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  • Image: Map of Days (Red), 2013 by Grayson Perry. Etching printed in colour, signed and numbered verso from the edition of 20, 111.5 x 151.5 cm. Courtesy of Lyndsey Ingram.


    Masterpiece Conversations bring together leading young art dealers and curators to share their expertise. The first in this new series gives insights into collecting post-war prints with Lyndsey Ingram and Catherine Daunt.


    Lyndsey Ingram is the founder of the eponymous gallery in Mayfair, London, which launched in 2016, specialising in modern and contemporary British and American prints.


    Catherine Daunt is Hamish Parker Curator of Modern and Contemporary Graphic Art at the British Museum, London, where she was the project curator for ‘The American Dream: pop to the present’ in 2017.


    How did you come to specialise in this field?


    Lyndsey Ingram: When I applied for an internship in the books department at Sotheby’s London in 1999, they said, ‘We don’t take interns, but we’ve sent your CV to the HR team.’ HR asked me if I’d be happy to join the print department, and I said I’d love to – and from that moment I was hooked, basically. I was an intern for two summers there, then the department hired me when I graduated, and I later went on to work for a print gallery.


    Catherine Daunt: I came into prints and drawings having previously worked in curatorial positions across media and periods at the National Portrait Gallery and Nottingham Castle. I gradually became more interested in works on paper, took some time out to do a PhD, then applied for a paid internship at the British Museum. That felt like a bit of a step backwards, because I’d already worked as an assistant curator – but I wanted to build up my knowledge of prints and drawings. In those six months I learnt so much from my colleagues in the department, and became completely convinced that I wanted to specialise. Seeing the range of the techniques, aesthetics and styles in the 20th-century and contemporary print holdings at the British Museum opened my mind to how diverse printmaking is. Since then, I’ve just learnt on the job, really.


    Lyndsey Ingram: Some people have a sensitivity to paper; they just love it. And what’s almost always true with prints is that the images are very strong – they’re considered, they’re complete – because artists are aware that they’re making more than one of them.


    The print world is sometimes pigeonholed as a field that only really interests connoisseurs. Do you recognise that characterisation?


    Catherine Daunt: Different kinds of people are interested in prints – some who are obsessed with technique, others who find the details fascinating. But I do think that many people are a bit intimidated by the idea of looking at prints, because they feel like they don’t understand how they’re made. That can be quite a challenge for curators…


    Lyndsey Ingram: Very knowledgeable colleagues in their fields – painting, sculpture or whatever – will sometimes come to screen-printing demonstrations at the gallery and say, ‘My God, I had no idea that that’s how they’re made.’ Prints require more than a pencil or a paintbrush – more than the most basic implements for making art – and the techniques can seem confusing or intimidating. And now that we live in a world with so much digital reproduction, they can seem even more confusing, because many people think that there’s some form of reproduction involved in printmaking, which just isn’t the case with most types of print.


    Catherine Daunt: Outside the art world, a print can just mean…


    Lyndsey Ingram: A poster. That’s the worst.


    Catherine Daunt: Explaining technique is a real challenge for curators working with prints. We want people to understand how prints were made, so they’ll appreciate how much creativity and skill is involved. But that can be very dry: you can have a panel explaining all the different techniques, but they’re still difficult to visualise. What really helps is using video footage in exhibitions, and the fact that there are now so many videos online that show how prints are made. In ‘The American Dream: pop to the present’ we included a video of Andy Warhol screen printing.


    Is it difficult to convince the public that, as multiples, prints are not somehow secondary to paintings?


    Lyndsey Ingram: People accept photographs, and people accept sculpture, which is often cast in editions. And more and more artists are working in edition – it’s usually to their commercial advantage. I think that some people just stumble over the word ‘print’.


    Catherine Daunt: I think it can be… I often get asked, about a print, ‘Is this an original?’ and what people mean by that is, ‘Is it unique?’ I think the problem is partly to do with the terminology, using words like ‘state’, which most people aren’t familiar with. Again, a video can help with that, or showing actual plates and other objects relating to the process of printmaking.


    What challenges do post-war prints pose for display and conservation?


    Lyndsey Ingram: For me, it’s important that we frame everything to the highest standard currently available in the market. So everything is framed with acid-free mount board and UV-filtering Plexiglas. I’d be doing my clients a huge disservice if I sent anything out of the gallery that wasn’t in the best product possible. And we believe in that product, we believe that it protects things from acid or fading – but you regularly open prints that were framed 20 or 30 years ago and were sent in the world with the same understanding, and which are now faded or mount-stained. I know we do the best we can.


