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In the second of a series of publications on London galleries, with the remit being to shed some light on current and future exhibitions, and to take some thoughts on how a cross section of gallerists think that the business of art in London -  and further afield in some cases - might pan out during the course of this coming year, we spoke with industry professionals in and around the the Bond Street area in order to bring you this report.

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Screen Shot 2016 01 20 at 03.34.21Halcyon Gallery

Halcyon Gallery, 144 - 146 New Bond Street and 29 New Bond Street, London W1

Halcyon Gallery was established in 1982 as a platform for inspirational art. The gallery is now based in Mayfair, London and represents a selection of renowned international artists. Together, Halcyon Gallery’s three London spaces and Shanghai space host a diverse programme of contemporary art, showing both established artists and new, emerging talent. A dedicated team specialise in rare masterpieces ranging from Impressionism to Pop Art, working closely with clients to build collections that have emotional resonance and importantly, impeccable provenances.

The current exhibition titled Russell Young, Superstar features a controversial photograph of Kate Moss, first published in British Vogue in early 1990, capturing the Croydon-born supermodel aged just sixteen. Taken by British photographer Kate Garner at the cusp of the nineties, this photograph reflects the very beginning of Moss’s stellar career. By embellishing and expanding upon the outtakes, Young weaves the image into his continuing exploration of the fragile nature of celebrity and its impact on both society at large and our shared internal psyche. Whilst the original image presents a natural innocence and beauty, it is through Young’s manipulation that these paintings are elevated, transcending the restrictions of their original source material and providing a unique and very personal body of work which pays a powerful homage to one of our generation’s most celebrated icons.

Alongside the images of Kate Moss are those of Marilyn Monroe, whose instantly-recognisable features are rendered in both opulent platinum and dazzling gold and imbued with a sense of nostalgia and celebration. Following a decade of austerity in the United States, emerging from the Wall Street Crash and the ensuing Great Depression, Monroe’s rise to fame came to represent a new era of optimism that helped revive the spirits of a nation with her much publicised and often tumultuous love life, reflecting the cultural appetite of the age. Presidents, sporting heroes and writers all fell under her spell, but it was her inherent vulnerability and untimely death that maintains Monroe’s status as the first true superstar. These works set out to serve as both a celebration and an epitaph to the Great American Dream.

Ada Crawshay Jones of the Halcyon team, gave us early access to the Russell Young, Superstar exhibition, which enabled us to take some images of the spectacular Halcyon Gallery space and current exhibition, which you can see below.

The current exhibition at Halcyon Gallery runs through to 14 February. For additional information, visit the website:

Screen Shot 2016 01 20 at 04.12.08Ground Floor - Halcyon Gallery 144 - 146 New Bond Street London, W1

Screen Shot 2016 01 20 at 04.12.31Ground Floor Gallery - Halcyon Gallery New Bond Street London, W1

Screen Shot 2016 01 20 at 04.12.57Works In the current Russell Young Selling Exhibition, Kate Moss Superstar - click here to learn more

Screen Shot 2016 01 20 at 04.13.21View From The Mezzanine

Screen Shot 2016 01 20 at 04.13.53The Mezzanine

Screen Shot 2016 01 20 at 04.14.46The Basement Gallery Space at Halcyon Gallery New Bond Street, W1

Screen Shot 2016 01 20 at 04.15.06Marilyn Monroe, Superstar

Screen Shot 2016 01 20 at 04.30.57The  exterior window presentation for the current Russell Young, Superstar Exhibition at Halcyon Gallery New Bond Street

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Screen Shot 2016 01 20 at 03.34.48Richard Green

Richard Green 147 New Bond Street and 33 New Bond Street

Richard Green is an international family business of great distinction, his two galleries are in the heart of the London art world. For three generations, Richard Green has dealt in traditional and classical Post-War paintings of the highest quality dating from the 17th through to the 21st Century. Forming a collection of paintings is a most interesting and rewarding experience. However, art must be wisely selected with professional advice. Richard Green assists collectors to make their choices, providing the scholarly background to each painting, and advising on framing, hanging, insurance and all other aspects of collecting.

Jonathan Green, CEO of Richard Green Gallery, was upbeat about the year ahead. Asked for his thoughts on current market trends, and where he sees things heading this coming year, he took some time with us to outline his views on how 2016 might perform.

Screen Shot 2016 01 27 at 18.13.06"We’ve had a slow start to the year, but I think there is still plenty of life in the market for traditional super paintings, top quality pieces. We are positive about 2016, we were selling pictures right up until Christmas eve, and we’ve sold 28 of Ken Howard’s pieces from our current exhibition which runs through to 6 February.

We are only three weeks into the year, and we’ve had a somewhat tumultuous stock market which does tend to keep people's hands down, and makes people nervous. When that situation has settled down, people will be more comfortable about making decisions, they are certainly not cashing in. In our view the market is very probably plateauing with an element of leveling-out happening at present.

