Published: 19 January 2021

Its all a matter of perspective!

While Robert Kelsey sits in his studio, his mind is drawn to sunnier times. He picks up his brushes and paints a world that is beautiful, warm, peaceful and safe.

Be that wandering down the wide open space of a deserted Scottish beach or soaking up the rays with the sea breeze coming in from the Mediterranean and gently rustling the trees as he explores the craggy Cala Esmerelda beach

I on the other hand had this view on Saturday!


Published: 15 January 2021

Enjoy this new video taking you through 'The Year Ahead: London Art Fair 2021' at Thompson's Gallery London.

View the entire exhibition HERE

'The Year Ahead: London Art Fair 2021' - Online 18th January - 6th February 2021

Thompson's Gallery London, 3 Seymour Place W1H5AZ

E: enquiries@thompsonsgallery.co.uk T: +44(0)2079353595

Video created by Pardon Our French - visit their website here.


Published: 8 January 2021

Thompson's Gallery proudly present 'The Year Ahead', an online group exhibition in partnership with London Art Fair 2021.

Instead of debuting on the stand at Islington Business & Design Centre, this year's incredible selection of paintings and sculpture will be staged behind locked doors at Thompson's London on Seymour Place. 

The gallery and fair, along with Artsy.com, will provide an abundance of artwork photos, footage and information - bringing audiences as close to the artworks as possible.

'The Year Ahead' capitalizes on the start of a very strong exhibition program at both London and Aldeburgh galleries, showcasing many who will have solo or group exhibitions in 2021. This exhibition also presents artists whose shows were impacted by the lockdowns of 2020.

Enjoy and engage with our amazing array of painting and sculpture, as we kick off 2021 as 'a fresh start, with fresh art'.

'The Year Ahead: London Art Fair 2021' | 18 January - 6 February 2021 | London, 3 Seymour Place W1H5AZ

Email enquiries@thompsonsgallery.co.uk with all questions and interest.

Telephone: +44(0)2079353595


Published: 23 December 2020

Oh the weather outside is frightful,
But the fire is so delightful,
And since we've no place to go,

Well you do actually! We are open in Aldeburgh for a day and a half more! Then sadly Tier 4 from Boxing day. But we will be answering emails and phones in the gallery during the week.

For those that cant travel, during the festive period and while in Tier 4 restrictions, I have had a walk round the gallery and taken a few happy snaps, see below, we are functioning fully online so if you see something you like, drop us an email!

Most works can be viewd here http://www.thompsonsgallery.co.uk/exhibition.php/CHRISTMAS-EXHIBITION-311/

There are however some new arrivals and other works mixed in so if you see anything that takes your eye, email; graham@thompsonsgallery.co.uk

Happy Christmas and stay safe one and all

Thompsons Gallery Aldeburgh.


Published: 1 December 2020

Thompson's Gallery London is thrilled to announce the countdown to Christmas with our 'Advent Art Window', featuring a new artwork at the centre of our wreath daily.

Passersby will enjoy an array of surrounding sculptures as well, changing with the main artwork to optimum Holiday inspiration.

(Above: Day 1 of the 'Advent Art Window' kicks off with James Fullarton's 'Sunny Garden' from his 'Shelter-in-Paint' solo exhibition, running through to the Christmas closure on 23rd December. Explore the Fullarton exhibition HERE)

Thompson's are proudly OwnArt registered, offering successful applicants to take their artwork home immediately while payments across 10 months settle the total, interest-free. Click here to learn more about the OwnArt scheme.

(Above: Angela Hunter's jolly bronze resin penguins peer out from the 'Advent Art Window' - £900 each, edition of 15. CLICK HERE for more information about Hunter's penguins).

Follow the 'Advent Art Window' countdown on our Instagram page, updating daily with the new artwork photo. Follow @thompsonsgallery

For more information about the 'Advent Art Window', OwnArt, our any artwork gifting ideas in the ramp up to Christmas, get in touch.

Email: enquiries@thompsonsgallery.co.uk  

Call: +44(0)2079353595  

Browse and Buy: www.thompsonsgallery.co.uk

Visit: 3 Seymour Place London W1H5AZ (Open to public again from 2nd December, with COVID measures in place)


Published: 27 November 2020

Thompson's Gallery London will be welcoming visitors back with 'Shelter-in-Paint', a milestone moment, marking James Fullarton's 20th solo exhibition with Thompson's Galleries since the painter's debut exhibition in 2000. 

Open initially for private appointments and then in-person from December 2nd, the exhibition takes place 24 November - 19 December 2020. This exhibition's title points to the most pivotal year history has seen in a generation, an oil painter's manifestation of the 'work from home' mandate.

Enjoy the in situ shots from the London gallery in this post, and explore the entire exhibition on the Thompson's website HERE.

Always finding inspiration from life, Fullarton brings his bountiful palette and expressive strokes to every surface, articulating a kaleidoscope of colours in his tended flowers, the leaves, branches and sheds of the garden.

Visitors are welcome by walk-in (from december 2nd) or appointment, with sanitiser and distancing measures in place. Get in touch with questions and interest, by emailing enquiries@thompsonsgallery.co.uk or dialing +44(0)207 935 3595.


Published: 20 November 2020


Thompson's Gallery, Aldeburgh are delighted to be able to hold our annual Christmas Exhibition which is a wonderful opportunity to show paintings and sculpture by over 25 different artists, both old and new, connected to the gallery from  the 20th and 21st Century. In a time when going to a public exhibition or art gallery is more of a challenge than usual we are excited to be able to offer an opportunity to view online a large variety of artwork to enjoy and buy.   We are hoping that lockdown will be lifted by the 3rd December so that viewing will be possible in the gallery. 

Among the highlights from the exhibition is a lithograph by Henry Moore 'Reclining Woman', a fantastic example of the series and a studio proof. We are also showing several John Piper originals as well as work by Peggy Somerville and Hugh Boycott-Brown who both so loved East Anglia and have transferred this affection to the works in the exhibition. Fred Yates 'Cornish Cottage Interior' is also among the pictures to be viewed, showing the rich use of paint and the strong colours he favoured. To go over to the more contemporary artists we have the sculptor Gus Farnes and painters Mike Healey, James Tweedie and Simeon Stafford. Tessa Newcomb, Jo Taylor and Kate Giles are also contributing to the show and we welcome back Jessica Cooper and a new artist to the gallery, Jeff Powell.

We are also pleased to be able to exhibit work by two veterans of the art world; Fred Cuming and Padraig Macmiadhachain who have over the years produced wonderful pieces and given us all so much pleasure.  We have a beautifully ethereal winter landscape by Cuming, described by many as the foremost landscape artist of our age, and a in complete contrast in style and medium, the abstract 'Afternoon, Marakesh' by Macmiadhachain. Fred Cuming is of course still painting even though he turned 90 this year.

Should lockdown be lifted by the 3rd December we welcome 8 visitors at a time in the gallery and are following all government guidelines to make it safe to come and enjoy our celebration of Christmas.

John Piper 'Untitled 1992 (Plantpots)

Peggy Somerville 'Aldeburgh with Martello Tower'

Henry Moore 'Reclining Woman I'

Simeon Stafford 'Fresh Fish for Sale, Crag Path, Aldeburgh'

Harry Becker 'Cutting Hay'

Jessica Cooper 'Dark Green Lily'


Published: 13 November 2020

Scorched Ash Vessel by Richard Chapman

We have just received the most wonderful pieces from woodturner Richard Chapman.  Below are images of couple of the pieces we have been given for our Christmas Exhibition which goes live online on the 19th November.  Richard works with all kinds of wood and makes complicated and exquisite pieces to enhance and show off the detail of the different pieces making each one completely unique.   All will  have been chopped or carved, honed, hollowed, planed, burned, dyed or polished – and even dried in the microwave – to make works of art.

Wood can be a costly commodity, so Richard swaps the raw material with landowners for pieces of his art. In return for three trailer loads of burr oak from Sandringham, the Queen was presented with two exquisite bowls. A letter was later received confirming that the monarch was delighted with the exchange and Richard has since enjoyed several commissions from the Royal estate – making finials for gates and fences and retirement gifts for employees. Richard is also passionate about the correct management of trees and forests and supports organisations such as the Royal Forestry Society and Woodland Heritage, believing that for every tree that is felled at least two should be planted. For his work he specialises in using salvaged wood that is destined to be burnt.

Whilst Richard makes barrel sized platters and massive bowls from the sprawling and twisted forms of tree roots, he can also work as a miniaturist. Such exquisite pieces demand a careful working with the medium. When rare cracks emerge during the production process they are often incorporated into the design. And some of his most dramatic vases have been made from spalted beech – from trees attacked from a fungus as they die, which spreads black, orange or green lines through the wood like the contour lines on ordinance survey maps and merging faults into flawless vessels, and blending the ancient with the modern.

Richard gained a passion for carpentry during his childhood. When a schoolboy in Loddon, "I had the luck to be taught woodwork by a master cabinet maker," he says. In his own subsequent career as a PE teacher at Springwood High School in King's Lynn his gift remained a hobby. He decided to turn to full time woodturning in 1993 and since then he has carved himself a unique niche.  


Published: 2 November 2020

Thompson's Gallery proudly presents an exclusive interview with renowned British painter Peter Wileman, in conjunction with the opening of his latest solo exhibition 'Tour de Force'.

(Above: 'Spirit of Peace' Oil on panel 39x39 inches £7000)

NOTE: In-person viewings of this exhibition are permitted at the gallery until 6pm closing on Wednesday 4th November. For more information or to request assistance visiting or remotely, contact us at enquiries@thompsonsgallery.co.uk or by calling +44(0)2079353595.



Thompson's Gallery: Walk us through your thoughts on this body of work, and how it's been preparing for it across the year.

Peter Wileman: Tour de Force is both a reactionary and emotional response to covid. Last year one was able to travel the country, working and painting without restriction.

This year we have all been tied down mentally and in some cases unable to visit friends and family for long and stressful periods of time.

My answer and release has been to put a collection of works together that evoke a sense of joy, memories of holidays past, memories of my treasured landscapes that so excite me.

A recent quote by Creative Newark about my works sums it up perfectly.

"I still have the same emotional response when I see his pieces. Sometimes art has the ability to halt you entirely in your tracks, causes you to stop and take a breath and entirely absorb every brush stroke, every detail, every texture. It has to ability to transport you to some place else.

I think now more than ever we have a need to feel a deeper connection to what resonates within us. It's tough times out there so I think we rely on the brilliance of artworks to nurture our souls and give us hope.
I know for one, I feel grateful of this response."

(Above: 'St Pauls, London' Oil on canvas 16x16 inches £1750)

Thompson's Gallery: How do you approach a cityscape piece versus a coastal or rural landscape?

Peter Wileman: Cityscapes are approached in much the same manner as my landscapes. The two are inexplicably linked by virtue of the fact that in both I try to evoke a sense of mystique from the pair of them.

A tranquil dawn over the Thames with rising mist is just as evocative as a stunning sunset over the west coast of Scotland. In both subjects I strive to 'ring' the last drop of emotion from my painting. Picture making and compostiton are essential in both subjects, but for me, emotion, energy and spiritual awareness are paramount for producing a painting that will communicate not just with me but with the viewer.

Thompson's Gallery: A prominent new introduction to your work in recent years has been additions of texture (muslin, torn paper, sand, etc). Tell us about this 'discovery' in the studio.

Peter Wileman: The introduction of various elements of collage is to try to evoke a pictorial effect that cannot be captured in a 'photographic or figurative plein air piece which quite frankly I find both boring and unstimulating. Paintings for me must give back something more than just a plain mirror image. The use of collage and abstraction does this for me in both my cityscapes and landscapes.

Thompson's Gallery: This exhibition features an intriguing mini-series within, 'The Passage of Time'. Describe the influences surrounding this group of small yet impactful pieces.

Peter Wileman: The mini series 'Passage of Time' has emanated purely from not being able to travel as extensively as i would've liked. I've mv moved sketches and memories on to the next phase to produce what I would call a coloured diary. Something between a finished coloured idea and a full sized piece of work. Each small piece represents a special memory of time and place that not always made it to a larger painting, but still evoked an impulse strong enough tor record in colour.

(Above: 'The Passage of Time, Series Three, No. 1' Mixed media 8x14 inches £1700)

Thompson's Gallery: What do you hope audiences take from 'Tour de Force'?

Peter Wileman: First, a sense of hope in these strange times. Second, a rejoicing in our environment which is ever present and all encompassing regardless.  Lastly, that the work produced gives off a sense of quality and intensity that will communicate itself to the viewer and stimulate them as it has me!

(Above: 'Enlightenment' Oil on canvas 31x47 inches £7500)

'Tour de Force' is open in person until closing time on Wednesday 4th November. It will continue online to its scheduled closing date of 21st November 2020.

For all enquiries and interest, contact the gallery. We offer video and photo based remote viewings, and other tailored services for while the doors remain closed to the public.

Email: enquiries@thompsonsgallery.co.uk 

Telephone: +44(0)2079353595


Published: 13 October 2020

Thompson's Gallery London 'zoom in' on a specific painting from the annual tradition 'Autumn Exhibition', on now at Seymour Place until 31st October.

Decorated Scottish painter Graeme Wilcox shares powerful insight to his new painting 'Figure on a Balcony', which (like many of his arresting figurative compositions) has an entire intricate story embedded within.

Pictured: Graeme Wilcox, 'Figure on a Balcony' Oil on canvas 35x28 inches £5000 - ENQUIRE/BUY NOW

Graeme's own words taking readers behind the scenes of 'Figure on a Balcony'-

Before lockdown, I had a theme going of figures at windows and it was uncertain whether they were inside or
outside the window space. This has continued though now the figures tend to be inside looking out.

This painting was inspired by a man I used to see regularly on my daily exercise. He lives in retirement flats and had a very small balcony space which he was often making use of, surveying his surroundings and the passers by. He was always fairly well turned out and I felt he was probably confined to his flat but had to take as much of the airs as possible.
Also on the news there were various reports of the lockdown balcony culture in cities in Europe which added to my interest.

The figure in the painting is not the actual man, more a re-imagining. Quite proud, still making an effort, getting as much fresh air and outside contact as possible but only from above. I based his face on a couple of old military types from my image archives and made a drawing first to get the pose etc.


Get in touch about the artist, this painting or our Autumn Exhibition by emailing enquiries@thompsonsgallery.co.uk or calling +44(0)207 935 3595.

Thompson's Gallery London is located at 3 Seymour Place London W1H5AZ. 'Autumn Exhibition 2020' is on display until 31st October 2020.


Published: 2 October 2020

We are delighted to have received a selection of works by the talented etcher that is Helen Fay here in our Aldeburgh Gallery.

Helen studied Fine Art Printmaking at Sunderland University receiving a B.A.(Hons), followed by an M.A. at The Royal College of Art in Natural History Illustration. Now based in Glasgow, her work is in demand with collectors all over the world.  Helens etchings go beyond the realms of Natural History Illustration.

The composition, scale, skill and beauty of her work pushes them beyond any classification of etchings or natural history subjects and they stand as a significant fine art statement which appeal to a wide range of collectors. Monochromatic, moody, sometimes densely worked, they capture the magnificence of the natural world in a timeless yet contemporary way.

Helen Fay's many awards and exhibitions are a testament to her unique approach and talent.In 1992 she won the Sheila Robinson Memorial Prize for drawing at the RCA; a travel scholarship to India in 1994 from the Northern Arts Travel Award;

Helen's many selected exhibitions include a 2 person show at The House for an Art Lover, Glasgow; National Print Exhibition at The Mall Galleries; Museum of Modern Art, Oxford, Christmas Exhibition; Royal Birmingham Society of Artists National Print Exhibition. Helen's work is much in demand through a selected range of UK galleries.


Published: 30 September 2020

I think it's fair to say that 2020 has been one of the most challenging of times. Waves of uncertainty and sadness have affected us all on some level.

The Arts especially have been heavily dealt with institutions, commercial galleries and museums trying to re-invent themselves into a new ways of viewing & experiencing – alongside the uncertainty of representation for many artists.

So what can we take from this time?

A lot of work goes on behind the scenes of a commercial gallery and its curatorial components – but despite our doors being firmly closed during lockdown I personally think we can take many positive things forward from this period.
The resolute feeling that kept me going throughout it all was the spirit of wiliness and support from my colleagues.
Some of us have been here for years well into the double figures and all come with an extensive portfolio of experience & knowledge.....But nothing beats the feeling of a united comradeship to want to continue providing gallery spaces which hold moments of sanctuary from the outside world & are joyous for artists, clients and colleagues.


Published: 19 September 2020

New Sculpture Delivered by Paul Vanstone

Paul Vanstone arrived today in Aldeburgh with yet another beautiful sculpture made out of Rajastani rainforest marble entitled 'Forest Torso', a beautiful example of Paul's skill and craftmanship.  It is now in situ in the gallery, ready to be viewed and admired or even purchased!  While he was here he also collected the one we have sold and it will now be making its way to the U.S. to its new home.


Published: 11 September 2020

Brita Granström - The Leaves of Lockdown

Thompson's Gallery, Aldeburgh are very excited about tomorrow when we open Brita Granström's solo show 'The Leaves of Lockdown' which is her representation of life during lockdown at home with her family.  This wonderful collection of paintings is representative of a time of difficulty held up by hope and life which is so beautifully painted through leaves and plants to show nature minutely examined and celebrated whilst in the background life continues, chores being done, windows being cleaned, garden being tended and washing being hung.  Alongside this collection of paintings we are also selling a catalogue entiled 'The Leaves of Lockdown' produced by Brita herself and in which the text is written by Philip Vann as a documentation of this period in our lives.


Published: 4 September 2020

We are preparing for our upcoming solo exhibition by the Swedish artist Brita Granström who has put together a beautiful body of paintings representing her experience of life at home during lockdown.  Every summer Brita goes back to her native Sweden to paint images of life in the Scandinavian countryside but due to lockdown this year she has been unable to travel there for the first time since she moved over here in 1993. As a result she has painted a series of paintings from her everyday life at home near Berwick upon Tweed, shying away from using her top floor sea view studio and instead adapting to a portable studio to begin making a series of inscape paintings capturing her family's daily life around the kitchen, porch and garden. These paintings reflect what was an initial fear of what was to come and evolve into more calmer and reflective works. The images of vases of plants and flowers show life-force and the power of nature while in the background life continues, chores being done, windows being cleaned, garden being tended and washing being hung. This collection of paintings are above all a celebration of life in times of adversity and depicts how life carries on regardless.


Published: 21 August 2020

Over the River Orwell

We are nearly ready,  a few heights to adjust, some protective cling film to remove and we will be good to go for our latest Graham Webber ROI IEA  exhibition which opens tomorrow!

This exhibition will be exclusively new paintings which Graham has produced over the last year including works produced during the lockdown period which presented challenges for the plein air painter. In this volume of work we have Graham showing his love of the East Anglian landscape as well as other works depicting life in Norfolk and Cornwall.This exhibition will be exclusively new paintings which Graham has produced over the last year including works produced during the lockdown period which presented challenges for the plein air painter. In this volume of work we have Graham showing his love of the East Anglian landscape as well as other works depicting life in Norfolk and Cornwall.

Just before lockdown began Graham was writing a series of articles for The Artist magazine on the practice of developing work from plein air painting, progressing through to larger studio work. Gathering enough information out in the field to work from in the studio is a big part of his process and when lockdown was introduced it gave him an opportunity to develop some of these ideas further in a new body of work focusing on atmosphere and place. He has a strong connection to the landscape, spending a lot of my time in the field sketching and painting. Distilling the subject matter, conveying light and space to create a feeling of atmosphere is his main focus and he works using subtle changes in colour and tone to try to simplify the subject. Working in the studio has allowed him to concentrate on emotion and creativity to recapture his initial experience. The work has a greater emphasis on the feeling and memory of the subject.

This current exhibition includes smaller plein air pieces, some of which have developed into larger work as well as paintings made using reference such as sketches and paintings back in the studio. There are places he has been and long to go again soon as well as atmospheres and communities he recalls with fondness. The paintings trigger emotions and memories for him and we hope that they will do the same for those who view them.


Published: 19 August 2020

Lights, camera, action! Thompson's Gallery London are busily photographing arrivals for 'Autumn Exhibition 2020', running from 6-31 October at 3 Seymour Place (W1H5AZ).

A few behind the scenes shots for anticipating audiences:

All new paintings and sculpture by Thompson's featured artists (and plenty of new faces!) have arrived. over 60 pieces to discover in October. 

The lower level has been updated with Thompson's Blue for the walls, a great backdrop for the enticing new arrivals.


Thompson's Gallery London look forward to debuting this fantastic range of artwork in the Autumn Exhibition 2020.

Register interest with the gallery today- enquiries@thompsonsgallery.co.uk or ring +44(0)2079353595


Published: 11 August 2020

At Pin Mill

The summer season of exhibitions continues here in Aldeburgh.

Next up is Graham Webber ROI IEA, the catalogue as they say is in the post, but if you want to get in early, they are all on our website, view them here: http://www.thompsonsgallery.co.uk/exhibition.php/Graham-Webber-ROI-IEA-285/


Robin Hoods Bay

Herefords by the Colne

Hopefully the show will follow on in the same style as our Robert Kelsey DA MUniv PAI FRSA exhibition, which has as ever with Robert been an amazing success. 


Published: 29 July 2020

The hanging starts!

Our long awaited One Man exhibition of paintings by Robert Kelseys is getting closer!

I have cleared the walls and started the hang. It will need to settle for a couple of days, for tweeking and fine tuning but should all be ready for the opeing on Saturday the 1st August.

I hadn't realised it had been so many years since our last solo exhibition of Robert's work here in Suffolk, he does of course usually frequent our London gallery but if you see how many have sold even before the first day our loyal clients had clearly been waiting!


Published: 27 July 2020

Graham Webber delivering his paintings

We were very pleased to welcome Graham Webber to the gallery in Aldeburgh this week when he delivered all the wonderful paintings for his upcoming solo exhibition which opens on the 22nd August.  Graham has been working very hard to put together a beautiful body of work and we are excited to be able to offer him another one man show after his very successful one with us a few years ago.

This exhibition will be exclusively new paintings which Graham has produced over the last year including works produced during the lockdown period which presented challenges for the plein air painter. In this volume of work we have Graham showing his love of the East Anglian landscape as well as other works depicting life in Norfolk and Cornwall as well as London.

Just before lockdown began Graham was writing a series of articles for The Artist magazine on the practice of developing work from plein air painting, progressing through to larger studio work. Gathering enough information out in the field to work from in the studio is a big part of his process and when lockdown was introduced it gave him an opportunity to develop some of these ideas further focusing on atmosphere and place. He has a strong connection to the landscape, spending a lot of my time in the field sketching and painting. Distilling the subject matter, conveying light and space to create a feeling of atmosphere is his main focus and he works using subtle changes in colour and tone to try to simplify the subject. Working in the studio has allowed him to concentrate on emotion and creativity to recapture his initial experience. The work has a greater emphasis on the feeling and memory of the subject.

This upcoming exhibition includes smaller plein air pieces, some of which have developed into larger work as well as paintings made using reference such as sketches and paintings back in the studio. There are places he has been and long to go again soon as well as atmospheres and communities he recalls with fondness. The paintings trigger emotions and memories for him and we hope that they will do the same for those who view them.

A selection of the pieces which will be available in the exhibition.


Published: 23 July 2020

Its always exciting when new paintings arrive.

With our Robert Kelsey Exhibition opening in a week, there is still time and space for new arrivals down from Scotland.

It has been too long sinse Mhairi McGregor's works have graced these Suffolk walls. Her Colourist inspired semi abstract landscapes absolutly sing off our Hague Blue walls!

We also have new arrival from Angus based painter Nael Hanna, his textural multi layered works show hints of Joan Eardly, and thats not a bad thing, the stormy Scottish seascapes contrasting beautifully with the heat and brightness of Mhairis Australian landscapes.

It's all going on in Aldeburgh.

Top image, Mhairi McGregor "Blinman Pub, South Australia" Oil on board, 9" x 13" £1900.00

Nael Hanna, "Red Sky at Night, Shepherds Delight" Oil on board 26" x 50" £7500.00

Mhairi McGregor "Farm Shed Australia" Oil on board, 9" x 13" £1900.00


Published: 15 July 2020

A glorious sunny Suffolk morning, perfect for the installation of a sculpture.

Richard Holliday's 'Luna', carrara marble on a stone base, now residing in its new home, as viewed from the main house, the building on the left has a glass wall too for a second viewing angle.

The changing light and tree shadows will make for an ever evolving and involving view.


Published: 9 July 2020

Today Thompson's Gallery London presents a fun quiz featuring artworks from the current 'Great British Summer' exhibition (open until 18th July online and in-person).

Below are close-up shots of six different artworks in the 'Great British Summer' show. Guess the artist name for 1 point, and artwork title for 2 more points.

Can you get a perfect score of 18?

Play against friends and fellow art-lovers, or compete against yourself! Clicking each image reveals the answer.

Number 1

Number 2

Number 3

Number 4

Number 5

Number 6


Did you ace the quiz? Email us with your best score - enquiries@thompsonsgallery.co.uk


Published: 30 June 2020

Thompson's Gallery is delighted to be holding a solo show of works by Robert Kelsey in August at the Aldeburgh gallery. (Available to view here online from 20th July!)

We have been exhibiting Roberts paintings for over 25 years, however it has been some time since we last held an exhibition of his beautiful landscapes and observations from Scotland, Cornwall, East Anglia and London here  in Aldeburgh. Robert has built up a very strong reputation and client base over the years so we are really looking forward to a major exhibition of his work here in Suffolk.

When Robert graduated from Glasgow School of Art in 1970 he had a fairly free and expressionistic style. This developed from an admiration for a number of artists including Joan Eardley RSA and Sir Robin Philipson RA, RSA, RSW along with the more gentle style of Alexander Goudie RGI which were large inspirations at the beginning of his career when his style was borderline abstract. Lots of slashing palette knife impasto and atmospheric skies and jagged bushes thrust from the lower corners of his paintings of stark winter fields or seascapes. As the years progressed he became more interested in the works of the Scottish Colourists, F C B Cadell and S J Peploe who frequented the Scottish Hebrides looking for inspiration and it is evident that he still takes great inspiration from this group of artists and looking back you find views of islands such as Iona, painted in violet, ochre and pinks and of course the cold turquoise green of the shallow water he grew to love. This New Scottish Colourist approach has been his constant style for the last couple of decades.

In this exhibition he has included paintings in the more expressionist style as explored in his youth and to emphasise colours and to create stronger atmospheres. He has always enjoyed using light and capturing its effects on water and land, twilight being his favourite time of day and watching skies change as nightfall comes in. One of his early themes as a young painter was exploring the design elements of driftwood on a beach against a backdrop of sea. He has returned to this theme in some of his oils for this show. In these paintings, the point of the composition is to create an almost sculptural effect from the shapes made by the driftwood.

Robert Kelsey DA MUNIV PAI FRSA "New Paintings"  1st-19th  August


Published: 26 June 2020

Ben Lowe Window

A striking painting by the talented artist Ben Lowe 'Head nor Tail' is gracing our window in Aldeburgh alongside pictures by Lewis Hazlewood-Horner and Ollie Lebrocq. These paintings are all for sale through our Aldeburgh gallery and would be a great addition to any space or as a starting point for a collection of contemporary British art.  All these paintings are included in our current Annual Exhibition.


Published: 24 June 2020

Thompson's Gallery London welcomes visitors back on site with an uplifting, vibrant group exhibition of new painting and sculpture titled 'The Great British Summer'.

Open online and in-person from 1st-19th July, this survey of artwork celebrates the enjoyment, blissful weather, and leisure that awaits this season.

Enjoy the in situ shots from the London gallery in this post, and explore the entire exhibition on the Thompson's website HERE.

Exhibiting artists include Tyrone Deans, Sarah Spencer NEAC, Ian Weatherhead, Paul Wright, Mike Healey, Chris Buck, Rachel Arif, Patsy McArthur, Vanessa Pooley, Aldo Balding, Euan McGregor, Ben Russell, and John Clark.

Visitors are welcome by walk-in or appointment, with sanitiser and distancing measures in place. Get in touch with questions and interest, by emailing enquiries@thompsonsgallery.co.uk or dialing +44(0)207 935 3595.

All Images taken & owned by Thompson's Gallery London.


Published: 23 June 2020

Londoner Tyrone Deans is a self-taught artist who first burst on to the Thompson's Galleries exhibition calander in our 2017 Lanscape exhibition. Since then Tyrone has continued to create vibrant layered works based on his surroundings. Electric crowds, figures in action, and complex surfaces built up with colour and text are characteristic of Deans' style. Despite an abundance of cheerful hues, the message in Deans' work isn't always rosy. Touching on topics such as gentrification (specific to his home in Brixton), social justice, and other issues born of a rapidly changing society, Tyrone Deans engages his audience with a deeper discussion than a mere pretty picture. 

Heavily influenced by his life in South London, Tyrone Deans' paintings can be recognised by his vehement painterly technique and unusual pallet; natural materials mixed with thick textured paints, sand, oils and butters, overworked with charcoal, chalk, oil-bar and other mediums.

With its emphasis on layer rich canvasses which provide a setting for paint and natural elements to come together, his paintings can be seen as a kind of urban abstract expressionism, deeply rooted in his responses towards growing up in a Jamaican family in London.

These beatutiful works have been painted by Tryone Deans for our upcoming London exhibition, 

1 July 2020 - 18 July 2020

A selectuion of painters and sculptors who have contributed their unique interpretations of Summer, conveying the enjoyment of bright skies, long days, and fun with family and friends.

Freedom Is A Constant Struggle Mixed Media on canvas 40'' x 60'' £4,800

Since Cummings Drove To Test His Eyes, Nobody Seems To Take This Seriously Anymore
Mixed Media on canvas 40'' x 60'' £4,800

Formore information on these works or the artists please get in touch with the gallery.


Published: 19 June 2020

Thompson's Galleries have reopened in both London and Aldeburgh, operating by safety guidelines and continuing extended remote support for all who request it. 

Compounding the optimism of the first week back, sunshine poured down on the streets of London and Suffolk. Enjoy these highlights from London's reopening and get in touch today to plan your visit!

Above: Sun and visitors returned to Seymour Place this week. Images courtesy of Portmant Estate.

Above: A peek into London's front door, featuring 'Real Life' by Lewis Hazelwood-Horner (concludes 19th June, view entire exhibition here). Images courtesy of Portman Estate.

Above: Door open and coverings + sanitizer available, get in touch with London today and plan your visit. Images courtesy of Portman Estate.

Above: Thompson's window catches the eye of passersby on Seymour Place.


Both galleries have an exciting program to present this Summer and Autumn. Browse what's next on our Future Exhibitions page.

Contact Thompson's to ask questions or plan your visit today! Email enquiries@thompsonsgallery.co.uk or call +44(0)2079353595. Both locations are equipped with hand sanitizer, complimentary coverings, and are adhering to distancing measures for daily visitors.


Published: 2 June 2020

Thompson's Gallery London proudly present 'Real Life' online from 3-19 June 2020, an all new painting exhibition by prodigious plein air talent Lewis Hazelwood-Horner.

Upholding the tenets of traditional practice, the 28-year-old artist paints in real time to capture 'Real Life' in oil - no photographs, fully in person with his subjects. From London's most buzzy pubs and marketplaces, to Savile Row and quieter moments in the studio honing still life, Hazelwood-Horner delights audiences with a deft brush and impeccable instinct for light and motion.

Ahead of tomorrow's official debut, the artist shared the story behind 4 select paintings in the show. Enjoy the following backgrounds, in Lewis' own words.

1) 'Lot & Teun' Oil on canvas  32x20 inches  £3500

Lewis Hazelwood-Horner on 'Lot & Teun':

'This is a portrait started in Warder, Netherlands with both the sitter and her family cat posing for the painting from life on two separate occasions. The painting plays with texture and surface blending where one figure merges into the other making it hard to see where fur begins and ends. The importance behind the work is that it has been painted at a milestone moment in Lot's life as she is about to leave home to live in Amsterdam pursuing her career path of music and dance.'

2) 'Cupid's Pit-Stop' Oil on canvas 42x30inches £5950

The artist's story behind the pit-stop:

'I love to see big bouquets of colorful flowers in oak paneled interiors because I think it has a dichotomy, where pub interiors can stay almost unchanged for decades the flowers presence is fleeting due to its quick decay. The painting is inspired by the works of Jan Steen and his contemporaries where they achieve an air of playfulness between the subjects but you cant quite tell if the man is being lurid in his conversation.'

3) 'Fresh Ink' Oil on canvas 34x24 inches £3500

Lewis' shares on the tattoo summit:

'This was a chance meeting with builders on their lunch break in the Royal exchange pub of Paddington W2. Built up from sketches made in situ, I enjoyed seeing how these burly men would tentatively caw over the younger of the groups new tatts. The composition plays with a strong focal point, surrounded by glasses to give the painting a sense of shimmer and shine. I also enjoyed painting their antique brass table tops which further adds to the sense of shimmer in the work.'

4) 'Sunday Salmon' Oil on canvas 26x50 inches £6250

Hazelwood-Horner's draw to the market stalls:

'I moved my studio to south of the river and am in close proximity to the Uks oldest and most iconic fish market, in Docklands. Painting the porters and stall holders involves an early start at 3am as market day is already over by 9am. I was drawn to painting the food vendors because of the effortless in which they would handle their product whereas some may be squeamish or hesitant in holding a large 5kg salmon this vendor holds it as if admiring it as an accessory to himself.'


3-19 June 2020. In situ photos of all artworks and installation shots can be provided upon request. For prices and availability consult the exhibition link HERE or contact the gallery, enquiries@thompsonsgallery.co.uk or by telephone +44(0)207 935 3595.


Published: 28 May 2020

Thompson's London proudly invites you to virtually tour the latest solo exhibition on site. Debuting a new body of work, 'Real Life' is a survey of British lifestyle by London's youngest plein air and RBA Painter Lewis Hazelwood-Horner.

Above: Catalogue preview with 'Real Life' in the background. Image courtesy of Thompson's London

After a breakout year as Thompson's 2019 'One to Watch', Hazelwood-Horner has enjoyed inducted to the Royal British Society of Artists (RBA) and increased momentum through features on Thompson's stand at London Art Fair 2020 and Connect Fair at Mall Galleries.

Above: Thick impasto still life is one of the many delectable features in Hazelwood-Horner's new exhibition. CLICK HERE to view all artwork images on the 'Real Life' exhibition page.

Enjoy a virtual tour previewing the exhibition below, all images hyperlink to the exhibition page. Any questions or interest can be directed to the Thompson's London team at enquiries@thompsonsgallery.co.uk or by telephone +44(0)207 935 3595. 

'Real Life' exhibits online for Thompson's London from 3-19 June 2020. Framed images and further in situ images of any painting or the entire hang can be requested at enquiries@thompsonsgallery.co.uk.


Published: 5 May 2020

(above) James Fullarton Gable Ends Oil 20 x 16 £4500 2020

This week we have crossed the borders into Scotland to investigate what James Fullarton is up to during lockdown.
James been working away in the garden given the recent fine weather and the current confinement. Fortunately Springtime offers much inspiration and optimistic subject matter for him.

(above) James Fullarton in his garden in Aryshire, Scotland 2020

Today, James Fullarton is regarded as one of Scotland's leading contemporary painters, uncompromising in his standard of work and always individual in both thought and practice. He is famed for his powerful style of skilled fluid brushwork, strong colour and broad palette. Working in both oil and acrylic, Fullarton has gained acclaim for his nimble skill set, applying himself to en plein air landscape and harbour scenes, as well as still life and portraiture.

Vibrant colour, bold compositions and expressive handling of thick impasto paint are typical features of this prolific artist. Working directly from the subject matter, James draws inspiration from the ever-changing light and its effects on everyday objects, allowing him to develop his ideas quickly on canvas. With prominent large brushstrokes and a brilliant eye for colour, James is often described as a modern-day Colourist. Works can vary from small studies, rapidly executed in a spontaneous manner, to very large landscape paintings or dramatic still life compositions.

(above) James Fullarton Bluebells Oil 36 x 30 £9500 - 2020

James has enjoyed a long and successful career with many solo shows. His work is sold in a number of galleries across Scotland and England and has been acquired by public, private and corporate collections worldwide.

For more information on the artists, available paintings and future solo exhibition in November 2020 please get in touch with the gallery or visit the artists page on our website.

(Below) Hens in Yard Oil 10 x 14 inches £1950


Published: 24 April 2020

Thompson's Gallery presents another edition of 'Select Reflections', this time discussing three artists from within London's Monochrome Group Exhibition (viewable online until 16th May 2020).

Written by guest contributor Quinn Whitman.


Above: Patsy McArthur, 'Metamorphosis' Charcoal on paper 31x27 inches £1900 CLICK HERE for more information

 Patsy McArthur is a Brighton-based figurative artist. McArthur received her BA
(Hons) in Fine Art from Gray's School of Art in Aberdeen in 1998, and she
completed her MA in European Fine Art in 2001 at the Winchester School of Fine
Art in Barcelona. Much of McArthur's work depicts figures in motion,
demonstrating strength, power and liberation. McArthur turns to greyscale as a
means of stripping her work down to get the viewer to think critically about the
content of her images. Her piece, Metamorphosis, is one in the exhibition that
demonstrates this. Depicting a figure that has plunged into the water, McArthur
uses shades of grey to immerse the viewer in a sensation of "suspension and
weightlessness" while also encouraging the viewer to consider the "interplay of
light, color and water." This allows the audience to experience a moment of
movement between physical and psychological states.


Above: Chris Shaw Hughes 'Eden' Carbon on paper 17x24 inches £1950 CLICK HERE for more information

Chris Shaw Hughes is a Lancing, West-Sussex based artist. He studied from 2005
until 2010 at the University of Brighton, where he completed both his BFA and
MA. In his artwork, he focuses on geographical terrains that catch the viewer's
eye and force them to think about the work in front of them. Currently, Hughes
is using photography and carbon paper, which can be seen in Eden, one of the
pieces of the exhibition. In this image, Hughes is able to portray the breadth of
nature by showing a variety of foliage within one image. The greyscale of the
work prompts the viewer to think about the shapes and textures of the leaves
and tree trunks. His works encourage an aesthetic like a film negative, which
emphasize the "dark serenity" of his work.


