Rory Richardson
Some works enter a collection after years of searching. Others arrive through an unexpected conversation.
My introduction to the work of Adelaide artist Rory Richardson began with the opportunity to acquire one of his paintings. What I expected to be a straightforward purchase soon became something far more meaningful.
When I met Rory's daughter, Phoebe Richardson, we found ourselves talking not only about the painting, but also about Rory, his life as an artist and the works that remained in the family's care. I shared the vision behind Ateliers Gabrielle: restoring historic French houses and furnishing them with objects that have both beauty and provenance. Every artwork, piece of furniture and decorative object is chosen not only for how it looks, but also for the story it carries.
As our conversation continued, Phoebe and her family made an extraordinarily generous decision. They entrusted Ateliers Gabrielle with three additional paintings by Rory Richardson. I accepted them with gratitude and with the understanding that they would become part of a collection where they would continue to be enjoyed and cared for.
Today these four paintings form part of the Ateliers Gabrielle Collection. They have travelled from Adelaide, South Australia, to Maison Lévriers in Valenciennes, France, where they now welcome guests from around the world.
Their journey reminds me that collections are rarely built through purchases alone. They are built through people, conversations and trust.
The Artist
Rory Richardson was an Adelaide artist whose practice included painting, sculpture, ceramics and community arts.
He studied Visual Art at the North Adelaide School of Art before undertaking ceramics and later painting studies at the Adelaide Central School of Art. In 1987 he joined Central Studios, where he continued to develop his practice.
Over more than three decades Rory exhibited extensively throughout South Australia and interstate. His solo exhibitions included Artzone Gallery, Adelaide Central Gallery, Studio Gallery and BMG Art, while his work also featured in numerous group exhibitions and sculpture prizes.
Beyond the gallery, Rory worked as an artist-in-residence in South Australian schools, collaborated with the Cystic Fibrosis Foundation of South Australia and contributed to community arts and art therapy programs.
His work is represented in private, corporate and institutional collections including Adelaide Convention Centre, Customs House Adelaide, TAFE Adelaide, Riddoch Art Gallery and collections in Australia and the United States.
The four paintings now held by the Ateliers Gabrielle Collection reflect the later years of his career and demonstrate his confident use of colour, graphic imagery and humour.
Why Rory's Work Belongs at Maison Lévriers
Maison Lévriers is a nineteenth-century French townhouse. It would have been easy to furnish it exclusively with French antiques and period pieces.
Instead, I wanted the interiors to respect the history of the building while reflecting the present.
Rory's paintings introduce colour, humour and contemporary energy into rooms filled with marble fireplaces, encaustic tiles and traditional architecture. For me, they don't compete with the building; they simply become part of its next chapter.
Catalogue
Coloured Woman Waiting (2021)
Acrylic on canvas
153 × 153 cm
Location: Maison Lévriers — Olivier
The first painting to join the Ateliers Gabrielle Collection, Coloured Woman Waiting immediately caught my attention through its scale, colour and confidence. It now hangs in Olivier, where it provides a striking focal point within the apartment.
Sweet Dreams, Whitey (2021)
Acrylic on canvas
71 × 91 cm
Location: Maison Lévriers — Olivier Landing
Positioned on the landing outside Olivier, Sweet Dreams, Whitey is the first Rory Richardson painting to greet guests.
It introduces the collection with colour and humour, giving visitors an immediate sense that Maison Lévriers is not simply a restored historic house, but a place where heritage and contemporary art sit comfortably together.
Hopeless (2022)
Acrylic on canvas
153 × 153 cm
Location: Maison Lévriers — Olivier
Attached to the back of Hopeless is its original entry form for the Sir John Sulman Prize 2022, administered by the Art Gallery of New South Wales.
Rory prepared the painting for the prize and sent it to Sydney for consideration. Although it was not selected for exhibition, it returned to Adelaide with its entry paperwork still attached to the wrapping.
I chose to leave those documents with the painting. They form part of its history and are a reminder that every artwork has a journey long before it reaches a collection.
Today Hopeless has found a permanent home at Maison Lévriers, where it can be enjoyed by guests from around the world.
Brad is a Coloured Man (2021)
Acrylic on canvas
153 × 137 cm
Location: Maison Lévriers — Marguerite
Displayed in Marguerite, Brad is a Coloured Man brings colour and personality to the apartment. Its placement reflects my belief that contemporary Australian art can sit naturally within a restored French townhouse, creating an unexpected conversation between architecture, history and modern culture.
The Ateliers Gabrielle Collection
The Ateliers Gabrielle Collection is built around a simple idea.
Every object should have a story.
Whether it is a painting, a piece of furniture or an everyday object, I am interested in where it came from, who made it and how it found its way into the collection. Those stories become part of the experience of staying at Maison Lévriers.
Collection Record
Artist
Rory Richardson
Collection
The Ateliers Gabrielle Collection
Acquired
Directly from the Richardson family
Adelaide, South Australia — 2026
ArtworkYearCurrent LocationColoured Woman Waiting2021Maison Lévriers — OlivierSweet Dreams, Whitey2021Maison Lévriers — Olivier LandingHopeless2022Maison Lévriers — OlivierBrad is a Coloured Man2021Maison Lévriers — Marguerite
Acknowledgements
My sincere thanks to Phoebe Richardson and the Richardson family for entrusting these paintings to the Ateliers Gabrielle Collection.
I hope to one day welcome the Richardson family to Maison Lévriers, where they can see Rory's paintings in their new home and share the experience with future guests.
For me, it is a privilege to care for these works and to ensure that Rory's art continues to be seen and appreciated.