Waddington Custot

Waddington Custot Waddington Custot represents Nabi, modern, photorealist and contemporary masters across London, Paris and Dubai, since 1958.

Waddington Custot was formed through the partnership of long-time London art dealer, Leslie Waddington, and French art dealer Stephane Custot in 2011. Located in Cork Street since 1958, formerly as Waddington Galleries, the gallery has a rich heritage and an international reputation for quality and expertise. From the late 50s, exhibited artists included those coming out of St Ives, Patrick Heron,

Terry Frost and Roger Hilton, and a new generation of British painters and sculptors, Peter Blake and Patrick Caulfield, Elisabeth Frink, Anthony Caro and William Turnbull. The gallery would become instrumental in the promotion of post-war American art in England, showing the influential work of Milton Avery in 1962, Abstract Expressionists and the emergent Color Field painting of Morris Louis, Kenneth Noland, and Helen Frankenthaler. In the early 70s, contemporary shows became interspersed with the work of European and British masters, Pablo Picasso, Henri Matisse, Fernand Léger, Jean Dubuffet and Ben Nicholson. New European and American painters and sculptors were introduced in the 80s, including Barry Flanagan and Michael Craig-Martin, Julian Schnabel, Dan Flavin, Donald Judd and Robert Rauschenberg, and in the 90s, young British artists, Ian Davenport and Fiona Rae. Waddington Custot represents contemporary British artists Peter Blake and Ian Davenport and French painter Fabienne Verdier, the Estates of Patrick Caulfield, Barry Flanagan and Patrick Heron. The inventory includes works by modern British masters, Henry Moore and Ben Nicholson, and important twentieth-century European artists, Henri Matisse, Pablo Picasso, Jean Dubuffet, Josef Albers, Fausto Melotti, and Antoni Tàpies. The long-standing focus on American artists continues with representation of Robert Indiana and works by John Chamberlain, Peter Halley, Robert Rauschenberg, Haim Steinbach, Frank Stella and John Wesley.

Fabienne Verdier , ‘Erkhes, Эрхэс - Mongol Galaxie’ (2022).On view at ‘Regards croisés’, Waddington Custot Paris.
24/08/2026

Fabienne Verdier , ‘Erkhes, Эрхэс - Mongol Galaxie’ (2022).

On view at ‘Regards croisés’, Waddington Custot Paris.

Colour, distilled to its essence.Created in 2026, Ian Davenport ’s ‘Notation Chromatic’ series takes its name and its cu...
18/08/2026

Colour, distilled to its essence.

Created in 2026, Ian Davenport ’s ‘Notation Chromatic’ series takes its name and its cue from Charles Filiger’s ‘Notation Chromatique’, a body of rare symbolist works made between 1905 and 1918. Filiger’s kaleidoscopic, geometric compositions, obsessively annotated in his own hand, chart a lifelong search for absolute chromatic harmony, a sensitivity to colour that has long moved Davenport, and one he shares with the wider circle of Nabi painters.

In ‘Notation Chromatic II’, a palette of orange, turquoise, lavender, mint green and blue builds a powerful visual rhythm, its hues in direct conversation with Filiger’s own. The upper section holds a strict vertical order; along the lower edge, that order dissolves into fluid drips and pools, introducing an unpredictability that control cannot quite contain.

Throughout his career, Davenport has turned everyday tools, watering cans, electric fans, nails, into instruments for exploring the paradox between control and chance. Here, he works with syringes, pouring acrylic with a precision that lets him focus entirely on colour harmonies.

Reaching beyond colour’s symbolic or representational use, ‘Notation Chromatic II’ pursues its essence, turning surface and pigment into experience itself. The means of painting becomes the subject of the painting.

Our Paris gallery is now closed for summer break. We look forward to welcoming you back on 1 September for the continuat...
31/07/2026

Our Paris gallery is now closed for summer break.

We look forward to welcoming you back on 1 September for the continuation of our exhibition Regards croisés.

11 Cork Street, London, will be closed 10–30 August for our annual summer break. We will reopen Monday 31st of August.
28/07/2026

11 Cork Street, London, will be closed 10–30 August for our annual summer break.

We will reopen Monday 31st of August.

20/07/2026

Edouard Vuillard’s ‘La Chambre verte, rue Truffaut’ (c.1900-01) offers an intimate glimpse into the artist’s Parisian apartment, where Madame Vuillard sits at the centre of the composition, flanked by her daughter Marie and granddaughter Annette. As one of the leading figures of the Nabi movement, Vuillard turned again and again to the domestic sphere, finding in these everyday scenes the foundations of his artistic language.

Look closely at the quick, short brushstrokes describing the grain of the hardwood floor, setting up a rhythm that carries the eye across the surface. The flattened planes of colour in the grey doorway, Annette’s dress and the kneeling figure in black recall the Japanese Ukiyo-e prints that so inspired the Nabis, while the contracted perspective pulls the painting’s textures forward, tactile and inviting.

Painted towards the close of Vuillard’s Nabi period, this work reveals a painter less concerned with the picture as a window onto a scene, and more with the canvas as a curated surface of pattern and texture.