Above: Ros Ford, 'Shelter' Etching and aquatint 18x24 inches £875 CLICK HERE for more information

 Ros Ford is a Bristol-based painter and printmaker. She completed a BA in Art
and Design in 1974 from the University of Bristol and completed MA degrees in
printmaking (1975) from the Chelsea Art School and multidisciplinary
printmaking (2008) from the University of the West of England. She also
completed an Art Teachers Certificate in 1976. Her most recent works are
etchings based on "hidden industrial landscapes" located nearby her home. One
example of this is Shelter, which is a part of the Monochrome group exhibition.
The image depicts a disused structure, which looks somewhat like a greenhouse,
to be overtaken by foliage and falling into disrepair. The image follows an overall
trend with her etchings, whether they be in color or in greyscale, where straight
lines are used to emphasize the rigidity of the main structure.


The 'Monochrome' group exhibition is online until 16th May for Thompson's Gallery London. Get in touch with questions and interest, enquiries@thompsonsgallery.co.uk or dial +44(0)207 935 3595.


Published: 21 April 2020

Thompson's Gallery invites you to enjoy reflections upon three selected artworks from within the NEAC Group Exhibition, online for Thompson's Aldeburgh until 6th May 2020.

Contributed by guest writer Quinn Whitman


Above: Ann Shrager NEAC 'Figures in Sunset, India' Oil on canvas 30x40 inches £9000 CLICK HERE for information

 Ann Shrager's 'Figures in Sunset, India' is a way to bring the viewer to another
place. In order to make these images, Shrager uses oil paints diluted with turps
so that it works more like a watercolor painting. She starts by drawing her
composition on the canvas and then painting over it. Figures in Sunset. India is an
example of this process, where she paints what are some of her favorite figures:
the goat herder, goat and women in saris. In this image, we see colorful
silhouettes of these figures, as they walk either into the distance or towards the
edge of the frame. As viewers, we are able to get an idea of what Shrager
experienced when she traveled to India, and the bleached background brings the
emphasis to the people, their clothing and how they interact with each other.


Above: Fred Cuming RA 'Cloudscape, Rye Harbour Mouth' Oil on canvas 24x30 inches £12,000 CLICK HERE for information

 Fred Cuming uses oil painting as a medium to demonstrate the South Coast of
England, mainly Hastings and Rye, which are the two places most often depicted
in his paintings. Much of his work focuses on the coastline, and how that
interacts with the weather and human beings, one example of this being
Cloudscape, Rye Harbour Mouth. In this image, we see two people standing on
the coastline, while the tide comes in around them. There is also a thick cloud
covering much of the sky, with sun shining through. Describing his work, Cuming
says that his "work is about responses to the moods and atmospheres generated
by landscape, still life or interior," which is something that resonates in
Cloudscape, Rye Harbour Mouth. The viewer is exposed to the beauty and
strength of nature in relation to people.


Above: Charlotte Sorapure NEAC 'Hide and Seek' Oil on linen 24x30 inches £7850 CLICK HERE for information

Charlotte Sorapure uses painting as a means of "giving the viewer a sense of the
underlying mood or character of a place or an object." This mantra is embodied
in Hide and Seek, a painting where we are able to see how people interact in
relation to their home. In this image, we see a mother watching her daughter
play in front of their house, emphasizing the connection between the home and
the people who live in it. Sorapure likes to work with oil painting because she
finds herself enjoying the variety between light brushstrokes and broad impasto.
She feels that limiting a color palette allows her to get a stronger "flavour" in the
final image, which is something that can be seen in Hide and Seek through her
uses of different shades of yellows, greens and blues throughout the painting.


The NEAC Exhibition by Thompson's Gallery Aldburgh remains viewable online until 6th May. Get in touch with questions and interest, enquiries@thompsonsgallery.co.uk or dial +44(0)1728 453 743.


Published: 18 April 2020

Ahead of the online debut of the new Lewis Hazelwood-Horner solo exhibition 'Real Life' on 20th May 2020, Thompson's Gallery present behind-the-scenes imagery and footage detailing the young artist's painting process (courtesy of William Bloomfield).

(Above: Click the Thumbnail image above to view Hazelwood-Horner's every brushstroke in the making of 'Sunday Salmon', a painting exhibiting in the new solo exhibition 'Real Life' at Thompson's Gallery London)

Hazelwood-Horner has long grativated to areas of high traffic and gathering about his home city of London, seeking to capture the buzz and energy on canvas. The draw to Billingsgate Market for paintings such as 'Billingsgate Crab Seller' (below) and 'Sunday Salmon' (also below) was made obvious in the detailed rendering of the fishmongers' wares and kit, down to the proud expression on their faces hoisting fresh catches for sale.

(Above: A snap of the sunrise as Hazelwood-Horner enters the venue early on a weekend morning, showing quite the amount of commitment to arrive when the vendors do! Image courtesy of William Bloomfield.)

The result of patient hours spent, applying layer after layer of strokes bringing detail to the fore is satisfying for the artist and truly stunning to take in as a viewer. Below the completed 'Billingsgate Crab Seller' and 'Sunday Salmon' shine in their own right as homages to the trade and quality of Britain's fish supply.

(Above: Top, 'Billingsgate Crab Seller' by Lewis Hazelwood Horner, 18x44 inches, £4000
Lower: 'Sunday Salmon' by Lewis Hazelwood-Horner, 26x50 inches, £6250 | Both exhibiting in the new Thompson's solo exhibition 'Real Life')

Lewis Hazelwood-Horner savours the process of painting on site with his subjects, from start to finish. The camaraderie enjoyed between sitter and artist is irreplaceable and stands the test of time, transmitting stories and lore by osmosis onto the painted surface. After hours spent together chatting and working in equal measure, both parties walk away with a strong bond that remains intangibly via acquaintance and monumentalized by the completed artwork.

(Above: Lewis Hazelwood-Horner shares a smile and laugh with his modeling fishmonger in Billingsgate market, image courtesy of William Bloomfield)

Enjoy a time-lapse film of Lewis Hazelwood-Horner's every brushstroke in the making of 'Sunday Salmon' HERE at Thompson's Galleries YouTube account. Subscribe to the gallery channel for all exclusive artist and studio content.


(Above, L to R: 'Oyster Impasto' Oil on canvas 16x16 inches £2100  |  'Eel, Oysters & Citrus' Oil on canvas 16x12 inches £1900  |  'Carrots & Crabs' Oil on canvas 15x18 inches £2100)

Of course, the artist comes home with treasures from every visit to a marketplace, namely the fruits of Billingsgate which afford some spectacular still life works, also debuting in 'Real Life' online for Thompson's Gallery on 3rd to 19th June.

Register interest in 'Real Life' and the paintings of Lewis Hazelwood-Horner by contacting the gallery at enquiries@thompsonsgallery.co.uk or +44(0)207 935 3595.


Published: 14 April 2020

Thompson's Gallery London are thrilled to near the opening date of Lewis Hazelwood-Horner RBA's second solo exhibition, titled 'Real Life'. After a strong debut in 2019's breakout 'One to Watch' exhibition, the prodigious painting talent unveils a new body of work celebrating the extraordinary everyday of British lifestyle. Featuring London's iconic marketplaces, tailors of Savile Row, coopers of Kent, and unique moments in London's social scene, Lewis Hazelwood-Horner brings us back to paint, back to 'Real Life' in all its glory.

(Above: 'Cupid's Pit-Stop' by Lewis Hazelwood-Horner, Oil on linen, 42x30 inches, £5950. Debuting in 'Real Life' at Thompson's London.)

A traditionalist at heart, Hazelwood-Horner adheres to the core tenets of oil painting, interacting in real time and painting on site with his subjects, whether a group of new acquaintances in a crowded pub or fishmongers selling their freshest catch early on a weekend morning. The motion and energy conveyed through this discipline is evident, not photoreal but extremely lifelike. The magic of placing his easel in the moment itself, in the environment for hours on end, is distilled in the painted surface.

(Above: 'Lot & Teun' by Lewis Hazelwood-Horner, Oil on linen, 32x20 inches, £3500. Debuting in 'Real Life' at Thompson's Gallery London.)

'Real Life' reminds us to pay attention to the glorious little things in everyday life. Far from monotonous or banal, Hazelwood-Horner's depictions monumentalize a prep table in the kitchen before Sunday lunch in the form of still life, and alchemize a pub gathering to highlight the roost-ruling French bulldog whose spotless attendance earned him a chair in Covent Garden.

(Above: 'Frenchie a gogo' by Lewis Hazelwood-Horner, Oil on linen, 20x20 inches, £2300. Showing in 'Real Life' at Thompson's Gallery London.)

Join Thompson's Gallery in celebration of London's unique everyday, led by the deftness of Lewis Hazelwood-Horner's paintbrush. 'Real Life' opens online 3rd June 2020; please direct all questions and interest to enquiries@thompsonsgallery.co.uk or dial +44(0)2079353595.

(Above: 'Spring Onion' by Lewis Hazelwood-Horner, 20x20 inches, £2300. Part of 'Real Life' debuting online for Thompson's London 20th May).


Published: 11 April 2020

A new group exhibition at Thompson's Gallery London will explore the depth and breadth of artworks made in black and white. Aptly titled 'Monochrome', this selection of works survey a vast range of mediums, from ink to watercolour, aquatint, oil on canvas, pen on paper, charcoal on panel, and much more.

(Above: 'Shelter' by Ros Ford, Etching & aquatint, 18x24 inches, £875. Exhibiting in the 'Monochrome' group exhibition.)

The sheer variety afforded by a 'monochrome' prompt has resulted in an impressive array of skills and disciplines within the exhibition. While some artists remain in the wheelhouse of their practice, producing etchings or ink wash works as their prevalent chosen form, others are pivoting from the usual oil palette and easel to take up the pen or charcoal stick - all combined, to great effect.

'Monochrome' debuts online for Thompson's Gallery London at www.thompsonsgallery.co.uk on 29th April 2020. To ask questions or register interest please contact enquiries@thompsonsgallery.co.uk or +44(0)2079353595.

(Above: 'Sea Swim' by Patsy McArthur, Charcoal on paper, 27 x 31 inches, £3000. Part of 'Monochrome' group exhibition).


Published: 2 April 2020

#thompsonsstudiovisits STUDIO GRAND NATIONAL

Those of you who would have been at Aintree this week enjoying the Grand National and everything that goes with it, take a moment and enjoy this insight into the work of Jo Taylor and her studio.For the past few days, Jo has been spending time in the studio reflecting on what this week normally means for so many of us and has been at the easel with charcoal in hand producing her own Aintree. Powerful and dynamic charcoals exhibiting the strength and power of jumpers at Aintree. Jo's companion, Finbar the rescue greyhound who is also providing constant inspiration despite having just nicked a packet of butter!

Jo Taylor is based in Lancashire and obtained her degree from Leeds Metropolitan University in 1991. Taylor completed an artist's residency at the University of Liverpool's Department of Veterinary Science, where she developed a strong understanding of animal anatomies (equestrian, in particular). Taylor is the first female artist to have exhibited her work at the Jockey Club, a milestone testament to her unparalleled ability to render horses and their electric spirit. Jo exhibits regularly with Thompson's Galleries and regularly appears at fairs in London and across the country.  


Published: 1 April 2020

Robert Kelsey Painting in the Studio

Over the next few weeks we are virtually visiting our artists and sharing what they are up to during this time.
Today's visit is with Robert Kelsey in Glasgow. Robert has exhibited with Thompson's Galleries for nearly 30 years and we have hosted over 20 3xhibitions, be it in the gallery or at art fairs. In August 2020, we are thrilled to  be hosting his upcoming solo exhibition in our Aldeburgh Gallery and Robert is currently in the garden studio producing some stunning paintings from the exhibition...

Robert Kelsey' has been widely recognised for its focus and celebration of the Scottish Islands, rendered with sweeping perspective and a bright joyous palette. The artist has commented on his deep interest in light and its effects, a concept which he explores and articulates through his masterful technique. Robert's style is smooth yet full of movement, featuring vast skies arcing over electric blue waters and cool stretches of sandy coast. His palettes are expertly mixed and evenly applied, comprising balanced and pleasing compositions from the Scottish West Coast, East Anglia to sparkling Venetian canals and cityscapes.

Robert Kelsey Casting off Morar Oil on linen 12"x12" £1450 ENQUIRE/BUY NOW

We invite you to get in touch to learn more about Robert, his process and his upcoming exhibitions.

Please visit his artists page to see avaiable paintings.


Published: 31 March 2020

Over the next few weeks we are virtually visiting our artists and sharing what they are up to during this time.

Our first visit is with Scottish painter Michael Clark PAI RSW.

Taking from the Scottish Colourist tradition, Michael produces flattened scenes of everyday life with swathes of vivid colour. Influenced heavily by his travels about Paris and the South West of France, Clark ranges in depiction, from tranquil moments in lush park greenery to bustling streetcorner café's and markets. Picking up on the small and beautiful details of daily living, Clark renders moments in time that reach far beyond a mere pretty picture. Standing strong against a colour-blocked background, the figures and objects in Clarks paintings vibrate with contrast and an energy of their own.
Michael is at his home studio with his family in Scotland working on a stunning new scene of a french Market Place.

Finished piece: Michael Clark, Market Place, Oil, 36" x 36" £4750.00

For more information on this piece please get in touch.


Published: 20 March 2020

Lewis Hazelwood-Horner opens his studio to Thompson's Gallery, sharing his progress toward a much-anticipated new solo exhibition this May. With enviable natural light, high ceilings (naturally stacked floor to ceiling with canvases and studies) and a lofted space to live, Lewis is the quintessential modern painter.

(Above) A panoramic view of the entrance room to Lewis Hazelwood-Horner's London studio. Photo credit Thompson's Gallery.

Perusing the space is tantalizing, like entering a treasure trove. The art lover discovers a new delight on shelves, little side walls, even by the kettle and sink. Although some industries require work-life separation, Lewis thrives in and around the works he paints. The subject matter of Hazelwood-Horner's work corroborates this, centered around lifestyle and documentation of social rituals unique to British culture.

(Above) Lewis' paint shelf is home to fantastic small oil studies of friends and family. Photo credit Thompson's Gallery.

Building a body of work for his new solo exhibition for Thompson's London this May, the artist is teeming with energy and excitement. The collection of new paintings contains known favourite subject matter such as portraits, social scenes, and rich still life. Audiences will be dazzled by the introduction of market scenes and craftspeople, such as London fishmongers, barrel makers, and umbrella shops.

(Above) Camera setup capturing stop-motion footage of Lewis' centerpiece for the solo exhibition, a fishmonger scene brimming with activity and colour. Photo credit Thompson's Gallery.

For more information about Lewis Hazelwood-Horner's solo exhibition this May, get in touch with Thompson's Gallery London. Email enquiries@thompsonsgallery.co.uk or phone +44(0)207 935 3595.

Follow us on Instagram for the latest sneak previews of the artist's work @thompsonsgallery and the hashtag #LHHThompsonsGallery


Published: 11 March 2020

We have a unique bond with our pets. They are brought not only into our households, but into our lives as well. We form an emotional attachment and nurture them, showing pets love and affection. The intimacy and tenderness that we associate with our pets develops through companionship.

Dogs for example, man's best friend, are said to be a companion species for us. However, these animals have to develop their own skills of communication too, an emotional labour in itself. The companionship flows both ways. 'Companion', I recently learned, is a word that originally meant to share bread together, 'Com-panis' in Latin. Literally, together with bread. In a recent series of paintings by East Anglian artist, Tessa Newcomb, she breaks bread with our furry friends. Painting pets in the innocence of a beachside walk – prominent, squat and foregrounded – Tessa shows that they are leading the exchange between us and them. These are paintings from the ground up, charming and lovingly recreated at the hands of Tessa.

Hunting for Gold | Oil on board | 17" x 29" | £1450 

Community and kinship carry on throughout Tessa's work. Father and Sons is a painting that speaks of family industry, local knowledge and rich history. Fisherman with their catch or fishmongers sorting their trade, they are defiant against the tide of modern industries that might threaten their business. Despite the intensity of their expressions, their livelihood is healthy and prosperous – the wealth of fish reminding us that local knowledge goes a long way. It's another intimate scene, dimly lit and constrained by the space they are given, a character looks us in the eye as they handle fish – a challenge perhaps that we shouldn't forget the importance of their trade, for they know it intimately. Tessa makes reference to the importance of treasuring things across a number of other works too. Take for example her painted boxes – Bits and Pieces – an item to house and preserve memories.

Tessa's paintings can be seen as an attempt to preserve legacy too, as invaluable as oral histories in reminding us of first-hand accounts. This is Tessa painting directly in the land she loves, each painting as authentic as spoken word. They are poems or vignettes, packets of images to open and explore, fleetingly described and as transient as the snowdrops in her painting Snowdrops and Bird. The invitation is to engage and cherish – to make kin with our companions and community, as like the bird or the snowdrop, we don't know how long they will stay.

Tessa Newcomb's solo exhibition is on view through 22 March at Thompson's Gallery Aldeburgh


Published: 5 March 2020

What is it that separates humankind from the animal kingdom? What allows us to survive and prosper amongst land and sea when animals seem so much more equipped? The human body, without wings for flight or gills for water, seems limited in comparison. In ancient mythology, Epimetheus and Prometheus were given the task of endowing all the creatures on Earth with gifts (Epimetheus liberally spreading fur and wings etc.) but by the time they got to man, they had run out of gifts. Such is our lot. Although Prometheus stole fire to bestow man an invaluable gift in life's struggle, we were definitively separate.

We endeavour to push the boundaries of human form and endurance in remarkable feats of athleticism despite our separation from animals. Artists too have pushed their form ever since they were bestowed the gift of creativity. It's apposite then, that I should be looking an artwork by Patsy McArthur that explores both human endurance and artistic achievement. Sea Swim is a drawing in charcoal monochromes capturing all the energy and form of a sea swimmer battling tidal swell. The contrasting grey artwork is part of the forthcoming Shades of Grey group exhibition at Thompson's Gallery in Seymour Place. These hues would seem to fit the Promethean myth kindly – some traditions saying the first man was hewn in clay by Prometheus himself.

(Above: Patsy McArthur | Metamorphosis | Charcoal on paper | 27" x 32" | £1900) 

It is also an artwork about limits. The artist, like the swimmer, has to ask themselves how far do they go? Watercolourists, coincidentally, have to know their limits when it comes to painting – white is never added, it is where the paper has been preserved – Patsy works on watercolour paper, borrowing this artistic technique. Water is a testing and challenging playground. At the water's edge it can be elusive but submitting to it can be enveloping and ultimately costs lives. Take for example Patsy's other work in the show, Metamorphosis, a body plummets and disappears, subsumed by the sea. We don't need to look far in recent news to know the perils of this relationship with water. Storms and rainfall in the UK bringing devastating floods and entire communities facing upheaval and rehousing. Immigration too, from war or oppression, has seen so many lives lost making perilous channel crossings. In this way, Patsy's images of swimmers are two-fold – they exhibit the attempt to cross water and to conquer the ocean (even ultra/endurance channel swims have an unhealthy parallel with colonisation – to take ownership of the sea, the territory between), and they're also a reminder of human limits – what happens when we (literally) fall foul of the water's power.

I had the pleasure of working with Beth French and Lynn Dennison recently on a project that documented sea swimmers and their passage into water. I even took to water myself for the project, swimming throughout the seasons for a year off the harsh West Somerset coast. Beth knows all too well what it means to make endurance crossings. In the excellent documentary about her record-attempt, Against the Tides, Beth has to face the psychological, not just physical, challenges in her quest to be the first person to swim the Oceans 7 (seven significant channel crossing across the globe) in one year. Patsy's work captures the extremes of this sport so well, the fluidity but sometimes failure. I can relate to the two subjects in her work, but there's also something for us all to relate to, whether we swim in the ocean or not. It would seem that Patsy too wants her subjects to speak of something more universal – however accurate the swim stroke is (the looping arm favoured by sea swimmers over the bent elbow of pool swimming) the subject doesn't wear goggles, perhaps more akin to the Promethean man than any salt-watered sea swimmer.
Designers of video games rarely render the entire landscape of their background, the closer we try to get to the limits and boundaries of the game scenery, the more it eludes us. Patsy's two artworks here seem to reflect this role play – the path the swimmer has taken fades into the white of the paper, or the subject in Metamorphosis plummeting downward like a character losing its life in a game, black and white, waiting to regenerate or to metamorphose. This is also true of life and artworks. The closer we try to examine something, whether molecular or just wanting to comprehend in more detail, the more the substance can evade us. A good artwork often requires a step back from it to regain perspective – stepping forward and looking for closer detail takes us further away. In Patsy's attempt to capture the impossible – a fluid moment within or under water – close-up scrutiny will only mislead us. It is through reflection and distance that we can fully appreciate the work. Sink or swim, we must decide how we enter the water.

Patsy McArthur's drawings will feature in our upcoming exhibition of greyscale works. Register interest with the gallery at 0207 935 3595 or enquiries@thompsonsgallery.co.uk for more information. 


Published: 3 March 2020

I was present at Greta Thunberg's Youth Strike 4 Climate rally along Bristol's hilly Park Street
recently. I was also present last year when Extinction Rebellion sat down on Lambeth Bridge
as defiant climate activists. This is the reality of our times, but I like to dream as well. I like
to dream that no matter how persuasive the arguments for recolonization were at The
Design Museum's brilliant Moving to Mars exhibition which ended last week, that there is
no Planet B to escape the damage we have done to our Earth. I like to dream that we can
repair and rebuild, to preserve and restore before we look elsewhere. I also (as many
irrationally anxious Westerners do) have dreams where I'm going to be eaten alive by a

My fear of being mauled to death by a cat I will never come across (beyond the safety of a
zoo) is something I reserve for the margins of my mind. I'm sure there's plenty of meaning
behind it all, but I'll leave that for Dr.Freud to explain. Rather I'll retreat to the security of
someone else's imagination, Paul Wright's for example, and his latest paintings for his
forthcoming solo exhibition, With Time (which coincidentally features a painting of Sigmund

The exhibition looks at, among other themes and subjects, the big cats and species that face
extinction. The very same cats of my dream, those animals we fear and revere in equal
measure. Just like the way we look at our planet. We revere our green earth 'for it's the only
one we know' (to paraphrase the poet Osip Mandelstam), yet we're aware of its majesty
and destructive nature. Recent storms in the UK bringing more devastation to vulnerable
communities, or bush fires in Australia signalling the strength of the elements. However,
this is just an indication of the changing climate we find ourselves in. A climate that will only
be more unpredictable if we don't do something as a collective.

Paul knows this. No doubt his children do too. They feature heavily in his exhibition as well.
So how do we educate our young about the plight of animals we see so regularly in
children's books, that are now facing an untimely end thanks to man's inhumanity? No
doubt Greta will speak to a generation of people that will equip Paul's children and many
more their age to find a better solution for our planet.

That I will never come across a tiger in the wild is not any excuse to avoid my fear of it. The
same is true of climate change and extinction–just because it exists far away (geographically
or in the future) doesn't mean we shouldn't address these issues with the seriousness they
deserve. Paul's paintings of endangered species (tigers, rhinos, elephants etc.) are serious
subjects that deserve as much attention now as the immediacy of his paint suggests.
They're also self-referential, perhaps offering up a comment about the status of painting
today. Is it a dying art form? I think the devil is in the detail – Paul chooses to paint these
animals as though they are a Rembrandt self-portrait, against a mysterious dark
background, introspective and personal. These paintings belong here and this time its


Published: 2 March 2020

Duck Soup please, garçon.

There was a moment a few weeks ago at our new pop-up gallery in Westbourne Grove when
a Spanish family came in and exclaimed "El Gordo y el Flaco". "Fat one and thin one!" they
added, proudly. Shrinking and trying not to feel offended I think my colleague and I looked
at each other proportionally, saying "...fat one and thin one?".

El Gordo y el Flaco as it turns out are the Spanish names for the classic Hollywood comedy
duo, Laurel & Hardy. Little and large, I suppose. The slapstick pair are one of several
paintings by the artist Paul Wright that we have hanging at our pop-up gallery. The stars of
black and white cinema painted appropriately in Paul's signature monochrome. It's a chance
to show these works to a new audience before we present Paul's latest solo exhibition at
Seymour Place next month.


(Above) 'El Gordo y El Flaco', aka Laurel & Hardy. Both 28x28 inches, oil on linen £4250 (each). Click here to see more work by Paul Wright.

I've subsequently had a few people remind me that El Gordo y el Flaco hang prominently
behind our heads at the entrance to Westbourne Grove. Perhaps most surprisingly was a
young boy whose father was showing him all the classic comedies. "The Marx brothers are
his new favourite" he said. There's something quite remarkable about the thought of a child
growing up nowadays engaging with the same comedy that split-sides generations before
them. Then again, I guess that's the timelessness of it, whether it's Stan Laurel scratching his
head, or Groucho Marx painting his moustache on, these things still tickle us.

It's relevant then that Paul has explored these themes in a series of new portraits of children
wearing props on their face—most noticeably in this case, Garçon, in which a kid has a
Groucho Marx-style moustache on his unamused face. The series of paintings highlight how
from an early age we learn to wear a mask, symbolic or otherwise, though often for reasons
that are far from naïve. Whether it's for amusement like Garçon or the oversized glasses of
his painting Pout or becoming an attention-grabbing character in the work Rocketman, these
images reflect our very adult relationships with the self. Indeed, Paul's work titled Curls sees
him paint an older girl in the fashion of an Instagram-friendly-pose, the perfect contrast to his
painting, Starlet, a young girl with a wig and exaggerated love-heart glasses.

(Above) 'Starlet' by Paul Wright. Oil on board, 16x16 inches £2800. Click here to view entire exhibition.

Masks protect or project us in the outside world. We only have to think about more serious
examples of how face masks are widespread in the recent Coronavirus outbreak, or how the
clown-like appearance of Joaquin Phoenix's Joker conceals mental-health issues. However,
sometimes masks help convey how we feel, they help to communicate these harder-to-reach
expressions. The static masks of theatre rely on gestural body movement to convey emotion.
It's telling then, that Paul has decided to paint Garçon and others as static portraits, their
almost sombre expression in contrast to the visual props. Sometimes, like slapstick, tragedy
and comedy go hand-in-hand and the more in your face this series of Paul's paintings get, the
closer we get to understanding ourselves. Like Grouch Marx says in Duck Soup, "I got a
good mind to join a club and beat you over the head with it".

(Above) 'Garcon' by Paul Wright. Oil on board, 15x15 inches £2800. Click here to see entire exhibition.

Paul Wright's new solo exhibition 'With Tme' opens at Thompson's Gallery London on 19th March.

Explore the entire exhibition HERE or get in touch with our gallery team for more information at enquiries@thompsonsgallery.co.uk.


Published: 29 February 2020

As any child growing up will know, or any child that knew where the sweet drawer was, households would inevitably keep from view the sugary treats only to be reserved for special occasions. For a child, these sweeter things were a treasure trove of foil-wrapped goodness and sparkling sugar-coated joy—things that as adults we kid ourselves we no longer need in the same way, that our urges are under control (who hasn't found themselves engorging on chocolate when nobody is looking?).

For many British children, there were certain confectionaries that seem committed to the annals of our youth. I'm struck when looking at Paul Wright's latest exhibition of paintings to see a slice of Battenberg cake sitting proudly amongst the other oils and portraits. There, amongst his body of work, a reminder of a childhood cake that I'd almost forgotten. Then again, how could one forget the riches of colour—glamourous and attention-grabbing pink and yellow sponge. Even Paul has hinted that this new body of work shows "strong yellows" , as a reminder of how he used to paint. It's no coincidence then that the Battenberg asks us to recall the past.

I've known Paul for many years, having the pleasure of working with him when I was at Thompson's Gallery in New Cavendish Street. He's a sucker for these sentimental subjects—I can't imagine he ever threw away a pair of shoes without painting them. His paintings simultaneously invite us into the past whilst throwing us into the present with their arresting brushwork and immediacy. His revisiting of the past also asks important questions of his own painting; there's a lot of reflection going on in Paul's world, you only have to look at the video to get that.

An artist friend once described seeing the paintings they had worked on years before as either reuniting with an old friend or coming into contact with an old enemy. This exhibition by Paul looks back with fresh perspective, much like his chequered relationship with the pink and yellow quadrants of a Battenberg. 'Every Saturday for Ten Years' as the title humorously alludes, was a union too far, though as he goes on to describe in the video "we've always got an odd fondness now [my family] for every time we see it... we smile". Indeed, Paul's paintings keep us smiling.

There's also much more to this work than the simplicity of childhood memories. As is so often the case with Paul's paintings, the superficial world of his images is only part of the story. The Battenberg is a symbol of simplicity and economy at the dinner table—no matter how much the uncut sugary marzipan log sparkles like gold bullion (the opulence here isn't incidental as the Battenberg was said to have been named in honour of the marriage of Queen Victoria's granddaughter. The famous image of Queen Vic' was once a subject for one of Paul's paintings. Just like him to use Battenberg to describe lineage!). Then there's also the squares of the cake itself—how can one not find the art historical reference to geometric abstraction? Through the economy of this cake, Paul playfully references the motifs of abstraction that have been present in art since ancient times and brings them to the dinner table, for us all to digest.

Paul's forthcoming solo exhibition, With Time, opens on 19th March at Thompson's Gallery London. Contact the gallery at 0207 935 3595 or enquiries@thompsonsgallery.co.uk for more information. 


Published: 28 February 2020

Have you ever fallen absolutely in love with a piece of art, and couldn't stop thinking about it? Time and again the story goes: a chance encounter, a heartbeat skip, a dream of owning the artwork and seeing it every day... then the fantasy stops there thanks to your wallet. OwnArt exists to stop this heartbreak. Thompson's Gallery are here to clue you in to the best kept secret in art buying - OwnArt breaks payments into 10 months, interest-free. That means you can fall in love and stay in love, with art you can't afford to miss.

OwnArt is a UK Arts Council loan scheme which breaks artwork purchases into 10 monthly payments without interest. Thompson's Gallery is proudly OwnArt registered, as are many galleries throughout the UK. This post breaks down the requirements and how applications work.

OwnArt Requirements & Process
1) Artwork acquired by OwnArt must be made by a living British artist.
2) The client (the OwnArt applicant) is led through a 20-30 minute application process by the gallerist (the OwnArt salesperson). ID, proof of address, and bank card is needed (no credit cards, debits only).
3) OwnArt provides a decision instantly.
4) Successful applicants may take their new artwork home on the spot.
5) Payments come out via direct debit for 10 months in a row, interest-free.

Never miss out on a chance at love with art. Ask Thompson's staff about OwnArt next time your heart leaps for a piece in Aldeburgh or London!

Email us anytime about OwnArt, we're happy to help.


Published: 26 February 2020

Last night we opened our current exhibition, The Family Unit, which presents portraits centred on the theme of family. The exhibition features new paintings by some of our old favourites and some new artists:

Pauline Hazelwood 'My Three Boys'

London based oil painter Pauline Hazelwood makes monuments of her sons as subjects, and not just for the Thompson's 'Family Unit' exhibition. As a mother of three and avid artist, Hazelwood takes great joy in capturing the bond amongst her progeny and singling them out for individual portraits. This painting, aptly titled 'My Three Boys' depicts quality time at Christmas lunch- a familiar and fond view for all audiences.

Coll Hamilton 'Inherited Traits'

Young Scottish artist Coll Hamilton contributed a thought-provoking, intense portrait for the Thompson's group exhibition. As a newcomer to the gallery, Hamilton explained his chief aim was to approach the prompt, 'What does family mean to you?' from the angle of heredity and predisposition. Along with his painting, the artist provided the following words of reflection:

'[this painting] is concerned with the effect the family unit can have on an individual within it. The painting portrays someone looking at themselves and seeing elements of their parents - both good and bad. Even as an adult, long after we are no longer living within the family home, we can be trying to unpick ourselves from patterns of behaviour within that unit... I think the experience of recognising your parents in yourself as an adult can range from being as benign as thinking you look like your Dad as you remember him when he was the age you are now - to examining your own negative behaviour and destructive personality traits that are similar to your parents and wondering if you are destined to repeat their mistakes. I think the family unit can be - at the same time - something you take comfort in along with being something that you are trying to overcome and unshackle yourself from.'

Adam Riches 'Mother'

Draughtsman and painter Adam Riches is another new name in the Thompson's 'Family Unit' exhibition. The artist created a large-scale, monochrome depiction of 'Mother' in reaction to the prompt. Glamorous and nostalgic, the image harkens to a 50s era family unit (Jackie O has sprung to mind for many since the painting's unveiling). Riches provides viewers with an intimate scene shrouded in anonymity, allowing insertion of oneself into either parent or child's role for the narrative.

Peter Clossick 'Jane Pregnant'

NEAC and London Group painter Peter Clossick offers a deeply tender and personal pair of paintings for 'Family Unit' at Thompson's. The artist (like many among and before him) utilizes family and friends for the majority of his subjects and sittings, in this instance recording and celebrating the pregnancy of his daughter Jane. The impasto swathes of cool tones in oil nearly abstract the pregnant female form, but the scene itself is far from cold. The warmth and care of an artist to document the precious moments of a mother-to-be is noticeable, compounded by the fact its maker is a grandparent in waiting.

The Family Unit is open now at 3 Seymour Place, and runs until 14 March. View the entire exhibition here. Contact the gallery for more information. 


Published: 24 February 2020

Paul Wright


To celebrate the opening of Paul Wright's forthcoming Solo Exhibition, the first in three years, we have produced a short film that allows audiences to learn more about Paul Wright, his latest exhibition and influnces.

Paul Wright

In the forthcoming exhibition "With Time" Wright paints as father, former child, husband, human, and thinker. The exhibition is celebration of years gone and years coming  and it is an opportunity, as Wright puts it, to think deeply and deliberately across a cohesive body of work, demonstrating growth and maturity in style and thought.

'With Time' delivers this and more, weaving in humour, colour, and optimism to the more serious questions posed about personal and collective histories and futures.

For more information please WATCH our film and get in touch with the gallery.

18 March 2020 - 4 April 2020 




Published: 23 February 2020

Westbourne Grove POP UP

WESTBOURNE GROVE - Until 15th March 2020.

For the next month Thompson's Galleries will appear in the heart of Westbourne Grove, to exploring new avenues to advertise and celebrate our most sucessful artists in an area loved by the gallery.

We will be exhibiing a wide range of painting and sculpture of established and emerging talents represented by the gallery. Featured artist include new work by sculpture Carol Peace, portrait painter Paul Wright, super realist Tony de Wolf and landscape painters Peter Wileman, James Fullarton & Harry Brioche. 

Come see us!


Thompson's Gallery POP UP - 196 Westbourne Grove, London W11.


Published: 19 February 2020

(Above: Helen Tabor | Circus Family | Oil on board | 30" x 25" | £2900)

Thompson's Gallery London are days away from unveiling a new group portrait exhibition centered around the prompt, 'What does family mean to you?'. A variety of Thompson's sculptors and painters took this question on wholeheartedly, showing their unique view of familial, intimate connection.

(Above: Ania Hobson | Cousins and Sister in Montmarte | Oil on canvas | 49" x 47" | £5300)

In a time where digital communication dominates human connection, a group survey of real life, person-to-person links has never been more needed. Artists have elected to show a range of interpretations including romantic partnerships, parent and child bond, extended family and the excitement behind the periodic gathering, and much more.

(Above: Anna E Davies | Astrid | Oil on panel | 30" x 29" | £1100)

Join Thompson's Gallery in celebration of human connection at its closest - The Family Unit, whether chosen family or blood lineage, is always here to stay.

Contact the gallery with sales enquiries and information about the private view evening. Email enquiries@thompsonsgallery.co.uk or phone +44(0)207 935 3595.

(Above: Michael G Clark | Le Dejeuner | Oil on linen | 20" x 22" | £2750)


Published: 11 February 2020

Ania Hobson Cousins & Sister Montmartre


26 February 2020 - 14 March 2020


Thompson's Gallery London presents a group exhibition centered around the concept of family. This portrait show is a survey of each individual artists's view of family, the meaning of the term, and who and what it looks like. 

This stunning piece is by artist Ania Hobson has been picked as a favourite of Megan Thompson's. A stunning family portrail of a girls trip to Paris. 

Ania Hobson "Cousins & Sister in Montmartre"Oil on canvas 49'' x 47'' £5300

For more infomration please get in touch


Published: 23 January 2020

London Art Fair

London Art Fair opened on Tuesday afternoon and year in year out it doesnt disspoint. It is always a pleasure meeting new and old clients and introducing the newwork. This year we had particularly stunning piece by Mary Fedden RA - White Table that was sold on Thursday.

Other artists exhibiting are oil painters Helen Tabor, Jo Taylor, Paul Wright, Carl Melegari, Lewis Hazlewood Horner, Tony de Wolf and sculptors John Clark and Chris Buck.

If you are still interested to go, please get in touch with the gallery we would be happy to leave you a ticket at the door.

Find us at:

Thompson' Gallery Stand G23

London Art Fair, Business Design Centre, Upper Street, London


Published: 21 December 2019

Earlier this week we visited Paul Wright's studio ahead of his solo exhibition in Spring 2020 - and were joined by some special guests!

Paul's children, May and Oscar - who you might have spotted in our Christmas Small Wonders exhibition! - joined us to show off their artistic talents.


(Above: My Girl | Oil on canvas | 14" x 11" | £2750 )

(Above: My Boy | Oil on canvas | 12" x 12" | SOLD )

And the newest addition to the Thompson family, baby Zora, went on her first studio visit, aged just three months old! May and Oscar gifted her their homemade Christmas cards - and she was very impressed. 

Oscar and May's paintings were so good that we gave them pride of place in our Aldeburgh Christmas Exhibtion, hung beside some of our favourite artists. 


Published: 6 December 2019

Our final solo exhibition of the year, Jo Taylor: Running Wild, closes tomorrow!

After a lively Private View three weeks ago, and lots of sales in between, we are getting ready to say goodbye to Jo's large scale works, and move onto a much smaller format. 

Using a mix of media, including collage, pastel, oil wash and ink, Jo Taylor creates large scale works that are at once otherwordly and ethereal, while still remaining firmly grounded in the anatomy of the animals she depicts. Visitors to the exhibiton have commented on how realisticly she has captured the animals in motion.

In a slight departure from her previous exhibitions, this show sees Jo situate animals in dramatic landscapes, inspired by Ireland and Exmoor, where she spent significant time when creating the works. She has also included a wider variety of animals, including stags, bulls, hounds and eagles, as well as her usual horses, for which she is so well known. 

