British Art Fair

British Art Fair BRITISH ART FAIR 2025 | 34th Edition | 25 - 28 September | Saatchi Gallery London. The result is a niche event of the highest quality.

Founded in 1988, British Art Fair is the only fair dedicated to Modern and contemporary British art. Each year, fifty leading dealers exhibit paintings, drawings, prints and sculptures covering all the important artistic movements of the past 100 years: from the early modernists to the YBAs to contemporary street art. Most of the great names of 20th century British art are represented: Bomberg, F

reud, Frink, Frost, Hepworth, Hockney, Lowry, Moore, Nash, Piper, Riley, Spencer and Sutherland alongside contemporary names such as Grayson Perry, Banksy and many others of the 21st century. Much of the work is privately sourced and fresh to the market and dealers keep work back for the fair. NEXT EDITION: Autumn 2023, Saatchi Gallery, London (TBA)

Portland Gallery are presenting a new exhibition of over forty five works by the late Ken Howard OBE, RA (1932-2022).  D...
24/01/2025

Portland Gallery are presenting a new exhibition of over forty five works by the late Ken Howard OBE, RA (1932-2022).

Drawn from Life presents the artist’s passion for en plein air painting, both in oil and watercolour. Inspired by the Impressionists, light was a crucial element of painting for Howard. His celebrated contre-jour technique can be found through his landscape and figurative works, where his observations of the bright morning light and contrasting shadows from the evening sun dramatically alter the perception of a setting.

Howard habitually painted amongst busy city streets and coastlines, which allowed him to capture the atmosphere of a place with a natural spontaneity. Paintings from visits across Italy, France and the UK will be shown, including a number of Cornish coast scenes such as Sennen evening and St Michael’s Mount, Morning. Harbours and shipyards, another favoured setting of Howards, will also be featured, including Arbroath, Scotland, painted in 1957 (while still a student at the RCA) highlights the early fascination Howard held with maritime and industrial subjects, a theme which continued throughout his career.

The exhibition runs at from 30 January - 14 Feb at Portland’s Bennett Street gallery, London.

1. St Michael's Mount, 1989, Oil on canvas.
2. Arbroath, Scotland, 1957, Oil on canvas.
3. Tuscany, 2009, Oil on board.

Seasons greetings!⁠From all the team at British Art Fair, we'd like to wish you a joyful and happy holiday season. ⁠    ...
25/12/2024

Seasons greetings!⁠

From all the team at British Art Fair, we'd like to wish you a joyful and happy holiday season.

 are currently exhibiting selected works by members of the New English Art Club ( ). The NEAC is a society devoted to re...
23/12/2024

are currently exhibiting selected works by members of the New English Art Club ( ). The NEAC is a society devoted to representational art rooted in the visual world. At the heart of the NEAC is the search of meaningful, resonant art, and is committed to authenticity through the observation of life.

Founded by a group of artists dissatisfied with the entrenched values of the Royal Academy, they mounted their first show in 1886 including paintings by George Clausen, Walter Sickert and Stanhope Forbes. During the late 19th and early 20th century the New English grew steadily in influence and in the 1920s Stanley Spencer, Paul Nash, Duncan Grant and Mark Gertler were all members. Today, the NEAC offers a nationwide programme of exhibitions and an acclaimed School of Drawing, as well as three annual Scholarships to support those facing financial barriers in pursing the arts as a profession.

The exhibition’s title, ‘Birds over Sea’ is inspired by an artwork of NEAC member Grant Watson, evoking themes of freedom, movement, and vastness - echoing the diverse styles and subjects on display. The interplay between nature and the sea invites reflection on exploration, perspective, and the fleeting beauty of life.

Visit the exhibition at 155a’s East Dulwich gallery until 12 January.

