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The Brown Collection Home to the art collection and archive of British artist Glenn Brown. Free admission.
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16/10/2026

Join us for What Are Collections Good For? Adventures and Experiments in the 21st Century, a lecture by curator and writer Iwona Blazwick, on Tuesday 27 October at 6.30pm. Held in person at The Brown Collection, Marylebone.

Museums have never held more, or faced more questions about what they hold and why. Drawing on her years at Tate Modern and Whitechapel Gallery, curator Iwona Blazwick explores how collections have been displayed over the past two decades, and what those choices say about the institutions behind them. Followed by a Q&A.

Find out more via the link in bio.

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David Teniers the Younger, Archduke Leopold William in his Gallery at Brussels, c. 1650. Oil on canvas, 123 × 163 cm. Kunsthistorisches Museum, Vienna.

Installation view of Government Art Collection Selected by Cornelia Parker: Richard of York Gave Battle in Vain, Whitechapel Gallery, 2011.

Installation view of The Real Thing part 2 (retrospective), Landesmuseum, Hanover, Germany
2023. Photo Herling/Herling/Werner.

Frans Francken the Younger, Cabinet of Curiosities, 1636. Oil on panel, 86.5 × 120 cm. Kunsthistorisches Museum, Vienna.

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For London Frieze Week, The Brown Collection will extend its opening hours from Tuesday 13 to Sunday 18 October, open da...
07/10/2026

For London Frieze Week, The Brown Collection will extend its opening hours from Tuesday 13 to Sunday 18 October, open daily 10:00 to 19:00. Entry is free.

The museum is a short walk from Frieze London in Regent’s Park.

We look forward to welcoming you to the space for our current show, Fail We May, Sail We Must.

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Artwork

Odilon Redon, Cellule Auriculaire (Auricular Cell) (detail), 1894, lithograph on Chine appliqué on wove paper, 53 x 40.2 cm (sheet). Photograph: The Brown Collection.

Fiona Rae, Drawing (figure 5g) (detail), 2014, charcoal on paper, 29.5 x 21 cm (11 5/8 x 8 1/4 in). © Fiona Rae. Photograph: The Brown Collection.

Jacques Villon, La Lutte (The Fight) (detail), 1939, etching on watermarked paper “Volvere Stando”, 28 x 24.5 cm (11 x 9 5/8 in) (image). © ADAGP, Paris and DACS, London 2026. Photograph: The Brown Collection.

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Fail We May, Sail We Must
25.09.2026 – 07.08.2027

The Brown Collection
1 Bentinck Mews, W1U 2AF
Nearest station: Bond Street
Extended hours 13 – 18 October: 10:00 – 19:00 daily
Free admission

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John Stezaker (b. 1949) is a British artist whose practice is grounded in conceptual art and photographic collage.Stezak...
01/10/2026

John Stezaker (b. 1949) is a British artist whose practice is grounded in conceptual art and photographic collage.

Stezaker works with found imagery, principally publicity photographs, film stills and postcards, much of it drawn from classical Hollywood cinema. By cutting and recombining these sources, he produces images of an uncanny character. The joins remain visible, and the original material is never fully concealed, leaving the fragments in a state of tension.

The collection includes two works by Stezaker. In Untitled (Film Portrait Collage) ###, 2007, a single portrait is divided between two different men. In Mask (Film Portrait Collage) CCXIX, 2017, the sitter’s face is replaced by a postcard of Ilkley, Yorkshire. In each case, the eye attempts to resolve the image into a coherent whole but cannot.

Stezaker’s collages draw attention to how much we complete a photograph in the act of looking, and how readily that confidence can be unsettled.

Both works are on display in Fail We May, Sail We Must, now open at The Brown Collection.

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Works:

John Stezaker, Untitled (Film Portrait Collage) ###, 2007, Collage, 59.7 x 45.2 x 17.8 cm

John Stezaker, Mask (Film Portrait Collage) CCXIX, 2017, Collage, 25.3 x 20.5 cm

Phillip Wilson Steer, Blue Period Portrait of a Lady, c. 1900, Painting on canvas, 63.5 x 50.8 cm

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Fail We May, Sail We Must
25.09.2026 - 07.08.2027

The Brown Collection
1 Bentinck Mews, W1U 2AF
Open 10:30 – 18:00, Wednesday – Saturday
Free admission

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The exhibition Fail We May, Sail We Must is now open at The Brown Collection.Six centuries of paintings, sculpture, draw...
25/09/2026

The exhibition Fail We May, Sail We Must is now open at The Brown Collection.

Six centuries of paintings, sculpture, drawings, prints and ceramics that reward a second look. Double images, spliced collages and elongated, deceptive figures, where the eye has to choose, and re-choose, what it sees.

Curated by Glenn Brown and Edgar Laguinia, the exhibition brings together ninety works across the museum’s four floors, with artists including Salvador Dalí, Marion Adnams, George Condo, Grace Pailthorpe, Fiona Rae, Glenn Brown, George Romney and Walter Sickert.

For more information, check the link in bio.

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Fail We May, Sail We Must
25.09.2026 - 07.08.2027

The Brown Collection
1 Bentinck Mews, W1U 2AF
Open 10:30 – 18:00, Wednesday – Saturday
Free admission

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18/09/2026

Our new exhibition Fail We May, Sail We Must, opens this Friday 25 September.