    Catherine Daunt: From our point of view at the museum, exposure is the main challenge. We do want to display the prints and we do want to lend them, but we know that they will fade over time with too much exposure. That’s particularly true of works where unusual, perhaps unpredictable, materials have been used, which often applies to post-war prints: we have a set of screen prints by Ed Ruscha, for example, which are printed with organic materials like bits of food – baked beans and chocolate sauce – and we have to monitor those very carefully, because even if they seem fairly stable, we don’t really know what’s going to happen. The other major problem that we have is storage. Ideally, everything would be framed, but we don’t have the capacity to do that, so we have to make sure that things are looked after the best way they can be.


    How dynamic is this field at the moment?


    Lyndsey Ingram: It’s definitely a dynamic place in terms of where prints sit in the marketplace. When I started 20 years ago, it was a very closed world, and prints by major artists were often cordoned off from their other work. But how could you look at a Warhol Marilyn canvas without comparing it to his Marilyn screen prints? About a decade ago, things changed: important prints started showing up in contemporary evening sales, and then all of a sudden, big galleries are showing prints in very high-profile ways, like at major art fairs. It’s great that prints are now being seen in the context of other work by the same artist. It definitely means the way that we work has to change, but I don’t think that’s a bad thing.


    Catherine Daunt: I agree. It’s definitely a good thing to see more prints at art fairs and in sales, but I do think that there’s still a resistance among some public institutions and curators to include prints in retrospective exhibitions. With artists for whom printmaking has been a major part of their work, exhibitions will often only display a very small number of prints, and usually in an illustrative way that prioritises other media. For those artists, printmaking wasn’t just something they did to reproduce images or to sell works to people who couldn’t afford their paintings, it was a really important part of their activity. It’s also important they were collaborating with other people, spending time in print workshops. Collaboration and the input of master printers are areas of printmaking that aren’t really discussed enough by academics and curators.


    Lyndsey Ingram: A good printer helps an artist realise something that they didn’t know they could realise. It’s a process of artists being taught more about how they can express their ideas. With painting, that process often ends when an artist leaves art school. But if you watch what happens between a very established artist and a printer they’ve never worked with before… it’s real magic.


    Catherine Daunt: I’ve recently been researching some Howard Hodgkin prints. Whenever he began to work with a different printer, his printmaking really developed: when he started working with Maurice Payne, for example, he was introduced to sugar lift aquatint, and he started using hand-colouring and soft-ground etching. Collaborating with a master printer enabled him to make work that he wouldn’t otherwise have been able to make.


    How difficult is it for museums to make acquisitions in this field?


    Catherine Daunt: With certain contemporary prints it can be. With American prints, the prices are rising and we’re obviously constrained by budgets, so we rely increasingly on private philanthropy through patrons, and also on gifts and bequests.


    Lyndsey Ingram: It’s really important that museums have major collections of post-war prints. I can’t speak for everyone, but I feel a responsibility as a member of the trade to help museums acquire as much as they can as affordably as possible. We always encourage our artists to give things to the British Museum. If you’re making an edition, make one more and call it the BM proof. It costs so little, and in time, it means so much.


    Has the collector base changed in the past decade?


    Lyndsey Ingram: For sure. Everything is more expensive than it used to be, particularly for prints made by blue-chip artists. Owning a nice Hockney print is a much more substantial commitment now than it would have been 10 or 15 years ago. Higher up the scale, more people are coming to the better prints by more established artists because they can’t afford a painting. If you want a major and meaningful work by Lichtenstein, who was an amazing printmaker, you can buy an important print for $100,000 or $200,000. The paintings now cost more than almost anyone can afford.


    Could museums and the art trade collaborate more effectively in this field?


    Catherine Daunt: One of the most important things is to ensure that our collections are accessible: at the British Museum, we’ve had to reduce the opening hours of our study room, but it’s still open from Tuesday to Friday. At some institutions, you need to make appointments to see graphic works in storage six weeks, even two months in advance. If you’re a dealer or just someone interested in doing some research on a print, you often have to react more quickly than that. It’s vitally important that people can come and use our collection and study it.


    Lyndsey Ingram: I appreciate that there are boundaries: it becomes problematic when museums get a reputation for putting on shows that, say, benefit the collections of the board of trustees. That said, I think there are a lot of things that could change with a bit of imagination, to the mutual benefit of commercial and public galleries. Perhaps this is more true of prints than other fields – but we just like what we do, we’ve chosen to do it, and we all know each other.


    Catherine Daunt: That’s what I mean. We don’t need to make sure our collections are accessible to dealers for the sake of their sales; dealers are doing research in the same areas that we are, and they might want to come and compare different impressions or different states of a print. We can all help each other to learn more about the work that we’re looking at.