1. Grant Watson, Birds Over Sea, 2024. Charcoal, pastels and acrylic on paper, 30 x 35cm
2. Tom Benjamin, Towards Cuckmere from Hope Gap. Oil on canvas, 46 x 36cm
3. Victoria Jinivizian: Listening to Iris and Sargy. Oil on gesso panel, 25 x 29cm

 are currently exhibiting selected works by members of the New English Art Club (). The NEAC is a society devoted to rep...
22/12/2024

are currently exhibiting selected works by members of the New English Art Club (). The NEAC is a society devoted to representational art rooted in the visual world. At the heart of the NEAC is the search of meaningful, resonant art, and is committed to authenticity through the observation of life.

Founded by a group of artists dissatisfied with the entrenched values of the Royal Academy, they mounted their first show in 1886 including paintings by George Clausen, Walter Sickert and Stanhope Forbes. During the late 19th and early 20th century the New English grew steadily in influence and in the 1920s Stanley Spencer, Paul Nash, Duncan Grant and Mark Gertler were all members. Today, the NEAC offers a nationwide programme of exhibitions and an acclaimed School of Drawing, as well as three annual Scholarships to support those facing financial barriers in pursing the arts as a profession.

The exhibition’s title, 'Birds over Sea' is inspired by an artwork of NEAC member Grant Watson, evoking themes of freedom, movement, and vastness - echoing the diverse styles and subjects on display. The interplay between nature and the sea invites reflection on exploration, perspective, and the fleeting beauty of life.

Visit the exhibition at 155a's East Dulwich gallery until 12 January.

1. Grant Watson, Birds Over Sea, 2024. Charcoal, pastels and acrylic on paper, 30 x 35cm
2. Tom Benjamin, Towards Cuckmere from Hope Gap. Oil on canvas, 46 x 36cm
3. Victoria Jinivizian: Listening to Iris and Sargy. Oil on gesso panel, 25 x 29cm

At the end of November,  opened a new exhibition of works by Emily Young following a monumental year in her career, incl...
20/12/2024

At the end of November, opened a new exhibition of works by Emily Young following a monumental year in her career, including a major exhibition during the Venice Biennale and the release of an impressive survey by Jon Wood, published by Lund Humphries.

The exhibition is comprised of twenty sculptures and features a previously unexhibited monumental onyx disc titled Babylon, reminiscent of the view of Earth from space. Fascinated by the relationship between the great beauty and inevitable tragedy in being human, Babylon is particularly poignant at a time of such political and environmental turmoil.

Young’s work seeks answers about humanity and society. She scours texts on anthropology, philosophy, archaeology, psychology, geology and astronomy, and uses classical iconography found in mythological and religious sources, anchoring to the idea of origins. Opting to free carve rough-hewn stone and with no preparatory sketches or models to reference from, Young instead sensitively works away at the surface of the stone to reveal the layers built up over thousands of years. Her work is as much about the rock and the unique geological history of each piece of stone she works with as it is about the human form.

British Art Fair has been delighted to have exhibited Emily Young’s works with Willoughby Gerrish over the years, and in 2022, two works, Earth Dreamer I and Earth Dreamer II acted as a dramatic welcome to the fair and were erected in Duke of York Square and outside Saatchi Gallery.

The exhibition at Willoughby Gerrish is on view until 31 January at their Savile Row gallery in London.

1. Installation view of Emily Young at Willoughby Gerrish, Savile Row
2. Emily Young, Babylon, 2023, Onyx, 86 x 84 x 5 cm
3. Installation of Emily Young at Willoughby Gerrish, Savile Row

Over the past four decades, Osborne Samuel has promoted the work of the Grosvenor School Artists; modernist pioneers, wh...
17/12/2024

Over the past four decades, Osborne Samuel has promoted the work of the Grosvenor School Artists; modernist pioneers, who redefined British printmaking. A pioneering authority in the field, Osborne Samuel has been instrumental in bringing the linocuts of the Grosvenor School to a contemporary audience, ensuring their legacy endures with consistent worldwide interest.

