Art Dealing Dynasties
10 January 2025
by Lucy Lethbridge
Lucy Lethbridge is a journalist and writer. She has written several history books, including, most recently, Tourists: How the British Went Abroad to Find Themselves.
Dynasties are ubiquitous—spanning acting, property dealing, and farming. Yet, in the world of art dealing, the continuing intergenerational exchange of ideas and experience stands out as particularly remarkable, given the world's reliance on ever-shifting and unpredictable fashions.
The Green family, renowned London art dealers specialising in works from the 17th to the 21st century, have demonstrated extraordinary resilience across generations.
Their story begins with James Green, whose forbears emigrated from Krakow, Poland, to Britain in the 1870s. In 1936, James opened a gallery in St. James’s, focusing on sporting pictures and representing the highly fashionable artist, Alfred Munnings.
Richard Green, James’ son, joined the family business after leaving school at 15. In 1955, he branched out to establish his own gallery, marking the start of a new chapter for the family legacy. By 1959 he had joined forces with his brother John, and together they expanded into more diverse art genres, collaborating until 1964, when John transitioned into the property industry - although he would later return to the family business in 1993.
Richard and James Green, mid 1950s
Image courtesy of Richard Green Gallery
Richard’s ventures flourished, with his first gallery opening on Dover Street and subsequent expansions into Bond Street. Now at 88, Richard continues to lead the business alongside his son Jonathan Green and his sister Penny Marks, ensuring the family’s enduring presence as some of the most distinguished art connoisseurs in the world.
Jonathan, in his 60s, recalls his grandfather and father with admiration. In the 1950s, he says, ‘It was tough to sell a picture for hundreds of pounds never mind thousands.’ Jonathan has streamlined the two Richard Green properties in Bond Street and this year made the hub of operations the spectacular five-floor building first occupied by 1st Viscount Nelson in 1797. The aim nowadays is to concentrate on quality rather than quantity and their collection includes the best works by the finest artists, the standard for which Richard Green is so well-known. Their current list features works by Pissarro, Boudin, Brueghel the elder, Corot, Lowry and, in a nod to James Green, Alfred Munnings; the gallery is also exhibiting contemporary artists such as sculptor Emily Young. Every decade brings changes in art fashions and markets and the established, well-known, big names are in demand now. The Modern British market is strong, the Dutch and Flemish, more selective. But the Greens remain steadfast in their approach: ‘We are very much classical dealers with tried and trusted artists. We stick to what we know.’
Now almost a century old, the Green empire has seen some changes in the art scene, weathering changing fashions and tumultuous events: 'We’ve had our ups and downs,’ says Jonathan. James Green’s gallery stayed open during the Second World War – when, surprisingly, there ‘was a strong market in Europe’ with a continuing trade of artworks across the continent. Brexit, Jonathan tells me, is another matter altogether and ‘extremely unhelpful.’ ‘Transport and moving goods into Europe has become even more expensive, the rules and regulations more taxing. Because of the new rules, art dealers can no longer leave a painting for consideration with a client who resides in Europe.'
Then there is the internet: ‘the internet has been very helpful,’ he says. ‘It’s brought a wider pool of clients and expectations have changed’ he says, when it comes to transparency. With provenance merely a Google click away, purchasers expect iron-clad assurances of the kind that connoisseurs such as Richard Green is able to provide. Richard himself is still an inspiration: ‘My father is a very modern thinker and an astounding visionary’ says Jonathan. The older Green, he says, ‘broke the mould in the world of art dealing. His attention to detail and unwavering demand for the highest quality and condition had never been a ‘thing’. His approach to client service was second to none and above all his bravery when bidding for the best was unmatched.’
The Green Family
Image courtesy of Richard Green Gallery
But, Jonathan goes on, ‘the world is very different today to when I started. It’s harder to make a margin and more difficult to make a discovery.’ His son Charles is the latest Green to come on board – ‘in charge of social media.’ It is a legacy the youngest Green takes seriously: his father and grandfather, he says, ‘have built a distinguished history of expertise, integrity, and passion for the arts, and it is with great pride that I now step into this legacy, contributing my own vision and energy to a field that has long been our family’s heart and soul.’ And what about all the other many descendants of James Green? Jonathan laughs: ‘ We’ve got to limit it: as with our art we must continue to be selective.’
