We specialise in contemporary painting and textile-based art. We work with artists whose integrity we admire and whose skill and determination we aspire to emulate. While trying to stay current we also try to support our gallery artists through changing times, as fashions come and go, and demands change.

As crowd-pulling spectacles, Cornelia Parker’s celebrated room-sized suspended installations will guarantee the popularity of this major retrospective.

The sizeable British art collection of Sir Nicholas Goodison, who died last year aged 87, was auctioned at Christie’s London on Wednesday May 25. The sale total was a healthy £7,996,212.

Browse & Darby was established at 19 Cork Street in 1977, by Lillian Browse and William Darby. Browse, an eminent art dealer and art historian nicknamed ‘the Duchess of Cork Street’, had previously run a gallery since 1944 in the same premises.

Scots/Irish artist William Crozier (1930-2011) established his reputation as one of the leading artists of his generation in post-war Britain with a remarkable series of landscape paintings produced from 1958 to 1961.

Suddenly Glyn Philpot – 100 years ago the darling of London society for his Veronese-style portraits of the rich and the titled – is again getting the attention he deserves.

When the Bloomsbury gallery Austin/Desmond Fine Art, long-standing exhibitors at the British Art Fair, decided to run a major retrospective covering seven decades of Sir Terry Frost’s printmaking practice, there was little doubt as to who might curate it.

Ramsay Fairs is delighted to announce that the company has purchased British Art Fair from Robert and Johnny Sandelson and this revered art fair will join their portfolio of art fairs with immediate effect …

‘There is no beauty except in strife, and no masterpiece without aggressiveness’, stated the painter, etcher and lithographer CRW Nevinson, in a 1915 interview in The Daily Express, illustrated by an image of the painting Returning to the Trenches, on which this 1916 drypoint print, of the same title, is based.

There was a push-me-pull-you tension about the British art scene between the two world wars, posits art historian Frances Spalding, in her fine new book The Real and the Romantic.