Samurai and Beyond at the British Museum

Posted on March 4, 2026March 5, 2026 by Ashley Innes

I recently had the thrill of attending the preview evening of the British Museum’s newest exhibition Samurai, which explores Samurai culture from its Japanese origins through its international influences today.

The term “Samurai” refers to feudal Japan’s warrior elite class, which emerged in the late Heian period and rose to political dominance in the Kamakura period. One might have expected the British Museum’s Samurai exhibition to just be an assemblage of armors, but Samurai was unlike any exhibition I had ever seen on the topic, placing unusual emphases on Samurai activities outside the battlefield, depictions of Samurai in other Japanese art forms, art produced by Samurai, women in the Samurai sphere, and perhaps the most shocking – Star Wars memorabilia! From a market perspective, Samurai are worth collectors’ attention, as they attract wide interest. Although dedicated Samurai auctions are rare, an example is Sotheby’s 2021 Samurai auction, which saw multiple lots selling in the 200,000 – 400,000 GBP range.

Although not the focus of the exhibition, the Samurai armor displays were striking and shed light on fashions and practicalities for different types of Samurai across Japanese periods. One such example featured armor for a fifteenth-century archer, who would have worn ōyoroi armor, which was angular and loose to allow the wearer ample space to draw his bow. This piece includes approximately 2,000 scales of lacquered iron or leather to enhance the practicality for the wearer. Samurai armor can perform well at auction, especially the more complete the piece is (such as this armor set from the 2021 Sotheby’s Samurai auction, which sold for 378,000 GBP), although individual elements such as helmets (such as this helmet from the same auction, which sold for 52,920 GBP) have a strong market as well. Weapons such as swords are also of market interest.

Instead of merely displaying armor, the exhibition did a spectacular job of immersing visitors into the world of the Samurai, demonstrating that these warriors were not isolated, but fit within broader Japanese culture. Samurai included a plethora of examples of Samurai depicted in art. Many of these were japan woodblock prints, which consistently enjoy a strong market, especially for famous nineteenth-century artists such as Hiroshige or Hokusai. Samurai were not always warriors fighting in battle; sometimes they carried out far more mundane administrative tasks, such as tax collection or land management or protective roles such as policing, firefighting, and security. Katsushika Hokusai, who is best known for the Great Wave, also frequently depicted Edo scenes of everyday life, such as this print of land surveyors

For Japanese art collectors, factors such as condition and edition size make a considerable difference to value. The artist and recognizability also play an important role; for example, a Hokusai Great Wave print sold at Sotheby’s last November for a record-breaking 21,725,000 HKD (2,124,000 GBP).

Since its opening, the Samurai exhibition has been praised for its ample curation about Samurai women, who have historically been excluded from discussions about Samurai, as the stereotypical Samurai image is of a warrior. The exhibition remedies this omission, as women comprised half of the Samurai class and therefore made significant contributions to many areas of life. I felt that the exhibition really did women justice in this regard, as the curation did not treat them as a mere afterthought only mentioned sporadically, but they instead were featured in multiple parts of the exhibition. My favorite object was a bright red jacket and hood belonging to a female firefighter from Edo Castle. Unfortunately, this type of textile is so niche that I’m unaware of any existing auction history for it, but now that I’ve seen one, I personally will be keeping my eyes peeled…

A real and completely unexpected treat near the end of the exhibition was one of Darth Vader’s original costumes as seen in Star Wars. The costume design for this character was inspired by Samurai warrior armor, which is especially noticeable in the helmet, which resembles a Samurai helmet. While this is obviously not categorized as a Japanese Samurai object, it is worth mentioning that the collector interest for Star Wars memorabilia is substantial. While Darth Vader costume props have sold well in the past, just last year, Darth Vader’s lightsaber broke the record for the most expensive Star Wars prop, selling at Propstore Auction for $3,654,000. Star Wars lightsabers are linked to traditional Samurai swords.

If visiting the Samurai exhibition, be sure to allow sufficient time to see everything, as the sheer volume of objects makes this an exhibition not to skim through. The Samurai exhibition is on through 4 May (perhaps this date has something to do with Star Wars?) and, in addition to the British Museum’s upcoming Bayeux exhibition, is bound to be one of London’s top exhibitions for 2026!

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

Lunar New Year: Year of the Fire Horse

Posted on February 11, 2026February 11, 2026 by Ashley Innes

新年快乐! It’s that time of year again – Lunar New Year is right around the corner! At Doerr Dallas, we wish you all a healthy and prosperous year for 2026, the Year of the Fire Horse (丙午), which falls on 17 February this year.

Lunar New Year is the largest festival in China and is widely celebrated throughout East and parts of Southeast Asia. The horse is one of twelve animals in the Chinese zodiac and fire is one of five zodiac elements (wood, fire, earth, metal, and water). This means that while the Year of the Horse falls every twelve years, the Year of the Fire Horse only occurs once every sixty (the last one was in 1966 and the next one won’t be until 2086!). Last year was the Year of the Wood Snake and the previous year was the Year of the Wood Dragon. People born in the Year of the Fire Horse are characterized as independent, courageous, and charismatic.

After the dragon, which is easily the most represented animal in Chinese art from the zodiac, the horse is the next most popular animal to appear across Chinese visual media. The horse is timeless and always in style when it comes to Chinese antiques and Contemporary art, regardless of whether the work was intended for domestic use or destined for the export market. The types of Chinese art featuring horses are too numerous to discuss in detail here (including ceramics, sculpture, paintings, textiles, jade, etc), so in the spirit of this being the Year of the Fire Horse, let’s explore objects that have been through the firing process!

Han Horses

In ancient Chinese cultures, royalty and the upper classes were buried with valuable items believed to guide them through the afterlife. Horses symbolized social status, military power, and connections with foreign cultures, such as the Roman Empire. The Han and Qin Dynasties were some of the most popular periods for the practice of including burial objects to help the deceased into the afterlife. In the second century BCE, Central Asian horses were introduced to China, which were much more desirable than local breeds.

