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Varvara Roza Galleries bridges artists and collectors, guiding artists careers and clients collections with trust, vision, and impact across museums, institutions and global art market.

From artistic legacy to the responsibility of representation and collecting.As we look ahead to the next chapter of Varv...
20/08/2026

From artistic legacy to the responsibility of representation and collecting.

As we look ahead to the next chapter of Varvara Roza Galleries, we revisit features in The Guardian, Artnet and Square Mile that reflect the principles at the heart of our practice.

From the extraordinary rediscovery of twenty early paintings by Winston Branch OBE, lost for nearly five decades, to conversations around integrity in an increasingly hype-driven art world, these features explore a philosophy grounded in long-term vision: championing exceptional artists, safeguarding their legacies and advising collectors in building significant, coherent collections of enduring cultural and financial value.

For us, artist representation and collector advisory share the same foundations: knowledge, access, discernment, trust and an uncompromising commitment to quality.

“Art’s highest function is to illuminate the human experience.” - Varvara Roza

Read the full features:

The Guardian: https://bit.ly/4hYUJHA
Artnet: https://bit.ly/4gni6JG
Square Mile: https://bit.ly/4z7vbhH

📍 Varvara Roza Galleries, 8 Duke Street, St James’s, London

“In the age of artificial intelligence, I return to this ancient image and ask what place these timeless stories have in...
18/08/2026

“In the age of artificial intelligence, I return to this ancient image and ask what place these timeless stories have in a world where technology is transforming our relationship with images, memory and creativity.”
- Hynek Martinec

This September, Varvara Roza Galleries presents APPLECORE, Hynek Martinec debut exhibition with the gallery, curated by Ben Tufnell.

Unfolding across two London locations, APPLECORE brings Martinec’s engagement with the traditions and techniques of Old Master painting into dialogue with artificial intelligence, memory, authorship and the changing nature of human creativity.

At the heart of the exhibition is the apple; an image deeply embedded in art and cultural history, carrying associations of knowledge, temptation and mortality, while remaining, in Martinec’s words, “a quiet, beautiful object beyond symbolism.”

Moving between past and present, the handmade and the technologically mediated, APPLECORE asks what becomes of images and our relationship with them, at a moment when the ways in which they are created, encountered and remembered are being radically transformed.

Part I
Hypha Studios, South Bank
3 September–1 October 2026

Part II
Varvara Roza Galleries, St James’s
29 September–20 October 2026
Private View: 30 September, 6–9pm

“Building careers intended to endure across generations.”Varvara Roza speaks with LARA JULIAN for USA Art News, reflecti...
10/08/2026

“Building careers intended to endure across generations.”

Varvara Roza speaks with LARA JULIAN for USA Art News, reflecting on the evolving role of gallery representation, the importance of cultural legacy, and the joint representation of Winston Branch OBE by Goodman Gallery and Varvara Roza Galleries.

Read the full conversation via the link in our bio.

Artworks: Winston Branch OBE (Winston Branch). Courtesy of the artist, Goodman Gallery and Varvara Roza Galleries.

“The activity of painting itself never ceases to amaze me with what can be achieved... with the application of essential...
07/08/2026

“The activity of painting itself never ceases to amaze me with what can be achieved... with the application of essentially primitive, earthly stuff on basic materials, mingled with the artist’s drive, imagination, and instincts to conjure up untold magic, wonder, and awe.

I think that’s about freedom. It’s the freedom to explore and go into the unknown, and I think my paintings have that sense of play.” - Anthony Daley (Anthony Daley - Artist )

Learn more about Daley’s practice via the link in our bio.

Artwork credit: Anthony Daley, ‘Pointer’, 2023, oil on canvas and ‘Peacemaker’, 2025, oil on canvas.

Follow Varvara Roza Galleries on Artnet and Artsy for current availability and exhibition updates.

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“In an art world often driven by short-term hype, true legacy is built on integrity.” In an interview with Artnet, Found...
05/08/2026

“In an art world often driven by short-term hype, true legacy is built on integrity.” 

In an interview with Artnet, Founder, Varvara Roza shares her journey from a Collector to launching Varvara Roza Galleries in St James’s, London 7  years ago.

Discover how her focus on transparency and strategic long-term development is shaping the future for the artists she represents. 

🔗 Read the full feature on Artnet here: https://news.artnet.com/art-world/varvara-roza-galleries-2749710

Varvara Roza Galleries works closely with artists, collectors, institutions and leading international galleries to culti...
27/07/2026

Varvara Roza Galleries works closely with artists, collectors, institutions and leading international galleries to cultivate meaningful, long-term relationships.

Guided by curatorial rigour, integrity and a deep commitment to exceptional contemporary art, our programme champions both internationally established artists and distinctive mid-career voices, supporting their placement in significant private collections, museum acquisitions and institutional exhibitions worldwide.

Save the Date | APPLECOREVarvara Roza Galleries is delighted to announce APPLECORE, a major two-part exhibition by Hynek...
24/07/2026

Save the Date | APPLECORE

Varvara Roza Galleries is delighted to announce APPLECORE, a major two-part exhibition by Hynek Martinec, curated by Ben Tufnell.

Presented across two London venues, the exhibition marks an important new chapter in Martinec’s practice, bringing together a remarkable body of new paintings that further expand his distinctive dialogue between historical painting, contemporary image-making and the nature of perception.

Part I
Hypha Studios, South Bank
29 August – 1 October 2026

Part II
Varvara Roza Galleries, St James’s
30 September – 20 October 2026
PV: Wednesday September 30, 6:00pm-9:00pm

Formal invitations and further details will be released shortly.

