The Art of Display

Our RHS Chelsea Flower Show Stand with Lucinda Sanford
Mai 30, 2025

As the RHS Chelsea Flower Show concludes, Gladwell & Patterson reflect on a week that once again affirmed Chelsea’s status as a benchmark for excellence in horticulture, craftsmanship and design. For the gallery, the show remains a defining fixture in the calendar: a meeting point for collectors, designers, makers and specialists, united by a shared commitment to quality and creativity.

This year’s show was informed by a strong emphasis on sustainability, wellbeing and innovation, themes that were evident throughout the gardens and installations. From the clarity and discipline of Cha No Niwa, Kazuyuki Ishihara’s Japanese Tea Garden—awarded Best in Show—to the broader exploration of responsible materials and forward-looking planting schemes, Chelsea 2025 offered a considered vision of contemporary design grounded in tradition.

Within this context, Gladwell & Patterson were pleased to present their 2025 stand in collaboration with interior designer Lucinda Sanford. The project was guided by a shared interest in proportion, balance and the enduring relationship between art and interior architecture. The intention was to create a space that demonstrated how fine art can be integrated naturally within an interior, supported by furniture, materials and planting of equal integrity.

  • Art, Interiors and the Language of the Garden

    Central to the stand was a selection of works that reflected both established traditions and contemporary practice. Luminous landscapes and still lifes were chosen for their painterly quality and their ability to sit comfortably within the architectural setting. A bespoke Fromental wallcovering from the Spring Fever collection formed a defining backdrop. Hand-painted English florals on a soft blue ground echoed both the surrounding planting and the wider horticultural language of the show, anchoring the interior visually and conceptually.

    At the centre of the stand, a contemporary dining room arrangement demonstrated how trees and greenery can be incorporated into interior spaces, reinforcing the connection between house and garden. Sustainability informed the design at every stage. All wall panels were fully removable and reusable, enabling the stand to be reconfigured for future art fairs in the UK and internationally, extending its life well beyond Chelsea.

    Lucinda Sanford Design worked closely with a number of fellow exhibitors, creating a collaborative setting that showcased craftsmanship across disciplines. Products from Club Matters, Chesneys, Unnatural Flooring, Corston and Little Greene were integrated seamlessly, each contributing to the coherence of the overall scheme.

    The stand attracted attention not only for its visual clarity but for its demonstration of how art can define and elevate an interior. Conversations with collectors, designers and visitors centred on the role of painting within the home and the importance of context in how art is experienced. From initial concept through to installation, Lucinda Sanford’s vision was central in shaping a space that felt both resolved and personal, reflecting a belief that art should form part of a lived environment.

  • The Live Studio

    An established feature of Gladwell & Patterson’s Chelsea presence is the live studio, positioned at the edge of the stand and offering visitors the opportunity to observe artists at work. Throughout the week, a group of painters and sculptors demonstrated their practice in real time, providing insight into process, technique and material.

    Peter van Breda worked on an atmospheric cityscape, building form and light through layered oil paint. Sculptor Edward Waites modelled his Boxing Hares in clay, drawing attention to the discipline and physicality of traditional sculptural practice. Painter Ollie Tuck completed two still lifes during the week, transforming everyday objects into compositions defined by strong colour and pattern. Her work resonated particularly well within the context of the show, reflecting an appreciation of form and surface shared by both art and horticulture. Progress on these works can be followed via her Instagram, @ollietuckart.

    The gallery would also like to thank Martin Taylor and Stewart Lees for their participation and contribution throughout the week. The presence of artists working on site continues to be an important part of the Chelsea experience, offering visitors a direct connection to the making of the work.

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  • Acknowledgements

    As the stand was dismantled and the artworks prepared for their onward journeys, the gallery reflected with appreciation on the many conversations and encounters shared over the course of the week. From early-morning business breakfasts to evening gatherings, Chelsea once again provided a setting for meaningful exchange.

    Particular thanks are extended to Chris Young—garden designer, author and contributor to RHS Garden magazine—who generously led guided tours for Gladwell & Patterson visitors. Despite a substantial publishing career, including The RHS Encyclopaedia of Garden Design and Take Chelsea Home, Chris took time to share his insight into this year’s gardens. Highlights from these tours will be shared across the gallery’s platforms.

    Gladwell & Patterson would also like to acknowledge the contribution of their collaborators: Fromental for the bespoke wallcovering; David Seyfried for custom furniture including the Sanford sofa and Albion swivel chairs; Ralph Lauren Home for upholstery; Chesneys for the fireplace; Samuel & Sons for trimmings; Hicks & Hart for planting; Acres Farm for the fireplace fender; and Vaughan Designs for lighting.

    The gallery looks forward to returning next year and, in the meantime, wishes clients and friends every enjoyment of their homes, gardens, paintings and sculpture.