Treasure House Fair 2026
We are delighted to be exhibiting at Treasure House art fair from 24-30 7 June 2026. We are stand 219.
Treasure House Fair enters its fourth edition in 2026. Nestled within the grounds of the historic Royal Hospital Chelsea in London, a very special blend of art, antiques and design will again come to the site for one week at the height of London's summer season. At the Fair 70 of the world's top dealers gather to show their finest works, all vetted with care and precision by independent experts. This unique event brings together carefully selected dealers, each a leader in their field.
Set against the backdrop of the historic Royal Hospital Chelsea in London, the fair offers a captivating blend of art and design. The spacious aisles, high ceilings, and inviting ambience create an exceptional experience, complemented by a special garden terrace and a range of refreshments to cater to every visitor's desires.
Treasure House Fair founders, Thomas Woodham-Smith and Harry Van der Hoorn, were co-founders of the original Masterpiece fair in 2009. Now in 2025, after two successful editions of this new venture, they again combine their enthusiasm and expertise with that of their exhibitors, to create a fair that is the highlight of the summer against the familiar backdrop of Christopher Wren's astonishing site.
Join us for a celebration of summer and art in the heart of central London at Treasure House Fair 2026.
24 June - 30 June 2026
Preview day 24 June
JAMES HYMAN GALLERY at TREASURE HOUSE FAIR
Stand 219
(June 25 – 30 2026)
Preview Day 24 June
James Hyman Gallery is delighted to return to Treasure House Fair at the Royal Hospital Chelsea, London, from 25 to 30 June, with a specially curated presentation exploring nature, modernism and the symbolic power of flowers and landscape. Bringing together photography, painting, drawing and assemblage, the display considers how artists have used the natural world not merely as ornament, but as a charged visual language through which to address modernist order, feminist self-definition, beauty and threat, sensuality and mourning, refuge and renewal.
At the centre of the presentation is Edwin Maxwell Fry’s monumental Forest with a Herd of Deer, commissioned from him by the celebrated filmmaker and writer Ebrahim Golestan for his home at Wykehurst Park House in Sussex. This dialogue between modern architecture and the natural world is extended by a rare group of seven untitled photographs by Harry Callahan. These originally belonged to the great modernist patron Edith Farnsworth, whose glass and steel house, commissioned by her from Mies van der Rohe, remains one of the defining domestic monuments of twentieth-century modernism.
A photograph from the outbreak of the Second World War introduces a darker register. Edward Steichen’s Heavy Roses, Voulangis, France (1914), a signed and mounted print deaccessioned by the Museum of Modern Art, New York, turns the rose, long associated with beauty and romance, into something portentous. Peter Blake follows this elegiac theme to combine loss with glamour and devotion. Blake's huge assemblage, Shrine to Marilyn Monroe, in a Texas Diner, one of his largest and most important works, is a secular shrine of found imagery and assembled objects, in which red roses appear as offerings before Monroe. These flowers transform the public imagery of Pop Culture into something more personal and intimate.
John Blakemore’s tulips also encapsulate a sustained obsession. Returning repeatedly to the same motif, Blakemore transforms the flower into an image of sensuality, fragility and renewal. Similarly, Derrick Greaves would return time and again to irises. In contrast, Caroline Coon’s flower paintings are more declarative. Inspired by Gluck, Coon embraced a subject she had long resisted as conventionally feminine, transforming flowers into a feminist language of self-definition, sexual allusion and resistance.
Seen together, the works in this curated presentation address the intimate relationship between natural and human environments. Flowers and trees are presented as integral to modernism itself, embodying order, abstraction, obsession, desire, memory and resistance.
For more information please contact james@jameshymangallery.com
www.jameshymangallery.com