Gillian Raffles at Mercury Gallery in London

Private Collections

Gillian Raffles : Pioneering Gallerist

1 April 2025

Philip Smith

Gillian Raffles, born Gillian Posnansky in London in December 1930, was one of a very small number of pioneering woman gallerists in London’s post-war art scene. This Spring we are proud to be offering the first part of her private collection of artworks in MODERN MADE on 01-02 May at The Mall Galleries in London.

Establishing the Mercury Gallery in 1964, Gillian created a highly regarded space for both emerging artists and for the more established, as well as for the historically overlooked and unheralded. As such, she should be considered alongside the likes of Erica Brausen, Helen Lessore, and Madeleine Ponsonby as one of the key figures of the period, playing a vital role in shaping the commercial art world in London and paving the way for future generations of female gallerists.

MODERN MADE ft. The Gillian Raffles Collection

Browse our Spring 2025 edition of MODERN MADE. The auction features a curated selection of Modern, Post-War, and Contemporary Art, Design, Craft, and Studio Ceramics.

The Pioneering Gallerist

Join artists David Remfry RA and Elizabeth Ogilvie as they remember and reflect on Gillian Raffles and their friendships with the pioneering gallerist.

Her passion for art was likely influenced by her father, Jack E. Posnansky, who began working as a tanner upon arriving in London’s East End at the age of 13, before over time establishing a successful clothing manufacturing business with his wife Ann Posnansky. They both sponsored and supported Arthur Szyk, the renowned Polish artist and illustrator, as well as the broader Jewish émigré cultural community of the period and Jack became an avid art collector, as well as serving as a member of the Ben Uri council from 1952 to 1968. During this period Posnansky acquired significant art works, including the William Nicholson portrait of his daughter Nancy in a Feather Hat, which hung for many years in Gillian’s Essex home in prime position. He also commissioned a portrait bust of a young Gillian, around 14 years of age, from the émigré Jewish sculptor and painter Georg Ehrlich around 1944. This bust went on to be exhibited at the Royal Academy, and a version is now held in the collection of the Tel Aviv Museum of Art, alongside the version in her collection.

From its founding, the Mercury Gallery aimed to provide exhibition opportunities for British artists who had not previously showcased their work in the city. She emphasized the importance of giving young artists "a step on the first rung of the ladder." However, she soon realized that focusing solely on emerging artists was not commercially viable on Cork Street – London’s main gallery drag. To sustain the gallery, she began dealing in established artists, focusing primarily on quality drawings and watercolours with a particular emphasis on figurative art, and works by 20th-century European artists, including the Expressionists Egon Schiele, Emil Nolde, Ernst Kirchner, Alexej von Jawlensky and Georg Grosz.

Despite the dominance of abstract and conceptual trends in the 60s and 70s, Raffles remained committed to figurative work, stating that "figuration has always had both creative original exponents and collectors, and will, I believe, continue to have, in spite of fashionable trends." The Mercury Gallery became known for its dedication to serious, professional artists who were utterly dedicated to their work, with two, in many ways very different, artists representing this philosophy: Elizabeth Blackadder and Henri Gaudier-Brzeska.

Raffles and Blackadder maintained a long and fruitful relationship over decades, with solo exhibitions held every two years. They carefully avoided inflating prices, ensuring accessibility for collectors. As Raffles noted, "You never read about Elizabeth in the gossip columns or hear her work is selling for record prices... But I don’t think she has any regrets."

“If you wanted to show figurative work, the Mercury Gallery was the place. It wasn’t about the latest trends; it was about respecting the artist’s voice and allowing them to grow. Gillian didn’t put up with nonsense, and that’s why artists trusted her.”

Sarah Hargreaves, fellow gallerist and friend.

Running the gallery came with financial challenges, especially in an environment where rising rents and economic pressures threatened long-standing establishments, in the aftermath of the financial crisis in the early 1990s. The Mercury Gallery stood as one of the few enduring institutions on Cork Street, at a time when bigger global galleries moved in and it was increasingly difficult for small independents to keep a foothold. Raffles observed that some new galleries believed they could succeed simply by "throwing money at it," but she understood the importance of curating a unique and evolving identity. "The gallery mustn’t be static. It must be something that evolves out of itself," she explained in a magazine article in 1992. During this period Raffles remained dedicated to showcasing emerging talent. She acknowledged the risks of representing new artists, stating, "We take them on with not a great hope of selling their work—no guarantees—but even if a whole show does sell, it is not going to make the gallery as much profit as selling one picture out of here [from the stock room of works by established artists]." Her approach balanced support for young talent with the pragmatic necessity of dealing in established names.

Her clientele included many loyal collectors who returned year after year, drawn by her curatorial "eye" and the sense of continuity she provided. The Mercury Gallery also attracted an impressive list of museums and public bodies that acquired works from its exhibitions, including the Victoria and Albert Museum, London, National Gallery of Scotland, Edinburgh, National Gallery of Canada, Ottowa, Sydney Art Gallery, New South Wales, Museum of Fine Art, Boston, Ministry of Public Works, and the Herbert Art Gallery, Coventry.

In addition to its influential presence in London, the Mercury Gallery expanded to Edinburgh in August 1982, opening a branch on The Mound. The Edinburgh gallery provided a vital platform for Scottish artists and further reinforced Gillian Raffles’ commitment to supporting figurative art beyond the London art scene. The gallery showcased a diverse range of works, including paintings, sculptures, and works on paper, with a particular emphasis on Scottish artists such as Elizabeth Blackadder, John Houston, and John Bellany. One notable exhibition in Edinburgh in 1984 featured over 30 silk scarves from the Ascher textile company’s collection, which Raffles displayed as artworks rather than fashion items, reflecting her innovative approach to curating. The Edinburgh branch played an important role in the city’s cultural landscape for several years before ceasing operations around 2000. Despite its closure, the gallery’s legacy endured, with many of its represented artists continuing to enjoy recognition in both national and international art circles.

After 37 years, Gillian Raffles made the decision to retire, leading to the closure of the Mercury Gallery’s Cork Street location in 2001. However, she continued to work from home at Brook House in Essex, specializing in the work of Henri Gaudier-Brzeska and collaborating with other galleries. Gillian Raffles passed away on November 23, 2021, leaving behind a legacy of significant contributions to the British art world. As a testament to her achievements, The Mercury Gallery’s archive is currently in the safekeeping of the Tate Archive.