While the art world continues to witness a wave of gallery closures, London-based art dealer Ben Hunter is taking a bold step in the opposite direction. This October, Hunter will unveil a significantly expanded gallery space, taking over an entire townhouse at 44 Duke Street in London's prestigious St. James's district. The move comes at a time when prominent galleries including Clearing, Blum, and TJ Boulting have shuttered their operations this year alone.
Hunter's journey to this moment began with extensive experience in the art world before establishing his own venture. He honed his expertise working for Old Master paintings dealer Derek Johns and sculpture specialist Robert Bowman before launching his own gallery in 2018. During the lead-up period, he briefly operated Hunter/Whitfield gallery alongside Orlando Whitfield, who later gained notoriety for his book "All That Glitters," which detailed the fraudulent activities of his friend, disgraced art dealer Inigo Philbrick.
The expansion represents a gradual evolution rather than a sudden leap. Hunter initially started with an office space in St. James's before securing part of 44 Duke Street in 2020. As other tenants departed, he progressively acquired more space within the building. "When the lease for downstairs came up, I thought why not reconsolidate what is a small but beautiful townhouse that has been carved up over decades," Hunter explained to The Art Newspaper. The historic building holds special significance in London's art scene, as it was where Jay Jopling initially established White Cube in 1993. The property shares the same block as Christie's auction house, with Christie's serving as Hunter's landlord.
When questioned about the financial rationale behind such a substantial investment in a historic building requiring extensive refurbishment, Hunter offered a multifaceted explanation. "Well, I think that there are lots of things that feed into it," he said. "We're in an extremely competitive marketplace, particularly in the primary market, and I think as a dealer, you have to match the ambition of your artists as well. I think it keeps them engaged to have new context in which to show their work. But also, sometimes you just have to go for it when an opportunity arises."
Hunter's business philosophy centers on diversification and financial stability. "Our business model is pretty pluralistic," he noted. "We're not relying on one artist bringing in the lion's share of the revenue. Even if prices have come off a bit, it doesn't mean that there isn't appetite to buy at the right price. So, as long as your overheads aren't way out of kilter with your ability to conclude transactions and make some profit, there's still room for growth." He emphasized the gallery's solid financial foundation, stating, "Our business is very stable, we have cash reserves."
The art fair circuit presents both opportunities and challenges for Hunter's business model. The gallery maintains an active presence at major international fairs including Tefaf in Maastricht and New York, Frieze Masters, Frieze New York, and The Armory Show. However, Hunter is quick to point out the escalating costs associated with fair participation. "Art fairs are now as much of a financial commitment as a building—they've gone up in price by so much," he observed. Shipping expenses have become particularly burdensome, with Hunter noting, "We used to ship works to and from New York in the low thousands, now we often get a $10,000 bill for a single picture."
Despite these mounting costs, Hunter acknowledges the value that art fairs provide. "Fairs do, however, provide extremely helpful transaction environments," he added. "Having said that, my business doesn't rely on art fairs, but I think it does rely on having a beautiful space that is inspiring for both collectors and artists. My artists are increasingly working on very ambitious museum projects and with other, bigger galleries, so I'm excited to create a space commensurate with those other environments."
Ben Hunter Gallery occupies a unique position in the art market, operating as a hybrid between traditional models. The gallery deals in both primary and secondary market works, with a particular focus on international and post-war British art. Hunter describes his operation as "sitting somewhere between a primary gallery and a more old-fashioned art dealer." The business model encompasses multiple revenue streams: "We sell on consignment. We also hold stock. We do both. We don't have an external investor in the gallery, and the secondary market certainly doesn't underwrite the primary programming."
Hunter sees particular potential in undervalued post-war British art and enjoys creating innovative dialogues between contemporary and 20th-century artists. "We work with an amazing sculptor called Clementine Keith-Roach—I'm just as interested in how she contextualizes Henry Moore as how Henry Moore contextualizes her," he explained. This approach reflects his broader philosophy: "Increasingly, I don't really see any delineation between the primary and secondary market."
The newly renovated gallery will make its debut during Frieze Week in October, with the exact opening date still to be confirmed. The inaugural exhibition, titled simply "44 Duke Street," will showcase this innovative curatorial approach through a carefully curated mix of new works by gallery artists including Keith-Roach, Phoebe Boswell, and Christopher Page, displayed alongside 20th-century masterpieces by Frank Auerbach, Ithell Colquhoun, Henry Moore, and Bridget Riley. Simultaneously, Hunter will maintain his presence at Frieze Masters, where he plans to exhibit predominantly post-war British art, further cementing his gallery's specialized focus and market position.
