Gwen Hughes deals mainly in Modern British prints.
1 How did you get your start?
I started dealing over 20 years ago, after leaving the BBC where I had worked at Radio 3. I had a young family at the time, and the idea of working mainly from home – and being free for the summer holidays – appealed. It takes a long time to build up a client base and a reputation as a dealer, so by the time you’ve done that, you can’t give up!
2 What is your area of focus?
I deal mainly in Modern British prints - works from the 1960s-90s (with a bit of leeway on either side). It was a great period in British printmaking, with lots of experimentation in subjects and technique, when some of the foremost figures in British Art were giving printmaking a go: Moore, Hoyland, Scott, Hodgkin, Frink, Hepworth - and so many more. I love prints for the textures they can achieve, and the challenges they pose, both artistically and technically. It’s one of the most collaborative and democratic of art forms, and that comes through in so many works.
Portrait of a Girl by William Scott (1913-89), lithograph, 1948, offered for £9000 by Gwen Hughes.
3 What is one great discovery you’ve made?
I once found a Hockney print mis-catalogued in a Wild West auction. Goodness knows how it got there. But it was a great find!
4 What projects have you worked on recently?
I love the London Original Print Fair. I’ve been doing it for many years now, and you get such fantastic dealers and visitors. There is such a genuine enthusiasm - I’m really looking forward to being there again.
5 Do you have a collection in your home?
There are a number of works which won’t be leaving the walls, especially Prunella Clough - I’m a great fan of hers. Mostly, though, the stock is stored safely away.