Running Wild closes tomorrow at Thompson's Gallery London! It is one not to be missed. For more information, contact enquiries@thompsonsgallery.co.uk or call the gallery on 0207 935 3595. 

And join us for our final exhibition of the year, Small Wonders, opening Wednesday 11 December!


Published: 13 November 2019

Matthew Alexander is well known for evocative landscapes that perfectly capture the changing effects of light and atmosphere on a place. Capturing some of the UK's most well-loved landscapes, from busy central London streets, down to the coast of Kent, up to the Scottish Highlands and over to the West coast of Ireland, Alexander has the power to transport the viewer to wherever he chooses with a few simple flicks of the paintbrush.

Visitors to the exhibition have been impressed with the mastery of his technique, particularly when rendering dappled sunlight, and many have recognised some of their favourite locations hanging on the walls of our gallery. 

Alexander breathes new life into a technique and subject matter made famous by the French Impressionists, and Matthew follows their trajectory more literally by painting some of the same vistas that they once did - a certain Le Chemin de la Machine by Alfred Sisley, now in the Musee d'Orsay indeed bears striking resemblance to Alexander's own rendering of the same scene.

There are a few days left to enjoy Matthew's landscapes before we change gears altorgther with Jo Taylor's large scale, mixed media equestrian and wildlife paintings - opening 20th November.

For more information about any of our exhibitions, email enquiries@thompsonsgallery.co.uk or call the gallery on 0207 935 3595. 


Published: 20 October 2019

Following a recent studio visit in preparation for British painter Paul Wright's forthcoming 2020 solo exhibition, Thompson's Gallery share studio snapshots behind the scenes. 


All images courtesy of Kelsey Zalimeni, shot for and owned by Thompson's Gallery London.

Artist's studios are fascinating places, often kept private for the creator (a sanctuary of sorts). Paul Wright's Leicester studio is no exception, offering a cornucopia of colours, materials, and gems for the privileged visitor to discover.



All images courtesy of Kelsey Zalimeni, shot for and owned by Thompson's Gallery London.

Enjoy these exclusive sneak peeks around the artist's studio, and register interest now for Wright's 2020 solo exhibition at Thompson's London (debuting January 2020). 

Email enquiries@thompsonsgallery.co.uk or call with questions +44(0)2079353595.



All images courtesy of Kelsey Zalimeni, shot for and owned by Thompson's Gallery London.


Published: 14 October 2019

Ahead of his highly anticipated new solo exhibition at Thompson's Gallery London, British landscape painter Matthew Alexander speaks on his practice including colour technique, plein air versus studio work, and his surroundings in hometown Margate.

Above: Debuting in Alexander's solo exhibition, 'The Quadrangle, Hyde Park Corner, London' Oil on canvas 16x20 inches £3750 - ENQUIRE/BUY NOW

Thompson's Gallery: In your opinion, what is the key to consistency as a painter?

Matthew Alexander: Do you mean consistently good or consistently bad (laughs playfully). Well, I feel that in order to continue to make art that has a relevance to me I have to be excited at the prospects of the new work.
If the work interests me before and during the execution then the chances are that it will come to be exhibited and would therefore have passed 'muster' i.e. would have satisfied my own critical standards.
I hope that this process leads to consistently good paintings, although I am always happy to hear if this is not the case.

Thompson's Gallery: Do you prefer painting en plein air or in the studio? Describe the pros and cons of each.

Matthew Alexander: During the early part of my career I used to think that work produced 'on-site' had some mystical elevation as a purer form of painting, as that was the mantra of my mentors at the time.
With much struggle against this received wisdom I have come to understand that one must plough one's own furrow and in so doing reject some of these apparent tablets of stone.

I have always continued to make occasional sketches en plain air but much prefer to work in the studio in order to produce more significant works.
An analogy with music would be to the composer who makes numerous small studies over time as and when ideas come to him and then combines them into a symphony in the studio.
The painting then comes from within, from memory and experience without the clamour of observable facts.This then is my preferred way of working.

Above: Debuting in Alexander's solo exhibition 'The Fishmarket, Venice' Oil on board 8x12 inches £1550 - ENQUIRE/BUY NOW

Thompson's Gallery: Audiences greatly admire your understanding of colour and paint application. Are there any tricks or tips you could share on this topic?

Matthew Alexander: I love the idea of tips or tricks - if you find any, please send them to me! Understanding colour - there is absolutely no substitute for time spent at the coal face. Years of mixing colour will eventually lead to a degree of control and understanding but unfortunately - there is no shortcut.

With regards to paint application, variety really is the spice of life! Oil paint has many wonderful qualities - warm and cool colours, transparency and opacity, diluted or impasto, brushed, scrubbed on or applied with a knife or finger and I like to utilise this wonderful variety to keep vitality in the work.

Above: Debuting in Matthew Alexander's solo exhibition 'Beach Sunset' Oil on board 16x24 inches £4000

Thompson's Gallery: Your hometown of Margate is an up-and-coming creative area. Do you have a favourite place to spend time or paint around town?

Matthew Alexander: Margate certainly seems to be on the "up" and about time too. The Turner Gallery has seen many creatives move in - what JMW would have made of some their ART heaven only knows!
The area has a wonderful coastline and the low lying landscape and huge skies are great for my purposes and redolent of the wonderful Dutch and East Anglian landscape artists of the past that I so much admire.
The coast between Margate and Broadstairs at Kingsgate and Botany Bay are my favourite places to paint. I have painted the white chalk cliffs reflecting in the wet sand so many times I could probably paint them in my sleep but I never tire of the challenge of trying to convey the magic of this unique combination.


Matthew Alexander's solo exhibition opens 30th October and runs until 16th November. Contact Thompson's Gallery London to register interest at enquiries@thompsonsgallery.co.uk or call +44(0)2079353595.


Published: 9 October 2019

With a highly anticipated solo exhibition coming up this November, mixed media artist Jo Taylor discusses her practice with Thompson's Gallery in an exclusive interview for the 'Artist Q&A' series. 

Above: Debuting in Jo Taylor's November 2019 solo exhibition, 'Running Wild' - Mixed media on paper 33x59 inches £7500 - ENQUIRE/BUY NOW

Thompson's Gallery: Do you have any studio rituals or superstitions?

Jo Taylor: I don't really have any superstitions but I guess that each day turns into a ritual. An ideal day starts early by walking the dog followed by exercising the horse. Both are ex-racers and beautiful models. I am very attracted to beasts with their anatomy right on show so the greyhound and the Thoroughbred are the perfect inspiration. By walking and riding, I also get a good dose of wild Northern weather before I start work which I try to turn into a positive but sometimes it's just a bit much. At work, Bubble my greyhound has the best seat in the studio - well actually, it's a sofa! I always stand up to work as I am constantly marching backwards and forwards in an attempt to keep the energy, throwing materials at
the paper and letting things develop on their own. I always have several pieces on the go as it is so easy to wreck a good start by overworking it. I have no windows my studio as it would be too distracting ( I'd be watching the crows all the time) but I do have huge skylights over my easel so that keeps me focused. Music is a big part of studio life - Underworld, Chemical Brothers, Captain Beefheart, The Fall, Nick Cave, Sleaford Mods - all cheerful stuff!

Above: Jo Taylor on site for sketching and studying in Exmoor. Image courtesy of artist.

Thompson's Gallery: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?

Jo Taylor: My work starts outside and always has done. The origin of each piece stems from being amongst beautiful beasts (usually horses) in an inspiring place. Usually the weather is involved . I love my time in wild places, on the gallops and at studs in amazing locations throughout the UK, Ireland and America. I feel immensely privileged to have had access to some of the best Thoroughbreds in the world. In an attempt to keep the moment, I will retreat indoors to produce low pressure watercolour sketches and drawings which I use as a starting point for the bigger pieces. I also love fable and folk stories which can be threaded into the final piece once the imagination has taken over.

Thompson's Gallery: Do you ever experience 'painter's block'? How do you overcome it?

Jo Taylor: Oh yes! I think that the only way to get out of it is to draw and draw and draw. I often look back at work that was done in these times and realise that there was a train of thought there for future pieces. I also think about what my tutor John Ross once said when he visited the studio - "Jo Taylor! Stop painting these f^^^^^^g pretty horses". That usually galvanises me into action.

Thompson's Gallery: What has been your favorite subject to paint in the past year?

Jo Taylor: My dear Thoroughbred, Johnny. We have many adventures in my paintings.

Above: Debuting in Jo Taylor's November 2019 exhibition 'Running Wild' at Thompson's London - 'Moonlight Ride' Mixed media on paper 33x59 inches £7500 - ENQUIRE/BUY NOW

Thompson's Gallery: Your upcoming solo exhibition in November is titled 'Running Wild'. Tell us more. Have you traveled to any exciting locations to study and sketch for this show?

Jo Taylor: I have spent significant time amongst the hardy wild ponies of Exmoor in the West Country and Connemara in Co Galway in the west of Ireland (there is something about looking west with the land on my back). It is always wonderful to see these ponies in their natural habitat - watching how they live as a herd and to observe their instinctive behaviour. It was whilst amongst the ponies that I found the title of my exhibition - Running Wild. Whilst watching the herds in some breathtaking landscapes of the UK and Ireland, I also encountered running herds of deer and magnificent birds of prey so they have made an appearance too. Landscape and being on the land is a huge influence. Through years of walking and riding ; experiencing the wilderness and freedom of these places, the landscape is now central to some of the work. Oh, and after years of getting blown about in all weathers watching my subject, the weather makes an appearance now too. Further drawing trips in preparation for the show have taken me back to the beach racing at Carrowniskey and Omey along the Wild Atlantic Way in Ireland. It is an intoxicating mix of man, horse and the land with some wild riding thrown in in The Land of Horse.

Above: Jo Taylor's greyhound rescue Finbar, watching over the studio as the artist works.


Register interest today for Jo's exhibition, titled 'Running Wild'  - opens 20th November 2019 at Thompson's Gallery London (3 Seymour Place W1H5AZ). Email enquiries@thompsonsgallery.co.uk or phone +44(0)207 935 3595.


Published: 19 September 2019

The masterful Belgian painter Tony de Wolf has been featured in the October 2019 edition of Artists & Illustrators magazine. The coverage is aptly timed, preceding a highly anticipated new solo exhibition by the artist opening 9th October at Thompson's Gallery London.

Above: Debuting in de Wolf's new solo exhibition on 9th October; 'Grapes Reflected in Black Coffeepot'  Oil on panel 20x28 inches £10,950 - ENQUIRE/BUY NOW

Entitled 'A Realist's Feast', de Wolf's new exhibition promises to delight and mesmerize audiences familar and new. The artist incorporates tantalising fruits, luscious cloth and ceramic vessels, glistening pewter, and more into balanced and beauitful compositions. The magazine feature in Artists & Illustrators delves into de Wolf's technique and pro tips, in their patented 'Fresh Paint' section.

CLICK HERE to read the entire October 2019 edition of Artists & Illustrators; de Wolf's feature begins on page 18.

Above: Debuting in de Wolf's new solo exhibition on 9th October; 'Charming Cherries in a Chinese Bowl'' Oil on panel 9x11 inches £3500 - ENQUIRE/BUY NOW

Contact the gallery to register interest in Tony de Wolf's forthcoming solo exhibition on Seymour Place. Email enquiries@thompsonsgallery.co.uk or phone +44(0)207 935 3595.


Published: 18 September 2019

This morning we opened our London Autumn Exhibition, which features a range of artworks by many of the artists we represent. 

Simeon Stafford | Busy Day at St Michael's Mount | Oil on canvas | 35" x 35" | £4500

James Harrigan | Goldfish Pond | Oil on canvas | 20" x 26" | £2400

After a couple of weeks of pre-sales, we  opened the show to a great deal of excitement- both from our buyers, keen for a look at our latest collection, and our artists. 

James Fullarton | Poppies in a White Jug | Oil | 36" x 30" | £9500 

Lewis Hazelwood-Horner | The Harp | Oil on canvas | 82" x 73" | £14000

Chris Buck | Everything You Want & For Hours on End 
Bronze on slate base | 18" x 3" x 3"' | £1900
Bronze on slate base | 26" x 5" x 3'' | £3000

Making the most of every tiny bit of wall in a gallery which leaves something to be despired in the space department, we were able to get an unprecendented 75 paintings and sculptures on display, ranging from the purely figurative and traditional, to the abstract, humerous and whimsical, with something to suit every possible taste and style. Highlights include new and previously unseen works by some of our biggest names, including Peter Wileman, Paul Wright and Robert Kelsey, as well as works by some of our new favourites. 

Helen Tabor | Sunday Morning | Oil on board | 27" x 36" | £3500

Jack Morrocco | Lavender Fields near Gordes, Provence | Oil on canvas | 16" x 16" | £4750 

Michael G Clark | The Red Scarf | Oil on canvas | 16" x 16" | £2400 

Mhairi McGregor | Ostia | Oil on canvas | 27" x 27" | £3900 

Paul Wright | Round Head | Oil on wood | 16" x 16" | £2750 

The show runs until 5th October at 3 Seymour Place. For more information email enquiries@thompsonsgallery.co.uk or call 0207 935 3595. 


Published: 9 September 2019

Luci Maclaren and Megan Thompson


Thank you to everyone who came and joined us at Luci Maclaren's debut solo exhibition Momentum last Wednesday.

Here are a few shots from the wonderful evening. 

Join us and view this stunning exhibition by Luci Maclaren until 14th Septmber. Her body of workarticulates the excitement of British sport through gestural, brightly hued brushstrokes.

 Not to be be missed!


Published: 5 September 2019

Earlier this summer, we visited the studio of Jo Taylor, where she is busy preparing for her solo show Running Wild, the culmination of over 2 years' work. Having built her reputation as a painter of horses, for this exhibition Jo is encompassing a range of animals in movement. Inspired by time spent on the Irish coast, in many of her newer works, Jo situates her animals within powerful, dramatic landscapes, which serve to add to their emotional force. 

Visiting Jo's studio exemplified her process. Working from sketches and the many photographs that adorn the walls of her studio, she captures the movement of animals with staggering anatomical accuracy, despite her loose, expressive style. Her knowledge of anatomy derives from an artist's residency that she undertook at the University of Liverpool's Department of Veterinary Science, where she developed a strong understanding of animal anatomies (equestrian, in particular). Her medicl attention to detail is apparent in the way she renders the bodies of the animals she portrays. Taylor was also the first female artist to have exhibited her work at the Jockey Club, a milestone testament to her unparalleled ability to render horses and their dynamic spirit.

Jo creates her large scale, multimedia works on paper, building up layers of paint, pastel, wax and collage, giving them an almost sculptural element, and the signature dreamlike style which makes her work so recognisable. Her works, once complete, are then framed in dramatically heavy black frames and large mounts to give them as much power as possible, and a sense of physical solidity so at odds with the nebulous forms she creates. 

This, her latest body of work, signals a departure from Taylor's former focus on purely horses, while still retaining the expressive qualities for which her work is so often heralded. Unique in its dynamism and fluidity, it is an exhibition not to be missed.

Running Wild opens at our London gallery on 21st November. To register interest or for more information, email enquiries@thompsonsgallery.co.uk


Published: 30 August 2019

Luci Maclaren's debut solo show 'Momentum' opens next week. Aptly titled, this body of work features moments of intensity, competition, and even collision- as Maclaren articulates the excitement of British sport through gestural, brightly hued brushstrokes.

We caught up with Luci to learn more about what inspires her, her artistic process, and her surprising hidden talents!

Momentum runs 5-14 September, opening with a private view on Wednesday 4th of September.

For more information, to RSVP to the private view, or to request a catalogue, email enquiries@thompsonsgallery.co.uk. 

Above: Lions Roar | Oil on linen | 54 x 54 inches | £6600 | Enquire/ Buy now

Thompson's Gallery: How did you first come into art? Were you influenced by someone you knew, or an experience?
Luci Maclaren: Well I always loved drawing and painting from an early age and studied history of art at university... but I never fully thought I could make a living from being an artist. It wasn't until I was 28 and had been living in Los Angeles for a number of years that I knew what I wanted to do and I knew i wanted to give it a proper chance. I had other part time jobs that supported me and chose a fine art course to study in LA. Then I was on my true path!

TG: How would you describe your artwork to someone who's never encountered it before?
LM: Full of movement. The hashtag I always use when explaining my work is #colourandmovement. I use incredibly thick paint and often a palette knife to keep the work loose and uncontrolled. I want the painting to be alive. I want it to breathe. It;s definitely impressionism I would say.

TG: Of all the sporting events and British pastimes you paint, is there a favourite? What makes it stand out?
LM: I To be honest I'm sports obsessed but if I had to pick a team sport it would be rugby. It's the most fantastic spectator sport. I put my heart and soul into supporting Scotland. I also played a lot of tennis when I was younger and think Wimbledon is the best day out. I got to be court side at the men's final this year. It doest get any better than that!

TG: Do you have any studio rituals or superstitions?
LM: No one watching me unless I know them very well! Radio 1 has to be on.

TG: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?
LM: Nope I just crack on with the oil paint. I ideally work on many paintings in short sharp bursts. For me its all about fresh eyes. I stop seeing things after a while...

Luic at work in her studio

TG: Do you ever experience 'painters' block'? How do you overcome it?
LM: Yes! Before I moved to London I was in a bad block. I felt stuck in a rut and had lost direction. A change of scene was what I needed. On a day to day basis if I'm not feeling it, I tend to give myself a break. Sometimes if I push myself I can do more harm than good.

TG: What is your best piece of advice to young aspiring artists?
LM: DON'T WORRY YOU CAN DO IT! Know that it is very possible to be a living working artist but like all jobs it has its tough times. However if you love it, with a bit of time and a lot of love and effort everything will fall into place.

TG: How does living in London influence your practice? How does it compare to your time exhibiting and painting in California?
LM: London came along at exactly the right time. I lived on a farm about an hour and a half outside London which was fantastic for a while; affordable, beautiful and quiet. I grew up on a farm so it made sense. However after a certain point I felt quite hidden and removed. I needed Londons energy. California was at the very beginning of my career... I feel like im in a very different place now. 

Above: Winding Up | Oil on linen | 36 x 24 inches | £3500 | Enquire/ Buy now

TG: What is your studio like? Do you like having music, podcasts, or something else on in the background whilst painting?
LM: Im currently in the process of building my own studio in North London. Its been a long time coming and a dream! I need a second room for storage of wet paintings. Lots of white walls and glass. Working from home and I cannot wait!

Above: Inside Luci's studio

TG: Did (or do) you find inspiration in the work of other artists? Anyone who's been influential for you?
LM: When I was in my teens I was obsessed by Scottish colourists. Particularly Peploe and Cadell. I Still love them. On a more contemporary front recently Andrew Salgado has inspired me with his huge canvases and the way he puts down paint. I think his stuff from a few years ago is magnificent.

TG: Do you have any other hidden talents?
LM: Incredibly loud whistle and lifelike owl hoot.


Published: 17 August 2019

We are delighted to announce the return of Belgian artist Tony de Wolf to Thompson's Gallery, as he presents his latest body of work

Tony de Wolf has established himself as an utter master of still life painting, creating mesmerisingly lifelike photoreal images, which capture the effects of light and texture in unprecendented detail. His compositions are deliberately kept simple, often with muted palettes, in order to create a sense of harmony and peace. His style brings to mind the Dutch Old Master paintings of the 17th century, which he draws on for inspiration, both stylistically and in terms of subject matter. Having trained under Willem Dolphyn, the great Antwerp classical painter, de Wolf has enjoyed an illustrious career of his own.

The exhibition will open on the 10th of October with an Opening Day, and run through the 26th. 

To register interest or for more information on the exhibition, please contact enquiries@thompsonsgallery.co.uk


Published: 3 August 2019

Our partnership with local hotel Hyatt Regency - The Churchill is nearing the end of its first year, and we have rehung their foyer and Montagu Kitchen walls for the third time! The gallery and hotel have enjoyed being Marylebone mainstays for many years, and this partnership has two primary aims: to endorse local partnerships among businesses in the Marylebone district, and celebrating British lifestyle and tradition linked to iconic figures such as Churchill, after whom the famous hotel is named after. 


(Above: Hyatt Regency hang- before and after!)

For this hang, we were inspired by the Great British Summer, and the beach days, summer fairs, countryside, sunshine- and occassional rain- that make up the quintessential British summer. 

(Above: Douglas Gray | The London Eye | 15" x 30" | Oil on board | £4500 | Enquire/ Buy Now

Now on the walls of the foyer and promenade, hotel guests and visitors can view works by Douglas Gray, which perfectly encapsulate the mood of London- and its variable weather; Robert Kelsey and Norman Smith, whose scenes of Scottish beaches and evocative sunsets quickly transport us out of the city; Simeon Stafford, whose large scale, naive works, highlight the fun and whimsical side of London and seaside England; and Peter Wileman and Harry Brioche, who both capture the effects of light and weather on the British countryside. 


(Above left: Simeon Stafford | Battersea Park | 30" x 30" | Oil on canvas | £4500 | Enquire/ Buy Now / Above right: Simeon Stafford | Piccadilly Circus | 30" x 30" | Oil on canvas | £4,500 | Enquire/ Buy now )

(Above: Norman Smith | Dusk Over Russley Down | 23" x 25" | Oil on board | £3910 | Enquire/ Buy Now )

(Above: Robert Kelsey | Ben More from Iona | 24" x 28" | Oil on canvas | £4200 | Enquire/ Buy now)

At the end of the Montagu Kitchen, surrounding the fireplace, small paintings by Michael G Clark and James Fullarton provide a sense of brightness. 

The exhibition is now open, so drop by for a taste of the Great British summer - 30 Portman Square. 


Published: 22 July 2019

In his painting A Saint in All but Name, which features in our current Summer Exhibition, Paul Wright draws on and subverts a longstanding tradition of religious portraits of the Virgin Mary. Wright often uses famous faces as the starting point for his paintings, with such figures as Winston Churchill and Pablo Picasso having been given the Wright treatment, and in this case he turns his hand to an altogether more holy subject.

Paintings of the Virgin Mary exist from as early as the 2nd Century, however they begin to proliferate during the Byzantine period; by the Middle Ages, images of the Madonna were common in European art, and clear tropes of representation had been established and delineated.

One such trope, on which Wright plays, is the colour of Mary's clothing. She is shown in a rich, deep blue from as early as 500 AD, and throughout the Middle Ages in both Byzantine and Western Medieval representations, she continues to wear almost exclusively blue garments. Throughout history, blue has been thought of as a sacred and valuable colour, due, in large part, to its cost. One of the earliest blue pigments used by artists, ultramarine, was made from lapis lazuli, a very costly stone that was once more precious than gold. Subsequently, it was reserved for only the most important subjects. So common are representations of the Virgin in this deep, rich blue that is has been dubbed Marian blue and, with the rise of Mariology and the cult of the Virgin, it became the Madonna's official colour. After her induction into the uppermost echelons of the Church in 431, Byzantine artists replaced ultramarine with the cheaper mineral azurite, and the number of images of the Virgin in Marian blue robes increased rapidly. The religious connotations that arise from the use of the blue headscarf in Wright's work, then, are clear, and cannot be understated.

Wright's interpretation of the Virgin Mary grew more organically, beginning as a straightforward portrait. Wright said of his work, 'as the painting proceeded I needed something to frame the head and realised the heads scarf did this very nicely, with the very serene look on her face suggesting piety this visually made me think of Virgin Mary.'

A Saint in All but Name brings together what appears at first glance to be a fashion image, akin to those on the pages of glossy magazines, with a treatment normally reserved for saints and other biblical characters. Wright has paired history's most famous virgin- a renowned symbol of purity- with a face that bears resemblance to the sexualised portrayal of woman in fashion imagery. In doing so, the work raises questions about how we define piety and morality, particularly with regards to woman, both on and off the canvas.

A Saint in All but Name
Oil on linen
43" x 31"


Published: 13 July 2019

Summer has well and truly arrived in London, and that means that our sculpture garden is now open for visitors, featuring bronze works by Carol Peace, Vanessa Pooley, Angela Hunter and Sue Jones- among many others. 

Above: Simon Bacon | Serenity | Bronze | 8 x 4 x 5 inches | £1450 | Enquire/buy now

Simon Bacon's figurative work and process is shaped by a deep interest in the body, philosophy of mind and consciousness, typically reflecting an expression and enquiry of process, and is informed by over twenty-five years and experience as an osteopath and four years postgraduate research in Transpersonal Psychology. The aged patina of his works makes them look as they themselves are organic objects, and they look at home in a natural environment. 

Above: Vanessa Pooley | Butterfly | 11 x 20 x 8 | Bronze | £5850 | Enquire/ buy now

Vanessa Pooley has found her own way of reinventing the human figure, so ubiquitous in art and particularly sculpture. Her work forges a link both to Henry Moore, the champion of the reclining female form in twentieth century sculpture, but also way back to ancient art and such famous pieces at the Willendorf Venus. In fact, the roughly hewn surfaces of her female forms look as if they could have been dug out from the earth, and therefore are the perfect fit for a natural, outside space. 

Above: Elliot Channer | Wren ed. 9/12 | Bronze | 7 x 4 x 6 inches | £800 | Enquire/ buy now

Born in 1989 in Staffordshire, Elliot Channer showed a passion for wildlife and art from a young age. He focuses on capturing the life and grace of the subject, concentrating on their key features but allowing spontaneity to make up the main body of the sculpture. Drawing inspiration from the countryside, initially in Staffordshire and Derbyshire, Elliot now travels the country in order to observe and photograph animals in their natural habitat.

Above: Carol Peace | Unraveling (Edition of 25) | Bronze | 28 x 11 x 11 inches | £7400 | Enquire/ buy now

Carol Peace is a draughtsman as well as a sculptor, and subsequently her process of sculpting is very similar to that of drawing. The works are built up in clay which, like charcoal, is quick to make marks, and then cast in bronze. She was born in 1970 and graduated from the Winchester School of Art in 1992 with a degree in Fine Art Sculpture. In 2001-02, Peace went on to study Drawing at the Prince's Drawing School in London. The versatile sculptor/draughtswoman has exhibited her work across the UK and wider Europe, and further afield. She has held solo exhibitions at major art fairs in the United States and England. Peace has been commissioned by Ashton Court Estate, Woodland Trust, and Bristol's Taywood Homes.

Above: Angela Hunter | Twist and Turn ed. 2/15 | Bronze resin | £1200 | Enquire/buy now 

Angela Hunter's preferred medium is bronze, making small works in wax and larger pieces in plaster or clay for casting in either bronze or bronze resin. She is essentially a figurative artist, sculpting both human figure and animal studies. Her degree show 'Plaster Sheep' have featured in several exhibitions and magazine articles. In 2004 she was commissioned to make a full size Damascus goat and two kids for the owners of Dunderave Castle on Loch Fyne.

Our sculpture garden is open all through the summer, Monday - Saturday, at 3 Seymour Place, London. 


Published: 5 July 2019

Aptly titled 'Momentum', and coinciding with mounting excitement for this year's Rugby World Cup, Luci Maclaren's solo exhibition captures moments of intensity, competition and sometimes collision as Maclaren articulates the excitement of British sport through gestural, brightly hued brushstrokes.

(Above: Luci Maclaren | The Lion's Roar | Oil on canvas)

Luci Maclaren was born in Perth, Scotland; after studying History of Art at St Andrews University, she trained in Fine Art at Santa Monica College in Los Angeles. She has been a professional artist for over 10 years, with solo exhibitions in Los Angeles, Barcelona, Edinburgh and London. In 2011, Luci was appointed the 'Belvoir Castle Shoot Artist' by the Duke and Duchess of Rutland. A highly successful year of group exhibitions and art fairs with Thompson's has led to this milestone solo show for Maclaren.

Driven to combine the traditional with contemporary, Maclaren depicts classic pastimes such as rugby, cricket, polo, shooting and cycling in her home of North London. Striking, forceful, and packed with Momentum, Luci Maclaren's solo exhibition is not to be missed. 

(Above: Luci Maclaren | Ski | Oil on canvas) 

Luci's solo show will run from 4th - 14th September at Thompson's Gallery London. For more information or to register interest, contact enquiries@thompsonsgallery.co.uk. 


Published: 26 June 2019

Thompson's Gallery are pleased to participate in this week's FFS (Fair For Saatchi) from 26-30 June, exhibiting a great range of artwork on Stand 9. 

Above: In situ on Stand 9 for Thompson's Gallery, FFS- Including Peter Wileman, Ania Hobson, Pierre Yermia and Hennie Niemann Jr (to list a few)

Saatchi Gallery will play host to over 15 galleries from across England, Europe and further afield. Visitors will delight in a vast range of exciting contemporary and Modern British artworks for sale. 

Above: Detail shot on Stand 9, Thompson's Gallery - Paul Wright's new paintings will debut at FFS in Saatchi Gallery

The full list of artists exhibiting with Thompson's this week are: Michael Adamson, Matthew Alexander, Pierre Yermia, Carol Peace, Paul Wright, Peter Wileman, Ania Hobson, Lewis Hazelwood-Horner,  Tony de Wolf, Hennie Niemann Jr, and Carl Melegari.

Above: More on Stand 9, (L to R) including Lewis Hazelwood-Horner, Matthew Alexander, Paul Wright, Tony de Wolf, Michael Adamson, Pierre Yermia and Carol Peace

Visit us at Saatchi this week, tickets are available online at FFS official website. View the entire stand's offerings HERE and email us with all questions and interest at enquiries@thompsonsgallery.co.uk (or call +44(0)2079353595.


Published: 20 June 2019

On Tuesday 18 June 2019, we celebrated the opening of our latest show, 'Avec Amour' by Michael G Clark PAI RSW, an exhibition which celebrates love in its many forms. We staved off the London rain with brightly coloured pictures of sun-drenched French and Italian scenes, and glasses of champagne- both on the canvas and in hand!

Above: Michael G Clark | Champagne | 16" x 16" | Oil on linen | £2400 | Enquire/ buy now 

In an era where fear claims headlines and division pervades conversation, Scottish painter Michael Clark makes a case for the opposite - With Love. Most commonly used as an affectionate sign off, 'Avec Amour' is the perfect phrase to lead audiences into an exhibition which uplifts, unifies, and celebrates togetherness in all forms.

Above: Artist Michael G Clark chats to a client at the opening of his latest solo exhibition, Avec Amour 

Painted in some of the artist's favourite locations around France and Italy, 'Avec Amour' whisks viewers from the Champs-Élysées to sunrise in Venice, on to quiet cafes in Le Marais and the side streets of Saint-Germain. By lifting spirits, encouraging enjoyment and reminding all of the lighter side to life, Michael G Clark's exhibition offers an oasis of calm.

Above: Michael G Clark | Before the Crowds, Venice | 16" x 16" | Oil on linen | £2400 | Enquire/ Buy now 

The exhibition runs until 6 July 2019 at 3 Seymour Place, London, and we invite you to bask in the sensory delights of Clark's latest paintings, allowing the warming buzz of European holiday to envelop the eyes, mind, and imagination.

For more information about all the works in the show, or to make a purchase, contact enquiries@thompsonsgallery.co.uk or call the gallery at 0207 935 3595. 


Published: 16 June 2019

Michael G Clark PAI RSW (born 1959) studied at the Edinburgh College of Art from 1979 - 1983. A love of film led him to work for the BBC in Glasgow for six years. On moving to London in 1989 he worked as a freelance Art Director and illustrator; he also began to paint again with much success.

He has had many solo and mixed shows with Galleries in London, Edinburgh, Glasgow, Suffolk, Norfolk and Oxford.

View Michael G Clark's entire new exhibition online here 

Market Day, Provence | 30" x 30"  | oil on linen |£4,500

(Above) Market Day, Provence | 30" x 30"  | Oil on linen | £4,500 | Click here to see availability/ for purchase 

Thompson's Gallery: Do you have any studio rituals or superstitions?
Michael G. Clark: None, although I have two old seats from an aircraft so I usually start the day by sitting on my airliner chairs and looking at yesterday's work with fresh eyes.

TG: Does your process have any established pattern, i.e. sketching beforehand or resisting pattern in total?
MC: A very quick sketch ( about15 seconds!) with a stick of charcoal sometimes onto a surface which I have dragged thinned oil paint. I also have my sketch books and reference photographs. I am often working from memory, however these little visual notes are useful.

TG: Do you ever experience 'painters' block'? How do you overcome it?
MC: Working on several canvases at the same time seems to avoid 'painters block'

TG: What has been your favourite painting or subject to paint in the past year?
MC: I travelled several times to Italy and the South West of France, they are not that far from Scotland but the light, smells and routines are just so different, I have enjoyed my relationship with the people and places that I visited.

TG: How did you first come into painting?
MC: I had been working as an art director in London, I also painted textile designs which I thought would work as greetings cards. The publisher Woodmansterne, commissioned 50 paintings from me which meant I could afford to paint for 6 months. I was paid for the reproduction rights, exhibited, and sold most of the paintings in a West End Gallery, and Woodmansterne paid my framing bill!

TG: What is your best piece of advice to young aspiring artists?
MC: Be honest with what you decide to paint.

TG: You often travel to paint. Which city or country has become your favourite location and why?
MC: Paris, Provence, South West France. They offer different subjects to home, A sense of style, different light, and people.

(Above ) Gentlemen Lunching in the Shade | 12" x 16" | Oil on linen | £1650 | Click here to see availability or for purchase 

TG: Do you like having music, podcasts, or something else on in the background whilst painting? Tell us about it.
MC: I like to listen to test match cricket, it usually lasts several days and although they do stop for lunch or tea there aren't the usual breaks which you get with normal broadcast radio. The humour is important. With so much grim news, it offers an escape. I also listen to a few podcasts, some music, mostly Classical, ted talks and drama on Radio 4 Extra.

TG: Did (or do) you find inspiration in the work of other artists? Anyone who's been influential for you?
MC: Anne Redpath

Michael G Clark's latest exhibition Avec Amour opens 18 June - 6 July at Thompson's Gallery at 3 Seymour Place, London, W1H5AZ (2' walk from Marble Arch Station). Call the gallery with interest or questions +44(0)207 935 3595 or email enquiries@thompsonsgallery.co.uk

CLICK HERE to see the entire exhibition online.


Published: 1 June 2019

Scottish painter Mike Healey returns to Thompson's gallery in London for a new solo exhibition. The new exhibition features colourful paintings of the Scottish landscape and also Healey's renowned still lives and seascapes. Before the opening of the exhibition, Thompson's Gallery spoke to the artist about his working progress, who's inspired him, his advice to aspiring artists and more!

View Mike Healey's entire new exhibition ONLINE HERE

(Above): Mike Healey I Home in the Snow (Davaar Island - Campbelltown) I Oil on canvas I 20'' x 30'' I Click here to see avaiability for purchase

Thompson's Gallery: Do you have any studio rituals or superstitions?

Mike Healey: Not really. Though I have precious photos and lucky things on shelves.

TG: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?
MH: I tend to travel to research visual material.

TG: Do you ever experience 'painters' block'? How do you overcome it?
MH: Yes. I go to public collections and revisit favourite artists. I also read books on the European Impressionists, Scottish Colourists, The Fauves, The Post Impressionists and look at all their work often. I also look at their paintings that come up for auction as these are often paintings I have never seen. This sort of activity gets me inspired.

TG: What has been your favorite painting or subject to paint in the past year?
MH: I still love painting still-life in the studio. It is an intellectual process and you cannot be rained off... Unlike landscape. This past twelve months I have been down to the seashore and painted the surf and low tide. I think we all get drawn to the sea. Itis where we all came from and we are all constantly drawn back.

(Above): Mike Healey painting at Ardnamurchan overlooking the Scottish Western Isles.

TG: How did you first come into painting?

MH: I loved the art and design at School. My father was an airline pilot and the airport where he worked had a huge mural on the history of flight. He took me to the airport often to see his planes and the inside of his cockpit. But I preferred looking at this huge mural in the hall. My mother also read to me some children's books and I was astonished with the drawings. This was when I was under six years old. Later my step-father took me to some big national collections. Before I was ten I had visited The National Gallery in London and the amazing Kelvingrove Gallery in Glasgow. Albert Healey was a cultured man and bought art books and had prints on the walls. He had a beautiful pencil drawing of a plaster head he did as an evening student at Glasgow School of Art. He was an accountant but like many Scots, who had a broad based school education, he loved the arts. He told me his art teacher lived in a tall flat overlooking Queens Park in Glasgow and how he visited it as a pupil and was very taken by her flat and the view. This was in 1930s Glasgow. I have since found out that all artists and designers live in wonderful interesting places. Later we also had a large contemporary painting in our home that my father bought. He had to pay it up in instalments. As a child I used to examine the brush marks and feel the texture of the paint. My father did not have a lot of money but he buying that painting was important to him. My grandparents collected paintings and etchings which they bought in what is called the Glasgow Barras. These were amazing market stalls in the East end of Glasgow. All the furniture and even the family dog came from there. I still own a terrific landscape done by one of the Glasgow Girls that was bought from there. It is quite valuable now.

(Above): Mike Healey I Yellow Studio Chair I Oil on canvas I 20'' x 18'' I Click here to see avaiability for purchase

TG: What is your best piece of advice to young aspiring artists?
MH: Talent is fairly common and it is not enough. You have to work very hard. That is what will set you apart. Plain hard work. Practice every day. You need to do something every single day. Draw honestly, don't invent. Look at our national collections often. Nobody was born able to draw. It is just practice. Its not unlike running. Some people are born fast. But you will never improve or be really good unless you train. Buying a membership at the gym is not enough. You need to turn up and put in the work. Read about artists. Have an informed opinion.

TG: Do you like having music, podcasts, or something else on in the background whilst painting? Tell us about it. I tend to work in silence.
MH: I find music often too emotional and distracting. If I am bored I may play the radio. But the news can be grim and I avoid that. I quite like my Alexa where I can shout out for particular tracks or artists if I am doing something routine like stretching canvas, mixing gesso or sweeping and cleaning.