‘Cut, Ink, Press: Grosvenor School Linocuts’, the current exhibition at Osborne Samuel, explores the way in which five artists - Claude Flight, Sybil Andrews, Cyril Power, Ethel Spowers and Lill Tschudi - transformed the practice of linocutting into a powerful visual language, capturing the energy, rhythm, and motion of the early 20th century. The development of linoleum in the late 19th century as an affordable, durable flooring option, aligned perfectly with Claude Flight’s ambition of making linocuts accessible and affordable. Through his teachings at the Grosvenor School, linocutting developed into a democratic art form and opened printmaking to a wider audience.

Flight and his students embraced the boldness of linocuts, seeing its clean lines and bold colours as an ideal vehicle for representing the speed and movement of modern life. Inspired by the Vorticist, Futurist, and Cubist movements, the Grosvenor School artists created a body of work that is vibrant and dynamic, and brought an abstract yet kinetic perspective to scenes of bustling urban life.

The exhibition is on view until 23rd December at Osborne Samuel’s Dering Street gallery, London.

1. Claude Flight, Mother and Child, 1929, Linocut on thin cream oriental laid tissue
2. Cyril Edward Power, Corps de Ballet, 1932, Linocut on oriental laid tissue
3. Sybil Andrews, Concert Hall, 1929, Linocut on buff oriental laid tissue

While Christie’s did not have a mixed property Modern British art sale this winter, they did secure the collection of le...
15/12/2024

While Christie’s did not have a mixed property Modern British art sale this winter, they did secure the collection of leading dealers in Irish and British art, Alan Hobart of the Pyms gallery and his wife Mary, both recently deceased, which they sold on 19 November. By pitching the art with sensible estimates, the auction sold 95% of the 200 lots and made some £6 million including buyer’s premium - over double the presale estimate of £3 million.

Because so many of the works had been bought before at auction, it's possible to see where Hobart had second guessed the market and where he had not. Occasionally, something made less than Hobart paid, but on the whole the gains outweighed the losses.

Read the full issue for key sales including the highest price of the day for O’Connell Bridge, 1925, by Jack Butler Yeats - the highest for Yeats in give years according to Artnet, a Sean Scully watercolour, an early Patrick Heron painting, Still Life with Tin Jug, 1946, and a number of oils and works on paper from Hobart’s favourite Irish artist, Sir William Orpen.

Head to the link in bio to read BLAST 21

There’s one week left to visit The Redfern Gallery’s landmark exhibition ‘Peter Sedgley: 5 decades’, the first retrospec...
12/12/2024

There’s one week left to visit The Redfern Gallery’s landmark exhibition ‘Peter Sedgley: 5 decades’, the first retrospective survey of Sedgley’s work since 1996.

Born in London in 1930, he studied architecture and building work. As a young architect, he was was tasked with the rebuilding of post-war Britain, but resigned in protest against what he perceived as attempts to simply recreate, rather than innovate. He then served as a radar technician in the RAF and was a founding member of a design and construction cooperative, he embarked upon a career as an artist.

Self-taught, Sedgley developed an early interest in colour theory, influenced by Goethe and Klee, and in his large scale paintings sought to “establish a tonal range following the chromatic order, so that a pure colour can be equated tonally with a mutated colour”. When unveiled at his first solo show, the works were sold to the Tate as well as the Arts Council of Great Britain. Just a year later, he was included in The Responsive Eye, at the MoMA in New York, a seminal show that heralded a new trend in modern art soon to become known as Op Art. Indeed, Jasia Reichardt, former director of Whitechapel Gallery, London, once noted that 'Peter Sedgley is the only British artist to have been associated with all of the movements dealing with illusion in the 1960s…Op art, kinetic art and light art.’

Sedgley’s extraordinary dynamism - working with paint and light, glass and the natural elements - has secured his place as one of the leading exponents of Op Art as a field of practice and of contemplative thought. In the exhibition catalogue, Dr Omar Kholeif writes: "Like everything Sedgley does, his art is not merely restricted to the domain of a specific type of picture-making. To consider his influence art historically one must acknowledge that Sedgley is an architect who builds worlds”

'Peter Sedgley: 5 decades', developed in dialogue with the artist, his family, and several long-standing creative interlocutors, is on until 19th December.