  • 「巨匠臻藏」擴展亞洲 |2019年10月4-7日在典亞藝博設立「巨匠臻藏展館 」 (The Masterpiece Pavilion)

    • Masterpiece London and Fine Art Asia have agreed to a long-term partnership through which Masterpiece will launch The Masterpiece Pavilion at Fine Art Asia as part of this year’s edition
    • The Masterpiece Pavilion marks the first stage of Masterpiece’s international expansion, which is being supported by MCH Group
    • The partnership will also see Fine Art Asia’s presence at Masterpiece London in June 2019

    Held within Asia’s leading fine art fair, The Masterpiece Pavilion (4-7 October 2019) will bring Masterpiece’s established vision of cross-collecting to an Asian audience, complementing Fine Art Asia, and strengthening Hong Kong’s offering as an international art centre through its unique contribution.

    The Masterpiece Pavilion will showcase exhibitors from Masterpiece’s existing roster of art and design specialists, as well as a select number of new additions. The work presented will span eras and disciplines.

    Fine Art Asia and Masterpiece London have a history of collaboration. In June 2013, Masterpiece London hosted ‘Hong Kong Pavilion - Asian Treasures’, a selling exhibition presented by Fine Art Asia. In October of the same year, in turn, Fine Art Asia hosted ‘European Treasures’, presented by Masterpiece London.

    Lucie Kitchener, Managing Director of Masterpiece said:
    “Masterpiece has established itself as a leading international art fair. Since its first edition in 2010, its outlook has become increasingly international, not only through the exhibitors and artworks it presents, but through the collectors, museum figures and patrons it attracts. We are excited about our partnership with Fine Art Asia, and what it will enable both Masterpiece and Fine Art Asia to achieve. With Fine Art Asia’s support, we believe Masterpiece will be a great success in Hong Kong and are delighted about this opportunity to bring Masterpiece and our exhibitors to new audiences.”

    Andy Hei, Founder & Director of Fine Art Asia, said:
    “We are delighted to enter into a new partnership with Masterpiece. Hong Kong is an international city with a truly free trade port. The art market in Hong Kong continues to develop apace, with support from the government and creative initiatives by the industry. Therefore, a collaboration between two leading international fine art fairs such as Masterpiece in London and Fine Art Asia in Hong Kong, is entirely appropriate for Hong Kong now and we are confident it will be mutually beneficial.”

    Hans-Kristian Hoejsgaard, CEO of MCH Group, said:
    “We are delighted to be supporting Masterpiece in bringing its cross-collecting ethos to new locations internationally, beginning this October with its first event in Hong Kong. This is an exciting first step in Masterpiece’s international expansion, which is one of MCH Group’s key strategic initiatives.”

  • Image: Geoffrey Diner and Safani Gallery shared stand at Masterpiece 2017



    Masterpiece London has established itself as the world's leading cross-collecting fair, offering the finest works of art, design, furniture and jewellery, from antiquity to the present day. This unmissable event at the height of the capital's summer season provides an unparalleled opportunity for new and established collectors to discover exceptional works for sale from 160 international exhibitors. This year’s edition showcases rare and important Impressionist and Modernist paintings; compelling presentations celebrating British art and design; exquisite jewellery; art and objects from antiquity as well as contemporary work by artists including Marina Abramović, Ibrahim El Salahi, Chiharu Shiota and Rob & Nick Carter. The Royal Bank of Canada returns as the Fair’s principal sponsor for the fifth successive year.


    Masterpiece Presents

    MASTERPIECE PRESENTS, in collaboration with FactumArte and Lisson Gallery, will showcase new works by Marina Abramović, Five Stages of Maya Dance, in an immersive, specially conceived area. This unseen body of work comprises five alabaster portraits of Marina Abramović which merge performance, light and sculpture. Their hauntingly physical presence decomposes into intricately carved landscapes of alabaster as you move around the pieces.


    New Additions

    Longstanding Masterpiece exhibitors including Richard Green, Adrian Sassoon, Wartski, Robilant + Voena, Verdura/Herz-Belperron and Dickinson are joined by carefully selected new additions for 2018 including: ArtAncient, Ben Brown Fine Arts, Cahn, CINDY CHAO The Art Jewel, Day and Faber, DIE GALERIE, Galerie Yann Ferrandin, Flowers Gallery, James Graham-Stewart, Hammer Galleries, Hauser & Wirth, Galerie Henze & Ketterer, Hill-Stone, Hunter / Harrison, Kallos Gallery, Landau Fine Art, Lullo • Pampoulides, Maruani Mercier, Moussaieff Jewellers, Sarah Myerscough Gallery, Jill Newhouse Gallery, Partners & Mucciaccia, R & Company, Fabio Salini and Vigo.



