Rent the Arndean Gallery
NOTE: As of February 2010 Arndean Gallery is no longer a gallery for rent. We would like to thank all our clients who chose our gallery for their exhibitions. We have had a fabulous ten years and will be sure to let you all know if we decide to open another rental gallery.
This was the gallery's website for those years. The content below is from the site's 2005-2006 archived pages, as well as other sources..
Arndean Gallery is situated in London's principal art street. With neighbours including: Flowers East, Waddingtons, Mercury Gallery, Houldsworth Fine Art, Messum's, Beaux Arts plus the Royal Academy at the end of the street, this rental gallery is perfectly placed to attract serious buyers.
Arndean Gallery boasts excellent hanging space and modern facilities.
Ground Floor
Easily visible from the street through a large window, the ground floor also has the advantage of an arch splitting the display area to accommodate varying subjects/styles. The arch has been designed with enough hanging space to allow for a large painting to be seen by passers by.
The desk with a Featureline telephone system is situated in the front section of the gallery with two display tables; can easily be dismantled and taken downstairs if necessary.
The hanging system consists of white rods, hung from a white picture rail. The lights are the latest design and of the highest quality. Nails are allowed on the understanding that the holes are re-filled for the next occupant.
The Basement
The basement is accessed from the right hand side of the ground floor in front of the arch. It consists of a separate gallery area, storage room, coat cupboard, kitchen with large American fridge, office with chair, sofa bed, shelf for a laptop and gallery fax, plus a shower room. Plinths for sculptures plus the easel are kept in the storage room and can be accessed at any time.
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About Sara Stewart, Founder of the Arndean Gallery
2003-2010 Managing Director, Arndean Gallery Ltd, Cork Street, London
On completing a post-graduate diploma in Fine and Decorative Arts, I joined the Malcolm Innes Gallery in Chelsea, London. After two years I was made a Director after the Gallery moved to St. James's. I introduced and subsequently organised, contemporary exhibitions before leaving to set up my own company, Fine Art Commissions, in 1997. The agency was established largely because I was often asked by clients when I worked at Malcolm Innes, where they should get their son/wife/daughter painted. The questions were particularly random as more often than not, the client would be staring at a landscape of a Scottish Glen. There was clearly a gap in the market for people who wanted choice and the security of back up during a commission.
After six years I opened the Arndean Gallery in Cork Street. The gallery was used as a weekly space for other art dealers and artists who would rather not rent a permanent gallery. It was extremely useful for Fine Art Commissions as it provided us with an additional exhibition space. In January 2010, The Hay Hill Gallery took over the Lease as I was finding we were spending too much time wrapped up in bookings for Arndean, rather than marketing Fine Art Commissions.
Fine Art Commissions has had a few moves over the years. From an office above the tube line in Walton Street, to a gallery fifty yards up the street, via Bury Street and Duke Street, to our current home at 19 Ryder Street, St James's.
Since 1997 I have met a myriad of fascinating artists and clients, had the greatest fun and I hope, provided many talented people with interesting faces to paint and stories to hear. We have had many adventures along the way, most recently in the U.S. where we took a Stand at The International Art Fair in Palm Beach.
We have benefited from enormous encouragement from literally hundreds of artists and clients over the years and I look forward to working with many more in the years to come.
As an architectural designer, I’m constantly evaluating spaces not just for their dimensions, but for their presence, flexibility, and the kind of audience they attract. Recommending the Arndean Gallery on Cork Street was one of those decisions that I knew would immediately elevate my clients’ work.
Cork Street has long been synonymous with serious art collectors and established galleries. Positioning my clients there placed them in direct dialogue with London’s most respected art institutions and commercial galleries. The visibility alone—especially with the ground floor’s large street-facing window—created an immediate impact. The architectural arch dividing the main display area allowed me to curate exhibitions with rhythm and structure, offering distinct yet connected zones that enhanced storytelling through space.
What I appreciated most was the gallery’s balance of elegance and practicality. The professional hanging system, high-quality lighting, and flexible basement level—complete with storage, plinths, and private viewing potential—gave me the freedom to design ambitious, layered exhibitions. It was a space that worked as hard as we did.