TG: Did (or do) you find inspiration in the work of other artists? Anyone who's been influential for you?
MH: I love so much art and design. Sometimes places inspire me , as you will read. Firstly I have to say I love Charles Rennie Mackintosh and his whole body of work. His wife Margaret was a giant of an artist. Their total dedication is a huge example. They worked on visual art all their lives. I admire many artists even though I may never do anything like them. Sickert and a lot of what I call the English school I love. Whistler of course who was Sickerts tutor. My art teacher at school was a Scottish Colourist called John Cunningham. He was a great influence and it is easy to get seduced by his choice of landscape and colour. I love Ken Howards work because he is utterly brilliant with light and he is an effortless draftsperson. His studio interiors are sublime. But his drawings of soldiers in Northern Ireland are incredible. I still love the Fauves because I think they were so brave. Derrain and Mattisse produced some fabulous work in a brief period in the south of France. Charles Rennie Mackintosh was only a couple of miles away in Port Vendre working away at his meticulous watercolours. I find it curious he kept himself to himself when all that hot painterly stuff was being created on his doorstep. When Charles died Margaret went to live in the Colombe D'Dor for several months. Everyone interested in art should visit this hotel. I go often. My wife had a big birthday there not so long ago. In our suite we had a genuine Leslie Hunter above our bed. In the hall outside our bedroom were several Scottish Colourists. The swimming pool has a giant Braque mural of a bird flying across the back of it. There are huge American Calder mobiles swinging in the wind in the gardens. If you have dinner on the patio you are surrounded by Leger originals. There are great black and white photographs of Picasso and Matisse. Film stars loved the place like Boggart and David Niven. Nearbye is the haunting blue and white Chapel created by Matisse. The hotel ethos was instigated by the Scottish Artist Leslie Hunter. He used to spend his summer holidays in a farm near my home and studio in Southend, Mull of Kintyre, Argyll.

(Above): Mike Healey I Westerly Gale I Oil on canvas I 20'' x 30'' I Click here to see avaiability for purchase

Mike Healey's new exhibition opens 30 May 2019 - 15 June 2019 at Thompson's gallery in London 3 Seymour Place W1H5AZ (2' walk from Marble Arch Station). Call the gallery with interest or questions +44(0)207 935 3595 or email enquiries@thompsonsgallery.co.uk

CLICK HERE to see the entire exhibition online.


Published: 30 May 2019

Above: Mike Healey I Bananas in Studio Chair I Oil on canvas I 20 x 18

Our latest exhibition of Mike Healey's landscapes and still lifes opened last night in our London gallery, with a late addition - Bananas in Studio Chair. The 20 x 18" oil on canvas work is available to view or buy now, along with the rest fo the exhibition, at Thompson's Gallery, 3 Seymour Place. 

Mike Healey has earned widespread popularity for his ability in both landscape and still life painting. Following the Scottish coulourists, this exhibition features a new body of work from Healey with vibrant colourful paintings in a variety of subject matters. To Healey it is important to capture the changing visual effect of nature on his surrondings. The new exhibition features paintings of his beloved Scottish landscape, the snow and the sea, which Healey paints with vivid brushstrokes and strong colours.

(Above): Mike Healey I Surf at Low Tide, Ardna Murchan I Oil on canvas I 20'' x 40'' I £4800

(Above): Mike Healey I Surf at Low Tide, Ardna Murchan I Oil on canvas I 20'' x 40'' I £4800 I Enquire/ Buy Now

Painter Mike Healey was born 1951 in Brazil and trained under John Cunningham at Glasgow School of Art. During the 1980's Healey was theen appointed senior lecturer at the school where he stayed until 1997. Mike Healey's paintings may be found in public, corporate and private collections worldwide, including Glasgow School of Art, the European Parliament, Coutts Bank and the Royal Mail. Healey has exhibited extensively throughout his career in London, New York, Philadelphia, Maryland, Bermuda, Japan and in his native Scotland.

The exhibition opens on Thursday 30 May and runs until the 8 June 2019.

For more information please email or call the gallery 0207 935 3595.


Published: 25 May 2019

(Above): Mike Healey I Surf at Low Tide, Ardna Murchan I Oil on canvas I 20'' x 40'' I £4800 I Enquire/ Buy Now

On Thursday 30 May we open Mike Healey's new exhibition at Thompson's Gallery London. 

Mike Healey has earned widespread popularity for his ability in both landscape and still life painting.  Followig the Scottish coulourists, this exhibition features a new body of work from Healey with vibrant colourful paintings in a variety of subject matters. To Healey it is important to capture the changing visual effect of nature on his surrondings. The new exhibition features paintings of his beloved Scottish landscape, the snow and the sea, which Healey paints with vivid brushstrokes and strong colours.

Painter Mike Healey was born 1951 in Brazil and trained under John Cunningham at Glasgow School of Art. During the 1980's Healey was theen appointed senior lecturer at the school  where he stayed until 1997. Mike Healey's paintings may be found in public, corporate and private collections worldwide, including Glasgow School of Art, the European Parliament, Coutts Bank and  the Royal Mail. Healey has exhibited extensively throughout his career in London, New York, Philadelphia, Maryland, Bermuda, Japan and in his native Scotland.

The Exhibition opens on Thursday 30 May and runs until the 8 June  2019.

For more information please email or call the gallery 0207 935 3595.


Published: 17 May 2019

Thompson's Gallery proudly announce participation in this year's Fair For Saatchi (FFS), exhibiting on Stand 9 from 26th-30th June.

Above: Exterior shot of Saatchi Gallery in Chelsea - photo credit www.viator.com

Thompson's look forward to bringing the following painters andd sculptors to Saatchi: Paul Wright, Tony de Wolf, Hennie Niemann Jr, Mhairi McGregor RSW, Lewis Hazelwood-Horner RBA, Matthew Alexander RBA, Pierre Yermia, and Johannes von Stumm PPRSS.


Above: Mhairi McGregor's 'Lake Trasimeno' 18x31 inches Oil on canvas £3600 and Lewis Hazelwood-Horner's 'Ian the Cheese Man' 36x44 inches £5900

For tickets and information on the fair, visit the FFS official website HERE or contact the gallery at enquiries@thompsonsgallery.co.uk and +44(0)2079353595.


Published: 8 May 2019

It is with much excitement that Thompson's Gallery London open Mhairi McGregor's latest solo exhibition, 'Radiant Light'. Featuring scenes from across Italy's storied destinations such as Perugia, Orvieto, Assissi, Montepulciano, and San Gimignano, McGregor's paintings attract new and familiar audiences for their cheerful palettes and uplifting content.


Above: In situ shot at Thompson's Gallery London on Opening Day of 'Radiant Light' - CLICK HERE to view entire exhibition, prices and availability

Mhairi McGregor has risen in popularity since the earliest days of exhibiting with Thompson's Gallery. Known for her plein air and rather physical process, McGregor has always incorporated travel interests with her artistic practice. Focusing on specific destinations such as Australia (2017) and now Italy (2019), McGregor encapsulates memorable views and moments across cities to capture the imagination and spark sentimentality of the viewer.

Above: In situ shot at Thompson's Gallery London on Opening Day of 'Radiant Light' - CLICK HERE to view entire exhibition, prices and availability

Thompson's Gallery welcome all to view this vivid exhibition in person. 'Radiant Light' will be on display until Saturday 25th May at 3 Seymour Place (W1H5AZ); closest tube is Marble Arch Station (2' walk).

For all sales or general enquiries, call the gallery at +44(0)2079353595 or email enquiries@thompsonsgallery.co.uk.




Published: 1 May 2019

Thompson's 'One to Watch 2019' artist Lewis Hazelwood-Horner continues to see success after a positive start to the year with a solo exhibition at Thompson's London.

Above: Lewis Hazelwood-Horner 'Ian the Cheese Man' Oil on canvas 36x44 inches  £5900 - ENQUIRE/BUY NOW

The emerging talent has been featured in 'Artists & Illustrators' Magazine, sharing insight to his practice and painting technique tips.


Lewis Hazelwood-Horner is set to debut new paintings with Thompson's Gallery in the coming months, including featuring in the gallery's annual traditional Autumn Exhibition 2019.

Above: Lewis Hazelwood-Horner 'A Wager' Oil 23x23 inches £2400 - ENQUIRE RE AVAILABILITY

Contact the gallery for more information on the artist and upcoming opportunities to see and acquire his work. Email enquiries@thompsonsgallery.co.uk or call +44(0)2079353595.


Published: 29 April 2019

Scottish painter Mhairi McGregor, renowned for her contemporary Colourist landscape paintings, returns to Thompson's Gallery in London for a new solo exhibition titled 'Radiant Light'. Before the opening of the exhibition, Thompson's Gallery spoke to the artist about her working progress, her recent favourite subjects, how she discovered painting in the first place and more!

View Mhairi's entire new exhibition ONLINE HERE

Above: Assisi I Oil I 18'' x 31" CLICK HERE for availability to purchase -  Click here to see the entire exhibition, 'Radiant Light'

Thompson's Gallery:  Do you have any studio rituals or superstitions?

Mhairi McGregor: Yes. In the morning I always walk, whatever the weather, to my studio about a mile away in the next village. It clears my head and helps me focus on the work in hand. I live at the northern edge of our village, on a hill, with a view of Ben Lomond. The road takes me quickly into the surrounding countryside so I often see deer, buzzards, geese, whatever happens to be around. I'm quite liberal with my paint so I have to change into painting overalls, trouser and even shoes. In winter I warm up the studio (I hate being cold!) and in summer I open wide the double doors. Two cups of coffee and I'm ready to start painting.

Above: Artist's studio. Image courtesy of artist.

Above: Artist's studio. Image courtesy of artist.

TG: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?

MM: Every painting is planned out, usually the day before. I have a box of "colours" – fragments of material, postcards, beads, anything that has caught my eye. I use these to draw out a labelled plan of the painting developed from my original, watercolour sketch. I use two palettes. The first is a limited palette, which can change from day to day. It provides the main, pared down number of colours I've chosen during the planning stage. I put out each colour out only as I need it. The second palette holds previous blends of colours I think I might use again. The latter I've had for absolutely ages and it's very densely layered now. I keep a lid on it. As you'll know, oil paints take years to dry, and from the surface down. Some of Van Gogh's paintings are said to be still wet at the back! The final painting is often very different from the original sketch in terms of colour. For me, the play between two or three well-chosen colours says it all.

TG:Do you ever experience 'painters' block'? How do you overcome it?

MM: Yes, but basically, if a painting doesn't work on the day it goes in the bin. Very rarely, if a piece has almost worked, it might stay in the studio for a couple of days maximum while I try to change the elements I don't like. Other than that, binned! The only way around it for me is to plan something different for the next day and persevere. The worst time I ever had was two weeks work when I just wasn't happy with anything. All binned. Dispiriting to say the least, but I just kept working through it.

TG: What has been your favorite painting or subject to paint in the past year?

MM: In the last year, Italy. I won a scholarship from the Royal Scottish Academy when I was a student and lived in Florence for some time. It was wonderful, but I was younger and carless and I had longed to go back ever since. There was so much more I wanted to do outside the city, with freedom to stop where I wanted for as long as I wanted rather than fleeting glimpses through dusty bus windows. When I work on landscapes I have to travel to the places I paint. Photographs are someone else's work - their viewpoint, their composition, their choice of shadow. I have to see it for myself, try to immerse myself in the place. So I go for at least a month and paint watercolours in situ. I love the planning and get very excited about the country or areas I visit. I do as many watercolours as I can. Three a day and I feel I'm hitting my target. I work from these watercolours in my studio back home, turning most of them into oils. The watercolours I keep. They are my record, part of my diary. So at the moment, it's my Italian watercolours. I still have a lot of sketches to work through, but this collection contains the first, the newest and freshest selection of oils based on the watercolours from June, July and August.

Above: Santa Maria degli Angeli, Assisi, Oil 20'' x 20'' Click here to see avaiability for purchase

TG: How did you first come into painting?

MM: My mum, who was a textile artist and taught at Glasgow School of Art, was constantly sketching landscapes on holiday when I was growing up. My dad not so much. They met at the GSA, though he was an architect, so it was mum drawing really. As children (all six of us!) we were always given sketch books, and I would sit outside, next to my mum, and just paint. It was magic.

TG: What is your best piece of advice to young aspiring artists?

MM: Say yes to every opportunity offered and always work when you can.

TG: You travel for work, painting across the UK, Europe, Americas, Australia, and more. Has any location in particular become the favourite?

MM: My favourite place outside Scotland has to be the Australian outback. I have been there several times now. The first time I was staying with family and friends who took me to local places they thought I might like. Nothing inspired. I was in despair. Then one day someone said, "I know where you ought to go!" They took me north out of Adelaide, up to a place called the Flinders Ranges. The further away from the city we got, the more I knew that this was where I wanted to be. From tarred roads to dirt roads to no roads at all. I've been to many other outback locations since, but the Flinders Ranges were and remain my first and biggest love.

Above: Lake Trasimeno IOil I 18'' x 31'' Click here to see avaiability for purchase

TG: Do you like having music, podcasts, or something else on in the background whilst painting? Tell us about it.

MM: No. I have to have silence while I'm concentrating on painting. No distractions. I'd even stop Mr and Mrs Pheasant and family walking past the studio window if I could think of a pheasant-friendly way of doing it.

TG: Did (or do) you find inspiration in the work of other artists? Anyone who's been influential for you?

MM: As a child, our house was filled with books about many different artists. I used to look through them all, but there was one in particular that drew me back time and time again. Later, as a student in Paris, visiting all the usual places, I remember as if it were yesterday, walking in through the entrance of the Pompidou Centre, up the escalators and through the doors until I found the place I was looking for. There it was. I was finally standing in front of the genuine article – a Nicolas de Staël. I've never looked back.

Above: Mhairi McGregor at work. Image courtesy of artist.

Mhairi McGregor's new exhibition "Radiant Light" opens 8 May 2019 - 25 May 2019 at Thompson's gallery in London 3 Seymour Place W1H5AZ (2' walk from Marble Arch Station). Call the gallery with interest or questions +44(0)207 935 3595 or email enquiries@thompsonsgallery.co.uk

CLICK HERE to see the entire exhibition online.


Published: 20 April 2019

This spring at Thompson's London we are exhibiting an interesting mixture of abstract and figurative art, both sculptures and paintings. We are showing art from Britain, but also from other parts of the world, like paintings by French-Canadian Louis Laprise and sculptures by our latest addition, French Pierre Yermia.

Louis Laprise

Thompson's gallery met Louis Laprise at Art Toronto 2012 and have since enjoyed a burgeoning working relationship. Both contemporary and decidedly ornamental, Louis Laprise's art demonstrates a mastery of the other-worldly. Private Collections of Laprise's work are held in Italy, England, Brazil, Dubai, Canada, USA, Turkey, France & Jordan.
Both contemporary and decidedly ornamental, Louis Laprise's art demonstrates a mastery of the random. Behind these beautiful abstract pieces lies a wealth of experimental experience. An amazing colourist, his universe consists of organic forms whose lively gestures originate in the grain of wood. It is through this kind of lyrical abstraction that figurative illusion arises, allowing the viewer to channel his own imagination and to see himself reflected in the polished, mirror-like surface of the work. Laprise gets inspiration from different currents and different time,like Dadaism and Surrealism- artistic movements that advocate free movement, creation outside the narrow confines of tradition. He also emphasises the importance of being inspired by artistic practices that from other than western ones. For example, Laprise admires the Arabic calligraphy and the ornamental work of the artists of the Persian civilization, the animal-symbols of pre-Columbian art, the primitivism of African art and the Japanese engravings of the eighteenth century.

Above: Louis Laprise | Wiping the Blue | Mixed media on wood | 36'' x 48'' |  Enquire/Buy Now

Above: (Left) Louis Laprise | L'abandon a la memoire des eaux (The Abandonment of Water Memory) | Mixed media on wood | 36'' x 48'' | Enquire/Buy Now  (Right) Louis Laprise | Vague, vague | Mixed media on wood | 36'' x 48'' Enquire/Buy Now

Pierre Yermia

Pierre Yermia is a French sculptor who lives and works in Paris. Pierre Yermia's sculpture focuses specifically upon human and animal bodies. A palpable tension is struck between the volume of the figure's torso and the fragility of its slender legs. The prominence of Yermia's sculpted trunks are purposefully juxtaposed with slender, tenuous limbs- the artist invites consideration of our own precariousness, endangerment, imbalance, and oppugnancy.As objects, Yermia's figures are visually arresting, with strong implications of vertical movement and gravity. Exhibiting deft rendering and deep experience by their maker, the sculptures exhibit a handcrafted quality but near machine-like execution. The compositional balance defies a gravitational reality humans know all too well, resulting in delight and awe by audiences encountering Yermia's work. Elegant and graceful, with a dash of impossibility and dreamlike air, Yermia's sculptures are classic, unique, and highly collectible. Whether 3 meters tall or tabletop size, Yermia's work exploits scale to achieve a monumental effect. Yermia's work is a constant quest for an unlikely and precarious moment of equilibrium, where strength and fragility are simultaneously confronted. The human or animal figures are standing on their brittle limbs and are slowly rising, defying the law of gravity.

Above: Pierre Yermia | Envol | Bronze | 12 x 12 x 9 I Enquire/Buy Now

Above: Pierre Yermia | Taureaux IV | Bronze | 28 x 8 x 24 | Enquire/Buy Nowt

Questions and purchase enquiries can be directed to enquiries@thompsonsgallery.co.uk or by telephone, +44(0)2079353595.


Published: 17 April 2019

This Spring Thompson's London is catapulting full-force into freshess. The gallery is currently exhibiting an exciting array of figurative and abstract paitnings, as the sculpture garden makes its resurgence for the first time since Winter.

Above: The upper level at Thompson's Gallery London - works by Carl Melegari, Hennie Niemann Jr, Robert Kelsey, Pierre Yermia and Vanessa Pooley are among the artists on exhibit for Spring. CLICK HERE for more info. 

Visitors will recognise and discover names like Carl Melgari, Louis Laprise, Robert Kelsey, Lewis Hazelwood-Horner, Carol Peace, Pierre Yermia, Simeon Stafford, Hennie Niemann Jr, Luci Maclaren, Paul Wright, and many more. 

Above: Striking pair of abstract paintings by French-Canadian artist Louis Laprise. CLICK HERE for more information and to check availability for purchase. 

The sculpture garden is showing promise of a bountifully green season ahead. New arrivals by Carol Peace, Pierre Yermia, Angela Hunter, and Sue Jones grace the courtyard to open the season.

Above: Pierre Yermia's 'Envol' in Bronze - at the Thompson's London sculpture garden- CLICK HERE for more information and to enquire for purchase

Visit Thompson's Gallery London at 3 Seymour Place (W1H5AZ- nearest tube Marble Arch, 2min walk) and take in the spectacularly fresh art in person.

Questions and purchase enquiries can be directed to enquiries@thompsonsgallery.co.uk or by telephone, +44(0)2079353595.

Above: In situ, left to right - Simeon Stafford 'St Paul's' finds its home nicely next to Lewis Hazelwood-Horner's 'Ian the Cheese Man' - CLICK HERE for more information and to enquire for purchase.


Published: 8 April 2019

The latest solo exhibition of Douglas Gray's paintings entitled 'The Modern City' reaches its final week in London, enjoying great success and numerous visitors to start the Spring gallery program.

Above: In situ shot, courtesy of Thompson's Gallery London. Left: 'Metropolitain', and Right: 'Cafe Romano' - CLICK HERE to see availability/enquire to buy

The sheer ability and understanding of paint and colour is evident across Gray's exhibition. Including street scenes and river views from cities such as London, New York, Paris, and Venice, 'The Modern City' has excited and delighted new and familiar crowds in the gallery.


Above:In situ photographs courtesy of Thompson's Gallery: Trio of Italian scenes including Serrano, Lecce, Milan and Venice. CLICK HERE to check availability and enquire/purchase

Audiences are encouraged to visit the gallery on Seymour Place (W1H5AZ) before Saturday the 13th - Gray's paintings are even more impressive in the flesh.

Above: Photo courtesy of Thompson's Gallery. 'The London Eye' by Douglas Gray in the gallery window. CLICK HERE to check availability and enquire/purchase.

Visit Thompson's between 10am to 6pm Monday-Friday and 10:30am to 5:30pm on Saturdays. Email enquiries@thompsonsgallery.co.uk or call +44(0)207 935 3595 with questions and interest.


Published: 26 March 2019

Douglas Gray Solo Exhibition

Tomorrow we open Douglas Gray's latest Solo Exhibition: The Modern City.
An exhibition that celebrates the famous and hidden views of the greatest modern cities of the world.

Painter Douglas Gray was born in 1965 in Harrogate. Initially working as an illustrator, Gray experienced great success with notable clients including Saatchi & Saatchi, Waner Brothers, and Universal Studios. Since shifting his focus to oil painting, Douglas won a number of awards for his talent and vision, attracting the attention of commissioners like the Savoy Hotel in London where his works are permanently displayed.

Douglas Gray's painting style reflects his background in illustration, exhibiting the artist's solid foundations in drawing and developed narrative. The artist enjoys layering his pictures with visual complexity, like his signature window panes reflecting a strong amount of detail from the outside world over top of a figure sat within an equally detailed interior scene. Gray has become known for this incredible ability to synthesize vision, thought and emotion simultaneously into a single painted image, all the while keeping viewers guessing at the full story behind each scenario. Collectors of Douglas's unique paintings include The Right Honourable William Hague, Lord Derwent, the Howard de Walden family, George Davis, and the Fairmont Group (Savoy Hotel).

The Exhibition opens tomorrow and runs until the 13th April 2019.

For more information please email or call the gallery 0207 935 3595.

Also: To read a recent Q&A with DOUGLAS GRAY - CLICK HERE


Published: 13 March 2019

Thompson's Gallery London has received fanastic crowds and feedback as it hosts the latest solo exhibition by Scottish painter Muriel Barclay. Today's post shares visual upddates and in situ shots from the very popular and aptly titled 'Performing Art' exhibition.

Above: Dancers preparing for performances, poised to go onstage with grace and focus. Click the images to see the entire exhibition. 

Detailed image of 'Three Silk Skirts' - Click here to Enquire/Buy this painting 

In situ shot of Muriel Barclay's 'Adante' accompanied by copies of the exhibition catalogue and Greenshields sculpture.

Looking ahead, more excitement awaits in the coming months. Thompson's Gallery London will debut a new body of paintings by Douglas Gray RSMA entitled 'The Modern City', followed by the unveiling of Mhairi McGregor's latest exhibition based from the painter's travels across Italy and wider Europe.

Email enquiries@thompsonsgallery.co.uk or call +44(0)2079353595 today with questions and general interest. We are happy to assist!


Published: 5 March 2019


Scottish painter Muriel Barclay has gained widespread notoriety for her breathtaking depictions of dancers, musicians, and other disciplines of the performing arts. On the verge of opening her latest solo exhibition at Thompson's Gallery London, Muriel spoke exclusively to the gallery on her career, training, the message behind her beautiful works, and much more!

Above: 'Three Silk Skirts' - Oil on canvas - CLICK HERE for availability to purchase - Click here to see the entire exhibition, 'Performing Arts' 

Thompson's Gallery: What significance do the performing arts have for you? The subject matter is prevalent throughout your practice.

Muriel Barclay: Drawing and painting people is my main interest. Portraiture is great - the challenge of reproducing a likeness, solving the problem of how the physical reality can be recreated in paint using line, colour and tone. Using dancers and musicians as subject matter offers extensive opportunity for painting moving figures and representing our relationship with our own image and how we display it to the world in body language and expression. The emotion of the work is distilled by it being a performance... The art of art.

Above: 'Counter Move'  - Oil on canvas - debuting in 'Performing Art' by Muriel Barclay. Click HERE to enquire and see entire exhibition.

TG: Do you have a particular dance or music studio that you frequent to study and observe the performers?

MB: No. I have observed dance classes particularly in the Dance School of Scotland at Knightswood School, Glasgow and Rosina Bonsu's studio. Most of my models have been students from these dance schools and the Scottish Conservatoire. The figures in my paintings are from drawings and photographs taken in my own studio. We talk about my ideas and they work with me to represent my thoughts. Often new ideas come as I observe their interpretations. Dance students make great models; they are unselfconscious and accustomed to being directed. They understand the picturing of body language and expression. The process is intense and I'm usually exhausted after a 3 hour modelling session but also a lot of fun and I find them truly inspiring. Many of them return joyously time after time, so I think they get a kick out of it too.

So, my paintings are not 'fly on the wall' glimpses of dancers in studios or on stage. They are constructions. When there is more than one figure in the composition, these models will almost not have know each other, or will be repetitions of the same model. The paintings of musicians are of models being given musical instruments and asked to imitate a performance, although some genuinely have experience playing that instrument. It's pretend, artfulness, artifice.

Above: Artist Muriel Barclay at work in her studio. Image courtesy of artist.


TG: What is the significance of the high heels which appear often in your paintings? They seem to have been kicked off by the subject or cast aside during a spree of trying on shoes!

MB: The significance is multilayered. Your question asks about stilettos, but I'd like to include other items like tutus, ballet shoes and stringed instruments. (Other items like mobile phones, sunglasses, lambs, horses, shopping bags, and beaches have been my focus though not in this exhibition)
On one level, viewers/customers see an appealing image of a dancer tying her shoe laces and it makes them think of a grand-daughter, or the universally popular Degas. I don't want to interfere with this view - it's sold many paintings and given pleasure.

For me, the significance is more complex (more or less depending on the work) and some viewers and buyers have an interest in more challenging, ambiguous imagery. To spell it out:
Stilettos = femininity, glamour, sexual attraction, pain, male domination, even a weapon
Tutus = pretty, romantic, nostalgic, every little girl loves a tutu but in reality very few dancers wear them now
Pointe Shoes = traditional ballet, beauty, high level of expertise, virtuosity in dance technique, femininity, pain, often resulting in chronic injury.
Folds of a silk skirt - explain the body beneath, movement

The body language and expression of my figures is also important in what its signified eg
Model gazing at the viewer - challenging? questioning?
Model experiencing private, personal moment, intent on intimate activity
Performance is about display - not availability. The figures in the work retain integrity.

TG: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?

MB: I usually have a theme eg an abstract idea like communication/ambiguity or performance/intimacy or defiance/compliance. Feminism is in there. From this I'm looking for my models to express these ideas. The formal qualities of the painting are important from the inception of each work - the composition, ie the arrangement of shapes, colour, tone on the canvas - is this pleasing/interesting? Do they signify the idea?

TG: How did you first come upon painting? Did anyone in your family do it, or was your natural talent a discovery?

MB: Dad drew and painted, bought art and talked about it. He was a surgeon so it was a hobby for him. He was very talented.

TG: Do you ever experience 'painters' block'? How do you overcome it?
MB: Yes. Do some yoga. Seek inspiration, usually in other artists' work. Keep working.

TG: Do you listen to music while you paint? If so, what is your favorite genre or band to play in the studio?
MB: I listen to radio more. Programmes on arts, current affairs and politics. We live in interesting times

TG: What advice do you have for young aspiring artists?
MB: Work hard. Be brave and honest

TG: Tell us more about your training in painting. What was obtaining your degree like, and which artists did you find most inspiring at this point?

MB: I achieved Grade A in Higher Art at school but was advised to go to University (Edinburgh)and graduated with History and Philosophy. No regrets. Became secondary teacher, married, three sons. Then in my 30's began studying drawing and painting at Glasgow School of Art night classes. Then in my 40's competed Levels 2 and 3 in Open University Art History. Edouard Manet, Diego Velazquez and Rembrandt. Still are my gurus. I'm also a huge fan of photographers like Oscar Marzaroli, Harry Benson, Diane Arbus, Lee Miller and Mario Testino.

Above: 'Backing Strings' - Oil on canavs - Click here to see avaiability for purchase

TG: How have you changed in style and approach to painting or content/theme across your career?

MB: We all see beauty, sometimes through half shut eyelids. It's the artist's job to pry these lids open a little further to show the beauty of light falling on a collar bone, a face turning into shadow, the folds of a silk skirt describing the form beneath.

My approach to this has developed. I did believe over-work 'over-explanation' ruined a painting and I was drawn to impressionistic representation. Vigorous brushwork and suggested imagery had more value than highly finished compositions. I used to think realism was pointless (take a photo!). I now think differently: that done well it can result in stunning compelling images. Painters are getting over existing in the age of the camera. Much of the 20 Century we were trying to justify our paint on canvas. For me painting is not dead. Realism takes more work; there is no hiding place whereas insecure drawing can be disguised by loose brushwork and vaguely sketched outlines. I don't dismiss impressionistic or abstract (or any other) but I've found myself using almost hyper-realism to paint faces and figures. It requires more accurate observation, nuances of tone, layers of paint and for me ultimately results in a more intense quality of representation. I find myself increasingly using a combination of detailed finish to contrast impressionistically suggested backgrounds to show the light falling on a figure and its clothing and leaving the rest in shadow. What's seen, half seen or not seen.

TG: Do you have any studio rituals or superstitions?
MB: No

TG: Do you dance or play instruments yourself?
MB: Not where my talent lies

TG: What is the most challenging aspect of painting your subject matter? What is the most fun part?
MB: Impossible to say - some say art is 10% inspiration 90% perspiration. I don't think so. Each painting is conceived as a masterpiece and then travels the swamp of despair and the heights of genius. Worked in the solitary studio. Problems to be solved all the way. The hardest is deciding when it is finished. Then it's hung on a wall to be judged.

TG: Last and likely most difficult question- if you had to name a favourite painting in your upcoming solo exhibition (Opening 7th March 2019 at Thompson's London), which would it be and why?
MB: Impossible. I would stand beside any one of them and say "I painted that".

Above: Props from Muriel Barclay's studio for models to hold and utilize during sittings. Image courtesy of artist.


Muriel Barclay's solo exhibition 'Performing Art' is on display from 7th to 23rd March 2019 at Thompson's Gallery London, 3 Seymour Place W1H5AZ (2' walk from Marble Arch Station). Call the gallery with interest or questions +44(0)207 935 3595 or email enquiries@thompsonsgallery.co.uk

CLICK HERE to see the entire exhibition online.


Published: 25 February 2019

A Glass Too Far 20 x 20 inches £4100

Scottish painter Joe Hargan's work is vibrant and bold with inspiration from painters such as Rothko and Francis Bacon.

Hargan's paintings often include a character with a red nose wearing a tuxedo who goes by the name of "Sniffy".

"Sniffy," detail from "The Big Question"

Above: "Sniffy", detail from "The Big Question. CLICK HERE to see the full set of available paintings at Thompson's Galleries.

In the year 2000, Joe Hargan had three painting selected to exhibit at London's Royal Academy Summer Exhibition. The entire trio sold during the show, a feat in itself for the Scottish painter. The smallest of these popular pieces introduced 'Sniffy' for the first time, provoking a huge interest with requests for more pictures in this vein. Thus, 'Sniffy' evolved and soon became a series.

Sniffy, who appears bumptious but likeable, has become almost universally famous. In creating the personality, someone suggested to Hargan that the figure 'looked a bit sniffy'. In the early days, the artist was unaware that the character would provoke such a strong response and positive reaction.

This lovable stock character allows Hargan to create humorous narratives or little playlets in his pictures. Hargan invites the viewer to interpret the various symbolic devices and metaphors contained within, what he terms his little 'happenings' or compositions. Sniffy is always shown in profile and has become a signature of Hargan and much loved amongst collectors.

Although Sniffy's prominence has boosted Hargan's success, the painter does not want to be typecast – there is much more to his art and evinced in the breadth of what he is prepared to tackle in his painting range. The character does allow Hargan to post tough questions in a tongue-in-cheek manner, for example in the painting "The Big Question" where Sniffy encounters Brexit (now available to view at Thompsons's gallery London as part of 'Out of this World').

Visit Thompson's Gallery London to see all of Hargan's new paintings in the flesh, on display through Saturday, 2nd March 2019. Email enquiries@thompsonsgallery.co.uk or call +44(0)2079353595 with any questions or interest.

"The Big Questsion" 20 x 20 inches £ 4,100

Above: "The Big Question" OIl on canvas 20 x 20 inches £ 4,100 CLICK HERE for more info/enquire to buy. 


Published: 15 February 2019

January 2019 went past in a blur for Thompson's Gallery. Between two art fairs and a highly anticipated solo exhibition opening in the London gallery, 31 days felt closer to 3.


Above: In situ shots from the Thompson's Gallery London Art Fair Stand 

January Recap

Above: Lewis Hazelwood-Horner 'The Crown, Angel' Oil on canvas, from the artist's debut solo exhibition with Thompson's

What's On Now

Thompson's Gallery proudly opened 'Out of this World' in London this week, featuring the quirky open narrative paintings of Scottish artist Joe Hargan and the breathtaking, thought provoking bronzes of Simon Bacon. Both artists debut a series of new works incorporating a common thread of inventiveness and challenging typical methods of making within their respective mediums.

On now until 2nd March 2019 at Thompson's Gallery London - CLICK HERE to view the entire exhibition. Contact the gallery for more information or any purchase enquiries.


Above: (Left) Joe Hargan 'Under the Weather' Oil on canvas & (Right) Simon Bacon 'Reaching Beyond' Bronze - Click the image to see availability/purchase

Coming Soon

Up next is Muriel Barclay's latest solo exhibtion, aptly titled 'Performing Art'. The Scottish painter has gained wide acclaim for depictions of dancers, musicians and other masters of the performing arts. Open from 6th-23rd March 2019 at Thompson's London, audiences will delight in the pure skill applied to the canvas by Barclay's brush.  Contact the gallery for more information by email at enquiries@thompsonsgallery.co.uk or call +44(0)2079353595 with any questions.


Published: 3 January 2019

At the end of the month we are thrilled to be exhibiting at London's first Fair organised by and for art dealers.

Connect Art Fair 29th January - 2nd February will be hosted at the Mall Galleries, London.

Here is Megan Thompson's Interview on the fair and insights into the current Contemporary Art Market.

For more information on the fair as well as tickets please email: enquiries@thompsonsgallery.co.uk


Published: 20 December 2018

Thompson's Gallery London will participate in an exciting new London art fair at the Mall Galleries in late January 2019. Titled 'Connect - The Independent Art Fair', this series will debut on the circuit from 29 January to 2 February 2019.

Above: Entrance to the Mall Galleries, credit Mall Galleries

Created for and run by art dealers, 'Connect' brings exhibitor and art buyer together in a fresh and vital way to improve the experience of everyone involved in the fair. The founders are 34 established, independent exhibitors who sought to create a dealer-run, fully vetted art fair offering both visitor and participant a full, high quality experience. Connecting directly with the art buyer, 'Connect' presents an eclectic assembly of art ranging from the 21st Century all the way to the 15th Century, with emphasis on 20th Century British Art.

Above: In situ shot from a Thompson's Galley art fair last year (2018) Credit Thompson's Gallery

For further information and ticket enquiries, contact the gallery at enquiries@thompsonsgallery.co.uk or call +44(0)207 935 3595.


Published: 18 December 2018

Thompson's Gallery London are thrilled to report the arrival of numerous Carol Peace sculptures on Seymour Place. Among the stock are a range of gorgeous motifs and figures in both bronze and bronze resin.

Peace's work demonstrates the artist's dynamic imagination paired with a truly remarkable artistic talent- bringing the musings of her mind to three dimensional fruition. Known for her roughly hewn surfaces and exaggerated features such as large feet and elongated limbs, Peace invites viewers to dream and keep their childlike wonder intact.

Especially with the Holiday Season setting in, Peace's bronze resin figures are the perfect solution for those in search of a meaningful and value sustaining gift. The 'block people' couples are a popular choice, representing unity in love among friends, family and a significant other. The seated figures are great as a pair or individually, for a loved one's desk or on the mantle at home.

For more information, contact the gallery at enquiries@thompsonsgallery.co.uk or call +44(0)207 935 3595. Visit the artist's page on our website to peruse imagery and info on all available works by the artist.


Published: 13 December 2018

Robert Kelsey is one of Scotland's most accomplished and popular landscape painters working today. We have enjoyed a longstanding relationship with Robert and we at  Thompson's Gallery have presented over 25 solo exhibitions of Robert's work since our first meeting.

Audiences recognize the artist's distinctive style, accomplished technique and brilliant use of colour. Kelsey enjoys painting landscapes both locally in Scotland and further afield, having traveled to Italy, France, and even the Caribbean for inspiration and subject matter. Thompson's Gallery are proud to present  this exclusive interview with the celebrated Scottish painter. We hope you enjoy the insight!

Above: Robert Kelsey in his studio with a painting in progress.  Click here to see the full set of available paintings at Thompson's Galleries.


Thompson's Gallery: Do you have any studio rituals or superstitions?

Robert Kelsey: Our only real ritual is that of having a quiet hour with a coffee first thing every morning.
This eases me into the day before heading out to my studio.


TG: Your technique is very accomplished and distinctively your own. What guides your decisions at the easel?

RK: Nowadays I am driven by exhibition deadlines and pressure from various galleries to supply new works. Fortunately I thrive on pressure and many of my best works have been produced in this tight timeframe.
If starting a new work I prefer to have it composed and ready to paint before going into my studio in the morning.
I have a fabulous Architect designed studio to the rear of our house which is my sanctuary, and I feel at peace when I am out there. There is no better place to be on a freezing winter day, when I can work at my easel in comfort while enjoying the wildlife and bird activity a few feet away through the large windows.
I work almost exclusively in oils on linen these days, so the painting area in my studio is all set up for this.
My colour palette hasn't changed much in the past ten years and I have an almost instinctive relationship with my choice of colours.
I often tell people who invite me to explain my painting technique that I don't work in any textbook manner. Traditional methods of oil painting, such as staining the white canvas brown before applying the first proper brush strokes, don't really appeal to me. I like the brilliant white canvas. I love applying luscious creamy paint directly on to this, and allowing the light to shine through, creating luminescence. As a landscape artist I tend to paint the sky first before gradually moving closer to the foreground.


Above: 'Small Boats at Morar' Oil on canvas 20x24 inches £3850 - a new painting by Robert Kelsey, December 2018. CLICK HERE for more info/enquire to buy.


TG: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?

RK: I work from sketches and studies established on location. These provide the guide for working out my composition which I usually complete using charcoal, unless it involves a more complicated subject, like a Venetian scene, when I will use pencil.


TG: What is your favorite location to paint, and why?

RK: I am well known for my love of painting the beautiful coastlines of Western Scotland. My Father was born on the Hebridean Isle of Barra, so the Western Isles are in my blood. What is less well known is my love of painting architecture and city paintings. I adore painting London, especially along the Thames at Hammersmith or Westminster. Venice is a joy to paint. A few years ago we stayed on a small island called San Clemente, in the Venetian Lagoon, about 20 minutes by water taxi from St Marks Square. This allowed me to be on the water several times a day, observing the light against buildings such as Santa Maria della Salute on the Grand Canal. Another favourite painting location is Barbados in the Caribbean. Gorgeous beaches and turquoise water.