We have a show coming up consisting of works by Patrick Heron, Ivon Hitchins, William Scott and their circle; 30 years of Modern British paintings between 1945 - 1975, and that’s being staged in May.  We are also dedicating a sizeable and special area in our space at TEFAF (The European Fine Art Fair) in March, where we will be showing 8 – 12 works by the Godfather of Impressionism Eugène Boudin; we are all really excited about that."

You can view the current 'Ken Howard From London to Venice' online presentation here.

For additional information on future events and Fair participation, visit the website:

Screen Shot 2016 01 20 at 04.25.06The front Gallery area of Richard Green, 33 New Bond Street London, W1

Screen Shot 2016 01 25 at 10.36.22Jonathan Green CEO of Richard Green Gallery

Screen Shot 2016 01 20 at 04.24.45'Roses' by Samuel John Peploe c1930 - click here to learn more

Screen Shot 2016 01 20 at 04.24.16Jonathan Green and colleagues at the number 33 Richard Green Bond Street Gallery

Screen Shot 2016 01 20 at 04.23.33The Rear Gallery at Richard Green Gallery - 147 New Bond Street

Screen Shot 2016 01 20 at 04.23.55Mrs Penny Marks - Gallery Director of Richard Green Gallery,147 Bond Street London, W1

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Screen Shot 2016 01 20 at 03.36.14Opera Gallery

Opera Gallery 134 New Bond Street London, W1

Founded by Gilles Dyan in Paris in 1994 and now internationally established with offices in Paris, London, Geneva, Monaco, New York, Miami, Singapore, Hong Kong, Seoul and Dubai. Opera Gallery is one of the leading dealers in modern and contemporary American, European and Asian art with museums as well as private clients worldwide. Offering artworks of exceedingly high quality the gallery has a reputation for excellence, integrity and discretion that it continues to earn by providing a high level of service to understandably demanding clients. Opera Gallery will assess quality and authenticity, evaluate, exhibit, care for, buy and sell art principally for the benefit of the collector.

In a lengthy discussion with New Bond Street Gallery Director Jean-David Malat, he kindly shared his thoughts on Galleries, Fair participation and Online business generation, and where he thought that 2016 might take us. Being an international group, he also gave us some indication as to markets further afield.

Screen Shot 2016 01 26 at 14.21.30"With a Global market turnover heading for $60 billion, 2015 was a very strong year in the art market, of that there is no doubt. And in general for us, it was an amazing year indeed.

Opera Gallery has a strong international presence, which helps a lot when it comes to networking with clients from around the world and in particular with collectors who travel a lot. We have definitely become a 'must-go destination' for our clients who travel in a country where they know we have a gallery. They find some comfort in knowing the gallery, the artists we represent, the art advisors in the galleries, etc. It’s easy and there’s no head ache.

We generally tend to deal mainly in the bigger names in art: from 20th Century impressionists to American Pop Art artists. 65% of our business is based purely on Masterpieces, which remain a safe investment for any wealthy collector. Having said that, we also work with young artists, whom we feel create something special. For example, we recently signed a representation contract with ex tattoo artist Mike Dargas, whom we discovered on Instagram. We’ll be hosting a solo exhibition of his work in London in June and July, and I expect that to be really successful!

Europe has been a good market for us this year, London was one of - if not the - most successful galleries of the group. Our new exhibition space in Paris has been doing very well, especially before the events of November. The Asian market is also strong and represents 30% of our global turnover. We’re doing well there mainly because we are present in Singapore and Hong Kong, both strong market places. These galleries are doing very well indeed, Singapore in particular.

Lately, we tend to be more careful with the temporary exhibitions / Fairs in which we showcase, reducing their frequency and focusing on presenting high quality shows in our galleries. Overall, we find that the collective gallery exhibitions work well for our clients, and for us.

We also work online, only with serious platforms, and we are finding that they do bring an increase of enquiries, therefore generating additional revenue for us. We are still relatively new on that side of the business, so we are really looking forward to seeing how the ‘virtual’ aspect of our business develops in the next few years.

We recently participated in Art Stage Singapore, which was successful for us. We don’t participate in Art Basel, but we do place some of our masterpieces with colleagues and partners present at the Fair. Last year for example, we sold 4 out of the 8 works we had exhibited at Art Basel.

Recently, I listened to an interview saying that fewer and fewer people go to art galleries and instead chose to attend Art Fairs. I cannot say that art collectors walk through our front door all day long, but we have a very interesting and diverse client base, and many of our collectors have walked into our gallery off the street. In fact, some of our best clients have done exactly that.

