Henry Boxer, London - MEET THE COLLECTOR Series Part Fourteen

I have known Henry Boxer since I interviewed him during the second year of my University Degree back in 2006. We have got to know each other (and Henry’s sense of humour!) well over the years, so he seemed perfect to feature in this series. I spent a rainy day this week over at Henry’s looking at some of his collection that he has amassed over a period of 40+ years. Enjoy reading …

Henry boxer painted by the fantastic artist Joe Coleman

1.     When did yours interest in the field of outsider/folk art begin?
It began in August 1968 when I visited an exhibition at the Commonwealth Institute in London entitled  ‘Art and Mental Health’,  in that show were a number of classic outsider's works that I had not seen before, namely, Adolf Wolfli, August Natterer (‘The Witches Head' loaned from the Prinzhorn Collection, which held me quite spellbound), and a series of extraordinary cat portraits by Louis Wain. As I was using psychedelic drugs during this period (and most probably when I was visiting the exhibition), I was fascinated by the cat drawings -  which portrayed the disintegration of the 'self', visually, into fractal patterns, which felt to me at the time, very similar to the effects of LSD!
Another artist in the same show was Charles Sims, who again like Wain, produced work towards the end of his life, that was dramatically influenced and changed by his mental health. Both artist's works coming from the Guttman-Maclay Collection of psychiatric art, which researched and documented how mental illness effected artistic creativity

Louis Wain. The famous series I first saw in an exhibition. All works circa 1930 - 34

2. When did you become a collector of this art?
A year or two later I was walking through Richmond, in London, and in an antique shop there was a cat's head drawing, very similar to ones I had seen in that exhibition. I was probably 18-19 years old, with little money, but I walked in and bought it – it seemed a coincidence to me and that it was meant to be. After this I became more and more interested in the biographies of these artists, and their art, and it has continued to this day.

3. Can you tell us a bit about your background?
My parents weren’t interested in the arts. My father’s sister was an artist and my mother’s father was an architect so genetically I was perhaps predisposed to be drawn to that realm. Later I went to college to study photography – I looked at things very visually. I was a professional photographer for 5-6 years before I became an art dealer. I photographed many famous celebrities, including the Beatles and Charlie Chaplin, and other fascinating and very influential people -  authors and politicians, as I was working for a press agency.
I feel I have a gift and an eye for looking at works, as I can quickly sift through works based on my immediate reactions; I have a deep connection with such art, and an empathy towards those that create it.

Mehrdad Rashidi in my collection

4. What is it that draws your eye away from contemporary art to outsider/folk art? Or do you collect both?
I do collect both, but my emphasis is on outsider/art brut. I am drawn to the authentic nature of the work, and the fact that the artist isn't looking to promote themselves in an egoistic way. They create from a depth within themselves, and are compelled to do so. Often there is a mystical or spiritual aspect that they connect with, from a far deeper level of their being. You can see clearly demonstrated in the work of classic art brut artists: Adolf Wolfli, Lesage, Aloise and Madge Gill, and also more recent discoveries such as Margot and Mehrdad Rashidi. I also feel this type of art helps us, the viewer, to connect on this same intense level within ourselves, and this is a primary difference between contemporary and outsider art.

5. What style of work, if any, is of particular interest to you within this field? (for example is it embroidery, drawing, sculpture, and so on)
I suppose drawing is nearer to me as it is more graphic and I love the obsessive nature in drawing. Crayon/pencil/paper – I am more drawn to this sort of work. There is an immediacy to it, as it is straight from the artist's mind, to their hand to the paper.

Vonn Stropp hanging in ‘A Unique Vision’ at Orleans House Gallery, 2019

6. Would you say you had a favourite artist or piece of work within your collection? And why?
There are two or three works that I would pick out. There is an early piece by Vonn Stropp in my current exhibition in London that he did when he was 21. It is acrylic on board – I can’t even classify it. I love its graphic, obsessive quality and its compositional quality and it feels like it is coming from a deeper space. The artist said he felt like he was in another room when he was creating the work and that the room was filled with a golden light. Actually this is probably my favourite piece. I have nearly sold it twice, but I am now glad that I still have it.
I have an early Henry Darger work, which was on the wall in his room when he died. It is extraordinary. And an early Martin Ramirez drawing, which seems to be a 'self-portrait', with the artist sitting and drawing at a table, which I love. Adolf Wolfli, Henry Darger and Martin Ramirez are the three artists that immediately come up as of particular interest to me.

7. Is there an exhibition in this field of art that you have felt has been particularly important? And why?
The ‘Outsiders’ show at Hayward in London in 1979 was great because it was a groundbreaking show and nothing else had been seen like that in this country before. It is one of the most important early shows to show this type of work to a new audience.