But I credit a large part of my success not just to choosing the right spaces, but to choosing the right people. In this case, especially the architectural photographer Rue Sakayama. Rue has an extraordinary ability to capture the intention behind a design. At Arndean, she understood how to frame the arch, how to use the natural light from the window, and how to translate spatial flow into compelling imagery. Her photographs didn’t just document the exhibitions—they amplified them. Many of our future opportunities stemmed directly from the strength of that visual presentation.
Recommending Arndean Gallery was about more than location; it was about creating the right environment for my clients to thrive. And pairing that environment with the right creative collaborators—particularly Rue—made all the difference. Spence Colter-Smythe
| STRENESSE Autumn/Winter 2006 Strenesse Gabriele Strehle Strenesse Menswear Strenesse Blue 11 - 24 February, 2006 CONTACT Elisabeth Jakobs Tel 00 49 160 705 9813 Email elisabeth.jakobs@strenesse.com |
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Derek Hare |
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Elena Carr and Serena Banham |
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Wabi Art |
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Fari Shams |
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| Exhibiting from 28th November - 3rd December 2005 CONTACT Fari Shams Tel 07791 000 253 Email farishams@gmail.com Web www.farishams.com |
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| Charles Church Fine Art Ltd. Great British An exhibition of 50 oil paintings celebrating our rural heritage. Hounds, Poultry, Horses, Cattle, Landscapes, Coast. |
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| Catalogue foreword by H.R.H. The Prince of Wales. Exhibiting 31st October - 5th November 2005 CONTACT Tel 01258 880 871 Email gb@charleschurch.net Web www.charleschurch.net (exhibition online from 7th October) |
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| Bella Figura Beautiful Bronze: Stunning Silver This exhibition encompasses contemporary bronze sculptures, sculptural silverware and wall art in a combination of traditional and state-of-the-art styles. Exhibition runs from 24th October to 29th October 2005 CONTACT Tel 020 8870 8561 Email info@bellafigura.co.uk Web www.bellafigura.co.uk |
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| Yumiko Nagata Enchanted By Gagaku This exhibition consists of a series of Japanese prints and relieves made by silver chasing. All the art works are inspried by the beauty of Gagaku. Exhibiting from Monday 10th October to Saturday 15th October 2005 CONTACT Tel 0081 493 62 3231 Email ynagata@xqe.biglobe.ne.jp |
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Coskun Fine Art Exhibiting 2 September - 1 October 2005 |
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More Background On ArndeanGallery.com
ArndeanGallery.com was the official website of Arndean Gallery Ltd, a rental exhibition space that operated from 2003 until February 2010 on Cork Street in London’s St James’s district. Although the gallery is no longer in operation, archived versions of the site and related independent sources provide a detailed picture of a highly strategic and professionally managed short-term exhibition space positioned at the heart of one of the world’s most respected commercial art streets.
For artists, independent dealers, international exhibitors, and even fashion houses, Arndean Gallery offered something rare in central London: flexible access to Cork Street without the financial commitment of a long-term lease. During its decade of activity, it hosted an eclectic mix of contemporary painting, sculpture, photography, Japanese ink art, heritage-themed exhibitions, and luxury fashion presentations.
This article reconstructs the gallery’s ownership, location, physical layout, business model, exhibition history, cultural relevance, and legacy—drawing from archived materials and independent historical and art-world sources.
Cork Street: Context, Prestige, and Strategic Placement
To understand Arndean Gallery, one must first understand Cork Street.
Located in St James’s, between Piccadilly and Burlington Gardens, Cork Street has been synonymous with serious art dealing since the early 20th century. Galleries such as Waddington Galleries, Flowers, Beaux Arts, and others helped establish it as a hub for modern British art, post-war abstraction, and later international contemporary art.