Han burial horses are characterized by their large eyes, open mouths, upright ears, clipped manes, knotted tails, and a distinct S-shaped head and neck. These horses were often painted and glazed. Sometimes a separate saddle can be attached to the horse, while other times it is drawn or incised ono the body. Models shown in movement (such as this horse sold at Bonhams in 2022 for $35,312.50) are typically more valuable than horses depicted still. Most are terracotta, but occasionally high-quality bronzes appear at auction and in museum collections and are higher value, such as this horse at Sotheby’s that sold for 945,000 HKD in 2022 or this horse on display at Compton Verney in Warwickshire.

Tang Horse Figurines

When one thinks of horses in Chinese art, Tang burial figurines are often the first to come to mind. The Tang Dynasty (690 – 705 CE), while short, was one of China’s cultural golden ages. Continuing from the Han tradition of burying horses with the deceased to assist in the afterlife, Tang horses are sancai wares, meaning lead-glazed earthenware with “three colors”. The most common colors are brown, green, and cream, but in practice these figurines can also feature blue, black, or other colors. Tang funerary horses were typically shown standing still or with one front leg raised.

Tang sancai horses are included in most major museum collections of Chinese art and prominently appear on the market. Their abundance is a double-edged-sword; these horses can be a more accessible entry point for aspiring collectors, but the market is more competitive, so only those with scientific authentication (such as the Oxford TL test) or exceptional size, quality of craftsmanship, provenance, or condition stand out (such as this Sotheby’s lot in 2021 selling for 414,300 GBP).

Tang horses can appear standalone or with accompanying human figures. Some of my favorite Tang horses feature court ladies as riders, which exemplify the relative freedoms that noblewomen enjoyed in China during this period. These works periodically appear at auction (such as this Bonhams lot in 2024 selling for $10,240 and this Bonhams lot in 2024 selling for $7,040). One of the finest museum examples is on display at the Musée Guimet in Paris, featuring a terracotta group of female polo players.

Horses on Porcelain Snuff Bottles

While horses feature prominently throughout Chinese porcelain, I would be remiss not to at least briefly mention snuff bottles in this discussion, as they can be an accessible entry point for novice Chinese art collectors. Porcelain is merely one of many forms of snuff bottles to feature horses (such as lacquer, jade, glass, etc) and has been included in this discussion of the Year of the Fire Horse because porcelain is kiln fired. An example is this Qing red-and-white snuff bottle, which sold at Sotheby’s last year for $635. However, some snuff bottles come at a higher price bracket, such as this bottle selling at Sotheby’s in 2019 for 112,500 HKD.

Wherever you fall on the Chinese zodiac, we hope you enjoy the horses you encounter this year in all of China’s art forms!

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

Under the Christmas Tree

Posted on December 18, 2025December 24, 2025 by Jenny Serra

What are our team hoping for this Christmas?

Rachel Doerr – Managing Director

“I was asked recently what you buy a girl who has everything! After some thought, I remembered meeting with the jewellery designer, Lotte Leigh Fine Jewellery who creates and designs jewellery completely unique and deeply personal, so when thinking of myself, I decided this would be the perfect gift. I was left jewellery by my late mother, and I would love to rework those pieces into something new that I would wear every day. It would be a wonderful way to keep her close, carry those memories and give them a new life in a way that feels truly my own. So, I cannot wait to sit down with Lottie to start my journey.”

David Dallas – Chief Executive

“I’ve spent all my adult life and some of my childhood loving John Constable. I have been lucky enough to own a few oil paintings by him, temporarily, but I’ve always had to sell them. This Christmas, what I really want, is a drawing by him that I can keep. He is quite prolific, carrying a large and a small sketchbook with him wherever he went even on honeymoon! So, they come up at auction quite often. He has what they used to call “a good pencil” in other words he can draw beautifully. Any rural scene by the great man would do. “I never saw an ugly thing in my life: for let the form of an object be what it may – light, shade, and perspective will always make it beautiful”, is what Constable once said and when he is the man recording that object in pencil on paper, it is true. The little drawing that came up at Woolley and Wallis in 2023 would do. £16,500 isn’t that much, dear mother-in-law!”

Aurélia Turrall – Jewellery Specialist

“Money does seem to always get in the way of getting the most exquisite jewellery. Seeing as this is not the case for this year’s Christmas presents, I would choose to have the grand nœud de corsage de l’Impératrice Eugénie, stolen at the Louvre on 19th October. How I hear you asking? Or firstly I’d place pay for the greatest, fearsome, most Talented detective: Inspector Jacques Clouseau to find the stolen jewel and catch the criminals (one is currently still on the loose). It is such a shame to think that this 19th Century jewel, which would have required hundreds of hours of work to complete, might have been broken into pieces, as I write this. In 1864, Eugénie decided to stop wearing the imposing jewel, made of gold and silver and measuring 22.2cm long, 10.5cm wide. It was then sold in 1887 (during a nine-day auction when the French government sold most of the Crown jewels, keeping only a few considered National Treasures) to Caroline Astor, and subsequently to the Duke of Westminster for his daughter Lady Lettice Grosvenor, bought by jeweller Ralph Esmerian in 1980, acquired by the Louvre in 2008… And finally stolen last month.

So, Inspector Clouseau, if there’s ever a good time to come out of Hollywood retirement, now would be it! The French government needs you, and so do I for my Christmas present wish to come true!”

Annabell Parry, Jewellery Specialist

“2025 has seen colour and craftsmanship become more sought after in a jewellery world of offerings increasingly with no soul. It was with utter delight I discovered Castro Smith and his beautiful, hand engraved jewels and signet rings. His award winning designs have been featured around the world but works quietly in the UK with skills often considered old-fashioned but to me they are beautiful and evoke the essence of true handcrafted devotional gifts. Please, please may I find the Rabbit and the Moon signet ring under the tree this year, only available to order from £2500.”