    Masterpiece’s cross-collecting ethos can be seen throughout the Fair, where exhibitors specialising in a wide variety of disciplines and eras are brought together, offering the broadest spectrum of works of any art fair, with classical and contemporary shown side-by-side. Visitors will encounter presentations which carefully combine furniture, sculpture and works of art from all periods, unified by quality. Examples of this ethos can be seen at Benjamin Proust, Perrin Fine Art, Robilant + Voena, and Safani Gallery & Geoffrey Diner.


    Reflecting this breadth, new exhibitor ArtAncient’s presentation will feature a rare ‘shooting star’ meteorite, formed 4.6 billion years ago, whilst specially commissioned contemporary artwork will be presented at Blain|Southern with an installation by Japanese artist Chiharu Shiota.


    Les Enluminures and Daniel Crouch will stage a carefully curated presentation entitled ‘A Brief History of Time: From Matins to Mars’. The booth will display celestial maps, instruments, illuminated manuscripts and medieval and Renaissance jewellery, inviting viewers to contemplate the perception of time across history. Hauser & Wirth’s ‘Wunderkammer’, or cabinet of curiosities, will also combine disciplines with contemporary and modern works by Louise Bourgeois, Phyllida Barlow, Subodh Gupta and Philip Guston, presented alongside 18th and 19th century furniture.


    Impressionist and Modernist Presence at the Fair

    This year, highly important Impressionist and Modern works will be exhibited at the Fair by a number of exhibitors. Landau Fine Art’s presentation will include a Picasso oil painting which hung for decades behind the desk of his only dealer, Paul Rosenberg. Gladwell & Patterson will be bringing a preeminent example of a late waterlilies painting by Monet and, celebrating its 90th anniversary this year, Hammer Galleries will be bringing an early work by Joan Miró along with Marc Chagall’s Peintre au coq rouge.


    DIE GALERIE are collaborating with M. F. Toninelli Art Moderne to present a focussed booth with work by three key Surrealists: Max Ernst, André Masson and Roberto Matta, including a monumental bronze statue by Max Ernst, whose work will also be shown at Ludorff’s stand. German Expressionist works by Ernst Ludwig Kirchner, Karl Schmidt-Rottluff and August Macke, will be displayed by Galerie Henze & Ketterer.


    The Best of British

    Masterpiece is an important destination for collectors of British art and design and many of this year’s exhibitors are celebrating the work of British artists as well as those who have lived and worked in the UK. This focus is encapsulated by Richard Green whose presentation ‘Best of British from our Shores and Beyond’ includes pieces by J.M.W.Turner, L.S. Lowry and John Constable.


    Modern and Post-War British artists, including Eileen Agar, Duncan Grant, Barbara Hepworth, Bridget Riley and Graham Sutherland, will be presented by The Redfern Gallery, Osborne Samuel, Philip Mould, Offer Waterman, Hazlitt Holland-Hibbert and Piano Nobile.


    In celebration of the 300 year anniversary of Thomas Chippendale’s birth, Ronald Phillips and Apter-Fredericks will be presenting important pieces by the British cabinetmaker. British furniture will also be championed by Oscar Graf, whose stand will explore the theme of ‘Victorians & Edwardians’, displaying beautiful pieces in a variety of styles from 1860-1910. Jewellery exhibitor Didier Ltd. will include a focus on British designers on their booth with pieces by Wendy Ramshaw and her husband David Watkins.


    Design, Furniture and Decorative Arts

    With a booth inspired by the Surrealist poet and patron Edward James, David Gill Gallery will be bringing together contemporary works from their roster of artists and designers including Zaha Hadid, Michele Oka Doner and Mattia Bonetti. Modern and contemporary design will also be presented by 18 Davies Street Gallery, Rose Uniacke and Modernity Stockholm. New exhibitor Sarah Myerscough Gallery will showcase unique handcrafted contemporary pieces of design by John Makepeace amongst others, and Sinai & Sons Ltd. will focus on the work of Italian painter, sculptor, interior decorator and engraver Piero Fornasetti. Hitomi Hosono’s exquisite collaboration with Wedgwood will be revealed at Adrian Sassoon, and Katie Jones will present a selection of contemporary Japanese applied arts.



    Extraordinary contemporary jewellery will be shown by leading designers including Fabio Salini whose new collection made with carbon fibre will be revealed for the first time at the Fair. Taiwanese fine jewellery brand CINDY CHAO The Art Jewel will be presenting designs from their Black Label and White Label collections and coloured diamond specialist Moussaieff also join the fair this year. Rare antique jewellery by masters such as Cartier, Boucheron and Fabergé will be offered at SJ Phillips, Hancocks, Véronique Bamps and Epoque Fine Jewels. Van Cleef & Arpels, Verdura/Herz-Belperron and Grima will present both their heritage collections and unique contemporary pieces.


