as it has a bright blue sky. The oil paintings done in Brazil have white skies, as he had no blue pigment with him!

Another super-glamorous painting was the flamboyant upright canvas of flowers in a vase by Jan Davidsz. De Heem (1606-1684), the Netherlandish painter, living in both Utrecht and Antwerp, who was arguably the most brilliant still life painter of his generation in Europe. The painting, which was delivered to the Saunderses in a plastic rubbish bag, to hide its departure from the previous owner’s wife, also made a world record for the artist of $8.8M.

So what is one to make of these results? The sale made 15% less than the bottom estimate and had a large unsold rate. The estimates were very bullish, which will always make the results look less successful, but it achieved 7 world records! I think it just says that we don’t really have a clue what is going to happen, but if the right people are in the mood, there will be fireworks.

PS. I can’t review this sale without making mention of one other world record price – that of the Luis Melendez (1716-1780) still life of a cauliflower, a basket of eggs and fish and assorted kitchen utensils, which made $6.2M. The Saunderses had bought it from the collection of Michale Hornstein in Canada, but not without a struggle. Hornstein had amassed a great collection of Old Master paintings and via George Wachter, at Sotheby’s New York, the Saunderses had access to it. When they arrived to inspect the pictures for sale, Hornstein said he had changed his mind about the Melendez, at which point Thomas Saunders said if I can’t have the Melendez, I’m not buying anything. It was duly dragged out from under a bed and sold.

Melendez took to still life painting because he failed to become court painter in Madrid and, therefore, had no commissions, but there was always a market for a beautifully painted still life. He lived in abject poverty and in a letter of 1772 to the King, stated that he owned only his brushes. I wonder what he would have made of the $6M Cauliflower? It’s a pity that Artist’s Resale Rights don’t apply to Old Masters.

A Tale of Two Tiaras…

Posted on June 5, 2025June 11, 2025 by Liz Bailey

Two tiaras, remarkably similar in design and created by Cartier for two society sisters are on display and sale in London this week.

A hotly anticipated lot in Bonhams’ 5^th June London Jewels Sale is the Astor turquoise and diamond tiara, owned by Nancy, Viscountess Astor. Estimated at £250,000-300,000, this incredibly rare piece dating from 1930 is seen on the market for the first time since it was sold to Lord Astor by Cartier London. The Astor Tiara comprises an earlier bandeau, circa 1915, that was adapted by Cartier using these beautiful turquoise carvings. The order for these carvings’ dates to 1929 and the finished piece was purchased soon after completion in 1930.

Incredibly, and reunited once more in London, is a second tiara, commissioned six years later for Nancy’s sister, Phyllis. Part of Cartier’s permanent collection, this remarkable reiteration and commissioned piece is on display as part of the Cartier exhibition at the V&A until November.

In the early 1930s, Lady Nancy Astor loaned the tiara to her sister, Phyllis Langhorne Brand for a court presentation at Buckingham Palace. Inspired by this exquisite Cartier jewel, Nancy’s brother-in-law, the Hon. Robert Henry Brand (1878-1963), commissioned Cartier to produce a similar turquoise and diamond tiara in 1935.

There are differences between the Astor and Brand tiaras, commissioned within six years of one another, yet both display the international influences in Cartier’s jewels of the time. The Astor tiara is detailed with carved turquoise plumes, leaves and scrolls that were drawn from Egyptian, Indian and Persian motifs. Similarly, the Brand Tiara features a teardrop shaped Boteh motif that originates to Iran, where turquoise was originally mined. The scrolling terminals on each were likely influenced by traditional headdresses worn in Thailand and Cambodia (V&A, 2025).

Sisters coveting one another’s clothing, jewellery – and tiaras – is a tale as old as time. Nancy and Phyllis were two of the five famously beautiful Langhorne sisters, born in Danville, Virginia, and four of whom found exciting and covetable lives in British Society. Nancy Astor met and married the 2^nd Viscount Astor in 1906 and moved into Cliveden, Buckinghamshire. She quickly became a prominent part of the British social elite, and through her advocating for temperance, welfare, education reform and women’s rights in parliament she became the first woman to take her seat in Parliament, serving from 1919 to 1945.

Phyllis moved to London in 1913 and married English economist Robert Brand, “the Wisest Man in the Empire” in 1917. The two sisters were incredibly close – I would recommend further reading of their letters in Vanity Fair’s The Lady Vanquishes feature, written by James Fox in 2020.

These two tiaras not only display Cartier’s height of creativity and society commissions of the early 20^th century, reflecting an international flair for design and a commitment to excellence. They also represent the tale of the two Langhorne sisters, their bond and shared – impeccable – taste.

Update: As expected, the Astor Tiara attracted a huge amount of interest from across the globe and was fiercely contested at Bonhams 5^th June London Jewels Auction. Exceeding its pre-sale estimate three times over, this exceptional piece sold for a hammer of £700,000, totalling £889,400 inclusive of fees.

The Brand Tiara will be on display at the V&A Cartier Exhibition until November 2025.