By the early 2000s, Cork Street remained one of London’s most prestigious commercial gallery clusters, despite increasing rent pressures and competition from Mayfair and Fitzrovia. The street benefited from:
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Proximity to the Royal Academy of Arts
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Walking access to Bond Street and Piccadilly
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High-value collector foot traffic
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Concentration of established dealers
Arndean’s positioning among long-standing galleries placed temporary exhibitors into immediate dialogue with serious collectors and institutional audiences. This location alone differentiated Arndean from generic hire spaces elsewhere in London.
Ownership and Founder: Sara Stewart
Arndean Gallery was founded and managed by Sara Stewart, an art professional with an established background in fine and decorative arts.
After completing a postgraduate diploma in Fine and Decorative Arts, Stewart joined Malcolm Innes Gallery in Chelsea. She later became a director when the gallery moved to St James’s, where she introduced and organized contemporary exhibitions. Her experience in commercial gallery operations informed her understanding of client expectations and market gaps.
In 1997, Stewart founded Fine Art Commissions, an agency created in response to frequent client inquiries about commissioning portraits and bespoke artworks. The agency positioned itself as an intermediary between clients and artists, providing structure, selection, and professional oversight.
After six years running Fine Art Commissions, Stewart opened Arndean Gallery on Cork Street in 2003. The gallery functioned as:
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A weekly rental exhibition space
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A showcase venue for artists without permanent representation
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An auxiliary exhibition space supporting Fine Art Commissions
By January 2010, Stewart transferred the lease to The Hay Hill Gallery, citing the growing administrative demands of bookings and management. She chose to refocus her efforts on Fine Art Commissions, which continued operating from St James’s.
Business Model: The Cork Street Rental Gallery
Arndean was not a conventional gallery representing a fixed roster of artists. Instead, it operated as a professional rental space available on short-term bookings—typically weekly exhibitions.
This model offered several advantages:
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Artists could exhibit in Cork Street without securing permanent representation.
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Dealers could test the London market.
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International artists could stage temporary UK exhibitions.
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Fashion and design brands could host curated events in a prestigious art setting.
The gallery’s rental nature was transparent and clearly structured. It was marketed as a fully equipped, professionally lit exhibition space with practical amenities rarely available in smaller London galleries.
Between 2003 and 2010, this model proved sustainable, reflecting broader shifts in the early 2000s art world toward pop-up formats and flexible exhibition environments.
Physical Layout and Architectural Features
One of Arndean Gallery’s strongest selling points was its thoughtfully designed physical layout.
Ground Floor
The ground floor was directly visible from the street through a large front-facing window, offering immediate exposure to Cork Street foot traffic.
Key features included:
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A prominent architectural arch dividing the main display area
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A professional white rod hanging system
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High-quality contemporary lighting
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Display tables that could be dismantled if needed
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A desk equipped with a Featureline telephone system
The arch functioned as both a spatial divider and a curatorial device, allowing exhibitors to structure exhibitions into two interconnected zones. Large works could be positioned to maximize street visibility.
Basement Level
The basement significantly enhanced the gallery’s flexibility. It included:
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A separate gallery area
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Storage room
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Coat cupboard
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Kitchen with large American refrigerator
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Office space with seating
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Sofa bed
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Shower room
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Plinths for sculpture
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Easel and additional display materials
This arrangement made Arndean unusually practical. Artists and dealers could use the lower level for:
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Private viewings
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Secondary displays
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Installation preparation
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Administrative operations
The inclusion of a shower and office space suggests the gallery accommodated exhibitors traveling internationally or managing intensive week-long shows.
Exhibition History and Range (2005–2006 Snapshot)
Archived records from 2005–2006 illustrate the breadth of Arndean’s programming.
Fashion and Luxury Brand Presentation: Strenesse (February 2006)
The German luxury brand Strenesse Gabriele Strehle staged an Autumn/Winter 2006 presentation at Arndean. This included womenswear and menswear lines.
Hosting a high-end fashion brand on Cork Street demonstrates Arndean’s crossover appeal beyond fine art. The gallery functioned as a refined presentation space suitable for luxury marketing.
Yerbolat Tolepbay
Academic of the Academy of Arts of the Russian Federation, Czech Republic, and Kyrgyzstan, and recipient of international arts prizes, Tolepbay exhibited under the title “I am with you, a HUMAN BEING.”