8. Where would you say you buy most of your work from: a studio, art fairs, exhibitions, or direct from artists, auctions?
I would say it is a mix. Half from discovering new artists – I seem to have a talent for this! A quarter of the work is from families who have discovered work when people have died or are unwell and then have contacted me to see if I am interested, and it helps here that I am a founding Director of Raw Vision Magazine. The final quarter are probably from auction and the odd dealer/s who know what I am into to.

Martin Ramirez in my collection

9. What sort of pieces are you looking to continue to add to your collection?
Pieces that inspire me and that are authentic and closer to art brut than the now conventional definition of outsider art. I am trying to find more authentic and historically important art brut pieces now.

10. When did you become an art dealer and how do you decide which pieces to keep for yourself and which pieces to sell on? What makes a piece special enough to keep it for yourself?
I was traveling the world as a photographer for several years and when I came back I was out of work for a while. My father said ‘you love art why don’t you open up a gallery’. At first I thought it was a faintly ridiculous idea, but then thought 'why not', and I opened a gallery in Richmond and only sold art that appealed to me. I had an exhibition of Scottie Wilson in late 1970s, when no one else was doing this in the UK, and I continued to promote outsider and art but without much interest from the public at large. In 1985 I put together an exceptional Madge Gill exhibition, displaying many large museum quality calicos, beautiful drawings on card, and hundreds of her intimate postcard drawings - only two people came to my launch… Roger and Agnes Cardinal! It was my first major show! Nevertheless I decided to persevere, it had now become a true calling, and in 1993 Outsider Art Fair was inaugurated, this was a game-changer. I was one of the first exhibitors and have taken part every year since.
My Gallery then moved from Richmond to Kensington Church Street, but around 15 years ago my son suggested that I should do it all online rather than have a physical space just in London. This turned to be a great idea as I now have contact with people all around the world - I am passionate about what I do, it is not just about the money… I love it!
I often keep pieces back, when they particularly move me, but there is also a distinct pleasure in placing a work with a collector, whom I know will cherish the piece, as I do.

‘A Unique Vision’ installation shot at Orleans House Gallery, 2019

11. You only do one art fair a year now – the Outsider Art Fair in New York – why is this and what makes this fair so special?
This fair is a hub. All the big collectors go to it and it is the one event of the year that you can ensure that you have a committed and inspired audience who will look at and buy the work. I also used to exhibit at the 20/21 British Art Fair for the past 20 years, but now I focus on self-taught, outsider art and art brut.
I also have a vast knowledge of Modern British and German Expressionist art and I often refer to this in my research and studies. One can see how art brut influenced the German Expressionists and Surrealists, artists such as Max Ernst, Paul Klee and others, who were so inspired by Hans Prinzhorn's book 'The Art of the Mentally Ill' which was published in 1922.

12. Do you ever loan pieces from your collection out? What kinds of shows do you loan to?
My primary goal in loaning works is to introduce a younger audience to this work, much like me being 18 and seeing this type of work for the first time, so that they too become involved in this field and get excited and passionate and connect it to in a deeper way in themselves than they would from mainstream and contemporary art. The other objective of my loaning works is for the artists themselves to see how their work is being appreciated - for instance Malcolm McKesson saw his work as perverse and dark. It was produced in secret and hidden, but when he saw it at the Outsider Art Fair and saw people loving it, it was like an epiphany for him and he loved it. It made him feel finally accepted.

13. Can you tell us about your current exhibition in London? And why have you chosen now to do this show as your last major show was in 2016 at the same gallery space?
‘A Unique Vision’ is at Orleans House Gallery until February 2020. I work with them every 3 or 4 years on a show of outsider and self-taught art, as they have a particular interest in this. I feel comfortable to work with them. The Regency Gallery is a beautiful space overlooking the river. A new audience is being generated and getting excited by these works, much like I was when I was a teenager.

‘A Unique Vision’ installation shot at Orleans House Gallery, 2019

14. Is there anything else that you would like to add?
It’s such an inspiring field of art and I feel blessed to be part of it. I feel privileged to show previously unknown artists to a new audience. I continue to be passionate about it. It is such exciting art to be involved with and there are still new creators to be found! Over the years I have discovered artists like George Widener, William A Hall, Richard C Smith, Nick Blinko, Malcolm McKesson and Merhdad Rashidi, alongside many others and I hope to continue being able to do this for years to come!
I have been collecting art since I was 19, when this art wasn’t appreciated, so I'm truly excited by the appreciation it now receives. I have hundreds of pieces in my own personal collection, with many pieces hanging on the walls of my home in London, but I am always happy to loan these to public and museum shows.  
I love how this art touches us all on a deeper level. It creates an opening to something mysterious and sacred, that is the beauty of outsider art.

A new work by Margot