We are absolutely delighted that eminent art critic Anthony J. Lester would like to say a few words to introduce Tim’s collection…

After more than 50 years involvement in the art world, I am frequently unenthused by the bulk of the hundreds of contemporary works of art I evaluate each year. Some will say I have merely become staid and cynical in my senior years. I believe not, perhaps just more demanding!

However, there is one remarkable artist who has consistently delivered the ‘wow’ factor to me – the prodigious Tim Gustard. I first encountered his work in 2005 at the 118th Annual Exhibition of the Royal Institute of Oil Painters. I distinctly remember standing in front of his two paintings – Champagne and strawberries and A little nightcap – and my first thought was “wow, mind-blowing”. Over the subsequent years I have been exhilarated to see his meticulous paintings at prestigious shows such as the Royal Academy and the Royal Institute of Painters in Water Colours.

I have always held the view that great talent cannot be taught, it is an inborn aptitude. Child prodigies such as Chopin, Beethoven, Yehudi Menuhin and Pablo Picasso might have received encouragement and even some training, but they were all blessed with a significant virtuosity in their individual proficiencies. Gustard started to draw pictures very early, by the age of six he had conquered perspective and by the age of seventeen his artistic talent was such that he was selling his creations for up to £50 – the equivalent of nearly £900 today.

Since then, his artistic creativity and status has blossomed and today he is acknowledged as a master of still life painting. Comparisons to other artists, such as Jean Siméon Chardin, have been made but Gustard has developed a decidedly distinctive style that is intensely personal. His studio is a cornucopia of eye-catching silver, porcelain and glass which he thoughtfully arranges to capture in paint. Typical is Old greybeard featuring an elegant Chinese Kangxi period blue and white baluster vase set against appropriate oriental-style wallpaper. Afternoon treat has items from the 18th century to an enticing chocolate – surely, the real treat is gazing in awe upon the painting’s consummate draughtsmanship. A recurring trademark is Gustard’s own reflection encapsulated in the surface of silver items – a superlative example being The magnificent 7. Yes, even the idiosyncratic titles are ingeniously thought out.

At the heart of every one of Gustard’s paintings is a seriousness of purpose and unwillingness to compromise, which results in compositions of great integrity, sophistication and beauty. By their very nature solo shows inevitably have the occasional lack-lustre works, however, perambulate this exhibition and you discover every creation is vested with an equal measure of outstanding artistic merit. This is a rare show indeed, and at a time when the ‘establishment’ claim ‘anything can be art’, it is also reassuring. Thank you Mr. Gustard for giving me the ‘wow’ factor.’

Anthony J. Lester, FRBA, FRSA

Art critic and author. International Association of Art Critics : The Critics’ Circle