1. Energy, 1980, Acrylic on linen, 150 x 150 cm
2. Cryptic, 1982, Acrylic on linen, 120 x 120 cm
3. White Kinetic Light Work , c.1980, Mixed media, 70 cm diameter

This month BLAST is covering the flurry of Modern British and Irish art sales during the Autumn season in two issues. BL...
11/12/2024

This month BLAST is covering the flurry of Modern British and Irish art sales during the Autumn season in two issues. BLAST #20, focuses on Sotheby’s, which seemed to send out an ominous message to the market. Out later this week, #21, incorporates the subsequent action at Christie’s and Bonhams in which the danger signs were averted.

On Thursday 14 November, the Christmas lights were going up in the West End of London, while crowds of pedestrians were excitedly Instagramming views of glittering shop fronts and arcades. Outside Sotheby’s, Searcy’s was dispensing champagne from a vintage Rolls Royce, but inside, where some hefty prices were being sought for Modern British art, the mood was not so festive.

In this issue, BLAST spotlights some notable results, including a bumper return reaped by The Bean Harvest by Canadian born Helen McNicol, which was only discovered in October this year on the BBC’s Fake or Fortune? Going up substantially was L.S Lowry’s Glasgow dock yard scene, Queen’s Dock, 1947, last at auction in 1976 when it sold for a £4,600 hammer price. Now estimated to fetch one hundred times that at £400,000 – 600,000, it did so, but only one bid over the low estimate again to bring £504,000.

However, not everything was reaping gains. Sotheby’s results also placed a serious question mark over the Leon Kossoff market and how his work is valued at present. Though prices have been advancing gradually since his death in 2019, at this sale two paintings in the £250,000 - 300,000 range were withdrawn for lack of pre-sale interest, and while two out of thee drawings found buyers, neither sold at the level estimated. Moreover, while Sir John Lavery’s The Bathing Hour, the Lido, Venice, 1912, was only recently on view in the ‘Lavery on Location’ exhibition at at the National Galleries of Ireland and Scotland but could not find a buyer at £520,000.

Cover: Duncan Grant, Portrait of Vanessa Bell
Helen Galloway McNicoll, The Bean Harvest
Laurence Stephen Lowry, Queens Dock, Glasgow
Images courtesy Sotheby's

Tate Modern’s engaging new show Electric Dreams examines how groups of innovative artists used science and technology in...
07/12/2024

Tate Modern’s engaging new show Electric Dreams examines how groups of innovative artists used science and technology in their practice between the end of WW2 and the advent of the internet.

A fusion of earnestly serious ideas and participatory enjoyment runs through the exhibition, with fifteen rooms filled with installations and films. Carlos Cruz-Diaz’s Chromoinferent Environment (1963) is a case in point: a room saturated with fluorescent pale blue light, in which you are invited to kick or throw large balloons around, in order to ‘reactivate or awaken, through elementary manifestations, the dormant perceptions of a hyper-baroque society.’

Other highlights include Marina Apollonio’s Circular Dynamics 6S + S II (1968-70), a flat rotating disc of black and white lines, which tricks the eye into thinking it is three dimensional; Alberto Biasi’s Light Prisms, Spectral Kinetic Mesh (1968), in which light beams are refracted through rotating prisms, and Francois Morellet’s Random distribution of squares using the π number decimals, 50% odd digit blue, 50% even digit red (1963), in which a room is wallpapered with eye-popping cubes of red and green.

They certainly knew how to title their works, those heady-sixties artists, while happily mining the rich seam of creative possibilities provided by the post-war explosion of exciting new technologies.

