Founded in 2022, Princedale Modern is a boutique art advisory specializing in not only sourcing high-end secondary market editions and originals, but also providing the superior advice and support for collectors at any stage of their journey. Helmed by Edward Warburton, Princedale Modern leverages market data, artwork expertise, as well as a proprietary international network of vetted collectors—both individual and institutional. With a focus on post-war and contemporary art, the advisory continues to keep its finger on the pulse of the current—and every evolving market—to the benefit of its clients.

We caught up with Warburton to learn more about what inspired him to found Princedale Modern, and what his thoughts are on current art market trends.

David Hockney, My Shirt and Trousers (2010)

David Hockney, My Shirt and Trousers (2010). Courtesy of Princedale Modern.

Can you tell us a bit about your background? How long have you been working within the art world?

After eight years working in galleries, start-ups, and tech-focused art companies, I have garnered a holistic view of the market, from its operators, cycles, and most importantly how it reacts to macro-trends.

This has of course cultivated a deep appreciation for fine art and a keen eye for detail. My sole background within post-war modern and contemporary art has provided me with a foundation in understanding the art market and the diverse needs of high-profile collectors. I have had the privilege of collaborating with galleries, auction houses, and advisories, gaining invaluable insights into their processes.

What led to your decision to establish Princedale Modern? What do you think most sets it apart from other advisories?

I wanted the opportunity to engage deeply with select clients—provide specialist insights and offer personalized recommendations based on taste and collection.

I believe there is a gap in the market for boutique dealers and advisors to provide the same level of specialist service one would gain from larger more traditional companies—not needing to spend vast sums of equity on traditional overheads, and can offer the same level of specialist advice, knowledge, and access to artwork at better rates.

Andy Warhol, “Pepper Pot” from “Campbell’s Soup I” (1968)

Andy Warhol, “Pepper Pot” from “Campbell’s Soup I” (1968). Courtesy of Princedale Modern.

Since founding Princedale Modern, what has been your favorite part of the job?

So far It has been an extremely enjoyable year for Princedale Modern—being able to take time to foster deeper relationships with collectors and fellow market affiliates has been a real highlight.

But of course the real joy has come from building individual and institutional collections with some seminal works in the post-war modern and contemporary space, which I look forward to seeing develop and bear fruits over time.

Do you have any perennial advice for collectors, either new or seasoned?

The market is incredibly price sensitive at the moment. Ultimately, an artwork is worth what someone is willing to pay, and our job is to provide you with the best strategy to get as much interest as possible and, in turn, maximize the price achievable for the seller.

And on the buy side, as ever, my advice to new collectors looking to enter the market is simple—find a trusted advisor, garner strategic advice, source and sell discreetly.

Keith Haring, Untitled – 1989 (Cup Man) (1989)

Keith Haring, Untitled – 1989 (Cup Man) (1989). Courtesy of Princedale Modern.

Have you noticed any recent trends in the art market that you find especially intriguing or exciting?

In the first half of this year the market for £50,000–£500,000 level artwork has become the most traded—money is now expensive, and the loans used by collectors to purchase £1 million-plus artworks with associated high interest rates aren’t attractive. Subsequently, this has exposed the amount of collectors utilizing financing options in their collecting strategy, as well as leveraging equity on existing works in their collection.

Over the past 18 months there has also been a large shift from public auctions to private sales. This has aided greater price protection for sellers still looking to offer works at fair returns, without the uncertainty of auctions coupled with the chance of a work not selling which proves detrimental for that works value.

What do you think was the catalyst for this trend? Or, alternately, how do you think this
will affect the future of the art market?

This change is partly attributed of course to macroeconomic factors leading to a softening in the market, and partly 10 years of digital advancements and ease of direct acquisition online and through an advisor instead of solely relying on traditional buying channels, which at times can be slow and convoluted.

This has naturally brought smaller, more agile operators into the market, which I have already touched upon. Being able to offer A1 works by Warhol, Lichtenstein, Haring, Hockney, and Picasso from vetted collectors without the large secondary market markups seen with legacy dealers global galleries.

Roy Lichtenstein, Shipboard Girl (1965)

Roy Lichtenstein, Shipboard Girl (1965). Courtesy of Princedale Modern.

What’s on the horizon for Princedale Modern? Is there any news you can share, or do you have any plans for evolution?

There are always exciting times ahead as I look forward to carrying on servicing my existing clients needs both individual and institutional as the market continues to improve, and pricing settles to more reasonable levels.

However, I can say I will be entering into a partnership which I greatly look forward to sharing more on when I can.

Learn more about Princedale Modern here.