    Sculpture at the Fair

    Masterpiece’s exhibitors include leading sculpture specialists Lullo • Pampoulides, Pangolin London, Univers du Bronze, and Galerie Sismann who will display European Old Master sculpture alongside contemporary sculpture by Johan Creten. Other highlights in this field include Alexander Calder’s unique Red Bull which will be at the centre of Collisart’s stand alongside American Modernist works by Marsden Hartley, Edward Hopper, and Arshile Gorky.


    Landau Fine Art are bringing a rare black marble Reclining Figure: Curved by Henry Moore, dating from 1977, which is one of the artist’s seminal and unique carvings and will be displayed close to their stand. Other prominent pieces and installations throughout the Fair’s main areas include a large sculptural light installation created by Jeff Zimmerman being offered by R & Company and Larry Bell’s monumental VFZ 2, a unique work formed from True Sea Salt and Cerise laminated glass presented by Hauser & Wirth. Blain|Southern will bring State of Being by Chiharu Shiota and two new works, the monumental Twice by Richard Hudson and Solar Disk by Emily Young will be offered by Bowman Sculpture.



    Masterpiece London will be holding talks, workshops and tours throughout the public days of the fair as part of a Talks & Education Programme, in association with Chopard. This includes a new initiative - a Curator and Art Trade Day on Saturday 30 June co-chaired by Thomas Marks, Editor of Apollo, and Philip Hewat-Jaboor, Chairman of the Fair, which will include a call for papers from academics. This is in addition to a series of ‘How to Look at’ talks, providing visitors with the tools needed to get the most out of viewing and buying a range of disciplines of art. Throughout the Fair there will also be free to attend on-stand talks with exhibitors, where specialists will give visitors an insight into some of the highlights on display.

  • MASTERPIECE PRESENTS launched last year as a large-scale, dedicated exhibition space within Masterpiece London, transforming the Fair's entrance and providing a platform for innovative, immersive works of art.

    This year we are pleased to showcase a new body of work by Marina Abramović, Five Stages of Maya Dance. Presented by Factum Arte, in collaboration with Lisson Gallery, this set of five alabaster portraits of Marina Abramović merge performance, light and sculpture. They have a hauntingly physical presence but, as you move around the pieces, they decompose into intricately carved ‘landscapes’ of alabaster.

    These works are the result of an extended period of experimentation that the artist has been carrying out in Factum Arte's workshops in Madrid. Through the use of carved alabaster, Abramović is exploring new ways to give form to her ideas.

  • Masterpiece London, sponsored by Royal Bank of Canada, is delighted to announce the exhibitors joining the 2018 edition of the Fair, which runs from 28 June - 4 July at the Royal Hospital Chelsea.


    Masterpiece London 2018 welcomes a strong roster of new exhibitors including Hill-Stone, Hammer Galleries, Hauser & Wirth, Jill Newhouse Gallery, Kallos Gallery, Landau Fine Art, Lullo Pampoulides, Vigo Gallery, and jewellers Moussaieff and Cindy Chao, exhibiting alongside returning galleries that include Agnews, Blain|Southern, Robilant + Voena, Dickinson, Amir Mohtashemi, Galerie Chenel, Rupert Wace, Thomas Gibson Fine Art, Modernity Stockholm and Vertes.


    The thoughtful presentation of rare and individual pieces, which Masterpiece has become known for, will continue throughout the Fair with galleries including Axel Vervoordt, Rose Uniacke, Benjamin Proust, Perrin Fine Art and Alessandra de Castro pairing art and design from a range of eras in striking ways. The fair’s cross-collecting ethos will be further reflected in Safani Gallery Inc and Geoffrey Diner Gallery’s shared booth, where a mix of ancient Egyptian, Greek and Roman antiquities will be displayed alongside iconic 20th century and contemporary design. In the field of rare books, Les Enluminures will show fine examples of illuminated manuscripts and medieval and Renaissance jewellery, alongside historic rare maps brought by Daniel Crouch. An immersive booth from David Gill Gallery will recreate an interior from the home of the famed Surrealist patron, Edward James, with contemporary works of art from the gallery’s artists.