The Victoria & Albert Museum Cartier exhibition

Posted on June 5, 2025June 11, 2025 by Aurélia Turrall

Where do I begin? How can one describe in a few words the magnificence that is this exhibition. Though a bit crowded (to be expected) it was still as jaw dropping as the Paris exhibition, I had the delight of seeing some 15 years ago.

The exhibition’s curators have chosen to take us through time, continent, through to watches and finish with a bang in the form of tiaras, both antique and modern. I will therefore endeavour to give you a tour in the same manner.

The earlier pieces from the beginning of the 20th Century are, naturally, inspired by the times in the shape of Belle Epoque garlands, bows and drapes.

The Manchester tiara was commissioned by the Dowager Duchess of Manchester who supplied Cartier with the 1,513 diamonds “for a design inspired by 18th century French architecture and ironwork. Born in NY from wealthy Cuban-American parents […] married into British aristocracy exchanging her wealth for a title.” It is set with diamonds and paste, mounted in silver and gold as was customary before platinum took over the jewellery industry by storm a few years later. This kicked off the Art Déco period.

This particular tiara was accepted by the HM Government in lieu of inheritance tax and allocated to the Victoria & Albert Museum, as were quite a few pieces found in this exhibition.
Other pieces of the era include these diamond-set bows, lace ribbon brooch and stomacher, all dating from 1909-1912, mounted in platinum and set with diamonds.

This tiara was made by Cartier in 1912, commissioned by Baron Pierre de Gunzburg (French banker and philantropist). It is an exquisite example of exceptionnal savoir-faire. This tiara is made of carved rock crystal (colourless quartz) and overlaid with diamonds.

Cartier also perfected the craftmanship of more “practical” pieces such as this perfume burner. Made in 1907, it is set with aventurine quartz, guilloché enamel, sapphires and silver gilt. The following year they created this desk clock on inkstand.

It is similarly-set with guilloché enamel, diamonds, sapphires, silver, gold, platinum and silver gilt.

Three other wonderful examples of guilloché enamel are these three pieces:

As we move in time, so do we move geographically. With long travels becoming more “common”, came new discoveries and new combinations of styles and texture, such as this Chinese Vanity case created in 1928.

Other far away places include Egypt, put on the map with the discovery of Tutankhamun’s tomb in 1922.

These new designs, step away from fluid lines and nature-based motifs, giving way to geometric design as clean lines, contrast and new colours.

This is the Art Déco movement which ‘cast aside the dictates of the past’, says decorative arts historian Melissa Gabardi. Art Déco jewels were sleek and bold, characterised by sharp edges and regularity of surface, line and volume. Unorthodox combinations of stones were introduced, with many designs combining natural materials such as onyx, emeralds, rubies, jade, silver, ivory, lapis and rock crystal with manufactured ones such as plastic and glass.
It is no secret that this is my favourite period when it comes to jewellery design.

The below pieces illustrate this daring combination of semi-precious and precious gemstones, resulting in some magical design by the luxury brand.

Renewed interest in Egyptian, Chinese and Japanese art offered European artists a new source of stylistic motifs. They adapted decorative elements particular to Asian jewellery, such as jade, coral, enamels, lacquer and pearls. Designs ranged from exact copies of dragons, pagodas and Chinese characters, to more liberal interpretations of Asian themes.

Keeping with the use of different materials and gems, the Cartier exhibition delighted us with a selection of Tutti Frutti jewels.

At the time of Art Déco jewellery creation, Jacques Cartier was running Cartier London and would return from his many far away travels with the most exquisite gems. These stones could be carved or made into cabochon. Cartier was the first to create these new colour and gem combinations and in the 1970s the style was named Tutti Frutti.

The daring and striking colour and gem combination expands to other gems such as quartz in this handcuff bracelet made of amethyst and citrine.

Jade and ruby seemed the perfect alliance of West meets Far East in this sublime necklace made in 1934.

The exceptional colour and translucency of these matching 27 jadeite beads make this necklace one of the finest jade jewels ever made. In 1933, Alexis Mdivani, husband of American heiress Barbara Hutton, brought these beads to Cartier to add a diamond clasp, which Hutton swapped the following year for the current ruby mount.

This necklace now belongs to the Cartier collection along with several other pieces presented at the Victoria & Albert Museum. Over the years, private owners have sold their heirlooms and Cartier has been very pro-active in buying back all of their most prized pieces.

A few have the extraordinary chance of owning exquisite pieces such as this diamond and sapphire sautoir made in 1911. It is set with a 35.13 carat star sapphire and is part of a Swiss collection. The sapphire in the piece beside it, weighs 478 carats and was made in 1913. It belongs to the Qatar Museum.

As we leave the room presenting some of the most spectacular gems, we step into the world of clocks and watches.

My favourite piece was this Mystery clock made in 1956 set with a single piece of smokey quartz.

As we step away from the more “wearable” we enter the last room dedicated to tiaras.
The Sun Tiara made in 1907, set with a Fancy Intense Yellow diamond weighing 32.58cts, part of the Al Thani collection.

This tiara is set with diamonds and synthetic rubies. It now belongs to the Victoria and Albert Museum, after being allocated by HM Government in lieu of inheritance tax. The design and stones were supplied to Cartier by Alexandra Calvocoressi-Comnène, who was to wear it for her wedding to Robert Everts in 1913.