It all leaves your wondering why cutting edge art is no longer so popular with the public. And, if you’re an optimist, licking your lips in anticipation about what a new generation of artists will come up with, now they’ve got increasingly sophisticated generative artificial intelligence programmes in their toolkit.

Read the full British Art News review of Electric Dreams via the link in bio



1. Carlos Cruz-Diez, Environnement Chromointerférent, Paris, 1974/2018
2. Marina Apollino, Dinamica Circolare 6S+S, 1966
3. Alberto Biasi, Light Prisms (Cinereticolo spettrale), 1962-1965
4. François Morellet, Random distribution of squares, 1963, and Julio Le Parc, Double Mirror, 1966, installation view in Electric Dreams, Tate Modern, 2024

 are currently recognising their 20th anniversary with a special exhibition both online and at their Eastbourne gallery....
04/12/2024

are currently recognising their 20th anniversary with a special exhibition both online and at their Eastbourne gallery. Twenty years ago Emma took a stand at the first Brighton Art Fair with a selection of original prints by Robert Tavener, and twenty years on is still representing many more fantastic British printmakers and ceramicists - many of which are included in the latest exhibition 'Celebration!'.

Emma Mason befriended Tavener a year before his death and took on the task of managing his vast artistic estate, and tirelessly promoting his work. Tavener, who died in 2004, grew sick of the public’s misunderstanding of the art of printmaking, and the reduction of its value derived from the fact that in its purest form there is no original piece. Tavener, however, saw that the beauty of hand-printing lies in the subtle differences in every image. Mason recently teamed up with Towner Eastbourne (to whom the artist bequeathed a large collection) to put on the exhibition Robert Tavener: Shape, Matter, Form, the Art of Printmaking at the Sussex public gallery, which closed on November 3.

Celebration! also includes a selection of works from other printmakers supported by the gallery including: Peter Green, Bernard Cheese, Denise Hoyle, and Charles Shearer; and ceramicists Lindo & Brookes, Katrin Moye, Zeba Imam, and Anne Barrell.

1. Robert Tavener, Silent Service AP, 1955, Lithograph, 36cm x 50cm
2. Bernard Cheese, Quayside 8/10, c. 1960, Lithograph, 47cm x 52cm
3. Zeba Imam, Palimpsest vase (No 6), 2024

This week, Co-Founder and Director Gay Hutson has shared her memories of 40 years running art fairs in a guest article f...
25/11/2024

This week, Co-Founder and Director Gay Hutson has shared her memories of 40 years running art fairs in a guest article featured in the Society of London Art Dealers newsletter, the longest being British Art Fair which she started in 1988.

British Art Fair was founded on the premise that Modern British Art (apart from Henry Moore, Barbara Hepworth, Francis Bacon, Lucian Freud, and Ben Nicholson) was undervalued and needed a flagship. The first fair had the support of around fifty dealers, a number of which exhibited in the 2024 edition, including Austin/Desmond, Whitford Fine Art, and Duncan Miller.

Gay reflects on the difficult years during the recession of the early 90's, followed by the meteoric rise of interest in art fuelled by the advent of the YBA movement and success of Tate Modern in the mid 90s - British Art Fair rising with this. Featuring some memorable moments over three decades, including special opening guests from Jilly Cooper to Jeremy Paxman, fire alarms at the Royal College of Art venue, and an early edition located in a basement space below a Kentucky Fried Chicken in Oxford Street, Gay shares the trials and tribulations of her art fair career.

Over the last 36 years, Gay has nurtured a unique characteristic of the fair, which remains at its heart today - "mixing larger market dealers with smaller aspiring galleries - all exploring the rich seam of neglected talent alongside better known galleries. Over the years, the fair has helped raise the profile of Modern British art and has consistently enjoyed the support of leading dealers".

📷 Gay Hutson and Bunny (Angela) Wynn on the fair’s 21st anniversary

To read the full article head to our link in bio.

A tribute to Frank Auerbach, one of the great artists of his generation. Born in Berlin of Jewish parents, Auerbach was ...
15/11/2024

A tribute to Frank Auerbach, one of the great artists of his generation.