Cristabel Horswell of the Sladmore Gallery is another third generation in the art business. Now in Jermyn Street, the Sladmore was founded in the 1960s by her grandmother who showed sculpture in her Buckinghamshire house - also a haven for rare and exotic birds. A history of art graduate, Cristabel was not originally planning to join her father Edward Horswell who had himself joined the business in his twenties. But it was the middle of the pandemic when she left university and no other opportunities were available – 'so it was a happy coincidence.' Cristabel found herself collaborating with renowned contemporary sculptors such as Nic Fiddian-Green, represented by the Sladmore Gallery as well as some of the most distinguished animalier sculptors of the past, including the legendary Rembrandt Bugatti. 'It’s been so lovely to have a formal induction into this quality of work,' she says and she works well, she says, with her father. 'Being able to travel together is a real benefit.' Cristabel too finds the older generations don’t get in the way of change. Her father is 'open to lots of new developments,' and while she admits that the online presence is led by the younger team members, she also says 'there’s nothing better than making face to face contact with clients.' And she loves the family continuity: it makes it more than just a job. 'I never met my grandmother and it’s inspirational to think that what was for her a random hobby ended up like this.'
Another firm with its roots based firmly in family ties is Thomas Coulborn & Sons, the fine furniture dealers based in Sutton Coldfield. Jonathan Coulborn, the grandson of the firm’s founders Thomas and Mary, recalls how they purchased Vesey Manor (where the firm remains) in 1942 in order to open an antique shop. It was his father who developed it into a specialised business, focussing on high quality English Georgian and Regency Furniture with a few good examples of French furniture mixed in. Nowadays, Jonathan says, they have continued to expand and explore within this tradition: ‘I particularly enjoy mixing it with items which represent a mixture of design source or tradition; Chinese Export furniture and art, Anglo-Indian items, Spanish Colonial together with material techniques that fascinate me like japanning and pietre dure inlay.’
Thomas Coulborn in the gallery with sons Peter and Paul.
Courtesy of Thomas Coulborn & Sons
The latest Coulborn who has shown an interest in joining the business is Jonathan’s son Noah who made his ‘Antiques World debut’ at Treasure House Fair last year. But there’s no pressure: ‘I think it is very important for my children to feel free to pursue their own interests in their future careers whether that is in the art world or not,’ he says.
The Thomas Coulborn & Sons team, pictured at Treasure House Fair 2024.
From left: Maud Lewis, Jonathan Coulborn and Noah Coulborn.
Photography by Antonio Salgado
Lucy Lethbridge is a journalist and writer. She has written several history books, including, most recently, Tourists: How the British Went Abroad to Find Themselves.
Dynasties are ubiquitous—spanning acting, property dealing, and farming. Yet, in the world of art dealing, the continuing intergenerational exchange of ideas and experience stands out as particularly remarkable, given the world's reliance on ever-shifting and unpredictable fashions.
The Green family, renowned London art dealers specialising in works from the 17th to the 21st century, have demonstrated extraordinary resilience across generations.
Their story begins with James Green, whose forbears emigrated from Krakow, Poland, to Britain in the 1870s. In 1936, James opened a gallery in St. James’s, focusing on sporting pictures and representing the highly fashionable artist, Alfred Munnings.
Richard Green, James’ son, joined the family business after leaving school at 15. In 1955, he branched out to establish his own gallery, marking the start of a new chapter for the family legacy. By 1959 he had joined forces with his brother John, and together they expanded into more diverse art genres, collaborating until 1964, when John transitioned into the property industry - although he would later return to the family business in 1993.
Richard and James Green, mid 1950sImage courtesy of Richard Green Gallery
Richard’s ventures flourished, with his first gallery opening on Dover Street and subsequent expansions into Bond Street. Now at 88, Richard continues to lead the business alongside his son Jonathan Green and his sister Penny Marks, ensuring the family’s enduring presence as some of the most distinguished art connoisseurs in the world.
Jonathan, in his 60s, recalls his grandfather and father with admiration. In the 1950s, he says, ‘It was tough to sell a picture for hundreds of pounds never mind thousands.’ Jonathan has streamlined the two Richard Green properties in Bond Street and this year made the hub of operations the spectacular five-floor building first occupied by 1st Viscount Nelson in 1797. The aim nowadays is to concentrate on quality rather than quantity and their collection includes the best works by the finest artists, the standard for which Richard Green is so well-known. Their current list features works by Pissarro, Boudin, Brueghel the elder, Corot, Lowry and, in a nod to James Green, Alfred Munnings; the gallery is also exhibiting contemporary artists such as sculptor Emily Young. Every decade brings changes in art fashions and markets and the established, well-known, big names are in demand now. The Modern British market is strong, the Dutch and Flemish, more selective. But the Greens remain steadfast in their approach: ‘We are very much classical dealers with tried and trusted artists. We stick to what we know.’