Tutti Frutti is still in demand as does this tiara prove. Made in 2018, it belongs to a private collection.

The above pieces are but a snippet of the wonderful creations over the last 100 years by Cartier. When I am fortunate enough to handle period pieces by this unique brand, I am reminded that each one of them has been carefully designed, curated, set with stones flown from the other side of the world, from sometimes perilous countries and nothing should be taken for granted when admiring extraordinary artwork, in whatever shape or form it may come.

I hope this preview has given you an appetite to discover the exhibition in its entirety. Hurry, few tickets remain available!

Other highlights to discover include:

This Summer’s Unmissable Exhibitions

Posted on May 28, 2025June 5, 2025 by Ashley Innes, Fiona Hamilton, Jenny Knott, Liz Bailey, Richard Fattorini, Stephanie Connell and Ben Hanly

Our team of specialists have picked the unmissable exhibitions from Summer ’25. Looking to fill those long summer days with fine art, culture and exquisite jewels? We are on hand to direct you to some of this summer’s must-see events and finest works on display.

Ashley Crawford, Asian Art Fair

The Treasure House Fair, Royal Hospital Chelsea, running from 26 June – 1 July 2025.

“I’m looking forward to attending the Treasure House fair in Chelsea this June, which is the successor to the long popular Masterpiece Fair. There is an electric mixture of fine and decorative arts from all over the world, and, of course, the food can’t be beat!”

Fiona Hamilton, Silver Specialist

Royal Scottish Academy Annual Exhibition, Edinburgh, 3rd May until 8th June.

“A must see in the Edinburgh art calendar is the RSA Annual Exhibition. Now in its 199th year the largest and longest running annual exhibition of art and architecture in Scotland showcases a fantastic variety of work, there really is something for everyone! For a post exhibition refreshment why not visit the fascinating Edinburgh Gin Bar and Distillery in the city centre!”

Siena: The Rise of Painting, 1300-1350, National Gallery, London, running until 22nd June 2025.

“The Siena exhibition at the National Gallery looks wonderful. It’s about painting in Siena, Italy between 1300 and 1350 and how that period and the numerous artists working in Siena at the time, was not only hugely important in its own right, but went on to shape so much that followed, not only in painting but also other artistic mediums.”

Jenny Knott, Silver Specialist

Edwardians: Age of Elegance, The King’s Gallery, Buckingham Palace, running until 23rd November 2025.

“Showcasing more than 300 objects from the Royal Collection dating from 1863 to 1918, the Edwardians: Age of Elegance exhibition promises opulence and glamour! Featuring works by the most renowned artists of the period, including Carl Fabergé, Frederic Leighton, Edward Burne-Jones, Rosa Bonheur, John Singer Sargent and William Morris, this exhibition features a range of jewellery, works of art, paintings, books, and many more. Highlights include the Dagmar Necklace of 1863, an elaborate diamond, pearl and enamel necklace that was a wedding gift to Alexandra from Frederik VII of Denmark.”

Cartier, Victoria & Albert Museum, London, running until 16th November 2025.

“How could we not feature the hotly anticipated Cartier exhibition at the V&A! Featuring over 350 pieces including jewellery, watches, clocks and historic gemstones, this is a rare chance to see pieces from the span of Cartier’s history. Exhibiting many pieces from private collections and amassing plenty of five-star reviews already, this certainly is my pick of the bunch for exhibitions this year – and I can’t wait to attend!”

Liz Bailey, Jewellery, Silver & Watch Specialist

Cartier Style, a talk by Helen Molesworth & Pierre Rainero, Victoria & Albert Museum, London, Thursday 5th June, 7pm

“I am looking forward to attending this talk by my former colleague Helen Molesworth, now the V&A Senior Curator of Jewellery and Image, with Pierre Rainero, Style and Heritage Director of Cartier.”

“As the Image, Style and Heritage Director of Cartier for more than two decades, Pierre Rainero is responsible for overseeing and preserving the aesthetic integrity of the Maison, ensuring seamless integration of innovation and legacy with each new piece. Join him in conversation with V&A Senior Curator of Jewellery Helen Molesworth for an exploration of the evolution of Cartier’s style over its storied history to contemporary designs, discussing the links that unite past, present and future production.” V&A

Richard Fattorini, Rare Books & Manuscripts, Historical Photographs and Maps Specialist

Josephine Bowes: Trendsetters and Trailblazers at the Bowes Museum co. Durham. Ends 29 June.

“I am fascinated to see how Josephine Bowes sought to establish the fantastic collection which now forms the Bowes Museum. It is rare for a woman to have formed such a collection during this period and she sought to buy examples from a wide range of disciplines and artists.”