    Masterpiece’s representation of Modern British Art will be as important as ever, with Osborne Samuel Gallery, Offer Waterman, Piano Nobile, Robin Katz, Hazlitt Holland-Hibbert, Richard Green, Alan Wheatley, Crane Kalman Gallery and new exhibitor Redfern Gallery. Works from Italian Modern Masters Alberto Burri, Lucio Fontana and Alighiero Boetti will be offered by Mazzoleni, Cortesi Gallery, M&L Fine Art, Tornabuoni, and newcomer Partners & Mucciaccia.


    European Modern and Impressionist picture galleries, such as Dickinson, Landau Fine Art, Stair Sainty, Mayoral, Hammer Galleries and Vertes will be bringing exceptional works of art by Pablo Picasso, Claude Monet, Joan Miró, Camille Pissarro and Gerhard Richter. Die Galerie will bring Surrealist pieces in a booth shared with M F Toninelli Art Moderne.


    Spanning 16th century engravings to contemporary screen prints, works on paper by major artists, including Albrecht Dürer, Andy Warhol, Peter Blake and Howard Hodgkin, will be offered by Sims Reed Gallery, Lyndsey Ingram, Long-Sharp Gallery, Peter Fetterman, William Weston and new exhibitors Hill-Stone Inc and Day & Faber.


    With Thomas Chippendale’s tercentenary this year, Ronald Philips will present a booth including 20 Chippendale pieces. Fine furniture and decorative arts from the 17th century to the present day will also be offered by Apter-Fredericks, H. Blairman & Sons, Steinitz, Godson & Coles, Thomas Coulborn & Sons, Edward Hurst and new exhibitor James Graham-Stewart. Modernity Stockholm, Oscar Graf, 88 Gallery, Linley and newcomer Sarah Myerscough Gallery will present classic modern and contemporary design.


    Masterpiece’s contingent of ancient art dealers will include new exhibitors Kallos Gallery and ArtAncient who will join Axel Vervoordt, Rupert Wace Ancient Art, Antichita Valerio Turchi and Galerie Chenel in exhibiting fine works from classical antiquity.


    Masterpiece continues to be a destination for collectors of exceptional jewellery works. Unique contemporary pieces can be purchased from Cindy Chao, Van Cleef & Arpels, Boghossían and Moussaieff and a selection of antique jewellery can be found at Wartski, Simon Teakle, Verdura, Hancocks and S.J. Phillips.


    Peter Harrington will be returning with their presentation of rare and historic books; ethnographic works will be shown by Patrick & Ondine Mestdagh Gallery and Finch & Co; fine porcelain and ceramics from the 16th century to the present day will be presented by E & H Manners, John Whitehead, Adrian Sassoon, Michele Beiny Inc and W. W. Warner Antiques. British and continental silver and silver-gilt will be brought by N & I Franklin and Koopman Rare Art.