Above: A Venetian scene depicting the Grand Canal, one of Kelsey's favourite locations to paint.


TG: Do you ever experience 'painters' block'? How do you overcome it?

RK: Fortunately no. I have plenty of inspiration for new works in my studies and sketchbooks. I don't believe painting every single day is beneficial so I elect to have a day off now and again, in order to stay fresh.
If I choose not to paint on a particular day I have lots of other things I can do. I hate being idle so it isn't long till I find myself absorbed in a project of some kind, going for a game of golf, or I picking up my guitar.


TG: Do you listen to music while you paint? If so, what is your favorite genre or band to play in the studio?

RK: Music is very important to me and I can't imagine life without it. Painting is a very solitary business so having music in my studio is essential. I have a very broad taste in music. Classical music, especially the Baroque period, is my favourite. I have recently started appreciating Baroque Operas by composers such as Handel and Rameau. Having said that I often listen to Jazz or Scottish or Irish Folk Music. I have a passion for Classical guitar music and my lifetime hero is the guitarist Julian Bream.

Above: 'Yachts in the Sound of Sleat' Oil on canvas 24 x 28 inches £4250 - New painting by Robert Kelsey, December 2018. CLICK HERE for more info/enquire to buy.


TG: What advice do you have for young aspiring artists?

RK: Don't expect success on a plate. It is easier to get hung in a gallery today than it was when I was a young artist, but you still have to be prepared to build up knowledge and experience. Study the works of artists you admire. Try to find a mentor and pick their brains.
Don't be greedy, it takes time to become established, so get there gradually.


TG: Do you have any other talents outside of your artistic ability?

RK:I started playing the guitar when I was a young student and I still play regularly. Mainly Classical pieces by Sor, Dowland, Narvaez and Bach. I have two beautiful nylon strung Classical guitars, one by Ramirez, and a steel string accoustic guitar by Guild.

Above: Hammersmith Bridge by Robert Kelsey. The artist loves to visit London for sketches and paintings on a regular basis. CLICK HERE to see all of Robert Kelsey's available work.


TG: How have you changed in style and approach to painting across your career?

RK: From time to time I find my early paintings coming up in Auction Houses and I am amazed at how different they appear from my current works. In the 60's and early 70's I was more abstract in my compositions. Expressionist and free. I composed more from imagination and used geometric patterns and textures in my landscapes and seascapes. These works preceded my trips to France and Spain in the late 80's. Once I started visiting the Continent, especially Italy, I became more interested in capturing the beauty of what I was seeing in a more accurate manner. I also think the influence of different artists have an impact on ones technique. I started to become aware of the works of early 20th century English artist Edward Seago and fell in love with his atmospheric paintings of East Anglia and Italy. I would say the biggest influence on my colour has come from the Scottish Colourists SJ Peploe and FCB Cadell who's paintings of Iona produced in the 1930's are still a daily inspiration to me.


TG: Artificial intelligence can now produce paintings, some of which sell to human buyers - what do you make of this?

RK: Artists have to face so much competition in today's fickle marketplace the last thing we need are "robots" taking up wall space in Galleries. When I am faced with this scenario I shall have no hesitation about pulling out his plug.


Published: 1 December 2018

Photo credit Evening Standard London Art Fair 2018

Thompson's Gallery will return to Islington's Business Design Centre in January for London Art Fair 2019. Exhibiting on stand G23, the gallery will debut an exciting array of new painting and sculpture from 15-21 January.

This edition's artist pool includes Paul Wright, Peter Wileman, Carl Melegari, Tony de Wolf, Matthew Alexander, Simon Bacon, Chris Buck & Vanessa Pooley.

Above: Crowd favourite Paul Wright is in the selection pool for Thompson's Gallery on Stand G23, showing all new paintings. Pictured- 'Me As I Am Now' Oil on canvas 39 x 32 inches £8250 ENQUIRE/MORE INFO

Visitors can expect dynamic and bright portraits and interiors from Paul Wright; striking abstracted landscapes by Peter Wileman; emotive drip-style 'heads' from Carl Melegari; unbelievably detailed still life by Tony de Wolf; classic British landscapes by Matthew Alexander; inventive bronze figures by Simon Bacon; geometric bronze on slate from Chris Buck; and bountiful female figures in patinated bronze by Vanessa Pooley.

Above: Gorgeous figures by Vanessa Pooley, new motifs in bronze available on Stand G23 at London Art Fair 2019, presented by Thompson's Gallery. Pictured- New World, Bronze,26 x 8 x 17 inches £14900 ENQUIRE/BUY

For tickets and official opening hours, visit the London Art Fair 2019 official website. Contact the gallery at enquiries@thompsonsgallery.co.uk or call +44(0)207 935 3595 to register interest in attending.


Published: 27 November 2018

Thompson's Gallery Aldeburgh proudly present their latest show, the celebrated annual Christmas Exhibition. The 2018 edition promises a vast range of new work from familiar and new artists, including the inventive multimedia work of collagist Kate Kato and wax paper sculptor John Clark.


Left to Right: John Clark- Old Man | Paper, Resin and Wax | 22'' x 13'' x 10'' | £2400; and Kate Kato- Entomology Collection | Mixed Media | 11'' x 16'' | £680 - CLICK HERE to see entire exhibition; click images to see info on both pieces or enquire/buy

Open from 1st December 2018, the Christmas Exhibition will run through to the New Year and conclude on 6th January 2019. The artist pool includes Judith Bridgland, Terence Clarke, Brita Granstom, Terry Frost, David Gleeson, Joe Hargan, Robert Kelsey, Steven Lawler, John Lines, Carl Melegari, Hennie Niemann Jnr, Carol Peace, Andrew Squire, Emma Williams, Paul Wright and Roy Wright, to name a few.

Above: Hennie Niemann Jnr's 'The Newlyweds' Oil on canvas 47 x 39 inches £12750 - CLICK HERE for further info and enquire/buy

The Christmas Exhibition celebrates the closure of another successful and eventful year at Thompson's Aldeburgh- be sure to enjoy the varying selection of painting and sculpture in person. There is something to delight every taste... and perhaps to fulfill that growing Holiday gift list!

Above: Peter Wileman 'Notes on a Breeze' Oil on canvas 36 x 48 inches £7850 - CLICK HERE for further info and to enquire/buy


Published: 24 November 2018

A new group of delightful Gentoo penguins have moved in on Seymour Place! Thompson's London have been graced with new sculpture by Angela Hunter just in time for the Holidays.

Above: 'Gentoo Penguins' by Angela Hunter, Bronze resin, £900 each - CLICK HERE to enquire/buy 

Angela Hunter is widely known for her popular sculptures of Gentoo penguins. The artist spends much of her time studying the animals in real life at her local zoo in Scotland. Hunter takes a sketchbook and coffee to the venue, anticipating a long visit with her tuxedoed friends.

Above: The new Penguin trio by Angela Hunter wander in. CLICK HERE for more info and to purchase

This latest series of bronze resin penguins are a trio of curious and inquisitive creatures. The group lean with wings extended, peering at the viewer and often pressing their beaks against the gallery glass looking out to the busy street.

Hunter's penguins are a joy for all ages, and can be sold as a trio, pair or individually. For more information about these winged wonders, contacted the gallery at enquiries@thompsonsgallery.co.uk or call +44(0)207 935 3595.


Published: 23 November 2018

Thompson's Gallery London will open James Fullarton's ninth solo exhibition on Wednesday, 28th November on Seymour Place. The celebrated Scottish painter has created a truly breathtaking suite of oil paintings, which visitors can enjoy through 22nd December.

Above: 'Ayrshire Hillside' by James Fullarton CLICK HERE for full info and availability for purchase

This highly anticipated suite of new paintings include classic Fullarton motifs, including large-scale greenhouse flowers, grazing cowherds, quiet marinas, striking still life and sweeping views of the Scottish countryside.

Above: 'Blue Day at Troon' by James Fullarton. CLICK HERE for the entire exhibition and info/pricing.

Viewers will delight in seeing the artist's masterful application of paint up close, full of movement and thick impasto texture. The exhibition contains over 30 paintings, each bursting with colour and life.

Above: 'Pinks and Blues' by James Fullarton. CLICK HERE to see full info and enquire/buy

Contact the gallery at enquiries@thompsonsgallery.co.uk or call +44(0)207 935 3595 to register interest in the show, potential sales, or to plan a visit. Thompson's Gallery London is located at 3 Seymour Place W1H 5AZ (3 minute walk from Marble Arch Station) and open weekdays 10am to 6pm, and Saturday 10:30am to 5:30pm.

Above: 'Hens in Yard' by James Fullarton. CLICK HERE to see info and purchase


Published: 24 October 2018

Thompson's Gallery : Do you have any studio rituals or superstitions?

Paul Wright: Studio rituals and habits are a big part of most creative practices. I like to start early and always have breakfast in the studio, ideally beginning to paint by 8am.

I often listen to the same music or interviews/documentaries and also listen to films, this gives a a sense of their being people around without the interference of anyone actually being with me.

T: Who has been your biggest influences in your career?

PW: I have many influences and continue to have new ones. The obvious ones are freud, Auerbach and Bacon, although in recent years I look to Rembrandt, Van Gogh and De Kooning. Most of the painters that directly influence me use paint in an expressive and immediate way. One of my early influences was Peter Howson, He was the first artist that I felt I could relate to. His work has so much strength and impact.

T: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?

PW: Most paintings begin with a drawing underneath, this will be a very basic but accurate image to hang the painting on, I am very wary about patterns and habits and try to introduce new working methods in the hope that it will trigger something different in the work.

T: Do you ever experience 'painters' block'? How do you overcome it?

PW: Richard Hamilton once said that inspiration is for Amateurs and that is the mindset that I approach each day with. I am a worker and when barriers pop up and things are difficult, I work through it. It can be ugly for a while but It always breaks into a better flow eventually.

T: What has been your favourite painting or subject to paint in the past year?

PW:Heads are always in my mind, however interiors and Animals have interested me over the last year. Placing animals in familiar and imagined spaces, partly visible and partly receding into the background is an itch that I am trying to scratch at the moment, It is all to do with space and have objects, heads, chairs or animals fit into this.

T: What advise would you give to younger artists starting out?

PW:it's very hard to give advice to younger artists as they seem to get on with things very well as it is, and seem well informed about the bigger art world. The one thing that I would say is of course the journey is full of discoveries that are both exciting and challenging and therefore the long game is infinitely more rewarding full of development and change.

I generally believe in the principal that 10,000 hours is what it takes to know your practice and what you are about as an artist. Sadly, often the temptation for younger artists is to try and jump in with a fashionable product that hits the market hard and makes quick money, rather than buying into a life full of discovery and growth.

T: Artificial intelligence can now produce paintings, some of which sell to human buyers - what do you make of this?

PW: The making of a work is what makes me tick, standing and doing battle with a canvas is where I pour my personality into something. I cant see that AI can do this, why would you want an image made by a machine? Devoid of personality. Can a machine replicate Picasso's mind, I think not!


Published: 23 October 2018

NYC entrepreneur and founder of Museum Hack Nick Gray recently collaborated with our London location on Seymour Place to host a networking mixer in the gallery. 

Above: From left- Nick Gray (founder, Museum Hack), Megan Thompson (owner, Thompson's Gallery London), and Kelsey Zalimeni (manager, Thompson's London)

The dynamic and bubbly American businessman invited friends and colleagues from across the UK, including other gallerists, collectors and other talented individuals. A night of ice breakers, art appreciation and education ensued!

Above: Nick Gray posing for a selfie with Daniella (mixer guest) in front of a Michael Adamson painting

CLICK HERE to read Nick's blog post recapping the entire event.

Thompson's Gallery proudly host an in-house event series called 'After Hours', combining socializing at happy hour with art collecting and art market education. Email us at enquiries@thompsonsgallery.co.uk to enquire about the next edition (happening monthly) and space on the guest list. Ticketes are £10 per person, welcome drinks and private tour of the current exhibition included!


Published: 9 October 2018


17th - 21st October
Battersea Evolution, London SW8 4NW
Thompson's Gallery, Stand D3

We have been assigned a number of free and half price tickets. To re deem these tickets follow these instructions:

THOMPSONSPV: Private View invitations - valid on any day (each digital code admits two)
THOMPSONSLV: Late View invitations - valid on any day, excluding the Private View (each digital code admits two)
THOMPSONSHP: Unlimited Half Price invitations - valid on any day, excluding the Private View (each digital code admits two)

To redeem tickets:

Visit the Affordable Art Fair, Fairs page here
Scroll over the 'Tickets' button on the top left hand side of the page.
Select Battersea Autumn and click 'Buy Tickets'
Enter the digital code (above) and click the 'Use Code' button for the discount to register
Click on 'Find Tickets' next to the date you would like to attend the fair
Select the quantity of tickets you would like and click on 'Continue'
Fill in your contact details and click on 'Buy Tickets'
You will then be taken to the confirmation page and a printable e-ticket will be emailed to you

Should you have any difficulties with this process, please contact our ticket provider 'Seetickets' using the link below:


Published: 6 October 2018

Hyatt Regency - The Churchill

Hyatt Regency London – The Churchill has teamed up with Thompson's Gallery London to outfit the walls of the prestigious hotel with hand-selected artworks.

The Promenade, Montagu Restaurant, and Reception are now enhanced with new paintings by Peter Wileman, Matthew Alexander, Harry Brioche, Jo Taylor and Paul Wright.

Above: In situ shot of the Promenade and Montegu restaurant in the Hyatt Regency Churchill; Photo courtesy of Thompsons' Gallery

This year-long partnership opened to the public on 5th October 2018, with two primary aims in mind: to endorse local partnerships among businesses in the Marylebone district, and celebrating British lifestyle and tradition linked to iconic figures such as Churchill, after whom the famous hotel is namaed after.

Above: Winston and The Queen by Paul Wright, in the Seating / Reception area of Hyatt Regency- The Churchill. Photo courtesy of Thompson's Gallery.

Thompson's are succeeding Saatchi Gallery with this great honour, working with the Hyatt Regency London – The Churchill team to select the most inspiring, celebratory and beautiful artworks to link with the arching concept of British nature, lifestyle, and history. A group of four paintings by notable Kent-based painter Matthew Alexander depict stunning views from St Paul's and Strand-on-the-Green, to sunrises over expansive fields in Kent.

Above: Four Mathew Alexander paintings in the Promenade of Hyatt Regency- The Churchill. Photo courtesy of Thompson's Gallery.

Further up the Promenade in The Montagu Restaurant seating area are breathtaking abstracted landscapes by Peter Wileman, whose next solo exhibition opens at Thompson's Gallery London on Wednesday, 7th November 2018. Wileman's vibrant and dynamic compositions activate their surroundings with an uplifting and vivacious injection of colour.


Above: Peter Wileman's work along the Promenade and Montegu restaurant seating area in the Hyatt Regency- The Churchill. Photo courtesy of Thompson's Gallery.

The main Reception and seating area is graced with three artists together; Harry Brioche, Jo Taylor and Paul Wright. A quartet of small paintings by Brioche pack a punch with their scale and expansive treatment of sky and sunlit countryside in bright chartreuse and earthy tones. The UK's foremost equestrian artist Jo Taylor provides a noble and powerful horse staring out into the room with a placid and knowing gaze. 

Above: The Reception of Hyatt Regency- The Churchill; Paintings by Paul Wright (from left), Harry Brioche, Jo Taylor and Paul Wright (far right). Photo courtesy of Thompson's Gallery.

Paul Wright's three paintings feature accomplished depictions of Queen Elizabeth, Winston himself, and a most striking narrative piece titled 'The Yalta Tea Party', in which Churchill and Roosevelt meet for tea amid portraits of the Queen and Stalin. The artist chose a tongue-in-cheek title with reference to the kitschy teapots made in that era to commemorate the meeting of the three political figures.

Above: The Yalta Tea Party by Paul Wright on the walls of the Reception area in Hyatt Regency- The Churchill. Photo courtesy of Thompson's Gallery.

The Hyatt Regency London – The Churchill is located at 30 Portman Square in Marylebone, London. Click here to plan your visit. Additional information can be found on the Thompson's website, including a comprehensive suite of images showing the artworks on display. All artworks are for sale and any question or interest can be directed to Megan Thompson or Kelsey Zalimeni at enquiries@thompsonsgallery.co.uk or by telephone +44(0)207 935 3595.


Published: 5 October 2018

Decorated landscape painter David Sawyer is set to debut new landscape paintings in Thompson's Gallery London on 17th October 2018. Featuring breathtaking views from some of the UK's most prestigious grounds including Oxford, Cambridge, and Central London, Sawyer's technique and mastery of palette shine through in every painting.

Above: A painting from Sawyer's upcoming exhibition |  Late Afternoon, the Great Quad, Trinity, Cambridge | Oil on board | 8'' x 12'' | £1250 CLICK HERE TO ENQUIRE/LEARN MORE


Sawyer hasn't limited his scope to just Britain; the celebrated painter has also depicted classic scenes about greater Europe, including Venice, Italy and Jerez, Spain. 

David Sawyer has won numerous accolades in the arts, most recently induction to Chelsea Art Society in September 2018. David is also a proud member of the Royal Society of British Artists  (RBA). Sawyer continues to aspire for further accomplishment both in his career of garnering professional recognition, and within his own skill set as a painter.

Thompson's Gallery recently sat down with David to learn more about the brilliantly talented painter, both in and outside of the studio. 

Above: Studio interior shot of David Sawyer's St Lizier workspace

Thompson's Gallery: Do you have any studio rituals or superstitions?

David Sawyer: I don't really have any rituals or superstitions in the studio or when i'm out painting(although I never set up under a ladder in case something mightdrop on me). I have an old print , a self portrait by Goya hanging in my studio in London , sometimes late at night if i'm painting , I think our gazes meet across the centuries & I wonder what he'd make of what I'm painting.


TG: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?

DS: I tell all my students to make a drawing in their sketchbook before starting painting but I just want to get something on the canvas straightaway. I establish my area of interest with a reasonable rendering then fill in the dark areas with thin paint then working with thicker pigment through the midtones into the lights


TG: Do you ever experience 'painters' block'? How do you overcome it?

DS: Some days obviously go better than others , but I never sit around "waiting for the muse to come upon me". If a painting is not going well I try to concentrate on one small part or passage , eg an ear or eye in a portrait , a window or doorway in an architectural picture, if I can get these small areas to work it lead me into the rest of the painting & open up my confidence. If this isn't working it probably means the muse is waiting in the pub!


TG: What has been your favorite painting or subject to paint in the past year?

DS: I can't pin this down to one particular painting. At the moment i've been working on a large picture of the old theatre in Ally Pally (Alexandra Palace) part of the restoration project & the RBA. The past year or so i've got back into the liferoom & been doing some figure painting , I think getting out of my comfort zone throws up exciting challenges.


TG: Artificial intelligence can now produce paintings, some of which sell to human buyers - what do you make of this?

DS: A bit like dancing bears or painting monkeys, there might be some novelty in it , but is it art on the same level as Titian , Velasquez , Rembrandt, Picasso, or Freud ? However if AI or computers began spontaneously making creative acts without programming or or other human intervention that could be interesting (but probably more frightening).

Above: Another glimpse from within the St Lizier studio of David Sawyer



David Sawyer's exhibition opens at Thompson's Gallery London on Wednesday, 17th October (3 Seymour Place London W1H5AZ). For all questions and interest contact the gallery at enquiries@thompsonsgallery.co.uk or call +44(0)207 935 3595.


Published: 13 September 2018

This week for our Thompson's Artist Q&A, we caught up with Stephanie Rew to learn more about the person behind the painting. Rew is an established figurative painter known for her elaborate depictions of strong, elegant female subjects. Often her compositions will involve elements of luxurious fabrics such as silk kimonos and scarves, which are technically difficult to paint with such accuracy, but a lusciuos delight indeed for the beholder.

Above:Stephanie Rew in her studio



Thompson's Gallery: Do you have any studio rituals or superstitions?

Stephanie Rew: I do have a routine that I tend to follow when working, which could be seen as a ritual. I listen to fast and loud music when starting a painting, in the middle part of the process I listen to the radio and the finishing touches are done listening to classical music or in silence. I find audiobooks distracting.

I hang my work upside down from time to time as it helps to see any areas that need more work - I also have a mirror in the studio that I use to see the painting in reverse which does the same job. I am not a very superstitious person in general but I have been using the same piece of wood as my palette for 15 years now – I use a piece of glass on top as my mixing area which I change regularly, but the base and the piles of paint are very old. There is part of me that believes if I get a new palette my paint fairies will leave with the old one.



TG: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?

SR: After setting up a photo shoot I will decide on the images I will work from. From then I will do a very quick portrait oil study in one colour to get a feel for the tonality of the piece and areas of high and low contrast. I will then produce a well finished pastel drawing. This helps me get to know the face I will be painting better – to understand the form and features and get a decent likeness. Any mistakes I have made in the preparatory sketches will be fixed in the final painting, which is initially drawn out in thin washes of oil paint and built up in layers of thicker paint applied quickly in one or two sessions. Once dry, I will go back to refine areas, painting indirectly and finishing with a series of glazes.

When I think it is nearly finished I leave it for a week or so then look at it again, taking notes and watercolour studies in my sketchbook to see for any final corrections. The whole process from photo shoot to varnishing is approximately 6 -8 weeks.



TG: Do you ever experience 'painter's block'? How do you overcome it?

SR: I do get stuck for inspiration every once in a while, I find this tends to happen after preparing for a big exhibition. I find the best way to get over a blank spell is to just paint for the sake of it. Ideas can come from the process itself, as long as you don't pressure yourself to find the next thing. I like to paint landscapes at these times to clear my head of past projects. Drawing is also a good way of keeping creative without confusing the brain with colour.

If this fails then I just take a break from the studio for a few days, or do my bookkeeping which will always, without fail, have me running screaming back to the studio!



TG: What has been your favourite painting or subject to paint in the past year?

SR: I have been really enjoying pushing the chroma of my work to its limits recently. I've been experimenting with combining negative space with strong cadmium reds, this makes painting the flesh tones more challenging but I have enjoyed learning more about colour working this way.

I have also been working with a new model, Siam, which brings its own inspiration. She has worked as a fashion stylist before and has a huge dress up box. This took my work in a direction that was unexpected. 'La Tulle Noire' is one of my favourite paintings of this year as it has a touch of Hollywood glamour and was a joy to paint from start to finish.



TG: Artificial intelligence can now produce paintings, some of which sell to human buyers - what do you make of this?

SR: Art, in my opinion, is about depicting and celebrating humanity and our existence. I'm not convinced a computer can do this – yet.


Above: Yellow Scarf by Stephanie Rew Oil on bronze leaf panel

We hope you enjoyed our exclusive mini-interview with Stephanie Rew. Be sure to get in touch with your next artist request! Email enquiries@thompsonsgallery.co.uk with your favourite creator.


Published: 30 August 2018

Thompson's Gallery Consultancy Services

"Informing and empowering you for the art buying journey"

Buying art doesn't have to be daunting. Neither price nor process should deter from building a collection of your own. Gain insight to the market and acquire with confidence - let Thompson's consultancy be your guide.

Thompson's Gallery possesses over 30 years of experience in art dealing and consultancy. Our highly skilled staff contribute their expertise to help clients, businesses, designers and architects identify and acquire the perfect artworks for their residential and working spaces.
Thompson's is devoted to both guiding and educating clients along the path to an acquisition. We view each consultation as an opportunity to develop one's discernment whilst expanding a collection. Every individual's taste, budget and space requirement synthesize to inform the selection of that perfect work of art. Clients are guaranteed on-site visits and direct access to staff for all questions and advice, without expiry to that relationship.

With a breadth of variety and knowledge of our stock, Thompson's guarantee to deliver an enjoyable and fruitful consultation service to every subscriber. We also offer trial terms, installation service, and liaise commission propositions for returning clients on occasion. Thompson's is proud to be registered with OwnArt, a UK government art-buying scheme which allows for instant acquisition and gradual payment over 10 months, interest free.

Contact us today to learn more about our program, and let's build your dream collection together.


Published: 29 August 2018

Douglas Gray in Studio artist Q and A Thompson's August 2018

Thompson's Gallery proudly present a new Q&A series with some of the UK's most popular painters and sculptors. Whether doing your research for an art collection, or simply seeking new information about the artist behind your favourite work, Artist Q&A with Thompson's is a fun and quick read!

First up is renowned British figurative painter Dougals Gray. Thompson's have enjoyed a longstanding relationship with the talented artist, whose background in illustration shines through in his figurative work. From London landscapes to bustling Parisian streets, there's virtually no subject the artist couldn't depict.

We caught up with Douglas to share the following unique topics of conversation with our readers - enjoy!



Above: Pink Sunset, New York by Douglas Gray  Oil on board  

Thompson's Gallery: What first got you interested in painting?

Douglas Gray: My Father has always painted and I thank him for his inspiration and knowledge of great painters like Edward Seago and John Singer Sergeant.



T: Did you always want to be a painter by profession? Were there other career interests for you growing up?

DG: I always wanted to be an illustrator, and I was for 20 years until I became an artist when things became computer generated, that was the time to leave illustration behind for me.


T: What advice do you have for aspiring young painters carving their own path?

DG:  Don't give up, follow your heart, it's dedication that will get you through in the end, and always do the very best quality you can,it's quality that counts not quantity, there are too many artists turning out the same uninspired dross day in day out it's too formulaic and will not lead to any longevity unless you like being a machine, it's uninspired and will ultimately kill your creativity.



T:  Do you have any studio rituals or superstitions?

DG: Yes just one, if it goes wrong walk away from it for 10 minutes. Oh, and playing Pink Flloyd very loud while working. It gets rid of the cat, too!


T: Does your process have any established pattern, ie sketching beforehand or resisting pattern in total?

DG: Sketch then under painting.


T: Do you ever experience 'painters' block'? How do you overcome it?

DG: Yes,often,best to get out and about for inspiration.


T: What has been your favorite painting or subject to paint in the past year?

DG: I fluctuate from figurative to cityscape works,it keeps me from getting bogged down with endless repetition.


T:  Artificial intelligence can now produce paintings, some of which sell to human buyers - what do you make of this?

DG: Very silly indeed,very emperors new clothes.



Stay tuned for more Artist Q&A's - we'll share a new post each week!

Who do you want to learn more about next? Email us at Enquiries@thompsonsgallery.co.uk with your artist request.


Published: 19 July 2018

Thompson's Gallery London received a special visit recently from food and culture blogger and influencer Ayushi Gupta, founder of the popular Foodie Diaries blog.


The sculpture garden was a major standout, receiving shining reviews alongside a thoughtful description of the artwork on display.

Ayushi published the official 'Marble Arch Guide' on the Foodie Diaries blog, dubbing the gallery and courtyard as the area's 'best kept secret for culture'. We are grateful for the feature and kind words, and await our next visit from Ayushi with much anticipation. 



Published: 10 July 2018

Thompson's Gallery London will open a new exhibition at Seymour Place on the 16th of July, aptly titled 'Works on Paper'.

Above: Jo Taylor's epic mixed media on paper piece from 'Works on Paper', titled 'Bull - CLICK HERE to enquire for purchase/ learn more

The new exhibition promises audiences a taste of their favorite oil painters' capabilities outside of the canvas. Popular artists including Robert Kelsey, Muriel Barclay, Liz Balkwill, Carol Peace, Rachel Shaw Ashton, and Cate Inglis will feature on paper among others.

Above: Successful Scottish painter Michael G Clark contributed two impressive works on paper for the show, including this titled 'Bookshop, Barcelona' - CLICK HERE for more info/ to enqiure for purchase

Above: Robert Kelsey's 'Sailing off Arran' - watercolour on paper - CLICK HERE to enquire about purchase / learn more info

We look forward to welcoming visitors to Seymour Place for this month's exhibition; contact the gallery at enquiries@thompsonsgallery.co.uk with all questions and interest. Alternatively, call us at +44(0)207 935 3595.


Published: 3 July 2018

Peter Wileman Landscape paintings worth investing in

Peter Wileman has earned acclaim for his stunning landscapes ranging from semi-abstract to tight and geomtrical. The artist delivers busy New York street scenes reflecting lights in from the afternoon rain, then shifts his style to depict semi-abstracted and expansive coastlines from around the UK.


Above, L to R: 'New York, New York' and 'Velvet Dawn' by Peter Wileman. Click the title to enquire for purchase and check availability.

Wileman's popularity grows with every featured exhibition and art fair. The British painter exhibits regularly with Thompson's Gallery London and Aldeburgh, and has appeared on the stand at London Art Fair, the Affordable Art Fair series, Art Toronto, and numerous private collections across the USA, UK and wider Europe.

Above: Peter Wileman's painting shines at center among Thompson's eclectic range of painting and sculpture.

Wileman's work is adaptable, able to contribute in a sleek and modern or traditional, classic setting. Peter Wileman's next solo exhibition is at Thompson's Gallery London on Seymour Place, opening November 2018. Join our e-newsletter today to keep updated on all developments, events and our exhibition calendar.

Email us with questions and interest - enquiries@thompsonsgallery.co.uk or give us a call at +44(0)207 935 3595.


Published: 15 June 2018

Artist Charlie Jamieson of our latest exhibition 'Observing Life' (on now til 30th June at Thompson's London, Seymour Place W1H5AZ) has earned a feature on the UK's premier shipping website, AllAboutShipping.org.uk.

Paintings such as 'Lighthouse, Maine' above were mentioned in the sparkling article about Jamieson's travel and artistic practice

The writeup overviews the artist's love for travel, in his own words. Enjoyable anecdotes and sage reminders such as the following quote are included in the article:

"One of the great things about travel is that you find out how many good, kind people there are. Let life surprise you and trust the journey."

Visit AllAboutShipping.org.uk to read the entire article- CLICK HERE

Be sure to visit our London gallery before the 30th of June to witness Jamieson's brilliant landscapes in person. The artist is accompanied by two other painters, folk artist Simeon Stafford and yacht limner Toby Boothman.

Above: Charlie Jamieson's 'Siran, Languedoc' - on display in our London gallery for 'Observing Life' until 30th June

Email us at enquiries@thompsonsgallery.co.uk with questions about the show and artists. Call the gallery +44(0)207 935 3595 to arrange your visit or register interest.


Published: 12 June 2018

We are pleased to share a recent feature in Classic Boat Magazine for artist Toby Boothman, featured painter in the new exhibition at Thompson's London titled 'Observing Life' (opening tomorrow, 13th June; runs til 30th June).

Pictured above: 'Time Check, Blitzen' - oil on canvas - click HERE to enquire/see full details

Toby will debut all-new paintings of the yachting scene in his surrounding home in South of France, a subject matter which he's become renowned for and garnered attention from outlets such as Classic Boat.

Above: Snapshot of Classic Boat's feature of Boothman's magnificent 'Time Check, Blitzen' painting.

The featured image in this post is reviewed in detail, as Classic Boat profiles each crew memeber depicted in Boothman's skillful oil piece.

Above: 'Skylark, Seven Seas, and Rowdy' - oil on canvas- click HERE to enquire/see more details

Be sure to visit Thompson's Gallery on Seymour Place (W1H 5AZ- nearest station Marble Arch, 2' walk) to view the dazzling yacht scenes of Boothman, along with cityscapes by Simeon Stafford and breathtaking moments across nature by Charles Jamieson.

Email us with questions and comments - enquiries@thompsonsgallery.co.uk or call 02079353595 to learn more about the show and artists.


Published: 8 June 2018

It's been an exciting month already, with June only just begun. We've enjoyed a great response to Richard Twose's solo exhibition 'In Flux'. Thanks to all who visited thus far, and don't forget to pay us a visit on the final day tomorrow, 9th June.

Above: In situ shots of 'In Flux' by Richard Twose - concludes 9th June 2018 on Seymour Place

We're looking forward to welcoming more guests across the summer on Seymour Place, with the sculpture courtyard gaining buzz in the local area of Marble Arch.

'Open Garden' welcomes all visitors to 3 Seymour Place throughout the summer season

We were excited to have exciting influencer Ayushi of The Foodie Diaries drop in this week for a tour and debrief of the year's program in London. Keep an eye out for her destination map of Marble Arch and larger London down the line. 

Food and Culture influencer and owner of @the_foodiediaries (IG) + www.thefoodiediaries.co, Ayushi Gupta

Next week promises yet another flurry of activity, as a three-painter exhibition 'Observing Life' debuts featuring all-new paintings from Simeon Stafford, Charles Jamieson and Toby Boothman. Stafford's popular naive style brings a lighthearted joyous air, while Boothman's yacht scenes range from dramatic waves to placid coasting; Jamieson delivers fabulous and serene landscapes from Europe and furhter afield. 

Simeon Stafford's 'Out with Dad' - Oil on board, part of 'Observing Life' - opens 13th June at Thompson's London

Toward the end of the month we'll be making an exciting announcement - we're planning to roll out an events series on Seymour Place for collectors new and seasoned alike. Think socializing, with an art education twist! Stay tuned...


Published: 12 May 2018

Seymour Place Sculpture Gallery this Summer Open Thompson's Gallery London

Step into our sculpture courtyard on Seymour Place for a break from London's bustle and a dose of inspiration this summer. 

In conjunction with the RHS Chelsea Flower Show we at Thompson's Gallery London have populated our own courtyard space with new, stunning sculptural works. Visit us for a tour and spend some time in the peaceful presence of gorgeous artwork. 

Visitors to the garden will delight in work by Tom Greenshields, Carol Peace, Simon Bacon, Johannes von Stumm, Vanessa Pooley, Susan Jones and Angela Hunter.

Come experience a space which guarantees relaxation and inspiration in equal measure. We look forward to welcoming visitors across the season on

Email enquiries@thompsonsgallery.co.uk or call 0207 935 3595 with questions and interest.


Published: 1 May 2018

Michael Restrick: May 2018 Artist of the Month

Thompson's London proudly presents Michael Restrick as May 2018's 'Artist of the Month'. Dubbed a new and exciting talent, the British painter is most certainly one to watch.

Pictured, L to R: 'Toying with Emotions' and 'Westerly Wind' - both acrylic on board, 48 x 36 inches £2950

Restrick's new series of work is playfully colourful at first glance, but delving into serious matters of the human psyche and the precarious nature of the ego. Layered and complex in their execution, Restrick's paintings are captivating as they are informative for the viewer.

Restrick has commented on 'Westerly Wind' (above): 

She is a mix of exuberant colour and a slightly subdued expression making you question her emotions. The balloon hints at a lightness but is tethered to her, making a tension between freedom on the right hand of the painting and the security and solidity of the present how ever precarious it may be. Here the artist suggested a future and force. Firstly the subject is looking to the right, unaware of the viewer. secondly the balloon animates the composition with an unseen force from the westerly edge of the painting. The painting captures a moment of change.

With regards to his seemingly playful 'Toying with Emotions' piece, Restrick reflects:

This painting at first sight is playful and light-hearted but as you look closer you are aware that isn't necessarily the whole story. Here [I] express [my] own emotional state of mind, an extroverted and introverted personality and how there is an uneasy relationship. 'Toying with my emotions' shows two figures, the right depicts a showman encroaching and manipulating the other more passive self.


These fantastic new paintings can be viewed now throughout the month of May in our London gallery on Seymour Place. Call 0207 935 3595 or email enquiries@thompsonsgallery.co.uk to learn more about the artist and his process. Alternatively, drop by to see us at 3 Seymour Place W1H 5AZ (2' walk from Marble Arch Station).


Published: 19 April 2018

We're basking in the sun's bountiful rays like the rest of London today. Our newly outfitted sculpture garden is both charming and inviting- don't miss the chance to visit our exciting summer art selection and stop for a seat outdoors among a delightful array of new sculpture.

The garden now features the serene circular slate works of Sue Jones. They're the perfect accompaniment to any outdoor space or interior shelf and table.

Our front window also welcomes a newcomere, Scottish painter Luci Maclaren. Returning to the UK after a great stint in Los Angeles, Maclaren brings a pop, punch and lightness to classic racing and hunting scenes.

Visit Seymour Place soon to enjoy the lovely weather and new arrivals with us!

3 Seymour Place W1H 5AZ (closest station Marble Arch, 2min walk)



(0)207 935 3595


Published: 12 April 2018

No matter what milestone you're celebrating, from a wedding or civil partnership to a big birthday, putting together a Gift List with Thompson's Gallery will ensure you have something to enjoy forever!

Whether you have one painting in mind for you marital home or you would like to come in with vouchers, each list will be tailored to you.

If you would like more information please get in touch with our team and we can set up a meeting over a glass of bubbles!

Best wishes

Meg Thompson



Published: 12 April 2018

Art Consultancy

Thompson's Gallery possesses over 30 years of experience in art dealing and consultancy. Our highly skilled staff contribute their expertise to help clients, businesses, designers and architects identify and acquire the perfect artworks for their residential and working spaces.

Thompson's is devoted to both guiding and educating clients along the path to an acquisition. We view each consultation as an opportunity to develop one's discernment whilst expanding a collection. Every individual's taste, budget and space requirement synthesize to inform the selection of that perfect work of art.

With a breadth of variety and knowledge of our stock, Thompson's guarantee to deliver an enjoyable and fruitful consultation service to every subscriber. We also offer trial terms, installation service, and liaise commission propositions for returning clients on occasion. Thompson's is proud to be registered with OwnArt, a UK government art-buying scheme which allows for instant acquisition and gradual payment over 10 months, interest free.

Contact us today to learn more about our program of Art Consultancy, and let's build your dream collection together.


Published: 11 April 2018

Zheni Warner's solo exhibition, The Depth of Light and Colour opens this evening with great anticipation.

A stunning selection of abstract paintings that use elecrtic light to enhance colour and depth. 

For more information 


Published: 4 April 2018

Thank you to Essential Suffolk for thier fabulous feature of our current exhibition that celebrates selected members of The Pastel Society.

The exhibition will run at our Aldeburgh Gallery until 21st April 2018.

For more information visit the webpage or contact the gallery direct.


Published: 3 April 2018

Thank you to all who joined us for the opening of our 2018 Pastel Society Exhibition this Saturday.

The Exhibition features selected member of the society and will run until  Sunday 22nd April 2018.

For more information on the exhibition please view this link or contact us direct.


Published: 20 January 2018

Jo Taylor - Fearless Bull

As we head into the weekend and the final stretch of the London Art Fair, we thought we might share some quick highlights. With thousands of people pouring through the exhibition stands, we've had a wonderful time introducing some of our favourite pieces to such an engaged audience. We're showcasing many of our long time artists along with some of our newer ones.