Now almost a century old, the Green empire has seen some changes in the art scene, weathering changing fashions and tumultuous events: 'We’ve had our ups and downs,’ says Jonathan. James Green’s gallery stayed open during the Second World War – when, surprisingly, there ‘was a strong market in Europe’ with a continuing trade of artworks across the continent. Brexit, Jonathan tells me, is another matter altogether and ‘extremely unhelpful.’ ‘Transport and moving goods into Europe has become even more expensive, the rules and regulations more taxing. Because of the new rules, art dealers can no longer leave a painting for consideration with a client who resides in Europe.'
Then there is the internet: ‘the internet has been very helpful,’ he says. ‘It’s brought a wider pool of clients and expectations have changed’ he says, when it comes to transparency. With provenance merely a Google click away, purchasers expect iron-clad assurances of the kind that connoisseurs such as Richard Green is able to provide. Richard himself is still an inspiration: ‘My father is a very modern thinker and an astounding visionary’ says Jonathan. The older Green, he says, ‘broke the mould in the world of art dealing. His attention to detail and unwavering demand for the highest quality and condition had never been a ‘thing’. His approach to client service was second to none and above all his bravery when bidding for the best was unmatched.’
The Green FamilyImage courtesy of Richard Green Gallery
But, Jonathan goes on, ‘the world is very different today to when I started. It’s harder to make a margin and more difficult to make a discovery.’ His son Charles is the latest Green to come on board – ‘in charge of social media.’ It is a legacy the youngest Green takes seriously: his father and grandfather, he says, ‘have built a distinguished history of expertise, integrity, and passion for the arts, and it is with great pride that I now step into this legacy, contributing my own vision and energy to a field that has long been our family’s heart and soul.’ And what about all the other many descendants of James Green? Jonathan laughs: ‘ We’ve got to limit it: as with our art we must continue to be selective.’
Cristabel Horswell of the Sladmore Gallery is another third generation in the art business. Now in Jermyn Street, the Sladmore was founded in the 1960s by her grandmother who showed sculpture in her Buckinghamshire house - also a haven for rare and exotic birds. A history of art graduate, Cristabel was not originally planning to join her father Edward Horswell who had himself joined the business in his twenties. But it was the middle of the pandemic when she left university and no other opportunities were available – 'so it was a happy coincidence.' Cristabel found herself collaborating with renowned contemporary sculptors such as Nic Fiddian-Green, represented by the Sladmore Gallery as well as some of the most distinguished animalier sculptors of the past, including the legendary Rembrandt Bugatti. 'It’s been so lovely to have a formal induction into this quality of work,' she says and she works well, she says, with her father. 'Being able to travel together is a real benefit.' Cristabel too finds the older generations don’t get in the way of change. Her father is 'open to lots of new developments,' and while she admits that the online presence is led by the younger team members, she also says 'there’s nothing better than making face to face contact with clients.' And she loves the family continuity: it makes it more than just a job. 'I never met my grandmother and it’s inspirational to think that what was for her a random hobby ended up like this.'
Another firm with its roots based firmly in family ties is Thomas Coulborn & Sons, the fine furniture dealers based in Sutton Coldfield. Jonathan Coulborn, the grandson of the firm’s founders Thomas and Mary, recalls how they purchased Vesey Manor (where the firm remains) in 1942 in order to open an antique shop. It was his father who developed it into a specialised business, focussing on high quality English Georgian and Regency Furniture with a few good examples of French furniture mixed in. Nowadays, Jonathan says, they have continued to expand and explore within this tradition: ‘I particularly enjoy mixing it with items which represent a mixture of design source or tradition; Chinese Export furniture and art, Anglo-Indian items, Spanish Colonial together with material techniques that fascinate me like japanning and pietre dure inlay.’
Thomas Coulborn in the gallery with sons Peter and Paul.Courtesy of Thomas Coulborn & Sons
The latest Coulborn who has shown an interest in joining the business is Jonathan’s son Noah who made his ‘Antiques World debut’ at Treasure House Fair last year. But there’s no pressure: ‘I think it is very important for my children to feel free to pursue their own interests in their future careers whether that is in the art world or not,’ he says.
The Thomas Coulborn & Sons team, pictured at Treasure House Fair 2024.From left: Maud Lewis, Jonathan Coulborn and Noah Coulborn.
Photography by Antonio Salgado