Born in Berlin of Jewish parents, Auerbach was sent to school in Britain at just seven years old to escape N**i persecution. His parents, who remained behind, were killed at Auschwitz. After the war Auerbach made his way to London to study at St Martin's School of Art, as well as studying with David Bomberg in night classes at Borough Polytechnic, and emerged during the 1950s as a revolutionary and inventive artist.

An Auerbach painting warrants being inspected from different distances, and angles, revealing fresh secrets from each viewpoint. Faces and forms appear and disappear in the artful churn of contour and colour. These are complex, multi-layered pieces that sometimes took years to paint.

Revealed in a rare BBC interview given in January this year, Auerbach was still painting seven days a week, 52 weeks a year, dividing his time between a studio in his house in Hackney, and his long-term space (which he has used for 70 years) in Mornington Crescent. A sharp and candid interviewee, he commented – when asked why he is quite so dedicated to his art – simply that ‘it’s far more fun than doing anything else’.⁠

British Art Fair has been honoured to showcase many of Frank Auerbach’s works over the past three decades from numerous exhibitors, including Castlegate House, James Hyman, Julian Page, and Tanya Baxter Contemporary, and we look forward to continuing his legacy in the years to come.

Frank Auerbach, Study after Titian I, Oil paint on board, 1965. Courtesy of Tate, London

Has Long and Ryle got bigger?No, the Pimlico gallery hasn’t had an extension: they are currently showing the latest exhi...
05/11/2024

Has Long and Ryle got bigger?

No, the Pimlico gallery hasn’t had an extension: they are currently showing the latest exhibition of the painter John Monks, a modern master of perspective. Nearly filling the far wall is a huge oil painting – featuring the interior of the dining room of a grand mansion, dominated by a chandelier – which leads the eye to a backlit open doorway on the far side.

Unlike the chic gallery, the imaginary room is in a mess: more a case of derelict than faded grandeur, as if Miss Havisham had just nipped out to make a cup of tea. The painting draws you towards it: you feel like you could walk into it, then walk through it, treading ever so carefully. What lies beyond that mesmerising doorway?

‘Palette’ is the seventh exhibition Long and Ryle has held of John Monks’ work, over a 22-year period. Monks’ interiors and landscapes need to be seen in the flesh to appreciate the extent of their dark beauty. The interplay of tones and colours emanating from his wild, impasto brushstrokes; the complementary contrast of rough and smooth, dark and light; the crafty use of glazes to create that space-defying depth of field.

The paintings are unpeopled, which adds to their mystery: a grey building seen through a hollow of trees; a grand piano angrily strewn with a clutter of music scores; a four-poster bed shy of its mattress. There are paintings within the paintings, landscapes within the interiors. Move real close, and you realise each piece could be cut into sections, jumbled up, and presented as a series of abstract-impressionist works.

Palette runs until January 10

British Art Fair exhibitor  is celebrating twenty five years of art dealing this week with an online exhibition. To also...
01/11/2024

British Art Fair exhibitor is celebrating twenty five years of art dealing this week with an online exhibition. To also mark their special anniversary, the gallery are offering a 25% discount on all works included in the exhibition to the first five purchasers. ⁠

Founded in 1999, and based in St James’ and Mayfair for the majority of the last quarter of a century, the gallery has shared the same founding principle as British Art Fair, and champions British art with a particular focus and speciality in 20th Century British and figurative art. The gallery has played an instrumental role in promoting art since the Second World War, and has presented numerous important historical exhibitions of the Geometry of Fear sculptors, the Kitchen Sink painters, The School of London; and British Pop Art. ⁠

As well as major group shows, the gallery has also presented solo shows from numerous leading Modern British artists including Francis Bacon, Edward Burra, Lucian Freud, Bridget Riley, Eduardo Paolozzi, as well as supporting a younger generation of figurative painters such as Lewis Chamberlain and Ben Spiers. ⁠