Stephanie Connell, Senior Valuer & Collectors Specialist

Siena: The Rise of Painting, 1300 - 1350, National Gallery,Until 22 June 2025

Goya to Impressionism: Masterpieces form the Oskar Reinhart Collection, Courtauld Gallery, Until 26th May

Leigh Bowery!, Tate Modern, Until 31st August

Antony Gormley: WITNESS. Early Lead Works, White Cube, Mason’s Yard, Until 8th June

David Hockney: Bigger & Closer (not smaller & further away) Lewis Cubitt Square and Lightroom entrance, King’s Cross, Until 29th June

“This summer, I’m particularly looking forward to a mix of historic and contemporary shows across London. Goya to Impressionism at the Courtauld brings together highlights from the Oskar Reinhart Collection, offering a rare opportunity to see these works in the UK. Leigh Bowery! at Tate Modern promises to be bold, challenging and visually striking. Antony Gormley’s early lead sculptures at White Cube should offer something raw and introspective. And I’ll definitely be catching Hockney’s immersive digital show in King’s Cross – it’s ambitious in scale and packed with colour and movement.”

Ben Hanly, Contemporary Art Specialist

Whether your summer takes you north to Edinburgh or keeps you in the capital, there’s no shortage of exceptional exhibitions to explore. From Renaissance masterpieces to bold contemporary installations, this season’s line-up is a reminder of the richness and range of the art world. We hope you get the chance to see something that stays with you long after the summer ends.

From Hampstead to Somerset House: Highlights from London’s Spring Art Fairs

Posted on May 22, 2025June 12, 2025 by Ashley Innes and Ben Hanly

Recently two of our specialists have been exploring some of the London art exhibitions – Photo London 2025 and the Affordable Art Fair. Here is their experiences in their own words:

Ashley Crawford, Asian Art Specialist

Recently, I attended the annual Affordable Art Fair in Hampstead (one location of several worldwide taking place throughout the year) to explore artworks by Contemporary Asian artists, both living in Asia and throughout the diaspora. The Affordable Art Fair generally sells works up to approximately 7,500 GBP and often below 1,000 GBP. This event is not only a great way to support living artists, but is also an opportunity to observe wider art market trends and discover up-and-coming artists locally and from around the world.

My first stop was TNB Gallery, a Korean Contemporary art gallery. I was immediately drawn to a series by Jeong Oh, who is known for her mixed media depictions of traditional antique Korean moon jars. Her series Holds All Good Things uses mother-of-pearl to depict the smooth, white glaze of moon jars with touches of color in a way that makes the jars particularly contemporary, while paying homage to their antique Korean heritage. Mother-of-pearl has also long been used in various Korean art forms. The three dimensionality and presence of mother-of-pearl means that these works appear different when viewed from various angles. The addition of gold creates a touch of drama that is otherwise absent from traditional moon jars. Oh’s larger works have recently been offered for roughly 7,500 GBP – 20,000 GBP, but her smaller objects on display at the Affordable Art Fair were all listed at about 1,000 GBP or under. For collectors searching for actual ceramic moon jars, they will be spoiled for choice; this ceramic form dates from the late 17^th century, with many contemporary renderings and antiques from the centuries in between. The most famous Contemporary moon jar artist is Young-Sook Park. Although his works are not the most affordable, there is ample modern-day production of this beloved Korean art form to suit a wide range of budgets.

Next, I visited Hanoi Art House, which specializes in Contemporary Vietnamese art. Contemporary Southeast Asian artists have typically been underrepresented in London (especially compared to Paris), even within Asian art circles, but the Affordable Art Fairs in Battersea and Hampstead have consistently showcased living Vietnamese artists over the past several years. My favorite works at Hanoi Art House were lacquer-on-wood paintings by Bui Trong Du, who is best known for his depictions of Vietnamese women in traditional dress, often in nature and amongst birds. The ladies’ dresses are intricately decorated. Like Jeong Oh, Bui Trong Du draws on his cultural heritage to inspire his Contemporary renderings, as Vietnamese lacquer dates to at least the 4^th century BCE. His works are typically offered for 500 GBP – 9,000 GBP. The works on display at the fair were within his more affordable range.

Lastly, I visited the UK-based Anrad Gallery, which showcased South Asian artists. The highlight of this exhibit was a series of Pichwai paintings by Contemporary artist Sushil Soni. Pichwai is an antique Indian tradition of painting on cloth, depicting Krishna’s Leelas (divine exploits) on temple walls. This practice dates back four centuries. As with the artists at the other galleries discussed here, Soni takes a beloved artistic tradition and breathes new life into it. Anrad Gallery displayed twelve paintings from Soni’s series Baraah Maas (Twelve Months) (2022). Each individual work was listed for 975 GBP. His larger works can be offered for around 1,000 GBP, so these fall within his typical range.

Pictured above is a vibrant scene of a Holi celebration, again, emphasizing and celebrating India’s cultural heritage.

There is something at the Affordable Art Fair for everyone. I was pleased this year with the continued presence of Asian artists and look forward to returning to the next fair in Battersea this October!

Contemporary Art Specialist Ben Hanly:

The first two weeks of May are busy ones in the London art scene, with 2 very different fairs opening their doors to London’s art loving audiences.

The first fair to open from 7th-11th May, is the Affordable Art Fair, which first launched in London’s Battersea Park back in October 1999. The founding philosophy of the fair was, and still is, to democratise the buying of art – to make the experience easy, accessible and affordable to the general public who often assume that buying art is for ‘other’ people and not themselves. The fair has been roaring success and has now grown into a veritable leviathan with fairs in 13 cities worldwide, including 3 in London at Battersea Park (October and March) and 1 at Hampstead in May.