On display we have sculptures by Billie Bond  and Simon Bacon. Alongside a few choice pieces by Jo Taylor, Louis Laprise, Carl Melegari, Paul Wright, Mary Fedden, Michael Adamson and Zheni Warner.


Published: 13 January 2018

This month Thompson's Gallery are off to a flying start, between the opening of London Art Fair 2018 in Islington and 'High Tide' kicking off on Seymour Place. Get involved this month and visit both! 

LONDON ART FAIR 2018: 30th Edition

Where: Islington Business Design Centre, closest Tube Angel Station. Address: 52 Upper Street London N1 0QH

When: VIP Preview 16th January; Public entry 17th - 22nd January 2018. See website for full operating hours, maps, and additional program info.

What: Thompson's' Gallery will take stand G23, exhibiting all new paintings and sculpture by Carl Melegari, Louis Laprise, Paul Wright, Nael Hanna, Simon Bacon, and Chris Buck, to name a few. Peruse a selection of contemporary and Modern British artworks from 16th-22nd January.

SNEAK PREVIEW of what's on the stand- CLICK HERE


What: Innovative sculptor Max Tannahill debuts 14 new mixed media works comprised of found and repurposed materials from his coastal surroundings in Wivenhoe. A fantastic survey of the clever artist's abilities and love for wildlife.

Where: Thompson's Gallery London - closest Tube Marble Arch Station - 3 Seymour Place London W1H 5AZ

When: Opening Day Wednesday 24th January, 10am-7pm; concludes 10th February 2018



Pictured above: Left- 'Green Boat' by Max Tannahill, 39 x 53 x 18 inches, £4500. Right- The artist scouting materials in the boat yard, Wivenhoe.


January is nearly halfway through, and already we're preparing the catalogue for 'Metropolis', an exciting new group show featuring landscapes around our artist's most beloved big cities, including New York, Milan, Paris, and of course London. Newcomer and London native Tyrone Deans will feature stunning large-scale works in vibrant hues and rich texture. Painters Peter Brown, Michael Alford, Peter Wileman, Roy Wright, Roger Dellar, Michael Clark, Douglas Gray, and David Sawyer to feature among others.

'Metropolis' opens 21st February and runs through to 10th March 2018.

Pictured: Delivery day from promising young talent Tyrone Deans of Brixton


Stay up to date on all of our activity at Thompson's, between both the Aldeburgh and London galleries. Subscribe to our newsletter by clicking here to our homepage (button on the lower half of the page). 

We are here to answer any of your questions and interest. Reach out to enquiries@thompsonsgallery.co.uk or call us at +44(0)207 935 3595.


Published: 3 January 2018

Happy New Year! 

We're starting 2018 here at Thompson's Galleries as we mean to go on with some amazing artists, both old and new, adding to our varied and original collection.

In London, we currently have paintings by new artists Michael Restrick and Elsa Taylor who, with their unique styles compliment favourites like Carl Melegari and Paul Wright.


Michael Restrick began his training at Reading College before continuing his studies at Winchester School of Art under the critical eyes of Ian Dawson and Jim Unsworth. Whilst on an exchange program in New York he developed an understanding of conceptual art practise under the mentoring and guidance of the highly regarded Roy Nicholson.

Through a series of removed and replaced studies, Restrick's process infuses sculpture, drafting, and portraiture to build up to the finished product. By virtue of Restrick's process, each portrait encapsulates a multitude of fleeting moments, feelings and thoughts unique to each subject.

Restrick pushes beyond the physical and experiments with more expressive techniques to portray the raw personal traits of the individual, combining portrait motifs with geometric shapes. Colour is used as a tool to powerfully convey a sense of mood/tone within each painting.


Elsa Taylor lives and paints at her home in the Cotswolds. Her inspiration derives from the surrounding countryside , from her travels to the Umbrian hills and from the dramatic beauty of the far north of Scotland and the coast of Cornwall – it is these very different landscapes that form the bedrock of her work.

The construction and composition of the landscape and also of flowers has sparked her interest in abstraction and a fascination with their colours, textures and patterns. Her paintings are of the heart and mind, an emotional response to the landscape.

She has studied with Robin Child at the Lydgate Art Research Centre and his teaching continues to inform and inspire her work. His lectures and the subsequent intensive study of past masters has brought about an awareness and appreciation of art that changed the course of her painting.


As well as our mixed exhibitions at the gallery, we have an exciting schedule of exhibitions throughout 2018, the first of which are as follows:

LONDON ART FAIR: 17th January 2018 - 21st January 2018

MAX TANNAHILL: HIGH TIDE: 24th January 2018 - 10th February 2018


ROBERT KELSEY SOLO EXHIBITION: 14th March 2018 - 30th March 2018

With much more planned for 2018, we're looking forward to another great year ahead!

For more information on any of the artists or exhibitions featured, please contact enquiries@thompsonsgallery.co.uk or call 0207 935 3595


Published: 15 December 2017

Peter Wileman Highland Legend

The landscape paintings of Peter Wileman are colourful and evocative, giving the eye enough information to connect the dots in forming sweeping coastlines and riverside landscapes. Whether depicting the bridges of London, bustling intersections of New York, or a quiet British estuary, Wileman's scenes are teeming with texture, imagination and mystery.

Pictured: The Whisper of Dawn  32x32 inches  Oil on canvas

The British painter has become known for his electric sunset paintings, saturated with cobalt blue and bursts of pink and yellow sundowns glancing off bodies of water. Not long ago, the artist pushed his style further to incorporate textured foregrounds with passages of built-up paint and gauze-like cloth. These elements ruptured the visual plane to further the abstract nature of the landscape.

The following side by side comparisons show photographs of the depicted landscape (as the artist typically titles his work for selected location), exemplifying how Wileman manipulates the visuals without completely losing the recognizable traits required for association by the audience.


Pictured: Padstow at sunset, Peter Wileman's Moonlight over Padstow Oil on canvas 20 x 28 inches  £3450


Pictured: New York City Streets from Pinterest, on right: Peter Wileman's Towards Dusk, New York City  Oil on canvas  SOLD

Peter Wileman will debut new paintings at Thompson's Gallery London in a 2018 solo exhibition. See the gallery website for more information in the New Year.


Published: 11 December 2017

Thompson's Gallery have a brilliant range of affordable painting and sculpture, pefrfect for a truly personal gift this Christmas! The following pieces are all £1000 or under:

David Sawyer | Afternoon on the Champs Elysees | Oil on board | 8" x 11" | £1000

David Sawyer | Montmatre | Oil on board | 9" x 11" | £1000

David Sawyer | End of the Day, Sunset, Venice | Oil on board | 5" x 10" | £950

Emma Williams | Mixed Anemones in a Mustard Pot | Acrylic on board | 16" x 24" | £950

Emma Williams | Blossom & Fruit Bowl | Acrylic on board | 16'' x 24'' | £950

Lesley Taylor | 'Boys on Top' | Mixed Media | 15'' x 12'' x 8'' | £750

Carol Peace | Couple Looking Right 23/25r | bronze & iron resin | 9'' x 5'' x 6'' | £640

Carol Peace | May. Edition of 120. | Iron Resin | 13'' x 5'' x 4'' | £350

Carol Peace | The Proposal (Leap Year) | Bronze Resin | 11'' x 9'' x 5'' | £860

Tom Greenshields | Chrissie Resting | Bronze Resin | 5" x 9" x 5" | £340

Tom Greenshields | Karen Dancing | Bronze resin | 15 x 10 x 10 | £775

Harry Brioche | Out to Sea | Oil on board | 12'' x 12'' | £800

Harry Brioche | Between Showers | Oil on canvas | 12'' x 12'' | £800

If you're looking for something with the 'wow' factor, the following brand new pieces are all currently available in our London gallery and can be purchased using our increasing popular 0% finance sceme, Ownart, where you can spread the cost of the art over 10 interest free onthly payments. With no deposit required and a quick application, once approved, you are free to take the panting or sculpture home, just in time for Christmas! 

Ian Weatherhead | Regatta Time, Henley | Acrylic on linen | 24 x 30 inches | £5500

Toby Boothman | Head On, Mariska | Oil on canvas | 21" x 25" | £5000

Paul Vanstone | Opal Torso | Marble | 69 x 16 x 12 | £6800

For more information on any of the featured works, please contact enquiries@thompsonsgallery.co.uk or call 02079353595.



Published: 7 December 2017

Matthew Alexander in studio

Matthew Alexander is one of the most accomplished landscape painters working today. Thompson's Gallery have proudly represented the artist for over a decade, with particular emphasis on the painter's Parisian, London, and British coastal scenes.

Born and raised in Margate, Kent, Matthew Alexander grew up learning much about art from his father, an established artist and lecturer in his own right. Matthew used to accompany his father's group of artist friends on ferry trips to France where the crew would sketch, paint and draw 'en plein eir'. At first, the young Matthew Alexander didn't click with the act of artmaking; he went as far to say he 'didn't much care for the Impressionists'. His father laughed knowingly, with the understanding that someday it would click for his son.

Not long after this discussion, Matthew visited an exhibition of Impressionist work in London where a Pissarro not only caught his eye, but brought a tear to it. With a lump forming in his throat, the young Alexander realized this was the power of art, achieving the sort of emotional reaction that up to then for him, only music could.

This seminal moment sparked a fire in Alexander, who has since gone on to be one of London's hallmark landscape artists. His most recent solo exhibition with Thompson's Gallery, 'In the Footsteps of the Impressionists' (on until 23rd December 2017) surveys the landmarks which first formed his connections to French landscape and the masters who tread on those grounds before him. Additionally, iconic views around England, from London to Pin Mill, feature as the artist's beloved growing up surroundings.

Above: 'Evening Light at Maldon'  Oil on board  8x12 inches £1550

We recently asked a few questions of Matthew Alexander, to learn more about the artist creating such breathtaking scenes.

Matthew Alexander Exclusive Q&A with Thompson's Gallery

Thompson's Gallery:What is your favorite view or location to paint in your hometown of Margate, and why?

Matthew Alexander: Margate is the town where I was born and is part of the peninsula at the far eastern point of the South East of England which is called the Isle of Thanet. There are many wonderful subjects within easy reach and the area also includes the towns of Ramsgate and Broadstairs as well as many other small attractive villages. Probably my favourite locations are to be found on the coast between Margate and Broadstairs where the chalk cliffs meet the sea. One of the unique features of this area is that there is a rare combination of white chalk cliffs and a sandy foreshore. More often chalk foreshores have a pebble beach, but at this particular area the combination of chalk and sand create fantastic visual effects which can be absolutely stunning when the sunlit cliffs reflect in the mirror-like quality of the wet sand at low tide.

Thompson's: What makes a great artist- natural talent or disciplined training (or mix of both)?

M Alexander: I have a firm belief that anyone can be taught or learn the disciplines of painting and drawing but whether they become an artist is in the' lap of the gods'. Techniques are the language of painting and just as in literature a well informed command of language will inevitably create the conditions for fleunt prose it does not necessarily follow that these techniques will provide the means for a creative or poetic text. In painting the greater one's understanding and facility with the techniques of the medium the more chance the creative talent has to make itself clearly understood.

Thompson's: What has been the most challenging location to paint, and why?

M Alexander: All locations have their challenges and these constantly vary. My interest in trying to depict the fleeting effects of light and atmosphere or to imbue a subject with a specific feeling or light effect are a constant and engaging struggle. There are also the more mundane challenges of sketching in busy streets with crowds of people and the ever present traffic congestion in the larger towns and cities.

Thompson's: What do you do to relax in your spare time away from the easel?

M Alexander: Interestingly, although painting is challenging, frustrating, invigorating, and always thoroughly exhausting I have never looked at it as a job of work and never seen my life as an artist as something seperate from any other life I might live. My life and my art are so inextricably linked that I don't find any need to 'relax' from it.
I do have moments away from the easel, sometimes long periods of creative idleness where I do not touch paints or brushes but during these times whilst walking, motorcycling or sailing my yacht I am constantly looking for potential subjects to paint. Either that or I may be visiting exhibitions of Artists that I admire or I may be sitting reading - probably an art book!
Very occasionally my wife will insist that we go on holiday and forbid me to take sketch book, paints, camera and make me lay on a sunbed for a week! By the end of the holiday, although I have to admit to feeling well relaxed I am 'chafing at the bit' to get back to my studio and the comfort of my art books.

Thompson's: Do you have a kernel of advice, or mantra that you go by?

M Alexander: Making art is 99% perspiration 1% inspiration and although the percentages might vary a little there is always more of the former than the latter. Painting is like making love. If you find it relaxing you're probably doing it wrong!


Visit our London gallery on Seymour Place (W1H 5AZ, 2min walk from Marble Arch Station) to take in Matthew Alexander's exhibition before 23rd December. Contact us with any enquiries or interest at enquiries@thompsonsgallery.co.uk or by telephone at +44(0)207 935 3595.

Browse the entire exhibition on our website HERE.


Published: 6 December 2017

Thompsons Gallery Artist Q&A with Carl Melegari

Carl Melegari's paintings turn heads wherever they may be shown. Whether wandering the stands of an art fair or strolling down Seymour Place past the Thompson's Gallery windows, people take notice and strong reactions emerge. The style of Melegari is often described as moody, dramatic, and intense. Regardless of adjective used, the viewer is often gripped and compelled by the sight of a Carl Melegari painting. 

Above: Simon  Oil on canvas (SOLD)

Born to Italian parents but raised in North Wales and now living in Bristol, Carl grew up with ambitions to pursue artmaking after being discovered for his talents at school. After graduating his BA Hons painting course, he went on to lecture for some time at University of Wales Trinity Saint David. His distinctive painting style continued to develop, and it wasn't long before galleries came knocking on his door. Thompson's Gallery began a relationship with Carl Melegari after a networking encounter. Establishing London representation was positive for the artist, and Thompson's were thrilled to bring such a sensational figurative artist to their roster. Melegari's work brought an edge and intensity that traditionally Thompson's hadn't carried before. This new and exciting era donned in 2010 after Carl's first showing at the London location. 

We recently conducted a short Q&A with Carl Melegari to learn more interesting facts about the artist behind the famous 'drip figure' paintings.

Carl Melegari Exclusive Q&A with Thompson's Gallery

Thompson's Gallery: What got you into painting in the first place? Were any of your family artists, too?

Carl Melegari: Since the age of 15, when a P.E lesson was rained off and I had to go to an art class instead. I did some drawings whilst there and the teacher said I think you should do art as an 'O-level'. I knew from that moment it was for me. My uncle, Odone, in Italy, was a fine art painter and when I used to go to stay with him I was fascinated with his painted murals on his ceilings.

Thompson's: How did you come upon your distinctive 'dripping' style? Was it developed over time through experimentation, or have you always painted this way?

Melegari: I had been painting plein air for many years, exploring colour but without any exploration of paint itself. Having decided to develop those studies further, I began to work on them in the studio. This is when my fascination with paint took over. This allowed me the freedom to experiment with its textural elements, and I continued to push this process even further towards abstraction. My style has just naturally evolved over time through exploration.

Thompson's: What is your favourite thing to do in your time outside the studio?

Melegari: Going to music gigs.

Thompson's: Do you have an inspiring quote or saying that you refer to often, or go by?

Melegari: To pursue what makes you happy, without worrying too much what others may think. Paint for yourself and no one else.


Above: Cinya  Oil on canvas  (Available)

Carl Melegari will be unveiling new, never before seen paintings on the Thompson's stand in January's London Art Fair 2018, at Islington Design and Business Centre. To learn more information about the fair, click HERE. To make enquiries or register interest about Carl's work, contact us by telephone +44(0)2079353595 or email enquiries@thompsonsgallery.co.uk.


Published: 5 December 2017

Fifteen Years the book Paul Wright published Thompson's Gallery 2016

Giving the gift of art this year doesn't have to cost a fortune. Thompson's Gallery released a new book on Paul Wright titled 'Fifteen Years' in conjunction with the accomplished painter's solo exhibition of the same name. Filled with in-depth biography, analysis of the artist's evolution from era to era, and an exclusive Q&A interview with Paul Wright himself, 'Fifteen' Years' is a great gift for the aspiring artist or collector in your life.

Pictured above: 'Paul Wright: Fifteen Years' on the shelves at the National Portrait Gallery bookstore.

The talented painter began as an illustrator, later turning to portraits in acrylic and oil for fun. Little did he know that only a few years later, his name would be all over the UK -- featuring in the BP Portrait Award at the National Portrait Gallery, and his paintings in collections the world over. Still working from a studio in his hometown of Leicester, Paul Wright delivers fresh, innovative and stunning paintings with the same spirit of curiosity that saw him through the early stages at the easel.

Above: Cover art for the book 'Paul Wright: Fifteen Years' published by Thompson's Gallery, 2016.

'Fifteen Year's comes in hardback copies, containing fabulous colour illustrations of the artist's impressive oeuvre. These books are available at both the Aldeburgh and London Thompson's Gallery locations. Contact us by telephone at +44(0)207 9353595 or email enquiries@thompsonsgallery.co.uk to secure a copy today.


Published: 30 November 2017

British painter and Kent native Matthew Alexander opens his latest solo exhibition 'Following in the Footsteps of Impressionists' at Thompson's Gallery London this week. Not far away, Tate Britain's 'EY Exhibition: Impresssionists in London' is on display, making London winter's top destination for seeing masterful, colourful landscape painting.

Above: 'Autumn in Hyde Park' 18 x 24 inches OIl on board [SOLD]

Matthew Alexander depicts his most beloved views from around London, having grown up only a train ride from the metropolis in Margate, Kent. The accomplished painter also presents numerous landscapes from around France, including iconic views of Paris made famous by his heroes of the Impressionist movement such as Monet, Pissarro and Tissot.

Pictured above: 'La Chemin de la Machine, Louveciennes' 18 x 24 inches £4250

Matthew Alexander's exhibition will run through to December 23rd, 2017. Visit our gallery at 3 Seymour Place (W1H 5AZ) to take in this marvellous exhibition in person. 

Email enquiries@thompsonsgallery.co.uk with all questions and interest, or call +44(0)207 935 3595. 


Published: 29 November 2017

Evening Light at Maldon by Matthew Alexander

Our last (but by no means least!) exhibition of 2017 is the highly anticipated new collection by acclaimed British painter Matthew Alexander - 'Following in the Footsteps of Impressionists'.

This solo exhibition opens today (29/11/17) at our London gallery, 3 Seymour Place, W1H 5AZ, and is on show until December 23rd, so come along and talke a look at the artist's latest body of work, reflecting his passion and appreciation of the great impressionist painters of the past.

What does it mean to paint in the Impressionist style today? What incentive lies in the act of repainting some of the most renowned scenes in Western visual history? The artist who does so risks a hefty comparison to the titans of the era, ever mindful of the mammoth shadow cast by names like Monet, Renoir, Degas or Pissarro. The work must also ring clear with intention and novelty, in order to be distanced from the pigeonhole of pastiche. Matthew Alexander's latest paintings both consider and emulate the Impressionists, deploying the style and famous locations of the period to communicate the artist's own relationship to the movement itself and the medium of paint.


29 November 2017 - 23 December 2017

For further information or to request a catalogue contact enquiries@thompsonsgallery.co.uk or call 02079353595



Published: 27 November 2017

We're delighted to be exhibiting a brand new painting by renowned British painter Toby Boothman.

Following the brilliantly received marine paintings we introduced earlier this year, we now have this wonderful example of Boothman's shimmering sailing scenes in our London gallery, which can be viewed at 3 Seymour Place, W1H 5AZ.

With work held in private collections in hotels, yachts and private jets in the United Kingdom, Europe, USA and the David Roberts Collection, it is easy to see why Boothman is already gaining followers and collecters globally. The way he depicts light and water bouncing off of these dynamic vessels, combined with a composition of well placed crew members places you there with them, right at the heart of each dynamic scene.


We can also announce that Toby Boothman will be exhibiting over 10 new paintings of varying sizes in a small group show in June 2018. This collection is set to be an incredible study of sailing life and one not to be missed. For more information on this upcoming exhibtion, or on the featured painting, please don't hesitate to contact us on 02079353595 or enquiries@thompsonsgallery.co.uk.


Published: 17 November 2017

Jo Taylor's smaller works- a closer look

In the final days of Jo Taylor's London solo exhibition 'Upon the Wind and Waves', there's time to take a closer look at the smaller features in the artist's show. Smaller in size but certainly not in impact, Taylor's action-filled vignettes are teeming with colour and brilliant ink passages. 

Pictured above: 'Movement; 3 of 5'  Drawing on paper £950 

The artist manages to convey a great deal of information without touching her pen too much to paper. The result is a free, spirited drawing with each frame containing a different captured movement.

Pictured above: 'Movement, 1 of 5'  Drawing on paper  £950

Pictured above: 'Movement, 2 of 5' Drawing on paper £950 (sold)

A few other drawings are simply black and white, with the figure floating at the central focal point. 

Above: 'Racing'  Ink on paper  £950

Above: 'Perch'  Ink on paper  £950

Jo Taylor's small drawings are available to view alongside her large-scale works until 25th November in our London location - Thompson's Gallery, 3 Seymour Place, W1H 5AZ (closest station, Marble Arch).

Contact us by phone +44(0)207 935 3595 or email enquiries@thompsonsgallery.co.uk with any interest or questions.


Published: 15 November 2017

In light of our newest arrivals from sculptor Johannes von Stumm, today's article highlights the renowned artist's glass work. Thompson's Gallery have worked with von Stumm for years, exhibiting his sculptures in group exhibitions and on the stand at numerous art fairs. Von Stumm's sculpture is popular for its aesthetic quality, ingenuity, functionality, and experimental combination of materials.

New in Thompson's Gallery London are two von Stumm glass works: a multicolour puzzle sculpture titled 'Puzzle with Purple', and the richly balanced and blue 'Sea Circle'.

Pictured above: 'Puzzle with Purple' by Johannes von Stumm

'Puzzle with Purple' is unique for its moveable parts. Each coloured quadrant can slide free of the group, dividing the work into four smaller puzzle pieces if desired. 'Sea Circle' is a single unit, with three coloured sections comprising the whole.

Pictured above: 'Sea Circle' by Johannes von Stumm

View these and more delightful sculptures by artists like Carol Peace, Chris Buck, Tom Greenshields, Simon Bacon, Paul Vanstone and Angela Hunter in our London gallery.

Visit the sculpture tab on our website to explore all artists working in 3D. Email us at enquiries@thompsonsgallery.co.uk or call +44(0)207 935 3595 with any questions or interest.


Published: 8 November 2017

It's finally here! Jo Taylor's much anticipated solo exhibition, 'Upon the Wind and Waves' is now open in our London gallery.

This exhibition is a culmination of a lifelong passion for horses, but also a study of the animal in a new setting; the wild, untouched landscape of the Atlantic coast of Connemara, Ireland. The grounding of Taylor's work lies in the technical accuracy in which she depicts her subjects having completed an artists resdency at the University of Liverpool's department of veterinary science, but the true joy in this new collection is the dynamism, power, expression that is presented to us in Taylor's unique and engaging style. 

Sometimes painted and drawn to an almost life-size scale, the pieces in this exhibition meet you with genuine presence and weight, drawing you in for a closer inspection at which the detail can really be seen; elements of collage, layers of mark making and various mediums combine to make compelling finshed works. The exhibition also features ink sketches, smaller studies and a graceful triptych (works sold seperately) bearing the exhibition's name, 'Upon the Wind and Waves' which really captures the essense of the artist's emotional connection to her subjects in the wild. 

We hope you can visit us at 3 Seymour Place to enjoy this stunning collection of works by one of the UK's leading contemporary animal painters.

Jo Taylor - 'Upon the Wind and Waves'.

8th - 25th November 2017

Thompson's Gallery, 3 Seymour Place, London, W1H 5AZ

For more information please visit www.thompsonsgallery.co.uk, call (0)207 935 3595 or email enquiries@thompsonsgalleries.co.uk



Published: 2 November 2017

The opening day of Jo Taylor's latest solo exhibition 'Upon the Wind and Waves' is right around the corner. Before Wednesday arrives, let's look at some side-by-side image comparisons of thoroughbred races on the Irish coast, to admire Taylor's interpretation of the sport and the ability her work possesses to convey the action and majesty of its subjects.

The artist exhibits a deep anatomical understanding of the horse, and is able to communicate metaphysical properties alongside such accurate depictions of the equine physique. Most intriguing is Taylor's discernment in markmaking, as she avoids being too illustrative whilst still giving the figures weight and movement.

Jo Taylor's inclusion of jockeys upon most of her horses' backs is intentional, grounding the subject in its rightful context but maintaining the animal's primacy.

'Upon the Wind and Waves' will opens next week on Wednesday, 8th November at Thompson's London (3 Seyemour Place W1H 5AZ). Please contact the gallery by telephone (+44(0)207 935 3595) or email at enquiries@thompsonsgallery.co.uk with all interest and questions about the artwork.


Published: 26 October 2017

Jo Taylor has dedicated her entire artistic career to recording, emulating, and glorifying the majesty of the horse. The artist's upbringing provided a solid background in all things equestrian, which carried over into her passion for art later in life. In her newest solo exhibition with Thompson's Gallery, Jo Taylor presents a series of works centered around the wild horses of Ireland's coasts. Titled 'Upon the Wind and Waves', the exhibition opens in the London gallery on 8th November and concludes on the 25th.

Pictured above: Joyous Horse, Mixed media on paper, 42 x 59 inches

'Upon the Wind and Waves' depicts Taylor's wild horses racing, swimming, wading, and jumping across the sands of time. Jubilant and free, these noble creatures convey a kinetic energy from the surface through Taylor's dynamic markmaking and colour application. 

Pictured above: Walking on Water, Mixed media on paper, 33 x 59 inches

Thompson's London will debut the exhibition with an Opening Day on 8th November, including a meet-and-greet hour with artist Jo Taylor in the gallery. Gallery hours for this event will be from 10am to 7pm.

Please contact the gallery by telephone at +44(0)207 935 3595 or by emailing enquiries@thompsongallery.co.uk for more information on this event or any of the featured artworks.


Published: 13 October 2017

Photographer David Anthony Hall travels the world seeking nature's most stunning, unspoiled settings. From the Redwood forests of California to the rolling hills of England's countryside, Hall uses his camera to capture natural scenes of serenity.

David Anthony Hall is not only artistically gifted, but is deeply involved with philanthropic causes. His most recent project was for Marie Curie Cancer Care in Solihull, creating work for their patient and relatives reception area in the state-of-the-art West Midlands facility opened by His Royal Highness Prince of Wales.

David Anthony Hall's photography is also displayed in Great Ormond Street Children's Hospital, Travistock Centre in London; St. Anthony's hospital in St. Louis, USA; Bergamo Hospital in Italy; and St Wilfrid's Hospice. Through charity sales the artist has donated and raised over £100,000 for Cancer Research in the UK.

Hall's artwork has been displayed at The Royal Academy of Arts and The Royal College of Art; he's been acquired by private and public collections worldwide, and shown in galleries from New York City to SIngapore.

Browse David Anthony Hall's photograpy on his Thompson's Gallery artist page, and keep an eye out for his latest collaborations and showings in London.


Published: 4 October 2017

We're proud to exhibit a wide ranging variety of painting and sculpture at Thompson's Gallery and love it when we have the opportunity to showcase something special from our Modern British stock alongside a brand new painting created especially for us.


Our extensive knowledge and experience in dealing in both contemporary and Modern British artworks gives us a true understanding of how to successfully exhibit differing styles from different periods of time, from early to mid 20th century impressionist scenes by Edward Seago, or bold Mary Fedden works from the height of the artist's power and influence in the 1970's and 80's, to crisp, cool contemporary still life masterpieces by Tony de Wolf and powerful expressive works on paper by Jo Taylor.

This blend of old and new epitomises Thompson's Gallery's desire to showcase the very best art from around the world

All works are available to view at Thompson's Gallery, 3 Seymour Place, London, W1H 5AZ.

The Autumn Exhibition is open until Saturday 7th October.

Tony de Wolf's new solo exhibition, 'Somthing Old, Something New, Something Borrowed, Something Blue' opens Wednesday 11th October - All works now available.

Jo Taylor's solo exhibition 'Upon the Wind and Waves' opens Wenesday 8th November - More details to follow.

For more information on any works or exhibitions, please contact enquiries@thompsonsgallery.co.uk or call 0207 935 3595.


Published: 29 September 2017

Art Fair Booth Thompsons Gallery

Art fairs have been around for years, and those living in any of the world's major cities (but by this point in history, any city at all, really) will have known of, or attended a few. This article breaks down the basics of art fairs, as pertains to Thompson's Gallery. We'll discuss the What, Why and How, according to us at TG.

A view of the most recent instalment of London Art Fair (2017) from our gallery stand.

WHAT we bring to an art fair

Thompson's Gallery have been dealing in art for over 30 years. Over such a span, the gallery has seen and exhibited numerous trends, tastes, and artistic outputs. From Victorian watercolours and antiques, to neon-lit abstract hybrid paintings and carved wooden animals, the gallery has remained committed to giving all types of artistic expression a chance. With art fairs in particular, the format of a fast-paced, week-long expo allows for more risks and experimentation in what art is brought to the stand. So, WHAT Thompson's take to fairs is a little bit of everything. Familiar crowd favourites, Modern British notables, and a healthy mixture of newcomers combine to show the range and versatility which exists through decades of art dealing.

Pictured above: Our stand at last year's Affordable Art Fair, Battersea Autumn Edition (2016)

WHY attend an art fair anyways?

As a small commercial art gallery, we benefit from the exposure and opportunity which art fair participation can offer. London Art Fair attracts a global rosters of participating galleries, and with that a global audience. Each fair presents another chance to meet new clients, artists, journalists, and other galleries from all over the world. The potential turnover is a large incentive, as well- art fairs are condensed, and intense by design, with dealmaking and quick turnaround in mind by its organizers and attendees alike. 

Pictured above: New Michael Adamson paintings being unpacked for an art fair at Thompson's Gallery London

HOW we participate in an art fair

Taking part in an art fair is more complicated than merely showing up to a venue with a truck full of paintings. Here's how the general process goes, from the ground up. 

1. Apply to exhibit: Art fairs require galleries to apply for each upcoming instalment, reviewing each application from a large pool of hopefuls. Applicants typically must provide written responses to questions about founding history, which artists they intend to exhibit at the fair, notable press and artists affiliated with the gallery, and past participation in the series. Verdicts are delivered months after application deadlines, and from that point we arrange stand design, lighting, and note other amenities we'll need for the week.

2. Get the works in: If we intend to bring an artist with us to a fair, we notify them before we even apply to exhibit. This is for two main reasons: firstly, to allow artists time to produce quality, new work for the fair and second, to ensure they haven't already committed to another gallery for the same fair (as most fairs have rules against this). About two weeks before the fair begins, artists deliver their work to the gallery for consignment and preparation. 

3. Plan, prep & pack: The week before the fair, we're busy prepping all aspects of the stand, including boxes of hanging and wrapping supplies, spare tools, printed materials, and of course the artworks. We also plan a tentative staff schedule, rotating our small team between the art fair and gallery. We book a van to transport the lot to the venue the day before opening night. We spend a good amount of hours hanging the stand, and a little more time doing press. 

4. Go time: Once the fair kicks off, it's a whirlwind of 4-5 days with everyone in 'all hands on deck' mode. From the preview evening, to 'late opens' and the unpredictable weekend days, an art fair is tumultuous, exhausting and exciting. Once the fair concludes, we pack up the remaining artworks to transport in a second and final van ride to the gallery.


We take part in roughly 3-4 art fairs per year. This is actually considered to be on the lower end of the spectrum, as some galleries will exhibit in 8 or more annually. 

Visit our stand at the next art fair in October (16-22) in Battersea at Affordable Art Fair: Autumn Edition. For information on tickets and artworks, email us at enquiries@thompsonsgallery or call +44(0)2079353595. See you there!


Published: 28 September 2017

Renowned Belgian painter Tony de Wolf specializes in still lifes. His work has been exhibited all over Europe, the UK, the US, and is collected globally. In today's age of fast-moving, digitized capture and sharing, these painstakingly painted setups are a refreshing reminder to pause, take a breath, and truly look closer.

Pictured above: Apples and Green Glass | Oil on board | 24'' x 28'' | £11500

The latest solo exhibition for de Wolf will debut this October, on Wednesday the 11th at Thompson's London.  Decidedly titled 'Something Borrowed, Something Blue, Something Old, Something New', the artist's choice reflects the vast range of subject matter, perspectives, and inventive compositions to be found within the show. Some paintings show de Wolf revisiting his previous tactics while in others he's incorporated a host of innovative techniques and placements.

Pictured above: French Provence Pottery and Yellow Plums | Oil on board | 16'' x 20'' | £7500

Browse the entire exhibition online, live on the Thompson's website now. Please direct all enquiries to enquiries@thompsonsgallery.co.uk or by telephone at +44(0)2079353595.


Published: 27 September 2017

London based painter Peter Clossick has a remarkable studio. Adjacent to his house, the space is a shotgun-style extension of the building with sketches and notes tacked to every available inch of wallspace. Tables, palettes, paints and mid-process artworks occupy the perimeter, while at the center of it all is a classical sculpture. The copy is female, gazing to her side and stood contrapposto.

Peter records and repositions this sculpture often, with a very recent result showing in this year's Autumn Exhibition in Thompson's London. What makes this particular impression of the sculpture stand out from the others, is Clossick's loud and vibrant palette.

Titled 'Tutti Frutti 2' and executed in a delightfully bountiful impasto, this painting is more than a mere moment of exuberance from the artist. Saturated as the palette may be, the core motivation behind this choice is almost paradoxically founded in discipline. Clossick has framed his approach through tone, tackling the challenge to communicate light and dark values through wild, jarring colours. 

Through squinted eyes, audiences can see the tonal accuracy showing through; however, the best way to see what Clossick has accomplished is through a monochrome photograph. 


Published: 26 September 2017

There's no worse feeling than falling in love with an artwork whose price tag doesn't love you back. Like the forlorn protagonist of a romcom, you're forever plagued by memories of 'The One that got away'.

Luckily, OwnArt exists to end such heartbreak. This interest-free loan scheme (run in partnership with the Arts Council England and Hitachi Capital Consumer Finance) allows art lovers to make acquisitions immediately, spreading the total balance across ten monthly payments. 

Thompson's Gallery has been proudly OwnArt-registered since the program's launch in 2004. Since then, numerous clients of all ages and incomes have utilized the programme to own the art they fall for.

A few friendly tips about OwnArt:

-The scheme can be applied to any art for sale by a registered gallery; works acquired through OwnArt must be by a living artist and sold at full price.

-All clients must make an application through the registered gallery selling the work; this process takes between 20-45 minutes and can be done in person or over the phone. 

-Successful applicants are usually informed of their status immediately after submission. In these cases, the artwork is released to its owner straight away.

Please contact us if you're curious about the OwnArt process, or want to see if the artwork you're after applies to the scheme. A member of our gallery staff will gladly assist you.

Email: enquiries@thompsonsgallery.co.uk

Telephone: +44(0)207 935 3595


Published: 20 September 2017

It's that time again here in London as The Autumn Exhibition opens today! With over 40 artists and new 100 paintings and sculpture, this year's instalment is our biggest yet. With the huge array of art on show, we thought we'd share our views on how we curate such a large and varied exhibition.

Trying to accommodate such differing styles can seem like a daunting prospect, however, we embrace the challenge head on and clear the gallery completely, to start with a blank canvas. We then bring out all of the artworks and make our selections based on the balance of the room visually. This can occur with tonal, thematic and even textural similarities between works, creating a flow for the audience as they engage with the exhibition. On the other hand, we also group works that are very different in aesthetic, creating punctuations and quirks in the show to break up sections of the gallery or create a focal point of interest, giving space to other pieces.

In a show as big as The Autumn Exhibition, we are also able to hang paintings together from varying periods of time, or schools of teaching. For example, this year we have a section dedicated to Modern British artists with Edward Seago, Mary Fedden, Fred Cuming and Fred Yates all together. This gives us the chance to interact with our visitors, many of whom are familiar with these names, and some who are not, and share our knowledge of 20th century British painting, as well as the contemporary artwork we showcase.

We are also passionate about introducing new artists to a wider audience and enjoy seeking out new names to include in our group shows. By interspersing these new additions among familiar names such as Robert Kelsey, Aldo Balding and Muriel Barclay, we are able to showcase the very best of what we represent as a gallery, where the traditions and techniques of our artists inspire and influence a new generation. Sometimes this is a visual familiarity such as with Lewis Hazelwood-Horner and Emma Jeffryes, or a flair for originality like Tyrone Deans and Michael Restrick

Ultimately, the show is as good as the art that's created for us, and we're fortunate that our artists always produce brilliantly engaging pieces for us. We try to enhance the work by curating the show in a way that is interesting and exciting for our visitors. Come along to 3 Seymour Place and see for yourselves!


The Autumn Exhibition is on at 3 Seymour place from 20th September – 7th October 2017.

For more information please contact enquiries@thompsonsgallery.co.uk or call 0207 935 3595



Published: 16 September 2017

Today we're offering a few easy ways to tell oil apart from acrylic. Next time you're at the RA or Tate, or the PV of this Autumn's slew of fairs and openings, you can put these simple tips to use when taking in a painting.


Oil paints have been around for much longer than acrylic, and the majority of paintings in this world produced before the 1950's were executed in this medium. Before the technology was there to improve and innovate paint and its properties, artists trained to mix their own paints through a combination of powdered pigments and a variety of oil bases. Oil dries slower than acrylic, which allows artists to achieve smooth blends between colours and affords painters a longer window of opportunity to paint 'wet into wet' (resulting in a gestural, free apperance of strokes) on the surface. 

Thickly painted oils can take a number of years to entirely dry. When they finally do ossify, the topography of oil paintings are hard to touch. The peaks of a dried oil painting look sharp and crisp, as though defying gravity. Mass and 'impasto' (thick, built up passages of paint) are best acheived through mixing supplementary substances into oil. When the impasto technique is applied, it's usually through fortified oil paint. 

If an artist wants to create an oil wash, the addition of spirits and other thinning agents occurs. Often artists will sketch in a very light, thinned oil wash to lay out the framework of their painting's first layer.