Deepfake 2019-2020 by Oil on canvas, 170 x 240 cmPhoto by Paul PlewsRepresented by Step into the world of Hynek Martin...
07/05/2026

Deepfake 2019-2020 by
Oil on canvas, 170 x 240 cm
Photo by Paul Plews
Represented by

Step into the world of Hynek Martinec, a Czech-born, London-based British painter who doesn’t just redefine hyperrealism, he elevates it into philosophical territory.

Educated at the Academy of Fine Arts in Prague, Martinec absorbed a reverence for pre-modern oil techniques: meticulous glazing, chiaroscuro, and Renaissance-level draftsmanship. He later sharpened this discipline during residencies in London and New York, evolving a visual language that draws as much from Rubens and Titian as from Caravaggio and Ribera.

Martinec’s canvases are spaces of philosophical tension. He often begins with vintage photographic references, staging scenes that feel historically anchored yet digitally disrupted. Through this, he probes questions of authenticity, temporal layering, and the sacredness of image-making in a post-truth era.

His subjects — often ghostlike figures, empty chairs, or fragmented icons — evoke both personal memory and collective myth. Catholic symbolism appears not as doctrine, but as allegory: meditating on themes like transcendence, death, and the illusion of permanence.

In 2007, his intimate portrait Zuzana in Paris Studio won the BP Young Artist Award at London’s National Portrait Gallery, catapulting him into a wider public consciousness. Since then, Martinec has exhibited at institutions including the Nationalmuseum Stockholm, Finnish National Gallery, Helsinki, the National Gallery in Prague, DOX Centre for Contemporary Art, Prague and Parafin Gallery, where he continues to shape contemporary figurative painting with an almost spiritual rigour.

His brush speaks in centuries. His gaze sees through them.
Martinec invites us to witness not just a subject, but the metaphysical weight behind their image — the layers of time, myth, and mortality woven into every stroke.

Painting as metaphysics and hyperrealism. Tradition in rebellion.

Untitled (Post-war Painting in a Sculptor’s Studio 6)2025 by Archival pigment print, acrylic varnish, Soluvar, silkscre...
02/04/2026

Untitled (Post-war Painting in a Sculptor’s Studio 6)
2025 by
Archival pigment print, acrylic varnish, Soluvar, silkscreen ink, acrylic, and oil on canvas; dry-lined with polyester
Overall:​ 200.6 x 260 cm​(3 cm gap between each canvas)

Represented by

Following the end of “ZOT”, this work continues to reflect Paul Hodgson’s investigation into process, instability, and the shifting nature of images.

British artist Paul Hodgson works fluidly across drawing, painting, photography, digital print and sculpture, restaging moments from art history to question how artworks are formed, fixed and understood. “ZOT” curated by took its title from the Dutch word meaning “fool” or “crazy,” a term adopted by Willem de Kooning in certain of his black-and-white paintings of the 1940s, where words, symbols and biomorphic forms emerge from gestural fields. For Hodgson, ZOT signals a productive sense of “misguidedness” at the heart of artistic practice, embracing uncertainty, error and change as generative forces.

The exhibition brought together 20 art works that unfold the studio as a site of testing and experimentation, where images and objects remain provisional and in flux. Moving between analogue and digital processes, Hodgson appropriates and subverts visual fragments from other artists, inverting positives into negatives, collapsing figuration into abstraction and text, and allowing material processes to rub against digital information. In works such as Untitled (Zot), 2024, and Untitled (Zot 3), 2025, recycled lithographic aluminium plates are shaped by hand into sculptural forms that recall the compressed gestures of John Chamberlain, while retaining a light, provisional expressionist immediacy. As Hodgson reflects, “With each ‘finished’ work, the viewer is presented with something that appears stable and familiar. And yet, the language and tropes of ‘fixedness’ have been used to deconstruct and destabilize.”

Available works from the exhibition can be viewed by appointment.

📩 [email protected] | Varvara Roza Galleries

Untitled 4 by 2025Archival pigment print, acrylic varnish, Soluvar, acrylic, and oil on canvas, over wooden panel75.2 ×...
02/04/2026

Untitled 4 by
2025
Archival pigment print, acrylic varnish, Soluvar, acrylic, and oil on canvas, over wooden panel
75.2 × 100.2 cm

Represented by

Following the end of “ZOT”, this work continues to reflect Paul Hodgson’s investigation into process, instability, and the shifting nature of images.

British artist Paul Hodgson works fluidly across drawing, painting, photography, digital print and sculpture, restaging moments from art history to question how artworks are formed, fixed and understood. “ZOT” curated by , took its title from the Dutch word meaning “fool” or “crazy,” a term adopted by Willem de Kooning in certain of his black-and-white paintings of the 1940s, where words, symbols and biomorphic forms emerge from gestural fields. For Hodgson, ZOT signals a productive sense of “misguidedness” at the heart of artistic practice, embracing uncertainty, error and change as generative forces.

The exhibition brought together 20 art works that unfold the studio as a site of testing and experimentation, where images and objects remain provisional and in flux. Moving between analogue and digital processes, Hodgson appropriates and subverts visual fragments from other artists, inverting positives into negatives, collapsing figuration into abstraction and text, and allowing material processes to rub against digital information. In works such as Untitled (Zot), 2024, and Untitled (Zot 3), 2025, recycled lithographic aluminium plates are shaped by hand into sculptural forms that recall the compressed gestures of John Chamberlain, while retaining a light, provisional expressionist immediacy. As Hodgson reflects, “With each ‘finished’ work, the viewer is presented with something that appears stable and familiar. And yet, the language and tropes of ‘fixedness’ have been used to deconstruct and destabilize.”

Available works from the exhibition can be viewed by appointment.

📩 [email protected] | Varvara Roza Galleries

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