The May edition in Hampstead Heath had everything one comes to expect from the AAF, with 106 galleries exhibiting and displaying works of art starting at £100 and maxing out at £10,000. Turner prize-nominated David Shrigley was among those showing work, with 106 galleries showcasing contemporary paintings, prints, ceramics, sculpture and photography.

This year the Fair invited artist Claire Knill (represented by Lara Bowen Contemporary) to be the fair’s official installation artist. Knill’s large-scale geometric work, Willow Tree, which took centre stage in the main atrium, transforming the space with movement, light, and reflection. The work focusses on the connection between art and mental well-being.

Sessions this year include Summer Lates, where ticket holders can enjoy live DJ sets with a drink in hand while browsing the fair for new art pieces, and family mornings with free activities from painting workshops to face painting.

There is no denying the huge impact that the AAF has had on the international Art Fair landscape. More prestigious fairs may judge it as being too entry level and decorative, however, none can knock its enduring appeal. Similarly, all international art fairs have taken a leaf out of the AAF’s book and put increasing effort and money into developing exciting engagement programs and talks with the aim of appealing to new collectors.

Photo London, which ran from 15th-18th May, is London’s premier photographic fair which brings the finest international photography to the British capital every year. Staged at Somerset House the home of the Courtauld Galleries, the Fair presents the best historic and vintage works while also spotlighting fresh perspectives in photography. Along with a selection of the world’s leading photography dealers and galleries Photo London’s Discovery is dedicated to the most exciting emerging galleries and artists. In addition, each edition sees a unique Public Programme including special exhibitions and installations; and several Awards announced, headlined by the Photo London Master of Photography Award.

Beyond the Fair, Photo London regularly hosts Pre-Fair Talks engaging with the craft, market and knowledge of photography and acts as a catalyst for London’s dynamic photography community, with major institutions, auction houses, galleries and the burgeoning creative communities in the East End and South London presenting a series of Satellite Events.

This year the Fair marks its 10th anniversary in the capital, and with it, a new direction under the newly appointed Director, Sophie Parker, who was determined to move away from the clichés of pretty pictures of supermodels, artful murmurations of birds and majestic beasts and present something more serious, international and inclusive culturally.

By and large Sophie Parker has begun to achieve this. 100 galleries took stands in the Fair, ranging from small to large operations, all showing their finest works. At least half the exhibitors this year were foreign galleries, with an increasing presence from Asia. Well established galleries such a the Grob Gallery, showed superb examples by European greats such as Billy Brandt, Brassai and Brancussi; whilst GBS Gallery showed a strong selection of contemporary photography including ethereal landscapes by Harry Cory Wright and figure studies by the Canadian artist Laura Jane Petelko. There was a strong presence of Paris based galleries, including Galerie Bendana-Pinel who showed the work of Niccolo Montesei – one of the short-listed photographers of the Nikon Emerging Photographer Award, and Galerie Clémentine de la Féronnière who showed beautiful nocturnal landscapes by the Paris based artist, Juliette Agnel.

The price pointing at Photo London was naturally higher than at the Affordable Art Fair, with prices starting at about £1,500 and reaching over £200,000 for a rare Brancusi photograph. Having said that, many wonderful things could be bought under the AAF’s top limit of £10,000, meaning that both fairs give new or modestly funded collectors the scope to start their own art collecting journey.

Today, as the fair marks a decade of operations, photography is firmly entrenched in the art world mainstream. Blue-chip galleries now routinely display photographic works alongside painting and sculpture at art fairs like Frieze and Art Basel. This shift was exemplified by mega-gallery Hauser & Wirth’s decision to represent Cindy Sherman in 2021—a bellwether event for photography’s ascent. Sherman, who began her career in the 1970s, was long overlooked by major art fairs but now shares gallery representation with icons like Louise Bourgeois and Philip Guston. In 2023, fellow mega-gallery Gagosian announced its representation of Nan Goldin and brought original prints by Francesca Woodman to Art Basel, alongside personal works by the fashion photographer Richard Avedon.

Together, the Affordable Art Fair and Photo London highlight the breadth and depth of London’s art scene this May – from accessible, playful pieces to museum-quality photography. Whether you’re starting your collection or expanding it, there’s no shortage of opportunity to engage with art that resonates, challenges or simply brings joy.

To arrange a valuation of your art or photographs, give us a call on 01883 722736 or email us at [email protected].

As Chelsea Celebrates Gardens, We Uncover Their Hidden Worth

Posted on May 22, 2025May 21, 2025 by Stephanie Connell

The RHS Chelsea Flower Show 2025, is currently underway. In recognition of Chelsea, we are considering an often-neglected area for insurance: the garden.

We will be sharing some recent auction highlights, illustrating the fascinating and valuable items that can be hidden in our outdoor spaces.

The history of British gardening has deep “roots” dating to The Romans. The first pleasure gardens were planted in England almost 2000 years ago. Domestic gardening, as understood today really evolved over the past two centuries. Currently, it is estimated that 78% of British adults have access to a private garden, with the UK garden market worth over £8 billion annually. It is clear, we are a nation of gardeners.