    Masterpiece London 2018 Exhibitors Include
    18 Davies Street Gallery (London)
    88 Gallery (London)
    Adrian Sassoon (London)
    Agnews (London)
    Alan Wheatley Art (London)
    Alessandra Di Castro (Rome) – Shared booth with Antichita Valerio Turchi
    Amir Mohtashemi Ltd (London)
    Anthony Woodburn (Lewes)
    Antichita Valerio Turchi (Rome) – Shared booth with Alessandra Di Castro
    Apter-Fredericks (London)
    ArtAncient Ltd (London)
    Axel Vervoordt (Belgium)
    Bailly Gallery (Geneva)
    Benjamin Proust (London)
    Berko Fine Paintings (Belgium)
    Blain | Southern (London)
    Boccara (Paris)
    Boghossian (London)
    Brun Fine Art (London)
    Butchoff (London)
    Cahn AG (Basel)
    Caiati Old Master Paintings and Sculptures (Milan)
    Carter Marsh & Co (Winchester)
    Chatila (London)
    Chiale (Racconigi, Italy)
    Christopher Kingzett (London)
    CINDY CHAO The Art Jewel (Hong Kong)
    Collisart, LLC (New York)
    Cortesi Gallery (London)
    Crane Kalman Gallery (London)
    Daniel Crouch Rare Books (London) – Shared booth with Les Enluminures
    David Gill Gallery (London)
    Day & Faber (London)
    De Jonckheere (Geneva)
    DAG (Delhi)
    Dickinson (London)
    Didier Ltd (London)
    Die Galerie (Frankfurt) – Shared booth with M F Toninelli Art Moderne
    E & H Manners (London)
    Edward Barnsley Workshop (Petersfield)
    Edward Hurst (Salisbury)
    Fabio Salini (Rome)
    Factum Arte (Madrid)
    Finch & Co (London)
    Galerie Chenel (Paris)
    Galerie Félix Marcilhac (Paris)
    Galerie Henze & Ketterer (Riehen)
    Galerie Ludorff (Dusseldorf)
    Galerie Mathivet (Paris)
    Galerie Sismann (Paris)
    Geoffrey Diner Gallery (Washington) – Shared booth with Safani Gallery Inc.
    Gladwell & Patterson (London)
    Godson & Coles (London)
    Grima (London)
    H. Blairman & Sons Ltd (London)
    Hammer Galleries (New York)
    Hancocks (London)
    Hauser & Wirth (London)
    Hazlitt Holland-Hibbert (London)
    Hélène Bailly Gallery (Paris)
    Hill-Stone, Inc. (South Dartmouth Massachusetts)
    James Graham-Stewart (London)
    Jean David Botella (Paris)
    Jill Newhouse Gallery (New York)
    John Mitchell Fine Paintings (London)
    John Whitehead (London)
    Jonathan Cooper (London)
    Kallos Gallery (London)
    Koopman Rare Art (London)
    Landau Fine Art (Montreal)
    Les Enluminures (New York) - Shared booth with Daniel Crouch Rare Books  
    Linley (London)
    Long-Sharp Gallery (Indianapolis)
    Lullo Pampoulides (London)
    Lyndsey Ingram London, Ltd. (London)
    M & L Fine Art (London)
    M F Toninelli Art Moderne (Monaco) – Shared booth with Die Galerie
    MacConnal-Mason Gallery (London)
    Mallett (London)
    Maruani Mercier (Brussels)
    Mayoral (Barcelona)
    Mazzoleni Art (London)
    Michael Goedhuis (London)
    Michele Beiny (New York)
    Modernity Stockholm AB (Stockholm)
    Moussaieff Jewellers (London)
    N & I Franklin (London)
    New Art Centre (Salisbury)
    Nukaga Gallery (London)
    Offer Waterman (London)
    Opera Gallery (London)
    Osborne Samuel Gallery (London)
    Oscar Graf (Paris)
    Pallesi Art Gallery (Monaco)
    Pangolin (London)
    Paolo Antonacci (Rome)
    Partners & Mucciaccia (London)
    Patrick & Ondine Mestdagh Gallery (Brussels)
    Patrick Bourne & Co (London)
    Perrin Fine Art Ltd (London)
    Peter Fetterman (London)
    Peter Harrington (London)
    Philip Mould and Company (London)
    Piano Nobile (London)
    Portland Gallery (London)
    Richard Green (London)
    Robert Bowman (London)
    Robert Young Antiques (London)
    Robertaebasta (Milan)
    Robilant + Voena (London)
    Robin Katz Fine Art (London)
    Rolleston (London)
    Ronald Phillips (London)
    Rose Uniacke (London)
    Rupert Wace Ancient Art (London)
    S.J. Phillips Ltd (London)
    Safani Gallery Inc. (New York) – Shared booth with Geoffrey Diner Gallery
    Samuel Vanhoegaerden Gallery (Belgium)
    Sandra Cronan Ltd (London)
    Sarah Myerscough Gallery (London)
    Scultura Italiana di Dario Mottola (Milan)
    Simon Teakle Fine Jewelry (Connecticut)
    Sims Reed Gallery (London)
    Sinai and Sons Ltd (London)
    Sladmore Contemporary (London) – Shared booth with the Sladmore Gallery
    Somlo Antiqes (London)
    Stair Sainty (London)
    Steinitz (Paris)
    Sundaram Tagore Gallery (New York)
    The Fine Art Society (London)
    The Redfern Gallery Ltd (London)
    The Sladmore Gallery (London) – Shared booth with Sladmore Contemporary
    Thomas Coulborn & Sons (Midlands)
    Thomas Gibson Fine Art Ltd (London)
    Tornabuoni Art London (London)
    Trinity House Paintings (Broadway)
    Univers du Bronze (Paris)
    Van Cleef & Arpels (London)
    Verdura (London)
    Veronique Bamps (Monaco)
    Vertes (Zurich)
    Vigo Gallery (London)
    W. Agnew & Company Ltd (London)
    W.W. Warner Antiques (Kent)
    Wartski (London)
    Whitford Fine Art (London)
    Wick Antiques Ltd (Hampshire)
    William Weston Gallery (London)


    Click here to read our 2018 Masterpiece Winter Magazine online.


    Masterpiece’s inimitable strength is its ability to transcend the traditional pigeonholing of art into chronologies and cultures. Our exhibitors’ works span all eras and disciplines, and include many of the world's most distinguished dealers and galleries.


    Thoughtful juxtaposition allows one to encounter beautiful works of art and have one's eyes opened to the unfamiliar; promoting a serendipitous experience which does not discriminate between the old and new, but encourages all artistic endeavours to be seen for their own inherent qualities.