Art Fairs can be a daunting experience, while at the gallery we have time to give every single client or potential client, the highest level of personal service. And we enjoy and pride ourselves on that aspect of dealing in Art. At Art Fairs, the opportunity to provide that level of service is not always available, as the environment can be quite intense and stressful, both for the dealer and for the collector.

In as far as the 2016 art market is concerned, we are noticing that the contemporary artworks valued between £100k - £300k are a bit more difficult to sell than those above the 1 million level, for example. The mid-range market might become a bit patchy, in terms of sales.

Contemporary art in general remains a very strong field for us, but it’s not our main business. We do work with young up-and-coming artists and like to exhibit those works alongside some of the big names in the contemporary art market; showing a cross section of contemporary works, is a good formula for us.

A lot of the clients I meet in the gallery walked in more or less by chance or curiosity: they start by buying one small and relatively affordable painting, and then they tend to build up their collections, they grow their tastes and collect their way to more important names. Therefore, being able to offer contemporary art works from £20k into the millions is a model that works for us. We also deal on the secondary market with pieces by Kapoor and Hirst for example, and we get some of these pieces through collection dealing.

What’s happening next? We have an exciting exhibition coming up next month, showing an exceptional collection of original works by French modern painter Bernard Buffet. If you are interested in finding out more about him, Nick Foulkes just wrote a great book called ‘Bernard Buffet: The Invention of the Mega Artist’ that is full of anecdotes as well as a historical axis of some of the Mega Artists and Buffet’s body of work.

In general terms, we are very confident for 2016. We will be sticking with our policy of carrying a great collection of masterpieces. Most of our clients still want those safe investments."

For additional information on Opera Gallery and forthcoming events, visit the website:

Screen Shot 2016 01 20 at 04.49.48Gallery View - Opera Gallery New Bond Street, London W1

Screen Shot 2016 01 20 at 04.50.08Gallery View - Opera Gallery New Bond Street, London W1

Screen Shot 2016 01 20 at 04.53.15Gavin BOND, 'Backstage' Image 4 - Volume 1 (2015), 101. 6 x 152. 4 cm

Screen Shot 2016 01 26 at 17.00.44This publication with the kind assistance of Florie-Anne Mondoloni of Opera Gallery, here poised in front of two works by Flore ZOE - Spirit: The bath - 2015 - 187 x 140 cm (on Left) Spirit: 5-6 (2015) 185 x 140cm (on Right)

Screen Shot 2016 01 20 at 04.57.31'Tunnel' by Hans Kotter

 Screen Shot 2016 01 20 at 04.54.46'Love' by Robert Indiana - click here to learn more

Optimized Opera1'Maid' by Marc Sijan (sold)

Screen Shot 2016 01 20 at 04.47.05Jean-David Malat, Gallery Director - Opera Gallery, New Bond Street London, W1

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Screen Shot 2016 01 25 at 15.23.29Hauser & Wirth London

Hauser and Wirth London, W1

Hauser & Wirth is an international gallery devoted to contemporary and modern art, founded in Switzerland by Iwan and Manuela Wirth and Ursula Hauser in 1992. It is now a global enterprise, with spaces in Zurich, London, New York and Somerset, and is due to open in Los Angeles in 2016. The gallery represents almost 60 established and emerging artists, including Mark Bradford, Christoph Buchel, Roni Horn, Paul McCarthy and Pipilotti Rist, and is responsible for artist estates and foundations including the Louise Bourgeois Studio, The Estate of Philip Guston, The Estate of Eva Hesse, The Estate of Allan Kaprow, Mike Kelley Foundation for the Arts, The Estate of Jason Rhoades and the Dieter Roth Estate. Hauser & Wirth has been cited by The Financial Times as ‘the marketplace of ideas’.

Hauser & Wirth London are currently staging two exhibitions. In the North gallery, there is a historical solo selling exhibition of works by Italian artist Fabio Mauri. Organised with Olivier Renaud-Clément, this is Mauri’s first solo show in London for over 20 years, and follows a significant presentation of his work at the Venice Biennale and Istanbul Biennial in 2015. Mauri’s practice spans performance, film, installation, found-object sculpture, mixed media works and theoretical writings to question readings of history and the associated power of language and ideology. ‘Oscuramento: The Wars of Fabio Mauri’ focuses on the series Picnic o Il buon soldato (Picnic or The Good Soldier), a sobering, direct and poetically reflective body of work that depicts the repercussions of conflict on collective cultural memory. The exhibition brings to light the political dimension of the image, as it is projected and proliferates throughout contemporary society.