Acrylic paint was made commercially available in the 1950's. Artists working in this medium enjoy a shorter drying time (to work more quickly from layer to layer) and a wider range of 'unnatural' colours that oil paint can't yield. This includes neon hues and metallics like gold and silver. If a painting is dated before the 50's, you can rule out the possibillity that it was executed in acrylic. Most artists were excited to use acrylics because the price point was lower than oil, and they could create larger more ambitious works at lower cost.

Most acrylic is plastic and water based, so diluting the paint for a wash is easily done with water. Thickening arcylic to paint impasto is achieved through the addition of a variety of mediums, but does not acheive the same effect as oil. Although acrylic dries to the touch faster than oil, it is primarily plastic and water, whose molecules never fully settle and 'sit still'. This causes the peaks of acrylic paint to appear rounder and softer than those of oil.


To recap, the top tips for telling oil and acrylic apart are:

OIL- sharper peaks, natural colours, 'wet into wet' blending of palette, impasto passages

ACRYLIC- softer peaks, unnatural (neon, metallic) colours, flatter appearance


Published: 14 September 2017

London Art Fair Business Design Centre

We are thriled to annouce our participation at the 30th anniversary of the London Art Fair 2018 on Stand G23.

We will be exhibiting Modern British paintings by Ken Howard RA, John Piper RA and Mary Fedden RA.

Our exhibiting contemporary painters will be abstract neon light painter Zheni Warner, Canadian abstract artist Michael Adamson, Equestrian painter Jo Taylor, Hyper Still Life realist Tony de Wolf, Landscape painter Nael Hanna and portrait artists Paul Wright and Carl Melegari.

Our featured sculptors are Chris Buck and Simon Bacon.

For tickets or more information on the London Art Fair please contact the gallery.

17th - 21st January 2018

London Art Fair 

The Business Design Centre




Published: 13 September 2017

At first glance, Joe Hargan's paintings appear to contain some humorous narrative in a quirky, colourful setting. Loudly painted walls with chequered tile floors often encase situations between recurring characters like a portly wine-toting butler, a young lady, and spotted pet dog. 

Upon closer inspection, it becomes clear that Hargan's works in fact resist blatant narration and instead seek to run audiences through myriad loops of possible connections and storylines. Rather than an obvious scene of interacting figures, Hargan presents symbols and stock characters in close proximity which create numerous lines of potential explanations crisscrossing throughout the interior.

A glance across Hargan's oeuvre reveals the artist establishing his stock characters, rearranging them over and over like interchangeable parts. This creates anticipation for 'the next episode'- how will Hargan position the pieces this time

There is a great sense of humour about Hargan's 'situations'; equally present are his artistic ability, steady hand, and distinct claim upon uniqueness and individuality. Even one of Hargan's settings can entrance the mind and eye for hours on end; go ahead, have a wander.


Published: 4 September 2017

Zheni Warner Paintings

We at Thompson's Gallery are thrilled to be exhibiting paintings by abstract artist Zheni Warner.

Her paintings are a celebration of the old and the new.

She is a classically trained artist who now uses neon lights, illuminated wire and light boxes to liberate the colour and textures she paints. She aims to marry modern technology with the skills and sensibilities of the renaissance masters.

Zheni Warner was born in Bulgaria and first came to England in her 20's. She studied Fine Art Painting at Norwich School of Art with Ed Middleditch and Derrick Greaves where she later taught Life Drawing.

She has exhibited widely across the UK in numerous Private and Public galleries, including the Royal Academy and the Barbican.

Zheni Warner's paintings will capture you and your imagination as soon as you see it. Her work is truly original and I am thrilled to be working with her and her Husband Tony. Megan Thompson


Quality of Mercy 150cm x 150cm Oil with Light Boxes

If you would like more information on the artist or particular works please contact the gallery either by telephone 02079353595 or email enquiries@thompsonsgallery.co.uk


Published: 1 September 2017

It is normal to absorb an artwork as it is, right in front of you. A painting or sculpture is readily observable, a physical object whose utmost purpose is to be looked at, thought about. The process typically goes: read, react, ponder briefly, move on.

Every now and again there will be supplementary text on the wall or in a pamphlet, providing the artist's biography and prescribed interpretation of the piece. Typically, however, little to no information is given on how the artwork was made.

In the spirit of learning different processes, here are 5 methods of artmaking from the Thompson's stable which will surprise you.


Quite literally, sculptor Tom Greenshields created his works singlehandedly. His figures are already impressive for their detail and smooth rendering, but knowing each was crafted with the artist's non-dominant hand definitely ups the admiration. Greenshields served in the military and retired to farmwork afterward; ironically he lost use of one hand during his agrarian career, not in combat. With great perseverence and ingenuity, the artist took up artmaking and produced a staggering range of elegant figurative sculpture.


Iraqi born, Scotland based painter Nael Hanna creates landscapes replete with mood, motion and atmosphere. Inspired by the drama of Scotland's coastal weather, the artist not only records these natural scenes but does so in the tumultuous elements. Through wind and rain, Hanna paints in plein air to capture the true essence of the moment, allowing rainwater to mix into and manipulate the paint on the surface. 


Marion Drummond's still life's are smooth and smooth, like the flowers she paints. Her markmaking is deft and thoughtful, but can't be called brushwork. This is because Drummond uses everything but brushes to make her work. Instruments like knives, cloth, and even fingers are deployed throughout the artist's process.


Peter Wileman's abstracted landscapes are popular for their brilliant hues and expansive composition. Although categorized as oils on canvas and board, Wileman's paintings are technically mixed media; the artist is known for adding in materials like gauze and cloth to achieve complexity and texture in his surfaces. Noticeable but not disruptive, these elements are glazed with coats of paint to blend into the overall image.


Johannes von Stumm was on track to become a lawyer when suddenly he realized that path wasn't his. He trained to become a sculptor instead, where his passion had truly lied all along. The prevailing methodology during von Stumm's student years preached resistance from combining certain elements in the same piece of work. Glass, wood, metal and stone, it was said, should never be altogether. Naturally, von Stumm formed his practice around the antithesis of the status quo. The resulting works are not only beautiful, but a symbol of willful defiance and ingenuity. 


Published: 30 August 2017

This week, we're highlighting one of our favourite paintings, currently on display in our London gallery, by Modern British artist Mary Fedden RA (1915 - 2012).

Mary Fedden | Still life with Fruit and Bottle | Oil on board | 24'' x 20'' | £19,500


Simplistic in it's aesthetic at first appearance, this still life composition is a typically complex arrnagement by Fedden, full of subtleties and layered throughout. Painted in 1970, the last year of her teaching career, this mid-career example features elements Fedden is best known for, bold use of colour, vivid tones, and the naive landscape in the background inspired by wide travels abroad, complementing the still life of the foreground.

Mary Fedden was born in Bristol and wanted to be a painter even as a child. Leaving Badminton School at sixteen, she studied at the Slade School of Art in London from 1932 to 1936 under the theatre designer Vladimir Polunin, who had worked with the Ballets Russes. She painted sets for professional performances at Sadlers Wells, but decided against stage design as a career. Returning to Bristol, she taught art and made a living by painting portraits. She held her first exhibition at the Mansard Gallery in Heal's Department Store in 1947, showing a number of still life and flower paintings. She was subsequently commissioned to paint covers for Woman magazine. In 1949 she moved to Durham Wharf, a complex of studios on the Thames at Chiswick. In 1951 she married the artist Julian Trevelyan, whom she had met before the war. Together they travelled in Europe, Africa, India, Russia and America. Since 1946 Fedden painted prolifically and has had regular exhibitions throughout Britain. From the late 1950s she taught painting at the Royal College of Art. In 1992 she was elected to the Royal Academy and had been a member of the Royal West of England Academy at Bristol since the mid-1930s, serving as its President from 1984 to 1988.

To view this highlight, and our entire collection of Modern British painting online, please click here.

 For further information please contact enquiries@thompsonsgallery.co.uk or call 0207 935 3595


Published: 24 August 2017

Here's a sneak peek into our lower level of the London gallery, where our photographer has spent the entire day photographing and colour proofing a new body of paintings from artist Tony de Wolf. Although the Belgian painter's exhibition isn't until mid-October, we begin preparations far in advance to ensure quality representation and promotion of the artwork leading up to the opening day.

Photographing solo exhibitions like Tony de Wolf's are typically more straightforward for the photographer to undertake, as the surfaces, finishing and framing tend to be connsistent throughout the group of paintings. When shooting a large group exhibition, the camera and lighting must be adjusted for each individual painting and its medium, size and framing. 

After the initial shoot, our Thompson's Gallery staff join the photographer to colour proof each individual image. The primary goal is to avoid misleading colouration in the printed catalogue and online renderings of the exhibition. For instance, if a green is deep and rich in real life, but reads as a loud lime on the screen, the levels must be adjusted to the digital file to remedy this. Once each image is verified as 'true to life' onscreen, the process is complete. Colour proofing is an arduous but crucial process, and multiple opinions are always useful as each naked eye will interpret colour slightly differently.

Once the images are singed off, a designer uploads them to be incorporated into the catalogue layout. The proofing of each catalogue design is akin to the aforementioned photography process. Gallery staff collaborate with the designer and printers to eradicate all typing, arrangement, and cataloguing errors.



Published: 19 August 2017

We are thrilled to return to this year's Affordable Art Fair in Battersea Park, running from the 19th to 22nd of October. The Thompson's stand will exhibit all new, unseen paintings and sculpture from a selected pool of Thompson's artists. 

This year's exhibitors include: Andrew Squire, Cate Inglis, Douglas Gray, Louis Laprise, Matthew Alexander, Max Tannahill, Stephen Lawler and Terence Clarke.

The most recent instalment proved a positive and exciting experience for the gallery, with French-Canadian abstract phenom Louis Laprise causing quite a splash on the stand, along with standout new works from Carl Melegari, Harry Brioche, and Ian Weatherhead. OwnArt prepared a fantastic fair tour program for visitors interested in tips on beginning, building or expanding their own collections. The Thompson's stand was included on last year's OwnArt tour route, and Megan Thompson gave a great impromptu talk covering the gallery's history, stable, and even fielded a few questions at the conclusion.

We look forward to another terrific instalment of the Affordable Art Fair, Battersea series. For more information on the fair itself,


Published: 17 August 2017

From a disused space to a peacful haven for sculpture, we're so happy to announce that our new courtyard is open and fillung up with wonderful sculpture from some of our favourite artists. Since our move to Seymour Place back in March 2017, we've been eager to display our sculpture in an inviting and unique environment, where the craft and skill of the artists can truly shine outdoors! With the building work now complete, we've created a secluded space in the heart of London where our sculptures can be viewed as they would in your own garden, giving a great visual insight into how it would look at home!

Below are some of our highlights from the courtyard, with plenty more to follow over the coming months, so be sure to keep an eye on our regular updates.



Vanessa Pooley was born in Norwich in 1958, and where she now lives and has exhibited widely thoughout the UK. Vanessa Pooley has found her own way of reinventing the human figure, so ubiquitous in art and particularly sculpture. Her work forges a link both to Henry Moore, the champion of the reclining female form in twentieth century sculpture, but also way back to ancient art and such famous pieces at the Willendorf Venus. In fact, the roughly hewn surfaces of her female forms look as if they could have been dug out from the earth. Her sculptural hero however, is Ferdinand Botero whose work can be seen at Broadgate behind Liverpool Street station – his figures seem to be on the point of bursting their fleshy bounds.


Simon Bacon lives and works in Wivenhoe, Essex and he graduated with an MA in Sculptural Practice from Colchester School of Art in 2013. His work is influenced by over twenty years in practice as an Osteopath and four years postgraduate research in transpersonal psychology, all of which supports his expression of existential themes through the human form. His figurative work and process is shaped by a deep interest in the philosophy of mind, consciousness and existentialism, exploring concepts of individual existence, nothingness, angst, freedom and choice.


Johannes von Stumm grew up with the desire to be an artist, but was discouraged from such a career at a young age by both mentors and art teachers alike. Studying 'sensible' subjects like law and politics into his early adulthood, von Stumm still couldn't get away from 'the calling' of making art. He dropped his law studies and set course for artistic pursuits. At eighteen, during a visit to Paris, von Stumm was deeply moved by the power and beauty which he saw in Rodin's sculpture; he immediately began to work figuratively with clay and plaster, first at home and then at the Academy of Fine Arts in Munich. Since his initial breakthroughs with materials, von Stumm has continued to trailblaze within the sculptural discipline. He continues to be a forward thinking, established figure, taking on larger scale commissions in the recent years. His upcoming exhibitions are to be held in London, Berlin, and Munich.


Carol Peace's figures inhabit an inner world of self-reflection. She derives her knowledge of the human body from detailed life drawings but when she models them in clay the figures come from her imagination reaching beyond mere depiction. With their delicately balanced forms and rock like plinths they invite the viewer to mediate on the human condition, the step from adolescence to adult hood or the vulnerability of a mother and child.


Tom Greenshields was born in Devon, 1915, the grandson of the well-known Victorian watercolour painter Edouard van Goethem. He studied at the Slade School of Art receiving a classical training in drawing and anatomy, developing his long artistic interest and passion in the representation of the human body. On graduation he painted mainly in watercolour, exhibiting work at the Royal Academy. In 1980 Greenshields lost the use of his right hand in a farming accident. Undeterred, and with great courage, he transferred his artistic skills to his left hand and went on to produce some of his finest figurative sculptures. Tom Greenshields was one of the first artists to use the resin bronze process for the production of serious fine art sculpture. The process produces very faithful copies of the original master sculpture and the surface can be patinated to produce a finish to lost wax process bronzes. e was in demand for exhibitions during his lifetime and fifteen years after his death his work is still being collected and currently on view in art galleries in England, Scotland and Wales.

Tio view our full selection of sculpture on line, please click here. For further imformation on any of our sculptures or artists please contact enquiries@thompsonsgallery.co.uk or call 02079353595.

We hope you can visit us at 3 Seymour Place during the remainder of the Summer and enjoy with us our favourite new spot in town!


Published: 16 August 2017

As anticipation builds around our London gallery's largest group show to date, get familiar with a few new names you'll be spotting on the walls in this year's Autumn Exhibition.


London native Tyrone Deans is a self-taught artist who creates vibrant layered works based on his surroundings. Electric crowds, figures in action, and complex surfaces built up with colour and text are characteristic of Deans' style. Despite an abundance of cheerful hues, the message in Deans' work isn't always rosy. Touching on topics such as gentrification (specific to his home in Brixton), social justice, and other issues born of a rapidly changing society, Tyrone Deans engages his audience with a deeper discussion than a mere pretty picture. Coming off the back of a well received solo exhibition in Mayfair, Deans makes for a fresh and exciting addition to this year's Autumn Exhibition.


Artist Michael Disley spent much of his training in ZImbabwe learning from Shona sculptors, and in Japan picking up stonework techniques. Disley's work is characterized by a calm flow and centering balance, articulating natural motifs through stone and granite. Over 100 of the artist's sculptures have been installed publicly and privately in the UK, Europe and Japan. Disley spends much of his time in search of new materials, in order to develop and expand his skillset as an artist and stonemason. This constant pursuit has led him to placesl like China (sourcing granite) and the hardstone quarries of Rajasthan, India.


Emma Jeffryes lives and works in St. Ives, where her environment inspires endless creative production. A graduate of the Royal College of Art, Emma applied her training in textile design to create distinctively bright, nautical paintings in flattened perspective. Beaming with every variety of blue across the spectrum, Jeffryes' work sparks recollection of coastal getaways and afternoons hypnotized by the tides. 


Michael Restrick's portraits simulltaneously depict the likeness and psychological state of a sitter. Restrick takes great interest in symbols, emotion, and temporality- all of which combine to great effect in the artist's work. Through a series of removed and replaced studies, Restrick's process infuses sculpture, drafting, and portraiture to build up to the finished product. By virtue of Restrick's process, each portrait encapsulates a multitude of fleeting moments, feelings and thoughts unique to each subject.


Experience these four newcomers and many more in our upcoming Autumn Exhibition, opening 21st September 2017. The entire exhibition will soon be available to view online at www.thompsonsgallery.co.uk in the Exhibitions tab. Please email enquiries@thompsonsgallery.co.uk with any questions about these featured artists.


Published: 10 August 2017

Marylebone Journal Feature

The manager of Thompson's Gallery London, on Scottish painting, shifting trends and the importance of affordable art
Interview: Ellie Costigan
Portrait: Orlando Gili

Fill us in on the history of Thompson's Gallery.
My mum and dad started a gallery in 1982 in Aldeburgh, Suffolk, then in the early nineties opened in Dover Street in Mayfair, which at the time was a real art hub. About 10 years later we moved up to Marylebone—Dover Street was changing, and is now very fashion-heavy. At that point, mum and dad had four galleries and were jumping between them, then eight years ago my mum decided to take a step back, so I stepped in. My father is now based in Aldeburgh and for the last six years, I've managed the London gallery, though we still talk to each other about four times a day.

Did you always plan to get involved?
I studied history of art and got so much joy from it. I worked hard and got good grades and found it fascinating. But what they teach you is very different to what you need to know to manage a gallery—you learn on the job. I've grown up in the gallery, so I know my market very well—it's in my blood, I suppose. We have clients I've known since I was about 16, working at the gallery during the summer holidays.
You recently moved to Seymour Place. Tell us about the new space.
We have a sculpture garden now, which is really exciting. It's nice to be able to show sculpture as it should be shown. We have some big pieces coming in, and we will be changing things every three months or so. It's just a different dynamic. I saw a gallery in Johannesburg that did a similar thing and I loved it.
It's been a positive move. This area has the same vibe as Marylebone High Street and New Cavendish Street: you can get to know all your neighbours and it has that village feel. My clients like the independents, the one-offs, and that's what we have here at Seymour Place. I am working my way round all the restaurants. I love Gail's bakery—I have to stop going there so often!—and I take clients to Sandy's for pizza, then head opposite to The Carpenters Arms for a drink. It's one of those great, old-school pubs that are all too rare these days.

What sort of art do you specialise in?
We deal with a couple of abstract artists, but we are predominantly a figurative gallery, mostly oil paintings. Certainly, there needs to be a certain level of skill, but the artist doesn't have to be trained—I think a school can sometimes guide almost too much. We also deal in modern British works, which are more investment pieces.

You deal in a lot of Scottish art—is that deliberate?
My dad had big ties to Scotland when he was younger, which meant we had a lot of Scottish holidays as children. We'd often be in the car and my mum would see a sign saying 'gallery, this way' in the middle of nowhere and we would all groan because she'd always want to have a look. Now I do it to my husband! So that's part of it, but Glasgow School of Art is a great school and it does produce some wonderful artists who are perfectly suited to us: they're oil paintings, they're bright, they're fun, they're figurative, and I suppose quite familiar in the sense of the subject.
Robert Kelsey has exhibited with us for more than 25 years and he is a great example of the talent to be found there. He is one of Scotland's most prominent contemporary landscape painters. He celebrates the light found in Scottish landscapes, especially the west coast—an area our clients love. His paintings are fabulous, and our family's relationship with him is another reason to keep going back there!

How has the gallery developed over the years?
When the gallery first opened, we didn't deal in contemporary artists. I remember walking in as a child, and the gallery had wooden furniture, Victorian watercolours on the walls in ornate gold frames. Then minimalism came in, antiques went out, and we had to change with it. Our artists have naturally evolved over the years, too. Paul Wright for example, who has been with us for many years, had a very Lucian Freud style at the beginning—everything was much tighter and a bit more traditional. As we moved forward, he went into more monochrome colours and started loosening up. You can see the confidence within the work. It's fascinating. Every artist changes and it's good for the gallery; it means we constantly have something new to offer.

How trend-driven is the contemporary art world?
There are noticeable trends—one year more traditional things will go, say, and the next they won't, but it seems there's little rhyme or reason to it. I will be fascinated to see how Brexit affects us. It has slowed things down, as is always the case when people have concerns. We have the Affordable Art Fair in October and it will be interesting to see how that goes.
The art world is often perceived as being quite elitist—how are you challenging that?
I think galleries can be quite intimidating places. People have this idea that there'll be sparse white walls and an unfriendly person sat at the desk, but it couldn't be further from that here. We always want the door to be open, we always say hello to everybody who walks in—it's a small thing, but it encourages conversation. I enjoy what I do and I want to chat to people and share that love. It's important to be as friendly as you can, because you never know—even if they don't buy, in five years' time they might remember that nice gallery and come back.
We're attracting younger clients—maybe because I am younger myself, but I think also because we offer things like the Own Art scheme, which has been amazing for encouraging younger buyers. It means you can buy a sculpture or a painting and pay it back in monthly instalments, with an interest-free loan. Lack of money can be a barrier to art, which is why I think that if we were ever to re-introduce a charge for national galleries and museums—as is often debated—it would be a tragedy. It's one of the best things about living in the UK. The fact that you can just walk in, learn things, work out what you like—that's really important. London is so expensive as it is; Joe Bloggs doesn't want to spend 30 bob getting into a gallery. That's not what art should be about.

What can we expect from Thompson's in the future?
We have various art fairs coming up, and we will be having a fun party to celebrate the opening. I hope to get to know our neighbours more and more, and work with The Portman Estate. I am feeling good about the move: we've met some wonderful clients, we've got this great sculpture garden—I think it will be an exciting year.
Visit the gallery listing


Published: 28 July 2017

Throughout the remainder of the Summer, Thompson's Gallery London will be exhibiting an ever changing mixed exhibition of some of our favourite artists painting and sculpture including brand new and uneen pieces made especially for us.


Visit us this Summer to view our fantatstic collection of mixed work at 3 Seymour Place, London, W1H 5AZ


Published: 18 July 2017

Summer is here but as we all know, quickly slipping away. There is however one positive mark on the calendar to anticipate as the days grow shorter and chillier- The Autumn Exhibition

Thompson's Galleries enjoy a long tradition of hosting large group shows annually since their founding over 30 years ago. Touting names from both the Modern British and Contemporary fields, Thompson's Autumn Exhibition brings together over forty artists in a showcase of the year's finest painting and sculpture

Above: Guests enjoy the Autumn Exhbition private view, 2014

With each year, the strength and success of this vast group show has increased. Regular exhibitors include some of Scotland's most popular painters, including Robert Kelsey, James Fullarton, Michael G Clark, Helen Turner, Graeme Wilcox, Muriel Barclay, and Mhairi McGregor. The Autumn Exhibition has also consistently featured some of Britain's best, including Matthew Alexander, Paul Wright, Aldo Balding, Peter Wileman, Jo Taylor, and Douglas Gray. Featured sculptors such as Chris Buck, Carol Peace, Angela Hunter, Tom Greenshields, Paul Vanstone, and Simon Bacon have stregthened the show with every passing year.

Above: The Private View Evening of Autumn Exhibition 2010

Such a large exhibition requires an incredible amount of preparation from all involved, and with this year's instalment promising to be the biggest show to date, work has been underway for months already. Now is the time to mark the calendar for the 21st of September- The Autumn Exhibition 2017 is not one to be missed.


Published: 18 July 2017

We're in the final week of Michael Clark's third solo exhibtion with Thomspon's Galleries, so there's still time to come along and view these timesless scenes of Paris and South West France.

This short film documents the artists preparations for the show and is a great insight into his methods, and studio practice.

A Sense of Place is open at 3 Seymour Place, London, W1H 5AZ until Saturday 22nd July.


Published: 17 July 2017

Following the success of his two artist exhibition with Cate Inglis in May 2017, Ideas of Beauty, Douglas Gray has created brand new work for our London gallery. One of Thompson's Galleries favourite painters, Douglas Gray encapsulates the balance between contemporary aesthetic and traditional technique that we find so engaging.

These new paintings are linked by reflection, a popular motif from his previous body of work. 'The Long Wait' is a typically complex composition which reveals more of itself the longer it is studied. The layers of light and colour are subtle in some areas, most notibly over the figure, hinting at the window's presence, allowing the viewer a near complete view of the enigmatic subject. Whereas the other side of the canvas is dense with texture and form, almost becoming abstract in areas, yet skillfully managed by Gray as to retain clarity of the reflected view beyond.


'The View Towards St. Paul's from Waterloo Bridge' draws on a different type of reflection all together. It would have been easy for Douglas Gray to paint bright, luminous reflections of the London skyline into the Thames, emphasising the iconic buildings of the capital. However, he has painted a far more honest impression of the view. Moody clouds above and the unmistakable weight of the imposing river below create a scene which is instantly evokative of the city, with faint reflections of breaking blue sky and metalic boats in the water showcasing Gray's restraint and skill.


All new works by Douglas Gray can be viewed at 3 Seymour Place, London, W1H 5AZ. For all interest, please contact enquiries@thompsonsgallery.co.uk.


Published: 11 July 2017

Summer has truly arrived here in London with Simeon Stafford's latest paintings. 


Simeon Stafford is an observer of everyday life, his paintings are crammed full of incidents and accidents, bustling scenes of human interaction. Every inch of the canvas is full of activity and life, represented in thick, luscious paint.

When studying the crowds in Simeon's scenes, re-occurring figures can be discovered, skipping Ruby with pig-tails, Eric and his tractor, Dot, the little girl cart-wheeling across the canvas (his aunt as a child) sometimes a man with red stripy trousers marching through a crowd, leading a small boy by the hand, (the artist with his son). These charcaters represent the thought, care and skill in which Stafford paints in these aesthetically naive, but remarkably considered scenes.


The Cornish landscapes of his adopted home (having re-located from Dunkinfield in 1996) provide the perfect setting for Stafford to express joy and spontaneity in these nostalgic, distinctive scenes.

New arrivals by Simeon Stafford are available to view at 3 Seymour Place, London, W1H 5AZ. Contact us for more details.


Published: 5 July 2017

The garden at Thompson's London is quickly taking shape, with new sculptures populating the space each day. This week we are pleased to present a new torso by British sculptor Simon Bacon, titled 'Becoming'. Situated in a leafy corner of the outdoor area, this gorgeously patinated bronze contains a brilliantly textured 'reverse' side, contrasting strongly against a smoother dorsal imprint facing outward.

Bacon's work presents dichotomous structures which equally reference the human anatomy and abstracted, organic forms. The sculptor has spent years experimenting with and refining his casting technique, allowing him to control his developing sculptures to a point of strong representational detail before allowing the natural behavior of hot liquified metal to take over the final phases. This detailed side view of 'Becoming' exhibits the balance between figuration and abstraction which Bacon has managed to perfect in his work. The implications of a tree branch can be seen sprawling upward toward the top of the torso:

Bacon's new bronze precedes the arrival of Paul Vanstone's marble 'Forest Torso', scheduled for installation this Friday. Be sure to visit our London gallery this season to take in these marvellous works in person. An extra incentive awaits visitors in our latest solo exhibition by Scottish painter Michael G Clark PAI RSW. Titled 'A Sense of Place', Clark's latest body of paintings tours audiences through his favourite places in Paris and South West France. The exhibition opens tomorrow, Thursday 6th July and concludes on the 22nd of this month.


Published: 22 June 2017

e've been working hard here at Thompson's Gallery London to transform our outside space into The Courtyard, a place for sculpture.

Taking a previously dissused space, we've created the perfect place to let our outdoor sculptures really shine, just in time for the hot weather!

We currently have two brand new Tom Greenshields sculptures taking pride of place, with much more to follow soon by some of our most popular sculptors. We're almost finished but wanted to share our progress with you so far in our exciting new venture.




Viewing these wonderful pieces outside brings a unique quality to them which we hope you can enjoy with us soon.






Published: 19 June 2017

Ahead of his third solo exhibition with Thompson's Galleries, A SENSE OF PLACE, we asked Michael Clark PAI RSW a few questions about his practice and inspirations.

How did your career as a painter begin?

MC - I was living in London in the 1990s working part time as an art director. We had three children under 5 years. In the flat I could only work with watercolour because of the stench of turps and lack of space! I rented a studio from a neighbour and artist ( Ann Dowker) and started to paint with oils. My first exhibition in Knightsbridge in 1996 was based on 50 paintings which were published by Woodmansterne, the Fine Art Card Publishers. For my first exhibition they paid my framing bill, all my publicity costs and a fee to reproduce each painting.

What's the best advice given to you as an artist?

MC - Believe in yourself.

Do you have any studio rituals?

MC - My studio sits at the top of the house so I like to look at the previous day's work with fresh eyes, before I make the first cup of tea at 7am. I was given two seats from an aeroplane. They are wonderfully comfortable to sit in and review the paintings. Listening to cricket keeps me in a good mood.

Who/what are your current inspirations?

MC - The early art school influences have remained: Matisse, Redpath the Scottish painter, Rothko for sheer power of colour and Doisneau the photographer.

How do you choose the subject matter for your work?

MC - I have been traveling to France since I was at Art School. France provided the reference point in terms of painting, cinema and photography. I think the combination of light, food and lifestyle influenced me from day one. They still do.

Michael Clark PAI RSW - A  SENSE OF PLACE opens on Wednesday 5th July where you can meet the artist from 5 - 7pm.

The full exhibition can be viewed online here or in our London gallery at 3 Seymour Place, W1H 5AZ until Saturday 22nd July.

To request a copy of the catalogue or for any further information, please contact the gallery on 02079353595 or enquiries@thompsonsgallery.co.uk


Published: 12 June 2017

We're delighted to announce a collection of stunning new arrivals to Thompson's Gallery London by former President and Fellow of the Royal Institute of Oil Painters, Member of the Royal Society of Marine Artists, the East Anglian Group of Marine Artists and a Fellow of the Royal Society of Arts, Peter Wileman.

Peter's work has been recognized with various awards including the Frank Herring award at the Mall Galleries in London and the Cornellisen Prize for Outstanding Work 2002.

Atmospheric, expressive and vibrant, these new paintings by one of the UK's most decorated and admired artists are not to be missed.

This brand new collection can be viewed online or in our London Gallery at 3 Seymour Place, W1H 5AZ

For more information, please contact the gallery by phone or email.



Published: 9 June 2017

It's been said that Paris is always a good idea, so why not visit France for a spell this July? No need to board the Eurostar, though- we're opening a solo exhibition of new paintings by renowned artist Michael G. Clark, promising to transport audiences to the most alluring and romantic locations France can offer.

From the 6th to 22nd of July, Clark's solo exhibition 'A Place in Time' will be on display in our London gallery at 3 Seymour Place (W1H 5AZ). Viewers will be taken on a visual tour of the Scottish artist's most beloved views and memories from his favourite French cities. 


Come claim your ticket to France this July, and enjoy a getaway from London-- no passport needed.


Artist Bio: Michael G Clark, PAI RSW

Michael Clark was born in Ayr, Scotland 1959. He studied at the Edinburgh College of Art from 1979 - 1983. A love of film led him to work for the BBC in Glasgow for six years. On moving to London in 1989 he worked as a freelance Art Director and illustrator; he also began to paint again with much success.He has had many solo and mixed shows with Galleries in London, Edinburgh, Glasgow, Suffolk, Norfolk and Oxford. Michael, his wife Karen and their three children returned to Scotland in 1999. He now paints from his studio in Ayrshire which overlooks the River Doon.


2015 Artists Surfaces Award at the Paisley Art Institute Annual Exhibition
2011 The Jamieson Award at the 2011 Scottish Drawing Competition
2010 Winsor and Newton Award at the Annual Exhibition of the Royal Scottish
Society of Painters in Watercolour
2008 and 2007 The Wren Gallery Award for Still Life Painting at the Paisley
Art Institute Annual Exhibition
2007 Art Hire Prize, Scottish Drawing Competition hosted by Paisley Art
2007 Selected for Sunday Times/Singer Friedlander Watercolour Prize
2005 Art Hire Prize, Paisley Art Institute Annual Exhibition
2003 Runner up 2003 Aspect (Kennox) Painting Prize


Royal Bank of Scotland
The Maclaurin Trust Collection
First State Investments

Elected RSW 2014
Elected PAI in 2012
Elected Artist Member Glasgow Art Club 2005
Elected Professional Member of VAS in 2005
Member of RSW Council


Published: 22 May 2017

It is our pleasure to introduce you to artist Toby Boothman, a British painter taking a modern approach to Renaissance style with his hyperreal nautical scenes. Boothman's dynamic depictions feature bodies and boats at sea with incredible accuracy. To behold a Boothman in person is to feel swept up in the waves and windblown sails.

Toby was born in Bristol in 1973, and began training under Master Patrick Betaudier in Monflanquin, France at the Atelier Neo Medici in 1994. Since then his career has flourished both in the UK and wider Europe, with his residence and studio based in the South of France. Boothman's love for the open water emanates from his work, reflecting his beautiful daily surroundings.

We have been blown away by the accuracy with which Toby Boothman paints and his ability to capture the true essense of sailing is a pleasure to see. As a new artist to Thompson's Galleries, we hope you enjoy these new works as much as we have.

This new collection is now available to purchase and will be exhibited throughout June at 3 Seymour Place, London, W1H 5AZ.


Published: 16 May 2017

The inaugural edition of FRESH: Art Fair in Cheltenham was a wonderful experience for our London gallery. The weekend offered introductions to plenty of new faces, and reunions with many clients from our Stow-on-the-Wold days. We captured a few images across the fair's duration to share with those who couldn't make the trip; enjoy!

The gorgeous views of Pittville Park greeted us each morning before entering the exhibition venue.

We brought a wide range of artwork to our stand for the week, including Cate Inglis (far left) and Roy Wright (left center).

Aerial shot of the venue captured from the second tier.

We enjoyed countless conversations with the enthusiastic fairgoers all week.

Detail shot from one of our paintings on the stand- 'Visitor' by Paul Wright.

A cool neon piece on the wall at No.131 hotel & restaurant- highly recommended to all visitors to Cheltenham!


We would like to thank the organizers and staff at FRESH for putting on such a great introductory fair. 


Published: 13 May 2017


The first major Contemporary Art Fair in the Cotswolds.

Thompson's Gallery will be at stand 31 showing the latest works by Carl Melegari, Jo Taylor, Andrew Squire, Harry Brioche, James Fullarton, Paul Wright and more.

We're delighted to be at the very first Fresh art fair, bringing new works from some of our favourite artists to Cheltenham. We hope to see you there!

Friday 12th May - 11.00am to 8.30pm

Saturday 13th May - 11.00am to 6.00pm

Sunday 14th May - 11.00am to 5.00pm

All interest may be directed to enquiries@thompsonsgallery.co.uk


Published: 25 April 2017

We asked Douglas Gray and Cate Inglis some questions about their practice, inspirations and ideas ahead of their new exhibition.


How did your career as a painter begin?

I decided at age 11 that I wanted to be a painter and I had tunnel vision about going to Art School. My career really began when I entered my work into various national level open exhibitions such as the RGI and the SSA and began winning prizes. From there my career has really taken off and am now showing regularly with great galleries all over the country.

What's the best advice given to you as an artist?

I think the best advice I have been given is to put all my focus on pursuing my painting career. Once I started painting full time, the career I wanted fell into place.

Do you have any studio rituals?

I am a bit obsessive about keeping my brushes in good condition for the sake of precision, and I do prefer to work alone as my work requires sustained levels of concentration. I work at an architects drawing board rather than an easel which is quite unusual for a painter.

Who/what are your current inspirations?

My current obsession is the disused land and urban wildernesses surrounding industrial sites. I am finding the work of Dominique Cameron, Tonie Rigby, Frank Hobbs, Anna King and Mari French inspirational at the moment.Joan Eardley is also one of my current inspirations.

How do you choose the subject matter for your work?

I look for places with combinations of different textures and surfaces and an atmosphere of emptiness. Mostly I go on site visits to areas that I know have potential and discover the subjects that way, but sometimes I'll see great subjects when I'm not really looking for them. I have learned never to leave the house without a camera.


How did your career as a painter begin?

I was interested in drawing from a very early age, I remember looking at objects in my parents home at around 5 years of age and imagining drawing and even shading them in my mind. My father is a keen amateur artist so this inspired me too. I spent 20 years as an illustrator but got out when computers took over. I never intended to substitute a pencil for a mouse - it wasn't for me.

Do you have any studio rituals?

I draw a lot outside but prefer to paint in the studio, however I often paint small oil studies outside. I use only Winsor & Newton artists oils. I guess you get use to a brand and stick to it, for me painting is hard enough without dealing with too many choices, this also applies to concentrating on just oil painting for me. Some artists like to use all manner of materials but I prefer oil paint but use all manner of techniques with it. I also nearly always listen to music when I paint to help with the energy it creates with brushwork usually something heavy at first like Metallica or Motorhead then cool it down with classical or Pink Floyd and Tangerine Dream for the details. It's all part of the creative process for me and is very important.

Who/what are your current inspirations?

Marine art is my big passion. I have lived by the sea for 40 years so cannot help but be inspired by it. Painters that have particularly influenced me are John Singer Sargent, Turner, Constable, Seago Ivan Shishkin, Ralph Goings and Edward Hopper because they are masters at what they do.

How do you choose the subject matter and composition for your work?

I like light and atmosphere - be it city, figurative or marine in subject. Most compositions just happen, I do still think like an Illustrator and was trained in Advertising Design, sometime thistends to 'infiltrate' my work but mostly on a subconscious level.

Douglas Gray & Cate Inglis - Ideas of Beauty runs from 27th April - 13th of May.

View the entire exhibition online here, or visit us at 3 Seymour Place, London, W1H 5AZ.


Published: 19 April 2017

When she's not in her studio, Scottish painter Cate Inglis can often be found around her native Glasgow snapping pictures of broken down buildings. Sometimes, a particularly enticing structure lies a train ride away; Inglis has a network of friends and contacts sending images or tipping her off to new, striking scenes of dilapidation.


Inglis paints abandoned buildings in beautiful, painstaking detail. Every rusted panel, overgrown post, and graffiti-marked brick is conveyed by the artist's brush over layers on treated board surfaces. The artist has said of her work, 'I search for overgrown, derelict subjects- places where disappearing buildings leave gap sites and wasteland... the paper layers are an important element, an indication of how thin and temporary everything we built is.'

These comparison shots of Inglis's source images and the resulting paintings allow audiences to understand her practice in a new light. Her upcoming two-person exhibition with Douglas Gray in our London gallery will showcase all-new, never before exhibited works. 'Ideas of Beauty' opens on the 27th of April at 3 Seymour Place, and will conclude on the 13th of May. 



Published: 22 March 2017

Away From Convention by Sophie Levi and James Tweedie will be the first exhibition at our new location in Seymour Place, a buzzing neighboured surrounded by a great mix of shops and eateries including Gail's Artisan Bakery, bespoke tailor Taliare, Vinoteca wine bar, and Deliciously Ella's MaE Deli. Also underway in the new location are plans for a open-air sculpture garden, perfect for the onset of warmer weather.