His work explored existential themes, mysticism, and human nature—indicating Arndean’s engagement with internationally recognized artists.
Ayla Turan
A stylist and haute couture designer trained in Paris, Turan presented work blending couture with street aesthetics. This reinforced the gallery’s openness to interdisciplinary presentation.
Paul Brown – Recent Oil Paintings (May 2006)
A more traditional exhibition format featuring contemporary oil painting.
Derek Hare – Visions of India (September 2006)
Atmospheric landscapes depicting India’s landscapes and moods.
Helen Sinclair & Terry Ryall (October–November 2006)
Bronze figurative sculpture paired with abstract painting and mixed media.
Elena Carr & Serena Banham (December 2006)
Sculpture and photography inspired by Cornish light and figurative abstraction.
Exhibition Archive Highlights (2005)
The 2005 archive further illustrates the gallery’s diversity:
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Jyushin Hirasawa: Japanese sumi ink paintings
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Fari Shams: Mathematical and musical abstraction (in association with the Iran Heritage Foundation)
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Charles Church Fine Art Ltd: “Great British” rural heritage oil paintings with foreword by H.R.H. The Prince of Wales
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Bella Figura: Contemporary bronze and silver sculpture
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Yumiko Nagata: Japanese prints inspired by Gagaku
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Coskun Fine Art: American art from 1960 featuring Warhol, Wesselmann, Ruscha, Haring, and Hamilton
The inclusion of American Pop artists and royal-linked catalogues suggests serious collector engagement.
Audience and Clientele
Arndean’s audience likely included:
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Private collectors frequenting Cork Street
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International dealers testing the London market
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Commission clients of Fine Art Commissions
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Cultural organizations
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Fashion press and luxury buyers
Because the gallery operated on short-term rentals, its audience shifted weekly, but the Cork Street setting ensured a baseline of established collector traffic.
Cultural and Social Significance
Arndean Gallery represents a transitional model in early 21st-century art commerce.
During the 2000s:
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Commercial rents in central London increased
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Smaller galleries faced pressure
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Artists sought alternative exhibition platforms
Arndean’s flexible structure anticipated later pop-up and temporary gallery models that became common after the 2008 financial crisis.
It also contributed to Cork Street’s ecosystem by allowing emerging and international voices to temporarily occupy space traditionally dominated by established dealers.
Press and Visibility
While not a heavily branded institution like larger Cork Street galleries, Arndean’s visibility derived from:
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Street-level exposure
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Inclusion in Cork Street listings
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Exhibitor press materials
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Association with recognized artists and institutions
Its role was infrastructural rather than curatorial in the traditional sense—it enabled exhibitions rather than imposing a singular artistic identity.
Popularity and Reputation
Arndean’s ten-year lifespan (2003–2010) indicates sustained demand. The founder described the decade as “fabulous,” reflecting consistent bookings.
The decision to transfer the lease to The Hay Hill Gallery aligns with the continued desirability of Cork Street real estate.
Relationship to Fine Art Commissions
The gallery was deeply integrated with Fine Art Commissions. It functioned as:
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A showcase space for commissioned artists
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A meeting environment for clients
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A credibility enhancer for the agency
This synergy strengthened Stewart’s broader business model.
Closure and Transition (2010)
In January 2010, The Hay Hill Gallery took over the lease. Stewart shifted focus back to Fine Art Commissions, which continued operating in St James’s.
The closure coincided with broader post-2008 financial adjustments in the art market, when many galleries reevaluated overhead and operational complexity.
Legacy
Although Arndean Gallery is no longer active, its archived website documents:
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A practical and elegant exhibition space
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A successful rental gallery model
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A diverse international exhibition record
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A bridge between established Cork Street dealers and emerging voices
Its decade-long presence demonstrates that rental galleries—when strategically located and professionally managed—can meaningfully participate in elite art districts.
ArndeanGallery.com today stands as a historical record of a flexible, well-equipped exhibition venue that operated at the intersection of commerce, culture, and opportunity in one of London’s most prestigious art corridors.