So let us turn our attention to these spaces. Earlier this year, Chiswick Auctions uncovered a fascinating piece in a London garden. What at first glance appeared to be a forgotten broken flowerpot, surrounded by weeds, turned out to be a significant discovery. This unassuming ceramic vessel was an unknown work produced by the eminent studio potter Hans Coper (1920 – 1981). (Chiswick Auctions, Design, 15th April 2025, lot 267). Notable for its monumental proportions, it was one of Coper’s largest creations. Coper’s work is highly desirable and can fetch hundreds of thousands of pounds.

Working with the family, the auctioneers found it commissioned by their late mother in 1964. Unfortunately, at some point, it had been broken into two pieces, the owner then choosing to place it in her London garden.

A lost treasure, the work was estimated at £6,000 to £8,000. Despite its condition, it sold for a total of £45,990.

Investing in garden statuary can significantly enhance an outdoor space, and historical influences continue to shape the design of our gardens.

This results in exceptional items from antiquity, occasionally being unearthed in British domestic gardens.

In May, auctioneers Toovey’s, offered an important bust of the Roman Emperor Septimius Severus (Toovey’s Auctions, Furniture etc, 15th May 2025, lot 2350). Produced in the late 2nd or early 3rd century AD, the sculpture was once part of the collection held at the Perthshire estate of Rossie Priory. It was subsequently obtained in the mid 20th century by the artist Edward Halliday CBE (1902 – 1984).

Halliday chose to exhibit it outdoors. Photographs from the 1950s, show the impressive figure of Septimius Severus on display in the garden of Halliday’s St. John’s Wood home, in one image even wearing a policeman’s helmet. The ancient figure of the emperor remained outdoors until he was consigned for auction.

The bust was offered with a pre-sale estimate of £40,000 to £60,000. The total selling price for this rare survivor was just over £142,000.

Edward Halliday additionally acquired a 2nd century AD cinerary urn also from Rossie Priory (As before lot 2351). This artifact was similarly utilised by the Halliday family as a garden ornament. The carved marble was estimated at £2,000 – 3,000, the result on this occasion was £5,176 (hammer price £4,000).

Several of Britain’s foremost artists and designers have created works specifically for outdoor use. These striking objects and artworks can be prominent features in British gardens.

Archibald Knox (1864 – 1933) was a pivotal figure in the Arts & Crafts movement. Knox’s work was wide ranging. As principal designer of Liberty & Co., his designs helped shape the Liberty ‘look’.

While many are familiar with Knox’s metalwork designs for Liberty, it is worth noting that he also created pieces for the garden. Marketed as ‘Modern Celtic Art’ the range included planters, garden urns, and objects in sandstone and terracotta.

These understated pieces deserve careful attention. In summer 2024, auctioneers Rosebery’s sold a scarce sundial designed by Knox, manufactured by Liberty & Co., circa 1905. (Lot 59, Rosebery’s, Design, 17th July 2024). The ‘Floralis’ pattern work in terracotta and brass sold for a total of over £6,000.

This collection can go unrecognised. If you are considering replacement costs, Liberty urns typically exceed £1,000 on the open market (for an example to illustrate see lot 1491, Mallams Auctioneers – The House & Garden Sale, 25th March 2025).

Edward Bawden (1903 – 1989) was a central figure in British art. As a printmaker, painter, and illustrator, he captured a distinctly English perspective. Surprisingly, his work extended to designing garden furniture. Initially creating furniture for his home in Saffron Walden, these pieces were produced commercially in the 1950s, by the Bilston Foundry in Staffordshire.

Bawden’s seating sometimes appears at auction and can occasionally go unattributed. In early 2024 an example of a Bawden cast iron bench emerged at Sworders. In apparently excellent condition it reached a hammer price of £4,000 (Sworders, Design, 16th January 2024, lot 180).

Other notable names include the Coalbrookdale Company (circa 1709 – circa 1927) renowned for its production of cast iron garden furniture, primarily during the 19th century.

Coalbrookdale originals can be worth several thousand pounds. For instance, a rare example of the Osmunda Fern Pattern bench, manufactured in the late 19th century was sold by Dreweatt’s last year. It achieved just over £10,000 (Dreweatt’s, Ken Bolan: My Mind’s Eye, 14th May 2024, lot 185).

Garden enthusiasts may appreciate a quote from British garden designer Gertrude Jekyll (1843 – 1932), “The lesson I have thoroughly learnt, and wish to pass on to others, is to know the enduring happiness that the love of a garden gives…”

To arrange a valuation of your items, call us on 01883 722736 or email us on [email protected].

What’s Really Going On in the Whisky Market?

Posted on May 15, 2025May 16, 2025 by Colin T Fraser

Whisky…. What on earth is going on!!

While this grand title may suggest some clairvoyant insight, sadly, I can’t promise that. However, I hope to offer some common sense, which seems to have been a bit lost over the last decade (or more, depending on who you ask) in the ever-popular area of whisky investment and collecting.