Ashley Innes, Asian Art Specialist

“If I could receive any gift this holiday season, I would choose an incredibly rare large ruby-ground sgraffiato yangcai “lotus” bottle vase that I enjoyed viewing at person at Sotheby’s New Bond Street earlier this autumn as part of Asian Art in London. This Qianlong-period porcelain vase knocked preauction estimates out of the ballpark in November, selling for 304,800 GBP, when it was only estimated to sell for 100,000 GBP – 200,000 GBP! I love the elegance of the yuhuchunping shape, a traditional Chinese form with a long, slender neck and a bulbous bottom. The vase employs the yangcai technique, a form of wucai technology reserved for foreign colors of the period. The sgraffiato, a carving through the top layer so that the next layer is visible, showcases the exquisite level of craftsmanship from the Imperial kilns at Jingdezhen. As my favorite color is pink, I would be delighted to find this in my stocking – but perhaps not hanging over the fireplace, given the vase’s delicate nature!”

Fiona Hamilton – Silver Specialist

“If I could wish for a dream gift this Christmas it would be a little patch of land on the North West coast of Scotland. Having spent family holidays there from the 1980s to the current day, it holds a special place in my heart. From Arisaig to Achiltibuie, the deserted beaches, turquoise water, and star-studded skies are truly magical. Personal experience shows that the best defence against the dreaded midgies is a beach fire and the famous four seasons in one hour should be embraced! A place to unwind away from daily life, often with no phone signal, it’s the perfect haven.”

Jonathan Horwich, Contemporary & Modern Art Specialist

“I would like to have this wonderful, tiny (11.3 x 23.5 cms) cloud study by one of the greatest English landscape artist of all time, John Constable (1776-1837). I came across Constable Cloud Studies in my first job in a West End Gallery many years ago now, we had three in stock and each one was a gem, I promised myself that one day I would own one. This one sold at auction for £453,600 on July 1st this year, so it may be a bit of a stretch for me just now , so it would be a very welcome surprise to find this one under the tree on Christmas morning!”

Katinka Monkman, Executive Assistant

“After spotting the Boodles Tennis Bracelet, I couldn’t help but think it would be the perfect Christmas gift. As someone who plays for a local Division 2 tennis team in Sussex, it feels like such a fitting piece — elegant, classic, and with just the right amount of sparkle to capture the spirit of the game. Since starting my new role at Doerr Dallas Valuations in April, I have developed an even greater appreciation for beautifully crafted jewellery, and this bracelet really stands out to me. It is timeless yet meaningful, and I can just imagine how special it would feel to wear it, both on and off the court.”

Kristin Panagiotou, Administration Manager

“Underneath my Christmas tree this year I would love to find the photographic print, Dairy Queen at Night from front, US 6, Iowa City, IA 1988, by American photographer Jim Dow. This image holds a special place in my heart. When I look at it, childhood memories of summer nights and walks to this specific ice cream parlour down the street with my family flood back into my mind. What I love about photography is how one simple image can evoke so many feelings and emotions, and this one fills me with so much happiness. While it doesn’t necessarily look the same, this ice cream shop is still there! Dependent upon the size, a limited edition print can be purchased from $3,000-$9,000. ”

Liz Bailey, Jewellery, Watch & Silver Specialist

“It is so hard to narrow down what I’d like under the tree this year – I’ve seen so many fabulous pieces in collections that have been added to my wishlist! One watch definitely remains, and having seen their 150th anniversary display at Dubai Watch Week I would simply love an Audemars Piguet Frosted Mini Royal Oak. The frosted effect is created through a hammering technique using the culet of a diamond, and these watches have been worn by icons such as Raye and Serena Williams. To add some sparkle to my jewellery collection, I’d certainly be on the lookout for a piece from the new Tiffany Bird on a Rock collection, reimagining the original 1965 design by Jean Schlumberger. I was fortunate enough to try on the Lovebirds ring, and it was indeed love at first sight. The watch costs a cool £56,600 and the ring a mere £32,200!”

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

“I have always admired the beauty and skill that goes into creating an illuminated manuscript, and this autumn I was thrilled to visit Chantilly to view an exhibition of one of the most famous and beautiful illuminated medieval manuscripts in the world, the Très Riches Heures du Duc de Berry. This spectacular manuscript on parchment was created in the early 1400s for John, Duc de Berry, the brother of King Charles V of France, by Limbourg brothers Paul, Johann and Herman and used rare and expensive pigments, including lapis lazuli, and pure gold. A single illuminated page from this book would be worth millions, but other medieval illuminated manuscripts by lesser artists can be purchased for a few hundred pounds. This Christmas I would be overjoyed to receive an illuminated leaf which would let me connect with a world that valued slow craft, symbolism, and the power of storytelling. The calligraphy, colours, details and gold illumination invite contemplation, reminding one to slow down and appreciate artistry in its purest form. It would be a gift that blends beauty, scholarship, and wonder, something timeless in an increasingly digital world.”

Alastair Meiklejon, Senior Valuer

“Is a red octagonal box too obvious? Possibly. But then again, Who honestly cares, And this watch….this glorious, green-dialed, 18ct yellow-gold beauty, is not here for subtle nods and polite applause. It’s here to enter the room before you do. Cartier, frankly, have been on a quiet (and sometimes not-so-quiet) tear over the last few years, and this might just be one of the greats of the line. Let us remember: the Ballon Bleu was a hit the moment it landed. I know, because I sprinted out and bought one. The big one. The too big one. But here’s the thing, by the time I’d realised it was too big, I was already emotionally invested. Like a slightly impractical dog, or a Pelaton – You don’t return it; you adapt your life around it. And now? Cartier have gone and done this. A green dial in yellow gold that pops harder than champagne corks on the riviera. The price of £15,200 mean its only two bottles of house red off what could be deemed a ’sensible purchase’ and nothing says Christmas like gold and green…..honestly – look it up!”

Francesca Orme, Jewellery Specialist

“I have wanted one of these for a long time. These genius ‘Love Letters’ bracelets are one of Pragnell’s very clever inventions. It gives you the opportunity to create your own bracelet online if you can’t get to the showroom, by choosing the letters or words you would like, with the option of symbols such as a heart, in-between or next to…You can pave set with diamonds whichever links you would like too!.
I would put my twin boys names with a heart between that is pave set with diamonds.. These are so wearable that I don’t think I’d ever take it off!”

