INTERVIEW | ED CLARK FROM ROWNTREE CLARK
What art-world experience did you gain before founding Rowntree Clark?
After graduating from the Courtauld I worked at two leading West End galleries for 10 years. I primarily specialised in 17th Century Italian Baroque Old Master paintings, before being able to follow my real passion and deal in 1950s British Abstraction by setting up my own company, in 2008.
Can you describe the business? What sort of art do you specialise in?
I specialise in 1950s and early 1960s British abstract paintings but have dabbled in key works from other periods of the British 20th century too.
How do you divide your time between London and Norfolk?
The art world has become truly digital, and it now makes little difference whether I am based in North Norfolk or St James’s. We are all in constant communication via our phones or computers - sometimes I wish I based myself on a Mediterranean coast - but I try to get to town once a week or so.
How long have you been showing at British Art Fair?
I think we first showed at the Royal College in 2009.
Anything exciting we can expect to see at your stand at British Art Fair 2022?
We are bringing a wonderful early 1957 Sandra Blow painted just after she returned from her first show in New York. Privately sourced, it’s the first time it has been on the open market in a generation.
What’s your favourite public gallery, and why?
As much as I love the British 20th century, it has to be The Met in New York where one can embrace Caravaggio or Carracci but also swoon before De Kooning and Kline.
Which artwork would you hang from your desert-island palm tree, and why?
Pretty much any Peter Lanyon post 1957 - hands down my favourite painter. A total revolutionary in paint. I would happily wake and go to sleep each day in perpetuity kneeling in devotion before one of his great gliding works.