Breaking the conventions of painting, Sophie Levi and James Tweedie offer truly unique perspectives of their surrounding environments, reflecting their distinctive identities, personalities and painting styles. We feel this is the perfect exhibition to open our new gallery as it showcases original ideas comined with tradional, painterly techiques. 

We invite you to come along to the new gallery and view our latest exhibition from two of our favourite artists. 



Published: 1 March 2017

It is with great excitement that Thompson's Gallery formally announces the move of our London space to Marble Arch, as of the 10th March 2017.

The new gallery space is located at 3 Seymour Place, on a lovely stretch of road, neighboured by Gail's Artisan Bakery, bespoke tailor Taliare, Vinoteca wine bar, and Deliciously Ella's MaE Deli. Also underway in the new location are plans for a open-air sculpture garden, perfect for the onset of warmer weather.

Make sure to mark your calendars for the opening of our inaugural exhibition in the new space: Sophie Levi & James Tweedie, from the 23rd March to 5th of April.

We look forward to welcoming one and all, full address as follows: 3 Seymour Place, London, Marylebone, W1H 5AZ


Published: 17 February 2017

Last night was a very special evening at the National Portrait Gallery, as London's most visited art institution hosted an artist's talk with photographer Kovi Konowiecki (T2 Exhibitor, Thompson's Gallery 2016). The young breakout artist was able to share in-depth about his prizewinning portraits and the stories behind the sitters who have graced the walls of the latest Taylor Wessing Photographic Portrait Prize. 

On the way into the gallery, those in attendance were encouraged to browse the exhibition as they made their way to the talks room.

The interlocutor of the evening was NPG Associate Curator Sabina Jaskot-Gill, who curated the 2016 Taylor Wessing show. Alongside Kovi was Christiane Monarchi, founding editor of online magazine Photomonitor and curator of London Art Fair 2018.

Throughout the interview, Kovi shared the story behind his own prizewinning photographs from the show, a selection of portraits from a series completed during his  MA studies at UAL's London College of Fashion. Kovi spent time in three different locations with members of the same Orthodox Jewish familiy. He first created a bond with a group of family members in his hometown of Long Beach, California. From there he traveled to Eastern Europe and Israel to capture portraits of even more relatives. 

The striking patterned wallpaper behind each sitter corresponds to their location. Kovi selected two particular floral backdrops for his next two locations after first encountering the distinctive wallpaper in the Long Beach home of his initial group of sitters.

The body of work was titled Bei Mir Bitsu Shein, which in Yiddish means To me you are beautiful. Kovi was photographing his final subject, a friend of the Rabbi in a small Israeli village, who, despite having met only minutes before instructed Kovi to sit down so he could be photographed for a change. After placing his Shtreimel (traditional fur hat) on Kovi's head, the new friend clicked the shutter and said to him, Bei mir bitsu shein. Kovi reflected on this anecdote with a smile, saying that such powerful moments are why he loves photography with such passion.

To close the session, Jaskot-Gill and Monarchi joined Kovi in rolling out sneak previews of his latest project, 'Delivering flowers to Grandpa Jack'. The artist has returned to his hometown of Long Beach for yet another dose of inspiration. This body of work will tell the tale of Kovi's upbringing in California, and illustrate the romantic lens through which youths experience and remember their childhood surroundings.


Published: 8 February 2017

As we eagerly anticipate the shedding of colder weather for the crisp brightness of Springtime, we at Thompson's London equally await four exciting new exhibitions. 

First up will be the unique visions of Sophie Levi and James Tweedie, paired together in a two-person exhibition of unconventional landscape paintings (22nd March-8th April). Levi manipulates familiar London scenes to fit her style, while Tweedie converts Scottish landscapes into surreal compositions. 

Following after will be another two-person show, featuring Douglas Gray and Cate Inglis. Both artists offer two different perspectives on beauty, with Gray depicting moments of activity and transition in places such as Venice and New York, and Inglis romanticizing the passing of time and its effects upon the urban landscape in Glasgow and surrounding cities.

Leading us into May will be two exhibitions, that of Mhairi McGregor's solo show of new paintings and Thompson's appearance at the inaugural edition of Fresh Art Fair in Cheltenham (12th-14th May). 

Stay up to date on all new developments by following us on Twitter (@thompsonsgall), Instagram (@ThompsonsGallery) and subscribing to our e-newsletter (write to enquiries@thompsonsgallery.co.uk).


Published: 3 February 2017

We asked Aldo Balding, Robert E. Wells and Graeme Wilcox some questions about their practice, inspirations and ideas behind the new exhibition.

How did your career as a painter begin?

AB: I was working in London as a commercial artist and painted in my spare time experimenting in oils. In 1999/2000-can't remember exactly-I was a finalist in the BP awards. That gave me the impetus to paint seriously, exhibiting in The Royal Society of Portrat Painters in the follwing years and participating in mixed exhibitions enabled me to switch from commercial art to fine art.

REW: According to my mum at the age of two I stripped the bed clothes from her bed and painted a frieze around each side depicting a steam train, she was so proud of it. I knew I had the codes to be able to paint and so when the chance I was more than ready.

GW: When I went to Glasgow School of Art I was very strong on drawing and ended up in the Printmaking Department. By third and fourth year, I was combining printmaking techniques with painting on canvas. It was only after art school that painting became my main practice. I took on some large scale mural commissions which really made me learn how to paint.

What's the best advice given to you as an artist?

AB: Paint for yourself not to sell. That is the most satisfying ideal. I am only starting to experiment in the last couple of years, which is a fascinating journey of discovery.

REW:The best advice was from a teacher at art college who simply sald stop xxxxxxx about and get on with it.

GW: I can't quite remember who said it but it was advice given regarding drawing. "Look and then keep looking." I take it to mean that you must look at your subject but also keep looking at your work and continue developing and refining it.

Do you have any studio rituals?

AB: I don't have any set way of working, I find routine dull, sometimes I paint a very rough line for composition with a brush. Other times, I start appling tonal values, drawing as I go. Sometimes, thicker paint, sometimes thin. I am trying to paint each time a little differently.

REW: My studio rituals are simple; where is the stuff I can't find, who touched my stuff etc.I have a plastic film on a table next to me and use it as a large easel. When it gets to about an inch thick I change the plastic. Otherwise I tidy up when things get unbearable. My son invades my space to practice he is 15 and an RCM junior, he plays classical guitar and piano and is my equal in unruly mess. So much for rituals!

GW: No studio rituals to speak of.

Who/what are your current inspirations?

AB: When I was working in a commercial studio, John Watkiss, who has, sadly, just passed away, inspired me with drawing and anatomy. I have always looked to other painters, Sargent, Sorolla, Munnings, Stanhope Forbes and Zorn. I am inspired by searching for more individuality in my work .

REW: I have always been a great fan of Amsterdam. I took my wife and two children there last August. I always visit Rembrants house, it is such a privilege to stand at the spot where he worked. The man was so far ahead of his timeif a day ever came when he would fail to inspire me I know that would be a good time to pack my bags and run.

GW: I have always been, and still am, very inspired by documentary/street photography. The idea of the fleeting, frozen moment that reflects something strange or poignant about life is a notion I keep in mind when painting. Portraiture is another source of inspiration for me. I like to see how other artists paint people, what has caught the artist's attention about their subject or what the artist is imposing on the portrait. Great portraits aren't necessarily realistic but they seem to provide an instant connection or feeling of recognition.

How do you choose the subject matter for your work?

AB: I am drawn to people, more than landscape or still life, though I love all forms. So, I tend to settle naturally around relationships, fleeting moments and the human condition - through light, colour and composition. I have a database of ideas in my head from, observing people, photos, films and from my imagination, trying to represent them to my aesthetic ideals.

REW: The subject matter is what ever comes to mind. Some things are fragments of memory, family etc, or just something plain and simple right there in front of me. There is beauty and joy all around us, taking the time to look is key.

GW: My subject matter is almost always other people, how they look and how they behave. I am always looking for new people to paint. I take lots of photographs on the way to work as well as having models in the studio. If I see someone interesting, I will ask them to sit or pose for photographs. I like taking people out of the world around me and placing them in my work. My larger paintings are often based on a situation or scene I have witnessed that has lodged in my memory. I am curious why these moments seem to have such significance or poignancy and I think of the large paintings as almost a restaging or investigation of these memories.

Aldo Balding, Robert E. Wells and Graeme Wilcox runs from 2nd - 18th of February.

View the entire exhibition online here, or visit us at 15 New Cavendish Street, London, W1G 9UB.


Published: 1 February 2017

The scenes and situations that Aldo Balding depicts often read as film stills- a fleeting view of cafe goers or fishermen in action is transformed from ordinary to romantic. The natural movement of Balding's figures along with their placement within each composition suggests that a relaxed and unstaged setup is what most entices the artist.

The liminal feel of a Balding chimes harmoniously through effortless brushstrokes. Easy and unaffected, the artist manages to record important details while still leaving room for expressive, looser passages. The edges of his canvases tend to bear light touches of paint, exposing just enough space to separate the photographic from the painterly. 

Balding takes part in a three-person exhibition from the 2nd to 18th of February, joining Robert E. Wells and Graeme Wilcox in a display of their finest new paintings. This is certainly a show worth viewing in person. 

View the entire exhibition online here, or visit us at 15 New Cavendish Street, London, W1G 9UB to see the exhibition in person. 


Published: 20 January 2017

At different points in my career artists catch my eye and really resonate with me. At the moment one in particular is Graeme Wilcox.
Graeme is a Scottish figurative painter whose skill is undeniable. His approach and technique may be traditional but the outcome is certainly not. His subjects are contemporary, and often features characters who he has met while out and about in Glasgow– Frank, who has featured in paintings last year, was a retired boxer that Graeme met while in a pub in Glasgow.
Graeme's forthcoming exhibition opens on the 1st February, alongside, two other masterful painters, Aldo Balding and Robert Wells. Please visit us during the exhibition, you will not be disappointed!

- Megan Thompson


Published: 18 January 2017

Last night at the Business Design Center in Islington, London Art Fair 2017 opened its doors to the public for the private view. Crowds of art-loving visitors drifted through the booths, and we at Thompson's had the best view of all from our upper level stand, G24. Our booth's balcony proved popular with visitors, featuring a stunning new 5x5-foot painting by Carl Melegari and a sweeping view of the rest of the fair. Too busy to enjoy that view ourselves, we enjoyed meeting with new and familiar faces across the evening.

The London Art Fair will close this Sunday at 5pm, so be sure to take in the event while there's still time. Contact us at enquiries@thompsonsgallery.co.uk for complimentary tickets, and visit the fair website for opening and closing hours, directions, and more.


Published: 6 January 2017

After much anticipation, we have finally received the latest abstract oil paintings by Toronto artist Michael Adamson. These four new pieces are bold in colour, rich with texture, and inspired by Adamson's observations of nature and its wonders.

Pictured above: The Afternoon, Oil on canvas, 60 x 55 inches

Adamson has been intently working on this new series of paintings over the past year. His background is a unique mixture of training at Emily Carr and Ryerson Universities in North America, and later the renowned Gesamkunst Hochschule in Germany. Adamson's work sits between expressionism and conceptualism, combining the tradition of expressive painting with injections of modern theory.

Pictured above: Under the Stars, Oil on canvas, 54 x 74 inches

Adamson has gained notoriety beyond his home country in Canada, with commissions for major collections and multiple exhibitions in the UK and across Europe. We look forward to showcasing these incredible new paintings in our London gallery, and welcome everyone to take in the stunning new oils in person.


Published: 15 December 2016

The master of glass, stone, wood and metal brings a new collection of stunning sculpture to our London gallery.

Combining metal with glass, wood and stone, von Stumm has expanded the boundaries of expression by fusing the strong and the fragile, the solid and the liquid, the dark and the transparent. Von Stumm acknowledges that this play between forms comes from a place of self reflection, the sculpture a true representatiton of the artist himself. The variety of form and technique on display illustrates the depth of understanding von Stumm has for the materials he works with, as well his undeniable artistic sensibilities.

This new selection showcases the skill, craftsmanship and invention of one of the very best contemporary sculptors working today. 

Click here to view all of Johannes von Stumm's work.






Published: 2 December 2016

London Art Fair 2017

We're delighted to announce that we will be exhibiting once again at the London Art Fair, from the 18th – 22nd January 2017.

This year we'll be at Stand G24 featuring all-new works by Paul Wright, Carl Melegari, Graeme Wilcox, Nael Hanna, Roy Wright, Johannes Von Stumm, and Chris Buck, with paintings by Ken Howard RA, Mary Fedden RA, Edward Seago, John Piper and Wilf Roberts also on show.

Contact us at enquiries@thompsonsgallery.co.uk for details.


Published: 24 November 2016

Thompson's London have a brand new, stunning Paul Vanstone marbled torso in stock. Made from black marble, quarried near Pisa, this beautiful new addition to the gallery is a truely decadent highlight which is a must see.

Paul Vanstone is preoccupied with marble and the way in which its hardness and light reflecting qualities can be transformed to depict the curves of the human body and/or the delicacy or covering cloth.

His technique and focus upon quality and finish draw upon the traditions of classical sculpture. However, his images and influences reflect the twenty-first century's passion for the curvaceous art design and architecture of Zaha Hadid, whilst also paying tribute to the mainstay of modern British sculpture, Henry Moore.

Click here to view Vanstone's work. 


Published: 10 November 2016

Rich in texture, bold in colour and joyously expressive, this exhibition celebrates the work of James Harrigan and Mike Healey, two of the most prominent landscape painters of their generations.

Graduates of the Glasgow School of Art, for many years Harrigan and Healey were also figures of enormous inspiration to many aspiring artists, both with highly successful teaching careers (Healey was appointed senior lecturer at Glasgow School of Art where he worked until 1997 and still teaches at Lincoln University). Harrigan and Healey are both regarded as highly acclaimed and successful professional artists who continue to inspire with their distinctive and original work.

Harrigan has exhibited widely in Scotland and throughout the UK and has been the winner of the Scotsman Art Competition (1996) and the prestigious Laing Art Competition (1990). As well as a passion for his local scenery of the East Coast of Scotland, Harrigan travels extensively, drawing on inspiration from various parts of the world to create beautiful, painterly scenes, often with traces of human life threaded throughout.

Healey has exhibited extensively throughout his career in London, New York, Philadelphia, Maryland, Bermuda, Japan and has work in several public, corporate and private collections worldwide. Combining dramatic use of paint and striking use of colour, Healey's plein air landscapes, seascapes and still life's capture the true essence of the artist's surroundings, with remarkable results.

10th November – 26th November 2016


Published: 19 October 2016

I know many of these perspectives. The Sheldonian Theatre from Broad Street; the Gateway to Chinatown coming off Gerrard Place; the Grand Canal from the Ponte dell'Accademia. I have seen them all from these same viewpoints, perhaps even occupied these same square feet of concrete. But Sawyer's paintings make me want to see these scenes as he saw them - at those moments of the day when the light is strangest and best.

Sawyer exhibits a wonderful ability to capture different forms of daylight, to create an atmosphere around the time and tone of the day. He seems to encourage the sun to shine with conviction, while allowing some areas to remain quietly in the shade. Likewise, his eye seems to revel in the soft, calming twilight hours of the vibrant European cities he paints.

I remember walking along Broad Street towards a seminar on Wordsworth when I was studying towards an English degree at Oxford. My memories of the place are no longer completely fresh in my mind but I can recall the faceless abundance of cyclists, the sense of potential, my pride, and the feeling of being directed as well as burdened by the weight of history. A student at an Oxford college will always be haunted by the fact that the University has been visited by successive generations before them and will exist long after they have graduated.

What excites me about Sawyer's work is that it seems to acknowledge this feeling. His Oxford, grand and splendid like his Lisbon, Sicily, and Venice, is only sparsely populated and its few figures are anonymous and in motion, just out of focus. They are temporary and occasional beings, standing in plain contrast to the named and immediately recognisable architecture, to the imposing Radcliffe Camera rearing up above the skyline. The accuracy and detail of Sawyer's buildings tell us that these are his focus and they hold the power in these works.

David Sawyer: An Exhibition of New Paintings. Until Saturday 5th November.


Published: 20 September 2016

Born in London, Ken Howard studied at both the Hornsey College of Art (1949–53) and the Royal College of Art (1955–58). In 1958 he won a British Council Scholarship to Florence. He spent his National Service in the Royal Marines (1953–55). In 1973 and 1978 he was the Official War Artist to Northern Ireland, and 1973–80 worked in various locations, including Hong Kong, Cyprus and Canada with the British Army. In 1983 he was elected an Associate of the Royal Academy (ARA). In 1984 he became a member of the Royal Academy, and in 1988 President of the New English Art Club. In 1991 he was elected a Royal Academician (RA).

A true modern master, Howard paints in a traditional manner, based on strong observation and a high degree of draughtsmanship combined with tonal precision. The depiction of light is a strong and recurrent element of his work. A notable theme is the nude model in his studio. Another theme is a city scene, such as Venice, with emphasis placed on the reflection of light from puddles after rain and pavements flooded with light. 

To view our full collection of Ken Howard paintings, click here.

Feel free to contact us regarding any of the works.



Published: 9 September 2016

We're currently unpacking a grand new shipment direct from sculptor Carol Peace's studio, containing numerous never before seen, limited edition pieces. This moment is too exciting to keep to ourselves, so here's a snapshot from the stockroom:

Make your way to the gallery this weekend to see the entire collection before they go live online!


Published: 9 September 2016

Thompson's Gallery currently has a great range of sculpture, in bronze, bronze resin, wood and glass, by Carol Peace, Tom Greenshields, Vanessa Pooley, Philip Blacker, Johannes Von Stumm, Angela Hunter, Paul Vanstone, Giles Penny, Chris Buck and Richard Chapman. These sculptures, in a variety of sizes, not only make a statement as individual pieces, but can also compliment existing work in your collection, be it sculpture or painting. 

Combining sculpture and painting can seem tricky, but with clever use of the space you have and an eye for placement, you can begin to curate your collection with real impact. For example, creating different heights for your sculpture means that you can draw the eye to a painting above or behind, giving a new dynamic to a space that you might be looking to breathe new life into. This can also be done by using existing features and furniture in your home, so there is no need to make dramatic alterations to achieve a great result. Sculpture can also be used to divide a room or add a feature to an unused space. The smaller range of sculptures in our collection also make unique and personal gifts, as they are not imposing but can really add charm to a home or office interior.

Contact us for more details on any of the work featured.


Published: 8 September 2016

Michael Alford

The latest works by British figurative painter Michael Alford have just arrived today, making an immediate impact in the gallery window. Atmospheric and deftly rendered, Alford's remarkable landscapes are to feature in the Autumn Exhibition opening on the 29th of September.

Alford's decorated career includes the Green and Stone Oil Painting Prize, the Agnes Reeve Memorial Prize for best painting of London, the Prima Luce Mural Prize, and ongoing service as member of the Chelsea Arts Society.

Come see the works of Alford and more this week as we welcome a flood of brand-new paintings and sculpture in anticipation of the Autumn Exhibition reveal.


Published: 7 September 2016

Lewis Hazelwood-Horner has had a busy 2016, to say the least. Since being awarded the Columbia Threadneedle Prize back in July at the Palazzo Strozzi, the young artist has set straight into preparation for his solo exhibition at the Mall Galleries, 'Beer and Guns' opening on the 19th of September.

Thompson's Gallery is thrilled to have two new Hazelwood-Horner paintings on display during the season as well, as part of a 40-man group exhibition at New Cavendish Street aptly titled The Autumn Exhibition. Be sure to take in both shows this month, in support of this brilliant British talent on the rise.


Published: 25 August 2016

We're delighted to announce that we will be exhibiting at the Affordable Art Fair, from the 19th – 23rd October 2016.

This year we'll be at Stand G3 featuring all-new paintings by Ian Weatherhead, Terence Clarke, Louis Laprise, Rob Marrison, Alan Furneaux, Matthew Alexander, and John Lines.

Contact us at enquiries@thompsonsgallery.co.uk for details and attendance to the fair.


Published: 18 August 2016

We're delighted to announce that our recently published book Paul Wright: Fifteen Years, is now on sale at the National Portrait Gallery! The book reflects on the career so far of twice BP Portrait Award nominee Paul Wright, and is full of illustrations and insight into one of Thompson's Galleries favourite artists.

Our recent exhibition to coincide with the book showcased Paul Wright's work during a fifteen year period, exploring his early illustratively styled imagery, mid-career large scale portraits, and his latest body of work of over 40 new paintings. Wright worked in oil, acrylic and ink on canvas, board and paper, displaying his accomplished technique across a wide variety of mediums and styles. Well known figures such as Winston Churchill, Laurel and Hardy, Buster Keaton, Albert Einstein and Abraham Lincoln were depicted by Wright as well as characters from his own life; friends, family and colleagues. 

Landscapes and still life also featured in the exhibition as well as a collection of Monotype prints which transfer Wright's bold and expressive brush work into a new format. 

We still have a selection of Wright 's work from the show on sale, which can be viewed by clicking here. For any questions or enquiries about Paul Wright, or any of our artists,, feel free to contact us.


Published: 12 July 2016


Published: 4 July 2016


Published: 30 June 2016

We've got some fantastic new arrivals in our London gallery, including new sculptures by acclaimed artist Giles Penny, and marine sculptor Max Tannahill. Plus photography from the young American artist Kovi Konowiecki for the launch of T2, plus paintings by Paul Wright, Mhairi McGregor, Sarah Jane Moon and many more!


Published: 6 June 2016

We've launched the very first edition of 'Thompson's Monthly' magazine, keeping you informed of current exhibtions, featured artists, new arrivals and much more. We hope you enjoy reading!


Published: 24 May 2016

Renowned fine art blog Jackson's has included Paul Wright's upcoming solo exhibition, 'Paul Wright: Fifteen Years' in their favourite upcoming shows category. Click here to view the post, and here to RSVP for the private view.


Published: 16 May 2016

We are delighted to announce a fantastic selection of new arrivals by Simeon Stafford.

See more in the featured artists section here



Published: 6 May 2016

Graeme Wilcox has been awarded the 2016 Royal Society of Portrait Painters Drawing Prize for his charcoal 'RF Head Study 2'. Visit his artist page or email enquiries@thompsonsgallery.co.uk to learn more about Wilcox and his work.


Published: 23 April 2016

We've had a great response to Robert Kelsey's 21st solo exhibition with Thompson's Galleries, opening on May 4th, with press coverage high in anticipation for the show.

Look out for for interviews and features for this milestone exhibition in the artist's career, and join us for the opening night on May 4th, 6-8pm, for what is sure to be a fantastic event.


Published: 12 April 2016

Chelsea Art Fair

Thompson's Galleries are exhibiting at the 21st Chelsea Art fair from 21st to 24th April 2016. Chelsea Old Town Hall. 

Complimentary tickets can be downlaoded here. We hope to see you there.


Published: 5 April 2016


New Cavendish Street, Wednesday 6th April until 7:30pm

Thompson's Gallery proudly presents Elemental, an exhibition of new paintings by Scottish artists Nael Hanna and Andrew Squire. In this show both painters explore ecological topics of animal and human relations and the dynamics of natural and urban environments. Both artists have strong ties to nature and its wonders, carrying concerns of humanity's place within the bigger picture on this Earth. With styles different and complementary, Hanna and Squire probe and paint their way through the complexities of environment and habitation.


Published: 17 March 2016

Read the fantastic new online feature from Discover Britain Magazine on our upcoming Robert Kelsey show.

See the Light: new Robert Kelsey exhibition opens in May - An exhibition at Thompson's Gallery in London will highlight the continued relevance of one of Scotland's leading contemporary artists.


Published: 4 March 2016

We are delighted to announce a fantastic selection of new arrivals available to view. The latest works from Gerard Burns, Aldo Balding, Cate Inglis, and Jo Taylor to name just a few.

Gerard M. Burns | In The Woods | Oil on canvas | 27 x 37 inches | £4000

Aldo Balding | The Guitarist, Los Caracoles | Oil on canvas | 35 x 57 inches | £10,250

Cate Inglis | Shipyard | Oil on board | 13" x 35" | £1100


Published: 4 March 2016

Man's Head

We are extremely proud to be publishing a book with Paul Wright in June, which will launch alongside his latest solo exhibition in the gallery on Wednesday the 8th of June. We recieved a fantastic response from the London Art Fair 2016 this January in Islington and look forward to showcasing the artist's latest successes in the Summer.

After his beginnings as an artist working in Illustration, Paul Wright has spent the last decade developing a language of painting through which he seeks to capture a vitality beyond the establishment of a mere 'likeness' to the subject. As an artist, Paul Wright appreciates the importance of the individual being recognisable, the subjects are glimpsed in the painting rather than exposed, their inner selves hinted at but ultimately inscrutable.

Though Paul Wright often works on a large, potentially imposing scale, his paintings remain approachable through fluency of brush mark and a rich palette. In Paul Wright's paintings, the spaces the subjects inhabit are often indeterminate, providing an atmosphere that allows for ambiguity of psychological state. Paul Wright's subjects retain their integrity and yet through the artist's painting method a sense of intimacy is evoked.


Published: 4 March 2016

Autumn Light Hyde Park

10th March - 2nd April 2016. Private view Wednesday 9th March.

Much like the agricultural landscapes he depicts, Matthew Alexander has furrowed paint across surface to such extent in his career that one must consider him a relevant extension of the lineage of great English landscape artists.

His work draws parallels with Constable and Edward Seago alike. The nature of his compositions are as such that one recalls these artists and their perspectives and it is with a sense of nostalgia that we reconsider the geographical landscapes in Alexander's paintings.

Alexander provides us with a modern insight to our glorious land, bereft of urban instalments and rich with rural heritage. His paintings offer an alternative to intensified living and recall the civilisations of old that we owe to our attractive coastal and rural horizons.

Interest in this exhibiton has already been so high, InsideKENT magazine (April issue) and Essential Suffolk magazine have both featured interviews with the artist. 

Thompson's Gallery are very proud to present the latest solo exhibition of Matthew Alexander's paintings and we hope are able to join us at the private view to meet the artist and celebrate his latest successes.


Published: 20 January 2016


Published: 15 January 2016

Business Design Centre, Islington, London

January 20th - 24th

Stand G23


Published: 3 August 2015


Published: 12 July 2015

Our goal for the Scottish Exhibition in September was to host the most exciting contemporary Scottish artists. With this in the mind, we will be exhibiting for the first time, work by Gerard M Burns.
We were so attracted to his paintings that we couldnt resist sharing this with you now and getting a work on the wall!

Gerard Burns | Feel the Fear | Oil on canvas | 47 x 57 inches £12,500


Gerard M. Burns was born in Glasgow in 1961,graduated from Glasgow School of Art in 1983. Principal of Art at St Aloysius' College in glasgow, he left teaching in 1999 to concentrate full time on painting. This commitment has resulted in his current standing as one of Scotland's most respected artists with a client base ranging from A-list celebrities to prominent members of business communities in the UK, Australia, Europe and the USA.

''For those coming to Gerard's work for the first time it is worth noting that although we are presented with an image which could be described at fist glance as 'representational', even 'photographic', each of the various pictorial elements also contains a deeper symbolic meaning. Whether it is wolves prowling around the legs of a small girl, a pinstriped figure on a high wire suspended above the city, a young woman standing at a water's edge, or a child leading a black horse through a winter wilderness, each combination is intended to provoke in us an emotional response, a sense of place, a feeling almost that we "have been here before" in essence that the whole becomes far greater than the sum of its parts.''


Published: 9 June 2015

Evening on the Thames

30 x 30 inches



Published: 14 May 2015

New paintings by Aldo Balding arrived this morning. We are extremely keen on this  self portrait.

Aldo Balding | Alban Trilogy | Oil on canvas | 39 x 39 | £7900


Published: 10 May 2015

We are delighted to announce four fantastic new pieces by Johannes von Stumm. His startlingly original sculpture, which engages continually with risk and a defiance of accepted laws, joins iron, stone and glass to create beautiful abstract works in which apparently conflicting materials exist in complex harmony. 


Published: 27 April 2015

Jonathan Robertson | Elijah and the Angel
Oil on Linen | 20 x 22" | £2800

Jonathan Robertson was born in Banff in 1947 and trained at Glasgow School of Art. He has exhibited widely at home and abroad including the Artists Union Gallery Moscow, Barbican, Royal Glasgow Institute, Royal Scottish Academy, Scottish Society of Artists, Smith Institute Sterling and the Mall Galleries, London. His work is highly collectable and is now represented in the institutional collections of Arthur Andersen and Co., Ernst and Young, Scottish Television plc, Glasgow Art Gallery, the Universities of Strathclyde and Stirling, Hilton Hotel and Loretto School.

Jonathan is perhaps best known for his printmaking techniques and has had shows in both the Glasgow and Edinburgh print studios and a solo exhibition at the original Print Shop in Glasgow. However, it is Jonathan's recent oil paintings that have brought an increasing following amongst Thompson's clients. These are colourful oils populated with sturdy, naïve figures in narrative poses, each infused with a natural wit and good humour


Published: 27 April 2015

Mary Tempest | Poseidon
Oil on Canvas | 102 x 152 cms | £5950

It is with great delight, we will be exhibiting work by contemporary artist, Mary Tempest.
Mary is British artist who has exhibited across the UK and has collections in America, New Zealand and France. She has been selected three times for the Royal Academy Summer Exhibition.

For more information on the artist please contact the gallery, or look for her CV on the website.


Published: 24 March 2015


Published: 19 December 2014

Royal patronage for artist Mike Healy
Published on 19 December 2014

Jan Patience

When he taught design at Glasgow School of Art, Mike Healy told his students that every human is an "experiment which cannot be repeated".

It was a line borrowed from a poet he'd met in a Glasgow pub when he was 19 and a student himself at the world famous art school. Today, with the benefit of hindsight, Healy now believes it is a universal truth.

"When I was younger and more foolish, I thought that one day I'd be able to sit back and wisely understand the world," he says. "I now realise I am largely the same person I was back then. I am just an older fool now."

Now 63, and living full-time at Southend, Kintyre, where he has a home and a studio, Healy paints and works as a volunteer counsellor in Glasgow one day a week.

A recovering alcoholic who has been dry for 17 years, Healy paints with the same verve with which he once approached drinking. His work is widely collected by corporate and private collectors including the European Parliament, Coutts Bank and RBS. The Duke and Duchess of Cambridge bought one of his paintings when it went on sale at Thompson's Gallery in London in 2013.

Yesterday, a solo exhibition of 60 of Healy's vibrant colourful landscapes of Scotland and equally vivid still lifes opened at Thompson's. It is his ninth solo show with the gallery, which has a track record of showcasing the work of Scots painters. Healy's work is suffused with light and colour. You can almost feel the heat of the Amazon, where he was born in 1951, oozing out of the canvases. Both his parents were Brazilian-born of British parentage, with his mother's family hailing originally from Barra.

Healy's father flew Catalinas (flying boats) in the Amazon region, from Belem to Manaus on the Amazon. Healy recalls an idyllic early childhood spent in T-shirt, shorts and sandshoes exploring the beaches of the city of Niteroi, where the family moved not long after he was born. Occasionally, his father would take him to Santos Dumont Airport across the bay in Rio de Janeiro, where he remembers being mesmerised by a large mural on the history of flight.

When he was seven, Healy's parents split up and his mother met a another man, a Glaswegian accountant. Life became unsettled, with the family (he had two younger brothers) shuttling between Brazil, Scotland, London and the Middle East.

Aged 13, he was sent with his middle brother to Keil School in Dumbarton. In this tough environment, he worked hard in and out of the classroom. Keil famously produced high fliers through a rigorous approach to technical subjects and a tough daily regime which saw squads of boys taking on basic tasks around the school. As they progressed through school, the boys became responsible for managing younger boys as well as the maintenance of buildings. Healy's ability to draw was spotted early, but art was not taken seriously at Keil, which had a single part-time art teacher billeted in a Portacabin-style classroom in the woods.

Luckily, this teacher happened to be the painter John Cunningham, who became one of the leading lights of the Glasgow art scene and an influential tutor at Glasgow School of Art (GSA). To the young Healy, this Gauloises-smoking, Citroën-driving Cunningham, with his glamorous French wife, was the embodiment of what an artist should be. Cunningham left to teach at GSA in 1966, but his successor John Mathieson helped steer Healy towards a place at GSA. At the art school, from 1970-1974, Healy studied graphics, illustration and sculpture, and it was the beginning of a life-long love affair with the Mackintosh-designed school, which saw him return as a tutor in 1983, after a spell working in commercial studios in the US and Brazil. By then married, with two young children, Healy quickly became head of the Graphic Design, Illustration and Photography department. In 1990, he was appointed head of the School of Design, the largest school within GSA.

Healy admits now his coping mechanism for dealing with the stress of managing the day-to-day challenges of this demanding role was to drink to excess: "It was my way of switching off. I'd been drinking heavily for a long time and my health started to deteriorate, as well as my marriage. As alcoholics often do, I decided to change everything at once, so I quit my job at the art school in 1997 and went to work in Singapore."

Within four months, he was back in Glasgow having been fired because of his drinking. He drank around the clock for nine months. His marriage broke down and it was only after his then 12-year-old daughter begged him to stop that he decided to get help.

The long road to becoming a successful artist whose work is bought by heirs to the throne has not been an easy one. He had desperate spells when he had to make ends meet by taking jobs such as a nightwatchman in a Glasgow office, but the old resilience engrained into him as a schoolboy saw him pick himself up and head to London in 1999 with a new portfolio of paintings under his arm. Thompson's took a chance on him and other shows followed. He was also offered exhibitions at the prestigious Walker Gallery in Liverpool, and in Bermuda. For a while Healy combined painting in Kintyre with teaching at the University of Lincoln - he is still a life-time Professor of Art and Design at the university - but now lives in Southend with second wife Pat.

"I am calmer and happier and my work gets better each year," he states. "I found out who I am, which is not much, and I live in reality. I have a small talent that I nurture. I get great pleasure from making my paintings. Hopefully, others get lasting pleasure from them."

Mike Healy: An Exhibition of New Paintings is at Thompson's Gallery, 15 New Cavendish Street, London until December 23 www.thompsonsgallery.co.uk


Published: 10 November 2014

Philip Blacker Thompson's Gallery: Farewell, Leicester Square

Thanks to all who attended the very succesful opening night of Philip Blacker's 'Farewell, Leicester Square: A Perspective From One Hundred Years On'.

We are also enormously grateful for the fantastic reviews in both The Telegraph, by Marcus Armytage, and Horse & Hound, by Amy Mathieson, as well as continued coverage in the media.

The articles for each can be found here, respectively: http://www.telegraph.co.uk/sport/horseracing/11190667/Philip-Blacker-jockey-turned-artist-launches-exhibition-inspired-by-the-original-warhorse-Warrior.html


The exhibition continues until 16th November. 


Published: 7 November 2014

JO Taylor

Such a pleasure to see Andrew Baling shares the same love for Jo Taylors paintings as we do!

We look forward to hosting her latest  exhibtion of new paintings from the  4th - 22nd March 2015

If you have any queures, please contact: enquiries@thompsonsgallery.co.uk



Published: 2 July 2014

Thanks to all who visited and were invloved with the production of this exceptional event - a hugely inspirational event that whetted the appetite for Philip Blacker's solo show with us at Thompson's Gallery London later this year. With a special thanks to Philip Blacker and his studio for a determined and faultless production in putting the event together.

All images from Philip Blacker event at Chatham House on 12th June 2014 can be found by clicking here.

The images represent a selection of works that will be shown during the full exhibition at Thompson's Gallery London from 5th - 16th November 2014

Thanks and gratitude goes to all the staff and event organisers at Chatham House. The event was organized by International Affairs, the Chatham House Journal - part of the cultural events programme commemorating the Great War - organised by the International Affairs editorial team, led by its editor Caroline Soper - an enormous thanks for their exceptional work and faultless production. Thanks also goes to the Director of Chatham House, Dr Robin Niblett, for his thoroughly engaging and insightful speech at the reception. With additional thanks to Heidi Pettersson for photography and all involved with the event's inception and faultless organisation - a great success.

PHILIP BLACKER - 'Farewell Leicester Square' - An exhibition of bronze friezes - a perspective from one hundred years on.
5th – 16th November 2014

Thompson's Gallery London has the honour of presenting, on the centenary of the beginning of WWI, this sensitive and astonishing tribute of bronze friezes by renowned sculptor Philip Blacker.

Philip Blacker, born in 1949 and educated in Dorset, became a jockey on leaving school and rode professionally for 13 years. After being placed in the Grand National on several occasions and riding 340 winners, he retired in 1982 to concentrate full time on sculpture. Since then, Blacker has carried out countless commissions and successfully exhibited with London galleries, this time the entire exhibition of bronze friezes related to the subject of World War One will be held at Thompson's Gallery.


Published: 6 June 2014

David Sawyer RBA featured in International Artist magazine

David Sawyer's hugely impressive Sicilian painting, The Winged Bronze, il Giardino de Barocco, Noto Sicily, is featured in the May edition of International Artist magazine. The artwork will also be on display and available for sale in his forthcoming solo exhibition at Thompson's London, 15 New Cavendish Street, W1G 9UB, from 11th June - 29th June 2014. Come to the gallery to see the artwork in person, as well as all of his paintings from the Mediterranean to the River Thames. We will be keeping you up-to-date will all of the artworks and recent news from the exhibition on our Twitter feed. To sign up to our mailing list, or seek further information on a piece from the show, just click here and follow the enquiry box.

David Sawyer RBA described the inspiration for his Winged Bronze as coming from a "Neoclassical statue and a Baroque fountain situated within a garden square in the historic town of Noto, Sicily".


Published: 30 April 2014

Thrilled to see Kensington and Chelsea Magazine is shown such interest in the work of Lesley Taylor. Please pay us a visit and see her work shown at all galleries. King's Road, New Cavendish Street and Aldeburgh.


Published: 29 April 2014

Colour Wave
Oil on board
55 x 80 cm


Published: 28 April 2014



Published: 28 April 2014

Congratulations to Paul Wright for being accepted again into the BP Portait Award. This year he was commisisoned to paint Simon Armitage CBE and in doing so produced this fabulous piece for the award. 

The BP opens on the 26th June until 21st September 2014.

Simon Armitage
Oil on canvas
100cm x 90cm