Jenny Knott, Silver Specialist

“On December 1st I tune my radio to Classic FM and immerse myself in Christmas music. I enjoy more recent Christmas tunes too, and although I have had enough of rocking around the Christmas tree long before Christmas day, I’ve never enough of the snow. Indeed, ‘Let it snow, let it snow let it snow’. So, to indulge myself this Christmas, my money no object Christmas present under the tree would be tickets to Vienna to hear Christmas music at the Hofburg Palace and something appropriate to wear for a snowy Christmas concert, perhaps this diamond and blue topaz snowflake sautoir by KiKi McDonough. It’s a snip at £9500, so let’s hope that it’ll be nestling somewhere amongst the pine needles.”

Helen Doyle, Jewellery, Handbag & Watch Specialist

“This Christmas I would love a Chanel 2.55 handbag under the tree. More than just an accessory, the Chanel 2.55 is a wearable piece of fashion history, with virtually every design detail carrying a personal connection to the life of its creator, Gabrielle “Coco” Chanel. Unveiled in February 1955, the bag’s name is simply its birth certificate: 2 for the month and 55 for the year.
The bag’s revolutionary design was centred around the long shoulder chain, which was a fashion breakthrough that finally freed women’s hands.
Perhaps the most fascinating element is a secret that lies beneath the surface: a discreet zippered compartment hidden inside the front flap. Legend holds that Coco Chanel used this small, private pocket in her original bag to store her love letters, a quiet nod to her personal romantic history.”

Stephanie Connell, Senior Valuer & Collector Specialist

“Under the Christmas tree, if money were no object, I would like to discover something I would have dreamt of owning as a child, a Dinosaur! Sotheby’s recently sold a mounted Ceratosaurus skeleton – Ceratosaurus were a species carnivorous dinosaur, with a name referencing the slight horn between is nostrils. The example sold by Sotheby’s, was around 150 million years old. The skeleton was that of a juvenile. Money would really have to be no object – it fetched just over $30.5 million.”

Jenny Serra, Marketing Manager

“I was on the hunt recently for a new handbag, and not being of neutral tastes, I spotted this fabulous limited edition pink and red Epsom bag from Hermes. The classic shape but bold colour way would make it such a fun bag to use – and a definite conversation starter! Costing around £25,000 I’m pretty sure it’s beyond my husbands budget, but a girl can dream!”

Aphrodite’s Treasures: Antiques from the Greek Island of Kythira

Posted on December 4, 2025December 4, 2025 by Ashley Innes

In early September, I had the opportunity to visit the Greek island of Kythira (sometimes spelled Cythera or Kythera), about a 45-minute flight or six-hour ferry ride from Athens. Kythira is located between Crete and the mainland, making it an important trade center from Greek antiquity up through the 19th century. While there are many interesting historical aspects to Kythira, its greatest claim to fame is that it is the birthplace of the Greek goddess Aphrodite.

Today, Kythira is typically overlooked by international tourists, serving instead as a well-kept secret holiday spot for mainland Greeks. Despite its reputation as a beach destination, Kythira is an archaeology enthusiast’s delight, with plenty of Venetian ruins and several museums to explore. My favorites were the Venetian ruin Castle Chora (which was understandably devoid of art) and the Kythira Archaeological Museum.

The Kythira Archaeological Museum

The Kythira Archaeological Museum is home to both archaeological objects and works of art. When I visited, I was impressed by the detailed level of curation (especially for a small museum), the variety of media, the interactive video displays, and the braille coverage and tactile pottery exhibit, which reproduced ancient vessels for visitors to explore themselves. The exhibition spans Kythira’s history from the 9th millennium BCE through the Roman Empire, highlighting Kythira’s various roles in agriculture, trade, and military activity in various periods.

Greek Sculpture

The museum’s key object is the Lion of Kythira, a large stone sculpture of a seated lion from the 6th century BCE. The Lion of Kythira was discovered in the 19th century near Kastri and likely would have served as a funerary guardian or votive offering. As Kythira was a popular stop on various trade routes, many items discovered in Kythira are from elsewhere; this lion is possibly from Palaiokastro on the island of Crete. The Lion of Kythira now enjoys the stability of a permanent home at the Kythira Archaeological Museum, but experienced a turbulent century of looting and earthquakes after its 19th-century discovery.

The market for ancient Greek sculpture is tightly regulated, as these items are not allowed to be removed from Greece, so the strongest markets are in the US, UK, and France. For collectors interested in this field, provenance is of the utmost importance. There are no direct comparable sculptures for the Lion of Kythira on the market (especially of this size and condition), but there are Greek or Cypriot lions and other similar sculptures from this period available, such as this 6th century BCE Cypriot lion head or this 6th century BCE head of a kouros from the Greek Islands or Sicily.

A Hygieia Sculpture and the Spread of Greek Fashion

The Kythira Archaeological Museum displays an abundance of funerary objects and other artifacts from the Ionian Islands from as early as the 9^th millennium BCE, giving insight into the ebb and flow of life on the island, which was much busier during some periods and possibly completely deserted at others. The greatest interest for the earlier objects remains in Greece; the international market is not as strong for this type of ceramics as it is for later Greek pottery. The greatest market interest remains in the later Greek and Roman items, of which the museum had plenty, including an impressive coin collection. There were many later Greek and Roman items to choose from, but one of my favorites was a simpler Hellenistic sculpture of a female torso draped in robes. Made in or near Athens in the late 4th–early 3rd century BCE, it likely represents Hygieia, the goddess of health.

Hygieia caught my attention due to the styling of her robes, a tradition that originated in Greece. As an Asian art specialist, I immediately recognized this is as the Graeco-Roman style that would eventually reach India and appear in Gandharan coins and sculptures of the Buddha, which would be the Buddha’s first andromorphic representation (you can read more about this in my recent article on Gandharan friezes). Later, a version of these robes would reach China via the Silk Road (you can read about an example of this in my recent article on North American museums). Collectors interested in this style of robes do not have to search far, as it is prevalent in the artistic heritage so many cultures (and yet presents itself uniquely in each). This statue of Hygieia is not the flashiest object at the museum, but it is an important reminder of the timelessness of Greek fashion and the longevity of influence, even many centuries later and halfway across the world.