‘La Chambre verte, rue Truffaut’, c.1900-01, oil on board.

On view at ‘The Nabi Shock’
24 June–12 September 2026
11 Cork street, London.

Who were the Nabis?The Nabis were a tightly knit band of fin-de-siècle painters, active in Paris from 1888 to 1900. Part...
17/07/2026

Who were the Nabis?

The Nabis were a tightly knit band of fin-de-siècle painters, active in Paris from 1888 to 1900. Part of the wider Symbolist movement, they sought to carry Impressionism beyond perception and into the realm of pure sensation. They chose colour for emotional weight rather than optical truth, and celebrated pattern and ornament in compositions of flattened space and luminous touch. The result was an art of quiet revelation, finding poetry in the everyday and profound humanity in the domestic.
The seven principal Nabis included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Paul Sérusier, Félix Vallotton and Édouard Vuillard. Their friendships were formed in their youth, during studies at the Académie Julian and Lycée Condorcet, however the circle extended further than art history has typically acknowledged.
With a decisive contemporary turn toward figurative painting in the last 10 years, the Nabi legacy lives on: artists including Anne Rothenstein, Ian Davenport, and David Hockney have each cited their influence.
See ‘The Nabi Shock’, an encounter across generations, which juxtaposes exceptional paintings by the Nabis alongside new works by contemporary artists.

Waddington Custot, 11 Cork Street, until 12 September 2026.

03/07/2026

‘The Nabi Shock’ at 11 Cork Street brings ’s ‘Notation Chromatic’ and ‘Notation Chromatic II’ (2026) into direct dialogue with Charles Filiger’s rare symbolist work ‘Notation Chromatique’ (1905-1918).

Filiger’s kaleidoscopic, geometric composition was built around a never-ending quest for absolute chromatic harmony, annotated obsessively by the artist himself as a deeply personal search for formal perfection. Responding to the Nabi painters and their original, sensitive use of colour, Davenport takes up that same pursuit. In ‘Notation Chromatic II’, a powerful visual rhythm emerges through a palette of orange, turquoise, lavender, mint green, and blue, while in ‘Notation Chromatic’ his colours enter direct conversation with those of Filiger.

The upper section holds a strict vertical order; the lower edge dissolves into fluid drips and pools, introducing unpredictability. Across his career Davenport has worked with everyday tools such as watering cans, electric fans, and nails, drawn to the paradox between control and chance, often pouring acrylic through syringes to focus on colour harmonies. Like Filiger, he uses pattern to choreograph colour sequences, turning colour and surface texture into an experience where the means of painting becomes the primary subject.

‘The Nabi Shock’, 11 Cork Street, until 12 September 2026.

Still on view in Paris. ‘Regards Croisés’ brings together a constellation of modern and contemporary voices in dialogue ...
30/06/2026

Still on view in Paris. ‘Regards Croisés’ brings together a constellation of modern and contemporary voices in dialogue across generations, from postwar abstraction to sculptural form. A selection of works that reward a closer look, on view until 26 September.

Featuring works by Kenia Almaraz Murillo , Jean-Michel Atlan, , YVES DANA - Sculptor , Fondation Dubuffet , Hans Hartung, Jean Hélion, , Serge Poliakoff, François Réau , Pierre Soulages Officiel , Sam Szafran, Sophia Vari , Bernar Venet Studio and Maria Helena Vieira da Silva.

‘Regards Croisés’
36 rue de Seine, 75006 Paris
11 June – 26 September 2026

The Nabi Shock is now open in London.Following its presentation in Paris, the exhibition brings together the Nabis, the ...
29/06/2026

The Nabi Shock is now open in London.

Following its presentation in Paris, the exhibition brings together the Nabis, the group of young painters who, from 1888 to 1900, broke with academic convention to pursue flattened space, decorative pattern and richly worked surfaces. Drawing on Gauguin and Japanese prints, they reimagined the painting as an autonomous arrangement of colour and form, laying foundations for much of what followed in twentieth-century art.

Waddington Custot, 11 Cork Street, London, 24 June to 12 September.

Find more information in our website.

Barry Flanagan’s hares leap, balance and play across our stand at Treasure House Fair , a selection of bronzes that capt...
27/06/2026

Barry Flanagan’s hares leap, balance and play across our stand at Treasure House Fair , a selection of bronzes that capture the artist’s lifelong fascination with the animal as a vessel for human gesture and feeling.

Swipe through to see ‘Unihare on Crescent and Bell’ (1995); ‘Troubador’ (2002); ‘Small Nijinski on Anvil Point’ (2001) and ‘Left- and Right-Handed Nijinski on Anvil Point’ (1999).

Endlessly inventive and quietly mischievous, The estate of Barry Flanagan hares remain among the most beloved figures in post-war British sculpture.

Visit us at Stand 210, Royal Hospital Chelsea.

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11 Cork Street
London
W1S3LT

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Monday 10am - 6pm
Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm
Saturday 10am - 4pm

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+44 (0) 20 7851 2200

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