The 'Maisons Fragiles' selling exhibition being staged in the South gallery, draws together the work of nine artists; a group exhibition exploring themes of fragility, vulnerability and protection as they manifest in a variety of guises. Spanning 60 years of artistic practice, the exhibition includes work by Louise Bourgeois, Alexander Calder, Isa Genzken, Robert Gober, Eva Hesse, Roni Horn, Gordon Matta-Clark, Fausto Melotti and Richard Serra. These artists share an innate sympathy towards architecture and a common preoccupation with materiality; each exploits the properties of their chosen materials – whether that be reflection, transparency or malleability – in pursuit of a mastery of form and space.

Screen Shot 2016 01 28 at 19.38.14Hauser & Wirth have a number of international Directors, and we were delighted to speak with Florian Berktold the Executive Director of the group based in Zurich, Switzerland.

When asked how last year ended up for the London arm of the organisation, and what he thought we can expect in broad terms of the London market for 2016, he said "2015 was a special year for the London gallery, which saw 7 out of 11 exhibitions by female artists." He went on to say, "we had a great year, not only in terms of high visitor numbers in our Savile Row spaces, but also in critical acclaim and commercial success. It doesn't take a prophet to predict that 2016 promises to be an exciting year for London, with the new Tate wing opening in June, and we are very proud to see the first exhibition dedicated to Louise Bourgeois."

It was good to hear that Hauser and Wirth seem to be accentuating a female artistic agenda in the UK. Just the other night, and speaking with a colleague, we both came to the conclusion that ladies in general appear to be underrepresented in the UK’s Market, so we asked Florian if he agreed with our conclusion, and if so, if he perhaps thought that we are long overdue for a period in time when female representation in the UK’s Art Market, is brought to the fore?

"Yes of course. We are still regularly seeing women artists whose auction results do not match up to those of their male peers – when their work is equal, ofttimes better. However, I do tend to find that serious collectors are much more interested in whether the work is good than the gender of the artist. It’s reassuring to see that the quality of the work prevails over all else."

To read the Louise Bourgeois artist biography on the Tate website, click here.

For additional information on international Hauser and Wirth events, Fair participation and gallery opening hours, visit the website:

Screen Shot 2016 01 25 at 15.37.18Hauser and Wirth London  - The North Gallery

Screen Shot 2016 01 20 at 06.27.53 copy copyInstallation view, ‘Maisons Fragiles’ Group Selling Exhibition, South Gallery - click here to learn more

Screen Shot 2016 01 20 at 06.29.01 copy copyInstallation view, ‘Maisons Fragiles’, Hauser & Wirth London, 2015

Screen Shot 2016 01 20 at 06.29.30 copy copy copyFabio Mauri Oscuramento. The Wars of Fabio Mauri Installation view, Hauser & Wirth London, 2015 - click here to learn more

Screen Shot 2016 01 20 at 06.30.14 copy copy copyOscuramento (Darkening), 1975 Room installation; wax figures, table, wallpaper, paintings, various objects and materials Dimensions variable

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Screen Shot 2016 01 19 at 00.00.45PACE Gallery, Burlington Gardens - Entrance via the RA

PACE Gallery 6 Burlington Gardens London, W1

Meeting with representatives of Pace Gallery at Burlington Gardens, all they wanted us to do was to publish their PR stuff which as any savvy reader would know, is long on frosting and short on substance; essentially the kind of stuff only read or believed by morons. Marc Glimcher came down for his PR people, which shows us that he is less than competent with his fact finding ability, which in turn means he probably inherited a company, instead of building it from scratch. We very much doubt whether Larry Gagosian lies awake at night wondering what threat Marc Glimcher poses. They are going to have some great looking stuff in future exhibitions, and if you can put up with their attitude, ask them what they’ve got, if you dare.

Screen Shot 2016 01 18 at 23.59.06Guests at PACE Gallery

Screen Shot 2016 01 19 at 00.00.04The Burlington Gardens PACE Gallery View

Screen Shot 2016 01 19 at 00.01.14Works From The Group John Hoyland, Sir Anthony Caro and Kenneth Noland Exhibition, At PACE Gallery Burlington Gardens

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Again we would like to thank all those who very generously afforded us their time in order that we could bring this, part two of our London Gallery reports to you. In addition, we know that our readers appreciate the various market related insights, provided by a cross-section of some of London's Gallerists and Artistic Directors.

In part three, we speak with representatives of Bernhard Jacobson Gallery, White Cube, Marlborough, Gagosian Gallery and more.

If you would like to sign up to our newsletter, you can do that here.

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Screen Shot 2016 01 21 at 18.50.38The London Issue

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You may also like to read:

* London Calling: Part 1 

* Shed No Tears For Christie's

* Biennale des Antiquaires Merges With Paris Tableau

* A Very Serious Problem For The Stock-Buying Picture Dealer


About the Author

Elliot Lee

Elliot Lee

Elliot Lee founded his antique business in 1994. Having bought his first Antique piece at the tender age of eleven, it has since then been his passion for Antiques, Fine Art, and aesthetically beautif...