If you ever find yourself in Kythira, take a break from the beach and enjoy the rich history and material culture the island has to offer!

To arrange a valuation of your Asian Art or other collection, call us on 01883 722736 or email us at [email protected].

The Art World This Winter: 2025/2026’s Must-See Exhibitions

Posted on November 6, 2025November 6, 2025 by Liz Bailey, David Dallas, Jonathan Horwich, Ashley Innes, Fiona Hamilton and Stephanie Connell

Winter is drawing in, so what better time to immerse yourselves in a great exhibition. Thankfully, our team of specialists across the board have compiled their list of must-see events throughout the country. With picks covering contemporary art, cinematic icons, fabulous jewellery and exciting new creatives, there really is something for everyone.

Stephanie Connell - Senior Valuer & Collectors Specialist

Wes Anderson: The Archives

The Design Museum, London
From 21st November until 26th July 2026

“This exhibition at The Design Museum is an exciting opportunity to have an insight into the mind of one of the most innovative and unique film directors working today”

William Nicholson

Pallant House Gallery, Chichester
From 22nd November until 10th May 2026

“This will be the first major exhibition of William Nicholson’s work since 2005. Nicholson’s work influenced not only British art but illustration and design.”

Ashley Innes – Asian Art Specialist

Hawai’i: a Kingdom Crossing Oceans

British Museum, London
From 15th January until 25th May 2026

“This winter I’m looking forward to visiting Hawai’i: a Kingdom Crossing Oceans at the British Museum. There aren’t a lot of opportunities to learn about Hawaii’s material culture on this side of the pond, so it’s not to be missed.”

Marie Antoinette Style

Victoria & Albert Museum, London
Running until 22nd March 2026

“I also really enjoyed viewing the Marie Antoinette Style exhibition at the V&A this autumn, which will be on through 22 March. Despite the exhibition’s name, the breadth of materials on display is far wider than fashion, showing that there is much more to Marie Antoinette than “let them eat cake!”

David Dallas – Old Master Specialist

Daphne Wright: Deep-Rooted Things

Ashmolean Museum, Oxford
Running until 8th February 2026

“The fourth instalment in the Ashmolean NOW exhibition series, where contemporary artists are invited to create works inspired by the museum’s historical collections. Daphne Wright presents a series of sculptures that have been curated by Ashmolean director, Xa Sturgis. Two key Ashmolean pieces that speak directly to Wright’s work are included in the exhibition: the fragments of a young Hercules defeating the Nemean Lion in plaster and Rachel Ruysch’s intricate painting, ‘A Forest Floor’ Still Life of Flowers.”

Images of Authority: Portraits Between Iran and Europe

Ashmolean Museum, Oxford
Running until 15th March 2026

“Another exhibition to take place at the Ashmoleon explores the portraiture of three contemporaneous rulers, Fath Ali Shah Qajar (1797-1834), King George III (1760-1820) and Napoleon Bonaparte (1799-1814).”

Emily Kam Kngwarray: Aboriginal Art

Tate Modern, London
Running until 11 January 2026

“I’ve seen these wonderful paintings in Melbourne, this is the first time they have been shown in Europe”

Eric Ravilious

The Towner Art Gallery, Eastbourne
Permanent Collection

“I’ve always loved Eric Ravilious and now there is a permanent collection of his wonderful watercolours in his hometown of Eastbourne. They are a revelation.”

Caravaggio’s Cupid

Wallace Collection, London
From 26 November 2025 until 12 April 2026

“Don’t miss the chance to see Caravaggio’s masterpiece on loan for the first time in Britain from the Gemäldegalerie in Berlin.”

Liz Bailey - Jewellery, Silver & Watch Specialist

Surrealist Jewels 101. Surrealist Masters

Independent Designers
Louisa Guinness Gallery
From 26th September until 7th November

“This exhibition marks the 101st anniversary of the Surrealist movement and will explore this wonderful design movement through both contemporary and modern jewellers. Featuring rarely seen works by the likes of Salvador Dalí, Claude Lalanne, Max Ernst, Man Ray, Niki dd Saint Phalle and Arman.”

KNOX: Order & Beauty

National Art Gallery at the Manx Museum

Running until 1^st March

“I’d love to head over to the Isle of Mann to catch world’s largest exhibition of works by Archibald Knox. Featuring over 200 items of silver, pewter, jewellery, manuscripts and drawings, many of which have never been exhibited before.”

British Museum’s Tudor Heart Appeal

“Although not strictly an exhibition, I’ll be following closely the British Museum’s Tudor Heart appeal, a national fundraising campaign launched in October 2025 to raise £3.5 million by April 2026 to acquire the 24 carat gold Henry VIII pendant for the nation. I’ll head straight to the British Museum to view the pendant as soon as possible whilst it’s on display during the campaign.”

Fiona Hamilton - Silver Specialist

Drawing the Italian Renaissance

The King’s Gallery, Palace of Holyrood House, Edinburgh
Running until 1st March 2026

“The Renaissance period saw a new found appreciation for creativity. Drawing in this era evolved from an essential tool of workshop practice to a revolutionary art form. Featuring work by Leonardo da Vinci, Michelangelo and Titian from the Royal Collection this is a must see for all art lovers”

Jonathan Horwich - Modern & Contemporary Specialist

Kerry James Marshall: The Histories

Royal Academy, London
Running until 18th January

“My pick of the Winter exhibitions has to be the very gifted painter, Kerry James Marshall at the Royal Academy. I’m drawn to this exhibition for Kerry James Marshall’s masterful technique and his reworking of Western art historical traditions. His large-scale, symbol-rich paintings powerfully center Black narratives, offering both critical reflection and visionary storytelling through paint.”

This Year’s Asian Art Highlights at Frieze

Posted on October 30, 2025October 30, 2025 by Ashley Innes

Highlights at Frieze

As an Asian art specialist living in London, each year I attend Frieze Masters and Frieze London to gauge current Asian art market trends. There have been many shifts over the past five years, due to a combination of post-pandemic markets, an increasing demand for non-Western art forms, and even AI’s impact on the availability of art market information (with varying levels of accuracy, as is discussed in my recent article here). There was a wealth of Asian art available at both fairs this year, so I have selected a handful of highlights from each.

