b'and would often buy a painting for himself and one forthe office from a show. Jamieson learned early on it wasbest to hang paintings on a Saturday when there was noone around to judge them too quickly or to makespecial requests.Over the years, many people asked Jamieson about artworks for personal acquisition. In this way his influence extended beyond the walls of the office. The collection reflects Jamiesons personal tastes and views. He was keen to support young artists and the new ideas they brought to the art world. He continued to buy their worksat least until they became too expensive. Jamiesons keen eye saw him acquire a collection which today reflects the careers of some of Australias most significant artists. Female artists were always strongly represented. The collection was never intended as an investment, yet it became a valuable asset that helped keep the firm afloat through its darkest days. When Jamieson retired, partner Michael Ball carried forward his legacy, acquiring artworks and overseeing the collection until 2010 when he was sworn in as a judge of the Supreme Court of New South Wales. Responsibility for the artpassed to David Maloney and then Ross Drinnan.At once uplifting, challenging and inspiring, the art collection continues to fulfil Jamiesons vision. The works are rotated regularly among the offices and have a profoundly unifying effect. Many within the firm find a new enthusiasm for art and spirited discussions are common.Constantine Nicholas painted Hunter & Collector 2006 to honour Hugh Jamiesons patronage, his support for artists and contribution to Australian art. The left side of the artwork contains the name of every artist represented in the firms art collection at the time.162'