To view the exhibition, head to our link in bio. ⁠

Leon Kossoff (1926 - 2019), Rosalind II, 1980, Charcoal and coloured chalk on paper, 100.3 x 68.2 cm⁠

Robert Medley (1905-1994), Self Portrait, c. 1950, Oil on canvas, 33 x 22.9 cm⁠

Peter de Francia (1921-2012), Lavender distillery with worker, 1956⁠
Oil on canvas, 41 x 30.5 cms⁠

Images courtesy James Hyman Fine Art⁠

British Art Fair exhibitor  is celebrating twenty five years of art dealing this week with an online exhibition. To also...
31/10/2024

British Art Fair exhibitor is celebrating twenty five years of art dealing this week with an online exhibition. To also mark their special anniversary, the gallery are offering a 25% discount on all works included in the exhibition to the first five purchasers.

Founded in 1999, and based in St James’ and Mayfair for the majority of the last quarter of a century, the gallery has shared the same founding principle as British Art Fair, and champions British art with a particular focus and speciality in 20th Century British and figurative art. The gallery has played an instrumental role in promoting art since the Second World War, and has presented numerous important historical exhibitions of the Geometry of Fear sculptors, the Kitchen Sink painters, The School of London; and British Pop Art.

As well as major group shows, the gallery has also presented solo shows from numerous leading Modern British artists including Francis Bacon, Edward Burra, Lucian Freud, Bridget Riley, Eduardo Paolozzi, as well as supporting a younger generation of figurative painters such as Lewis Chamberlain and Ben Spiers.

To view the exhibition, head to our link in bio.

“I work towards such an interdependence of parts that nothing could be added or taken away: a kind of absolute. When it ...
24/10/2024

“I work towards such an interdependence of parts that nothing could be added or taken away: a kind of absolute. When it happens, the eye and the spirit join up, just at the ear and soul do when you listen to a fine song” - John McLean

The Fine Art Society, winners' of this year's 'Best Curated Stand' at British Art Fair, are currently showing 'Pleasure Garden', an exhibition of works by John McLean. Regarded as one of the outstanding abstract painters of his generation, John McLean, who died in 2019, left a rich and substantial legacy, with colour, form, and space at the core of his work.

Works spanning four decades of McLean’s career are on show, marking a route from expansive gestural abstraction to delineated geometry. Ranging from works on paper, to sculpture, the exhibition deftly highlights the cohesion of his work, and emphasis on visual spaciality across large and small scales, in two and three dimensions.

Visit the exhibition at The Fine Art Society's Edinburgh gallery until 9 November.

John McLean, Pleasure Garden, 1998/2003, acrylic on canvas, 28 ¼ x 54 ¾ inches. Image courtesy The Fine Art Society

Address

Camden Town

Alerts

Be the first to know and let us send you an email when British Art Fair posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Contact The Establishment

Send a message to British Art Fair:

Videos

Share

Category

Our Story

Established in 1988, #BritishArtFair is the only fair to specialise in Modern and Post-War British art presenting an unrivalled section of works by 20th century giants such as: Bacon, Freud, Frink, Frost, Hepworth, Hitchens, Hockney, Hodgson, Lanyon, Lowry, Moore, Nash, Piper, Riley, Scott, Spencer and Sutherland. Alongside there is also a large selection of contemporary work by established British names from the YBA generation such as Hirst, Emin and outsider artists like Banksy. The leading dealers showing at the fair are only too happy to share their knowledge with visitors. A number exhibited at the first Fair back in 1988. Andrew Lambirth, the highly respected art critic of The Spectator wrote: 'The only art fair I make an effort not to miss is the 20/21 British Art Fair ... It's the only gathering of dealers I find really enjoyable and inspiring, with a wide range of high-quality Mod Brit on show, some of which even manages occasionally to seem affordable'.

The next Fair will be held at Saatchi Gallery 3 - 6 October 2019 .