Frieze Masters

Frieze Masters has traditionally prioritized artworks that are antique through Modern (i.e. not Contemporary), but the past few years have seen more flexibility in this area. This year, Contemporary Japanese ceramics and other decorative arts took the spotlight. Joost van den Bergh Gallery is known for its antique Indian art, but has also displayed Contemporary Japanese art at recent fairs. This gallery included Japanese ceramics at Frieze Masters this year, with three celadon crackle wares by ceramicist Nakashima Hiroshi (1941-2018). Nakashima Hiroshi was best known for his celadon wares with a Guan-inspired crackle glaze. Most of his celadons are a pale blue, which made the green vase on display (asking price: 8,500 GBP) at Frieze Masters stand out. Guan/Ge crackle wares originated in Song Dynasty China, but spread throughout East Asia and are now popular globally. Nakashima’s ceramics artfully balance East Asian tradition with delicate and masterful Contemporary Japanese craftsmanship, often taking on shapes that would not have been found in Dynastic China. Thomsen Gallery, which is known for its Japanese lacquer, bamboo, ceramics, and folding screens, was the other main Japanese highlight at Frieze Masters.

I would be remiss to cover Frieze Masters without mentioning an antique object. I was delighted to come across an Epirus embroidery at Moshe Tabibnia Gallery, which is known for its Asian textiles. Epirus textiles are not strictly considered Asian art, but rather more of a hybrid category associated with the Ionian and northwestern Greek regions under Ottoman rule. For this reason, they are often grouped together with other Asian art objects. Epirus textiles are easily identifiable by their vibrant reds, blues, and greens against a neutral background. Common motifs include parrots, vases, and flowers, which are found here. This textile was already sold by the time I viewed it, but similar textiles are often sold on the London market for roughly 5,000 GBP – 15,000 GBP, depending on size, level of craftsmanship, and condition.

Frieze London

Of the Asian art selections available at Frieze London (which only features Contemporary art) this year, Korean paintings were the predominant recurring theme. Over the past few years, I have seen works by Contemporary Korean artist Ha Chong-Hyun (1935 – ) displayed at both Frieze Masters and Frieze London. Ha Chong-Hyun is a leading artist of the Korean Dansaekhwa (monochrome) movement. While I didn’t come across any at the former this year, at least three galleries (Kukje Gallery, Tina Kim Gallery, and Almine Rech) featured his paintings at Frieze London. The artist’s oil on hemp cloth paintings are instantly recognizable for his technique of pushing paint from the back of the hemp cloth material so that it seeps through to the front, creating a distinct, three-dimensional surface, often in rectangular shapes. While the prices were not publicized, this artist is considered blue-chip with a very stable market. Last year, his auction results averaged approximately $90,000 (often far exceeding this!).

I wonder what trends we will see at London’s Frieze fairs next year? The past few years have demonstrated a rapid evolution of collectors’ tastes and market trends – I look forward to discovering what is in store for 2026.

Downton Abbey’s Curtain Call: Highlights from the Bonhams Auction

Posted on September 25, 2025September 25, 2025 by Ashley Innes

Last week’s Downton Abbey auction saw a jaw-dropping £1.73 million in sales and over 4,000 registered bidders, obliterating preauction estimates in virtually all areas.

The exhibition for this auction was also popular, quickly selling out with over 15,000 visitors. The auction’s success speaks to the continued frenzy for all things Downton and the extent to which the show is embedded into popular culture. Audiences still can’t get enough of the timeless period drama, even a decade after the final episode aired, as evidenced by the release of the third film earlier this month and continued success of the film site of Highclere Castle in Hampshire as a tourist destination for devoted fans. Coinciding with the film release in mid-September was the Bonhams charity auction for Children with Short Lives, which included costumes, the Grantham family car, and other props from the iconic television series. This article will explore the auction’s results and their predicted influence on the collectibles and memorabilia market.

Highlights of Downton Props

The strongest successes were seen across a range of Downton Abbey props. The star of the auction was the Downton Abbey Bell Wall, which was predicted to sell for only £5,000 – £7,000, but sold for £216,000 (including buyer’s premium), over thirty times the preauction estimate!

Another highlight was the Grantham Family Car, a 1925 Sunbeam 20/60hp Saloon, which sold for a whopping £172,500 (including BP), nearly five times the preauction estimate of £25,000 – £35,000. Violet Crawley’s cane is also worthy of an honorable mention, selling for £28,100 (including BP) after receiving a preauction estimate of only £500 – £800, 35 times the predicted result.

Items used by the family tended to be more popular, while those used by the servants were less so. This was also noticeable in the way the auction was marketed: while the car had been advertised as a headlining object for the auction, the bell wall had not. However, the bell wall was by far the most successful object in the auction, showing that trends do have exceptions. Perhaps the reason for the bell wall’s popularity was that it received so much screentime and was integral to the work of the servants.

Highlights of Downton Fashion

There are too many memorable costumes to cover here, so I have chosen two of the most notable: Edith Crawley’s wedding dress from her marriage to Bertie Pelham and Mary Crawley’s proposal dress from the evening she became engaged to Matthew Crawley. The former was predicted to sell for £3,000 – £5,000, but instead reached £25,600 (including BP), over five times the preauction estimate. What I found most interesting was that this dress outperformed Mary Crawley’s first wedding dress (although only by approximately £2,000), which although less ornate in style was promoted as the second highlight of the auction after the family car. While both sisters were central to the show, Mary was the eldest of the three, had more plotlines, and was marketed more prominently. Everyone loves an underdog, however, and Edith had her time to shine in the later seasons (who could forget the sharp-tongued quarrels between the two?), which is likely why her outfits generally matched Mary’s in the bidding wars for this auction. Mary’s proposal dress was also a fan favorite, selling for £23,040 (including BP), whereas the preauction estimate was a mere £2,000 – £3,000.