Whisky has rarely been out of the news in the last ten years, with bottle prices surging, being redefined as an asset class, and various million-pound-plus casks (including the £16m Ardbeg cask) delivering remarkable returns for sellers.

As with any market, this upward trend could not last forever (although it seemed never to slow!), and for some, it has ended very badly. However, this current downturn in cask prices is not just due to a shift in demand for the drink but also stems from a far more sinister cause.

As with many markets that have boomed in the past, unscrupulous dealers, so-called experts, and brokers have flooded in, seeking a quick profit (and it seems they are getting it!). Sadly, it appears that casks of whisky were the asset they had been waiting for.

It should also be remembered and clearly stated that this market has existed for decades, even centuries, before these issues arose. There are many fine, honest, and trustworthy sellers of casks who have weathered the ups and downs of the market and will continue to thrive.

The recent BBC documentary, Disclosure: Hunting the Whisky Bandits, aired in late March and exposed to a wide audience the practices that now appear to have been prevalent in certain parts of the market.

The tactics used seem, at best, misleading (though they could be considered fraudulent) and, at worst, criminal. People are now facing the loss of life savings and pensions, with little chance of recouping their investment, let alone the vast profits that were, essentially, promised.

So how could this happen? Frankly, there are too many factors to cover here, but two stand out to me.

Firstly, the genuine returns some casks have brought since their purchase in the mid to late 1990s are enormous. Stories of Macallan casks bought for £2,000, forgotten until a dusty receipt is found, then sold for over £1m, are true – though rare, but true. Scammers can use genuine past data to project a forecast for the future, but no market’s past performance is a reliable guide to its future. This has allowed for gross overselling.

The market then and now are completely different worlds, and the stocks available back then are no longer available today. The market crashed in the 90s due to the whisky loch of oversupply, followed by a boom from the early 2000s onwards, driven by a new generation of drinkers and a scarcity of stock.

But the key is that these overpriced casks are not genuine ‘greats’. A Swatch wristwatch is not a Rolex, a D-flawless natural diamond is not a D-flawless lab-grown diamond, and while some may consider them investments, they exist on entirely different planes.

Secondly, and perhaps where the real criminal activity lies, is in investing in a physical asset you never actually take delivery of or even see.

These casks must be stored in HMRC-controlled and licensed warehouses, many of which don’t deal with the public, meaning you never take physical possession of the goods. In some cases, your certificate of ownership is no more valuable than a diamond grading certificate from the Peckham branch of the Trotters Independent Trading Co. School of Diamond Grading (an odd reference, not meant to make light of the situation, but you get the point). This has led to casks that never existed being sold to people or, in some cases, casks that do exist being sold more than once. Often, this occurs alongside inflated prices, creating a double whammy.

I don’t want to dwell on what has happened or how it occurred, as there is plenty in the documentary to watch and other articles offering more in-depth coverage. But what can we learn from this, and what should you do if you’re concerned you might be caught in one of these traps?

Firstly, we must always remember that investing in anything carries risks, even buying a cask for personal consumption. There are risks involved – always drink responsibly. Don’t get caught up in the hype of promised returns; nothing is guaranteed. Only buy from a broker with proven provenance, which is a key term in any field we value. And, of course, ensure your paperwork is in order.

The best and most official guidelines for buying a personal cask come from the Scotch Whisky Association and can be found here: Personal Investment in a Scotch Whisky Cask.

But also get your cask valued on a semi regular basis. Ask for samples and regauge figures – the measure of what volume and strength is in the cask which will ultimately determine return.

If you’re concerned about a cask you own, speak to the seller and request a Delivery Order in your name. If that cannot be supplied due to warehouse restrictions, consider having the cask moved to a different warehouse. Any cost involved will be well worth the peace of mind. After all, this is your cask; you should have clear ownership and be actively involved in its journey.

I’ve been asked recently how prices have been affected. The truth is, we don’t know yet. However, it’s fair to say that the hot market of 3-4 years ago has cooled, and prices have compressed. I don’t think this is directly in reaction to the recent news, but if a glut of casks comes onto the market as a result, it could have a worsening effect.

And finally, a question I was asked only today: “If I want to buy a cask, what do I do?” Firstly, understand the risks involved by speaking to a reputable broker or distillery directly (there are only a few that sell casks). Buying a blue-chip whisky will always offer the best return and/or protection, but these casks are rare and still highly sought after.

The point many private buyers seem to miss is crucial: know your exit strategy. Are you buying to bottle for a special occasion like a family wedding, birthday, or anniversary, or are you looking to sell? Those are all very different opportunities.

As I said to one would-be investor who had it all wrong: buy a few bottles, look at them until you’re bored, and if you can afford to, enjoy them with friends. After all, whisky was made to be drunk and enjoyed!

Firsts London 2025: A Rare Book Fair in Full Bloom

Posted on May 14, 2025May 14, 2025 by Richard Fattorini

The UK’s biggest international rare book fair, Firsts London, is returning to the Saatchi Gallery in Chelsea from 15 to 18 May 2025. This exciting annual event which is always a pleasure to visit takes place just before the world-famous Chelsea Flower Show and will bring together over 100 rare book dealers from around the world under one roof. They’ll be exhibiting a wide range of antiquarian and modern books, manuscripts, maps, and prints. It’s a brilliant opportunity to view, browse and buy books and works on paper from medieval manuscripts to modern first editions, and a great place to meet and chat with knowledgeable booksellers in person.