    Alongside this, scrupulous vetting ensures that each exhibit is genuine, in good condition, correctly labelled and worthy of exhibition at Masterpiece.


    In this edition, discover how Masterpiece is building a robust market for the future by supporting the next generation of dealers, curators and vetters; gain insight into the mind of a renowned cross-collector and patron of the arts through our interview with Lord Browne of Madingley; and explore how travel, style and luxury went hand-in-hand with the Art Deco aesthetic.


    Finally, discover some of our favourite pieces offered for sale by Masterpiece exhibitors. We look forward to welcoming you to Masterpiece London 2018.

  • We are delighted to announce that yesterday (30 November 2017) MCH Group acquired a majority shareholding in Masterpiece London.


    MCH Group, headquartered in Basel, Switzerland, organizes and hosts about 90 exhibitions, including the globally leading Art Basel shows in Basel, Miami Beach and Hong Kong, alongside Design Miami, Design Miami Basel and India Art Fair.


    Masterpiece perfectly complements MCH Group’s existing portfolio of high calibre art fairs. We believe that our unique approach as the leading international cross-collecting fair will prove a great success in new territories and we are excited at the prospect of expanding Masterpiece London internationally.


    René Kamm, CEO of MCH Group, commented: "We are impressed by the unique concept of Masterpiece London and its successful development in the past few years. Masterpiece London is the perfect match for MCH Group’s 'Global Collector Events Strategy'. It unites collector groups from different sectors and holds great development potential. MCH Group is setting out to support the fair in its further development, enabling them to expand their position to new regions. It is our common objective to strengthen our position in the buoyant global collector market calling for new collector events."


    Managing Director Lucie Kitchener, with the current ten-strong team, will be responsible for the new Business Unit within MCH Group under the leadership of CEO René Kamm. She joined Masterpiece London in January 2017 having previously held senior roles in the luxury goods sector. Philip Hewat-Jaboor will continue as Chairman of the Fair. The three founders, Harry Apter, Simon Philips and Harry Van der Hoorn will continue to support the management team in the Board, together with Board Advisor, Ruth Kennedy.


    Masterpiece London’s ninth edition will take place from 28 June to 4 July 2018 at the Royal Hospital Chelsea.

  • The 2017 edition of Masterpiece London closed on Wednesday 5 July, having seen record visitor numbers and strong sales across all disciplines, including major acquisitions by international institutions and significant sales to private collectors. The Fair drew a record 44,000 visitors, including 8,500 for the preview alone. Masterpiece London was supported for the fourth consecutive year by Principal Sponsor, Royal Bank of Canada.


    The Fair’s success follows high quality gallery presentations by 153 exhibitors, showing the finest works of art from antiquity to the present day, with a unique focus on cross-collecting. Exhibitors who participated at the Fair spoke highly of their experience and success at this year’s show.


    Philip Hewat-Jaboor, Chairman of the Fair said: ‘This was a particularly outstanding year for Masterpiece London. We were delighted to present such a strong programme of returning and new exhibitors, expanding the breadth of world-class works of art on offer, as well as launching our new initiative MASTERPIECE PRESENTS with a specially commissioned piece by leading contemporary artist, Iván Navarro.


    Significant gallery presentations within curated booths, spanning all eras and styles, translated into major sales and we are pleased to report on the excellent attendance of collectors and museum figures from around the world. Masterpiece is moving from strength to strength, truly establishing itself as the leading international destination for visitors to discover and engage with art first hand, in the heart of London.’

  • See The Cape Reimagined, an exhibition by Burberry at Masterpiece London.

    Our official Preview Day partner, Burberry, will bring a selection of handmade couture capes to this summer's fair.

    Referencing the spirit of the Burberry archive, each cape is designed in their London atelier and crafted using unique constructions. Introduced on the runway, these collector’s pieces are inspired by the scale and form of Henry Moore’s sculptures, and represent the very essence of the British brand.


    Click to find out more


    This year Masterpiece London launches MASTERPIECE PRESENTS, a new large-scale dedicated exhibition space which will transform the Fair’s entrance.


    Masterpiece has always offered collectors the opportunity to view and buy masterworks from antiquity to the present day, and this year we are stretching boundaries, with our most contemporary work for sale being a brand new immersive installation by renowned Chilean artist Iván Navarro.


    Navarro is known internationally for his socio-politically charged sculptures of neon, fluorescent and incandescent light. He represented Chile at the 53rd Venice Biennale and his work is held in major public and private collections around the world.


    Navarro’s installation has been commissioned for the Fair by Paul Kasmin Gallery who will be exhibiting for the first time this year.