More Modest Successes

A strong indicator of the Downton auction’s success is that no lots remained unsold, which is a rarity. While all areas performed well, a small number of lots remained within or near the preauction estimate range (which, in any other type of auction, no one would think twice about!), emphasizing that certain types of objects, such as costumes from main characters or large props that receive frequent screen time are safer investments than more ordinary items that either did not receive significant screentime or were not easily identifiable as objects from Downton Abbey. Regardless, only three lots in the entire auction sold for under £1,000, a resounding success.

What Does This Mean for the Collectibles and Memorabilia Market?

As we have seen from the results of the Bonhams auction, the collectibles and memorabilia market only continues to ascend. This field has traditionally been strong due to the widespread appeal of popular culture, creating greater demand than other areas with more niche levels of interest. However, the growth of this market has not always been linear, skyrocketing five years ago during the pandemic, likely due to a combination of restlessness, more time to engage with pop culture while quarantining, and perhaps nostalgia for pre-pandemic times.

It has taken several years post pandemic to determine whether the growth of the collectibles and memorabilia market is permanent, and the Downton Abbey auction indicates that the answer is a resounding yes. Film, rather than television, still dominates this market for record-breaking results, as illustrated by objects such as a pair of Judy Garland’s ruby slippers from The Wizard of Oz, which sold for $32.5 million (including BP) last year or the Rosebud sled from Citizen Kane, which sold for $14.75 million (including BP) this summer, both sold at Heritage. While the small screen market hasn’t quite reached the same level of interest, recent auctions from shows such as Game of Thrones, The Crown, and Startrek among others suggest that interest in TV show auctions will only continue to increase. More mainstream series such as Game of Thrones and Startrek are the safest bets for collectors wishing to maximize value, but the period drama market is also steadily growing, with the Downton auction as the strongest for a period drama series to date.

Downton’s final curtain may have fallen, but its props and costumes will live on as cherished keepsakes, with some destined to eventually reenter the market. Who knows how valuable they will be by then? In the meantime, you’ll find me happily watching reruns…

Chinese Highlights Across North America

Posted on September 18, 2025October 8, 2025 by Ashley Innes

This summer, I spent two weeks visiting seven museums across Canada and the US: Casa Loma, the Royal Ontario Museum, and the Niagara-on-the-Lake Museum in Canada, the Detroit Institute of Arts and the Cranbrook Art Museum in Michigan, and the de Young Museum and the Asian Art Museum in California.

Having spent my childhood in the Detroit and San Francisco areas, I had visited these local museums many times over the years, but enjoyed exploring the Canadian museums for the first time. The ROM was especially a delight for its extensive Chinese collections and the inclusion of the only complete Ming Dynasty tomb outside of China. As an Asian antiques specialist, I am biased in favoring the substantial Asian art collections at the Royal Ontario Museum, the DIA, and the Asian Art Museum. There are too many Chinese highlights across the museums to discuss here, so I will share three favorites from the ROM and the Asian Art Museum.

Although blue-and-white porcelain carries a global appeal and is widely considered the most popular type of Chinese ceramics, I have always had a soft spot for red-and-white porcelain, which I feel is often overlooked for its more mainstream counterpart (I am definitely in the minority on this one!). At the ROM, I saw a gorgeous Qianlong red-and-white cong vase (a rectangular vase with a round interior). The cong shape is archaistic, paying homage to Neolithic Chinese ritual bronzes and jades. The Qianlong period, when this vase was made, saw a large production of Neolithic shape revivals. The ROM vase displays auspicious motifs on each side, including bats, clouds, and archaistic geometric patterns. While Neolithic cong vases were created for ritual use, Qing versions were decorative. Authentic Qianlong comparables are extremely valuable, with sales in the 75,000 GBP – 100,000+ GBP range, but for collectors with smaller budgets, there are later Qing options available made for the export market (which are still antiques), selling for roughly 1,000 GBP – 2,000 GBP.

While at the ROM, I was absolutely smitten with a Ming rooftile I found in the shape of a celestial attendant with a fishtail (similar to a mermaid). The ROM has an impressive collection of Ming sancai wares (sancai means “three colors” and is a ceramic painting technique dating to the Tang Dynasty) and an entire wall dedicated to temple rooftiles. The market for sancai rooftiles is not very strong at the moment, often selling for under 2,000 GBP, making them an accessible entry point for novice Chinese ceramics collectors.

I would be remiss to write an article covering the Asian Art Museum without acknowledging (what is in my humble opinion) the museum’s most prized object: China’s earliest known Buddha sculpture, commissioned by a Chinese monk in Hebei during the Later Zhao period (319 – 351 CE). Dated 338 CE, this gilt bronze sculpture captures a significant moment in Buddhist history. The Buddha sits in a meditative pose on a large base, with folded hands in his lap and a serene expression. He shows strong Gandharan influences, including Graeco-Roman style robes and a tall topknot ushnisha (instead of the later spiked ushnisha, which would later become more common in East and Southeast Asia), features that would have reached China via the Silk Road. Yet, his physiognomy and style of hands are distinctly Chinese, signaling a diversion from Buddhism’s Indian origins and the establishing traces of China’s own Buddhist tradition. As this is the earliest known Chinese Buddha, there are no direct comparables on the market. For interested collectors, there are a handful of slightly later Buddhas available in a similar style, but these are still rare on the market.

If you’re traveling in North America this summer, museums in Ontario, Detroit, and San Francisco have plenty of Asian art to offer. I’m looking forward to my next visit!

AI Chatbots in Valuations: What Collectors Need to Know

Posted on September 11, 2025September 11, 2025 by Ashley Innes

“But ChatGPT told me my vase was worth £100,000!”

Sound familiar? As a professional valuer, the most common question I receive from clients after submitting a valuation is why my analysis differs from what they found on an AI chatbot.

With the rise of artificial intelligence (AI) over the past five years, the landscape for technology as we know it is rapidly evolving, affecting every industry, including valuations. These days, it is very difficult to escape AI; many use it without even realizing (even a simple Google search uses AI to produce the Gemini summary that appears at the top of the results page). The art market has picked up on this, as is reflected in the recent surge of art tech startups that have emerged post-pandemic. In the valuations field, there are three primary areas heavily incorporating AI: databases for auction results (Artnet, Artprice, MutualArt, etc.), reverse image searches, and, lastly, the (in)famous(?) AI chatbots. Each category deserves its own article, but AI chatbots tend to cause the most confusion, so they will be my focus here. There is currently very little literature on the use of AI chatbots for personal property valuations, especially from the perspective of a valuer.