Curated by Glenn Brown and Edgar Laguinia, this exhibition brings together works spanning five centuries, from Hendrick Goltzius and Salvador Dalí to Francis Picabia and Rebecca Warren. Expect double imagery, fragmented figures and unexpected pairings across old and new.

Find out more information on our website. Link in bio.

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Artwork:

David Thompson, Untitled (Date Unknown)
Fiona Rae, Untitled (pale blue), 1990-1991
Walter Sickert, Pentonville Hill, London, 1924-26
Glenn Brown, And Thus We Existed, 2019/2020/2026

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The Brown Collection
1 Bentinck Mews, W1U 2AF
Open 10:30 – 18:00, Wednesday – Saturday
Free admission

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15/07/2026

Three weeks remain to see our exhibition, Hoi Polloi, which closes Saturday 8 August.

The Brown Collection will be closed until Friday 25 September and will reopen with our new exhibition.

For more information, see the link in bio.

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Hoi Polloi
Ends 08.08.2026

The Brown Collection
1 Bentinck Mews, W1U 2AF
Free admission
Open Wednesday to Saturday, 10:30 – 18:00.

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04/06/2026

See Glenn Brown’s Hot Love (2017), on view now at The Brown Collection, Marylebone.

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Hoi Polloi
24.09.2025 – 08.08.2026

The Brown Collection
1 Bentinck Mews, W1U 2AF
Open 10:30 – 18:00, Wednesday – Saturday
Free admission

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Anna Zinkeisen’s 1961 portrait of Lady Beaverbrook sits within the tradition of painters Anthony Van Dyck and Thomas Gai...
02/06/2026

Anna Zinkeisen’s 1961 portrait of Lady Beaverbrook sits within the tradition of painters Anthony Van Dyck and Thomas Gainsborough: monumental figure, stormy sky, botanical detail cascading across the lap with the precision of a Dutch still life. On closer inspection, the work appears to blend grand manner portraiture with the language of Surrealism.

The turbulent sky, a device with deep roots in Romantic portraiture, gives the sitter an elemental, immovable quality. Flowers seem to grow from the rock itself, figure and landscape merging into one another, the setting more dreamlike than observed.

The cliffs and sea behind the subject are the coast of New Brunswick, a coded reference to Lord Beaverbrook, the sitter’s second husband, almost certainly the painting’s commissioner, who described himself in his autobiography as the tempestuous sea against the rock-bound coast.

The jewelled heart brooch floating in the upper corner is an acrostic spelling DEAREST: Diamond, Emerald, Amethyst, Ruby, Emerald, Sapphire, Topaz. An intimate gesture embedded in an otherwise imposing image.

See this work and other works by Anna Zinkeisen at The Brown Collection.

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Artwork

Anna Zinkeisen, Lady Dunn (later Lady Beaverbrook), 1961
Anna Zinkeisen, Study of Roses, Date unknown
Anna Zinkeisen, Portrait of a Nurse, Date unknown

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These charcoal drawings belong to the final chapter of Roger Hilton’s (1911–1975) life, made in the early 1970s when ill...
26/05/2026

These charcoal drawings belong to the final chapter of Roger Hilton’s (1911–1975) life, made in the early 1970s when illness had left him largely bedridden at his home in Cornwall. It was during these same years that Hilton produced the Night Letters: illustrated notes and gouaches written through the night to his sleeping wife Rose Hilton (1931–2019), also a painter, now among the most discussed works of his career.

The drawings here are the quieter counterpart to that output. Bedridden, drawing became his primary means of working. Figures overlap, their outlines merging and indistinct, exploring themes of the body, s*x and intimacy. Some urgent and agitated, others still and contemplative.

Hilton had spent his career caught between abstraction and figuration, shaped by his years in Paris and a close engagement with Matisse and the CoBrA movement. Alongside the Night Letters, they form an unusually intimate record of an artist’s final years.

These works are currently on view at The Brown Collection.

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Works by Roger Hilton:

Entwined Couple, 1970s
N**e Couple Embracing, 1970s
Untitled, 1970s
Untitled (seated figure), 1960s [detail]
Untitled, 1972-73

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Four new works have joined our current exhibition Hoi Polloi, replacing works by Glenn Brown that left to join two solo ...
13/05/2026

Four new works have joined our current exhibition Hoi Polloi, replacing works by Glenn Brown that left to join two solo shows in Bath: Arrows of Desire at opening 16 May, and Grottoesque at opening 22 May.

Glenn Brown exhibits three new works at The Brown Collection: The Holy Lamb of God (2026), Dirty Little Seahorses (2024/2026), and And Thus We Existed (2019/2020/2026), alongside a new addition by Austin Osman Spare, N**e Torso (1938).

See the link in bio to plan your visit.

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Hoi Polloi
24 September 2025 – 8 August 2026

The Brown Collection
1 Bentinck Mews, London W1U 2AF

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Address

1 Bentinck Mews
London
W1U2AF

Opening Hours

Wednesday 10:30am - 6pm
Thursday 10:30am - 6pm
Friday 10:30am - 6pm
Saturday 10:30am - 6pm

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