This year’s theme is ‘Books in Bloom’ and many dealers will highlight works that focus on flowers, plants, and gardens, from early herbals illustrated with woodcuts to contemporary art books. To celebrate this theme the bookfair has partnered with Chelsea Physic Garden who will have a presence throughout Firsts London, and visitors will be able to talk to members of their knowledgeable team about the Garden’s horticultural, educational, and research activities, as well as their collection of books of manuscripts.

A well-known supporter of Firsts London is gardener, author and bibliophile Alan Titchmarsh who, quoting Cicero, said ‘If you have a garden and a library, you have everything you need’. Titchmarsh has been collecting gardening books for over 50 years and says the fair brings together some of his favourites. For him, the mix of beautiful bindings, fine printing, and plant knowledge makes these books irresistible.

The connection between plants and books goes back centuries. Early plant illustrations were used mainly as sources for medical use, but over time, they also became appreciated for their artistic beauty. As trade and exploration expanded from the 1400s, people discovered new plants from across the globe. This sparked a growing interest in botany, especially from the 1600s onwards and into the Victorian era, when fine hand-coloured natural history books were being made for both a scientific audience and sought after by bibliophiles for the beauty of their illustrations.

Books about gardens and plants have also shaped literature. From Shakespeare’s A Midsummer Night’s Dream to children’s classics like Frances Hodgson Burnett’s The Secret Garden, novels, plays and poems have celebrated the symbolism and beauty of plants and flowers. Books of pressed flowers and hand-made seaweed albums show how much people have loved preserving nature in books. With its mix of rare books, stunning art, and botanical treasures, Firsts London 2025 promises to be a unique and delightful experience for book lovers and plant enthusiasts alike. If botanical books are not your bag, fear not, there will be books on every subject under the sun on show, from travel and exploration, to Private Press books, poetry, literature, classical texts, fine bindings, history, children’s books, photographs, science fiction, fantasy and horror.

Alongside the fair there is an extensive Events programme aimed at new collectors and book lovers of all ages. The talks include ‘Provenance and Book Collecting’ with David Pearson, a leading expert on the history of books; ‘The Book Collector’ in conversation with three prominent young book dealers Tom Lintern-Mole, Jess Starr and Tom Ayling; ‘Gnome Kings, Fairy Folk, and Little Elephants: an evening of storytelling’ with Charles van Sandwyk; a hands-on calligraphy session with Toby Pennington; and ‘Old Books, New Knowledge: Three hundred years of the Chelsea Physic Garden Library’; for these and all other events, see the Firsts London website and book early to avoid disappointment. I hope to see you there!

Mary Moser, R.A. – The Forgotten Founding Artist of the Royal Academy

Posted on May 8, 2025May 8, 2025 by David Dallas

The spotlight this week falls on a female artist, who was celebrated in her own day, but is now almost totally forgotten, even amongst cognoscenti. I am referring to Mary Moser. She and Angelica Kauffman were the only two female founder members of The Royal Academy of Arts, but to conform with the mores of the mid 18th Century, were not allowed to be present in Zoffany’s group portrait of the Royal Academicians in a Life Class, as the model was a naked man. Instead, they appear as portraits hanging on the R.A.’s wall in the background of the painting!

Mary was a portrait painter and pupil of her talented father George Michael Moser (1706-1783), who was Swiss and an engraver and medallist. She won her first medal at the Society of Arts for flower drawings, when she was just 14 and it is as a flower painter that she is remembered, if at all, today. She painted portraits and history pictures as well as flowerpieces and her portrait of the sculptor Joseph Nollekens is in the Yale Center for British Art.

Her private life was colourful. When she was 45 she began an affair with the painter Richard Cosway, who was estranged from his wife, Maria, who may have been having an affair with Thomas Jefferson. Mary and Cosway went on a six-month sketching tour. Soon after which she married Capt. Hugh Lloyd, a widower, whose wife had been a great friend of hers. This was in October 1793.

At around this time she was awarded the most important commission of her career. Queen Charlotte had acquired Frogmore House in 1792 and asked James Wyatt to extend it. The South Pavilion was part of this scheme and Mary was paid £900 to decorate this room with flower paintings on canvas and on the walls themselves. Her style is very much derived from the Old Masters and, in particular, from Jean-Baptiste Monnoyer. This scheme of decoration is still in Frogmore, and I hope appreciated by Harry and Meghan, when they were resident. Now it is just part of a guided tour.

As well as painting for the Royal Family, Mary taught the 6 daughters of King George III and Queen Charlotte how to draw. Her paintings very rarely appear at auction, only three have come up in the last 30 years; one pair failed to sell and the sole success was for a canvas measuring 21 x 14 ins which sold for £17,250 in November 1996, at Sotheby’s London.

Do look out for her work, as they are very accomplished, out of favour and bound to be inexpensive.

To arrange an art valuation, call us on 01883 722736 or email us at [email protected].