Tom Mendel read Theology and the History of Art at Clare College, Cambridge, before going on to run the Picture sales for an auction house in West London, with the expertise and assistance of a number of consultants highly regarded in their respective fields. Tom set up the Nonesuch Gallery in early 2020 in order to provide high-quality, fully researched and above all interesting pictures to both established collectors and first-time buyers. We upload new acquisitions to our website and social media regularly.
The gallery specialises in works on paper from the 16th to 19th centuries; topographical watercolours, particularly those relating to 'The Grand Tour', by both professional and skilled amateur artists; and we offer a selection of 20th Century British works.
Our model is simple - we source art from auctions and privately, and provide the backstory that may have been missed, or present the artist or subject in a fresh light. We firmly believe that the more you know about a good picture the more you can enjoy it.
We are pleased to offer advice to collectors on works coming up for sale, at auction and privately, and to advise clients on building their collections. We also provide a research service on commission: if you would like to discover more about a painting that has been in the family for decades, or want to know more about a work coming up at auction, we can provide extensive research for you.
Notable institutions we have sold to since opening include the following:
The British Museum, London, U.K.
Parham Park Trust, Sussex, U.K.
The Grolier Club Library, New York, U.S.A.
Musée Eugène-Carrière, Gournay-sur-Marne, France
Nonesuch, an archaic term, means “a person or thing regarded as excellent or perfect”. The Nonesuch Gallery is named in part in homage to the Nonesuch Press, the innovative, influential and highly acclaimed publishing house set up by Sir Francis Meynell and Vera Mendel.
* * *
The symbol of the White Hart chained and wearing a crown, adapted for our logo, was the emblem of Richard II. It is not for Richard, but for the elegant Hart he had painted on the outer boards of the famous Wilton Diptych, now in the National Gallery in London, that we have chosen the emblem. We use Bouttell & Aveling's delineation of the hart from their Heraldry, Ancient & Modern (London, 1890)