Why Are AI Chatbots Important?

It is crucial to first briefly outline how AI chatbots operate and what makes them so influential. AI chatbots are having an astronomical impact in reshaping the way users approach research. Nearly 30 years ago, Google and other search engines were revolutionary in collecting and presenting information in an organized format. Fast forward several decades, AI chatbots now go a step further to synthesize collected information by reading its contents for us and summarizing them so that users aren’t required to reference the source material at all. For simple tasks, this can suffice, but for more complex work such as valuations, confusion and errors often ensue when there is no human input to verify AI’s work.

Why do AI Chatbots Make Mistakes?

There is a misconception that because a computer generated an answer, the answer is objective and consistent, but AI chatbots are the first to remind users of accuracy disclaimers. The reality is that chatbots are as accurate as the people who programmed them (these people are not art valuers!), and much like individuals, no two chatbots are the same. This means that when asking multiple chatbots the same question, they will often produce entirely different answers, ranging widely in accuracy. Chatbots are programmed to have different strengths and weaknesses depending on what their programmers prioritized, and some will not engage with valuations at all, (quite wisely) redirecting the user to professional valuers. As a professional valuer, I would even be wary to claim that there is one AI chatbot best for art historical research because the technology is shifting so swiftly that within a week of publishing this article, a recommendation may already be out of date!

When clients ask me about AI chatbots, here is my advice:

Why AI Chatbots Can’t Replace Valuers:

Basic object identification:

For very common household items or famous works of art (think Van Gogh or Picasso), AI chatbots can often correctly identify photographs. However, the moment the artist or subject matter becomes any more obscure, roadblocks begin to appear. As an Asian art specialist, I frequently find that clients misidentify their objects because a chatbot couldn’t correctly identify the materials, country of origin, religious subjects, etc. These tend to be mistakes that human specialists (who identify objects for a living) can remedy immediately.

Dating:

By far the most common issue I encounter with clients is that an AI chatbot told them their object was an antique, when it is in fact a Modern or Contemporary reproduction. The main reason for this error is that chatbots heavily rely on textual information for dating objects, so visual analysis receives little (if any) weight. Some chatbots now provide elementary visual descriptions, but their detail and accuracy are inconsistent and fall short, whereas professional valuers are expected to do both. For Asian antiques and other specialties, this type of error can be detrimental in determining a value.

Comparables:

As mentioned above, AI chatbots are not advanced enough yet to accurately visually analyze a single item, let alone visually compare multiple items, which is a crucial step for selecting appropriate comparables. Chatbots usually rely on text alone, which is insufficient for comp selection; a set of human eyes is required to make this call. AI chatbots may be able to locate links to sales of objects with the same text description, but these often look nothing alike. This type of mistake can be disastrous when chatbots rely on sales data from the wrong comparables to determine the value of an item. Additionally, AI chatbots exclude offline comparables that professional valuers know how to find, which can be crucial in valuations. Mistakes tend to be even more severe for specialized objects.

Market analysis:

Market analysis can be accurate for Contemporary blue-chip artists or other household names, but only for their general market trends, with no further nuance. As expected, for many specialist areas, the technology is not yet robust enough to provide accurate market analysis conclusions. This is due to the lack of visual analysis, chatbots not searching for sources in the correct places, or the inability to analyze results. Collectors still need a professional valuer or advisor to make accurate judgments.

Values:

The above elements all contribute to the value conclusion of an item, and if these steps of the equation are incorrect (which they often are!), there is little chance of accuracy in determining values. Even when these aspects are correct, AI chatbots are not equipped to weigh the nuance of each component.

Not knowing the right questions:

The answers from AI chatbots are only as good as the questions they are given. Collectors often (understandably) do not know which questions to ask, resulting in less helpful AI output. Professional valuers do not need AI chatbots, but if we did choose to consult them, we would produce more helpful information because we have the academic specialism and the professional experience to anticipate the types of queries associated with each type of object. Often, clients receive the wrong information because they do not have the baseline knowledge to use AI chatbots as an effective research tool.

It’s Not All Bad: Pros of Using AI Chatbots:

Object identification for very common objects:

As previously mentioned, very common objects with a large internet presence are usually retrievable on AI chatbots.

Historical information:

For casual research, AI chatbots can be a great way for collectors to learn more about the history of their items.

Signature recognition (sometimes!):

AI chatbots can sometimes help decipher sloppy handwritten signatures. They are not, however, authentication tools, and the AI suggestions given are merely possibilities for what the signatures might say.

Language translation of clearly printed materials:

For modern, clearly printed texts, AI chatbots can sometimes identify the language used or give the user an overall gist of a text, akin to using Google Translate. This usefulness evaporates immediately when applied to handwritten or antiquated texts. As an Asian art specialist, I frequently encounter clients mistranslating texts found on antiques, especially with calligraphy. A professional valuer and/or translator is always necessary to ensure accuracy.

Will AI Chatbots Replace Professional Valuations?

Not anytime soon, and it is currently difficult to imagine a scenario in which AI’s capabilities outperform professional expertise, especially in specialized areas. AI is a tool, not a decision maker. Much like Google, AI chatbots are a fantastic resource for collectors to use for casual interest, but, due to their limited research capacity, frequent errors, and lack of nuance, chatbots are not suitable for valuations and should never override a professional opinion. AI also cannot be held accountable for its errors, whereas professional valuers undergo rigorous training and adhere to strict ethical guidelines that ensure accuracy and responsibility. As a result, insurers, governments on both sides of the pond, and arts institutions reject AI-generated valuations in favor of professional ones, and with good cause.

Although my initials are AI, rest assured my valuations are anything but artificial. If you are searching for a professional valuation, Doerr Dallas is here to help!

Disclaimer: This article reflects current technology and valuation practices as of September 2025 and may not apply in all jurisdictions.

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].