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  • Image: Untitled: pompoms 2, 2011, Phyllida Barlow (b. 1944), fabric, paper, dimensions variable, photo: Alex Delfanne; courtesy Hauser & Wirth; © the artist
     
    “I’ve never bought into the idea of looking at sculpture from just one viewpoint. What makes sculptures different from paintings is that they can be walked around and looked at from 360 different viewpoints, where each one slightly contradicts the next”
    Phyllida Barlow


    Masterpiece Presents provides a platform for innovative, immersive works of art at the entrance to the Fair. This year we are proud to showcase a sculptural installation by Phyllida Barlow, in conjunction with Hauser & Wirth, referencing the supersized ‘pom-pom’ works she first developed in the 1990s.

    One of Britain’s leading contemporary female artists, Phyllida Barlow is well-known for using found materials like plaster, cardboard and cement, which turn the conventions of traditional sculpture on their head.

    Barlow represented Britain at the 2017 Venice Biennale and currently has an acclaimed solo exhibition at the Royal Academy of Arts until 23 June 2019.

  • Image: Lamentation, Naples, c. 1520, Circle of Bartolomé Ordóñez (c.1485-1520), Alabaster, 33 x 23 cm. Courtesy of Lullo • Pampoulides.

     

    Eve Straussman-Pflanzer is Head of European Art Department and Elizabeth and Allan Shelden Curator of European Paintings at the Detroit Institute of Arts. Her recent projects include ‘The Medici’s Painter: Carlo Dolci and 17th-Century Florence’, which she curated at the Davis Museum at Wellesley College, MA, and the Nasher Museum of Art at Duke University, Durham, NC, in 2017–18.

     

    Andreas Pampoulides is an expert on sculpture and works of art, and (with Andrea Lullo) co-founder of Lullo • Pampoulides, a specialist dealership based in Mayfair that focuses on master paintings and sculpture.

     

     

    How did you come to specialise in this field?

     

    Eve Straussman-Pflanzer: I realised I wanted to go into art history, as a career, at the end of my time at Smith College. I’d taken two survey classes, on the Italian baroque and the Spanish baroque, and remember being so excited about 17th-century painting – it felt so visceral, and I hadn’t experienced that before. I applied to grad school at the Institute of Fine Arts at NYU because I knew they had a strong relationship with the Metropolitan Museum of Art, and that it was likely that I would be able to find a position at some point doing research in the European Paintings Department – which was indeed the case. That on-site training at the Met really set me up to take a curatorial job, which I did at the Art Institute of Chicago after finishing my PhD.

     

    Andreas Pampoulides: Looking back at it now, it was quite a logical progression, but at the time, it seemed a completely bizarre decision. I did an MPhil in early European art history, and debated doing a PhD in Byzantine history, but I also needed to earn a living. I got offered an amazing job at Christie’s – I went in as a junior specialist, with no real experience of the art world, and ended up staying there for almost 14 years. I always loved the objects, but I really wanted to be writing about them rather than selling them. When I went to work for Coll & Cortés, which then became Colnaghi, I saw the other side, the dealing side, and realised that as a dealer you have exposure to objects that you wouldn’t necessarily have in the auction houses – you get to work in a much more methodical way. It was at that point that I thought, wow, this is really special.

     

     

    How dynamic is this field currently, in terms of academic research and curatorial activity?

     

    Eve Straussman-Pflanzer: There are various generations working in Old Masters. There’s what we might call the ‘old guard’, who are really engaged with the traditional understanding of excellence in terms of connoisseurship, which I definitely inherited in my training. But I think that my generation is also really engaged with scholarship in terms of new perspectives on the material: the political situation in which some of this work was made, with issues of race and gender coming to the fore in books and exhibitions – and even on the market, with prices going up for women artists.

     

    Andreas Pampoulides: Those changes are very relevant, and very important. In a way, we all work in sync with each other. Yes, there’s a drive in international museums towards exhibiting female artists, towards creating exhibitions or writing labels that will engage ethnic minorities, and we have to react and feed the market with appropriate material. It’s important that the trade researches artworks which correspond to curatorial priorities.

     

    Eve Straussman-Pflanzer: Absolutely. I’m very transparent about the projects I’m working on and the types of work that I’m looking to acquire for the institution. Sharing that information is a way of helping to shape what people are looking for, in terms of works that might come to the market. As theoretical as some of these approaches to race and gender can be, I think what really changes the scholarship in a meaningful way are new discoveries of art that really can stake a claim at a historical moment. Working in tandem on this is the most fruitful and positive way to work.

     

     

    How can you engage a wide audience with art whose subject matter – whether religious, historical, or mythological – may seem increasingly arcane?

     

    Eve Straussman-Pflanzer: You can explain anything in simple, concrete terms. I don’t think you need to shy away from the religious or mythological subject matter – but of course, with all of these objects, there’s also always a human story. If we know about the provenance of a picture, which we hope to in museums, then explaining why someone would have wanted it, in concrete terms, should make it accessible to anyone. There’s always a way to connect with that desire.

     

    Of course, there are other ways to connect. People are still religious today; or they care deeply about relationships, or self-presentation – portraiture has certainly become an easy access point for people immersed in digital media, with an obsession with selfies and capturing the self. It’s really just about being true and sensitive to the historical context in which an artwork was made, and sharing and revealing its history over time; and about being really open and flexible, looking to your audience and seeing what they’re connecting with. I actually don’t think it’s that hard, and in fact it makes the field more dynamic, because every interaction with a different group of people brings out a new perspective and a new way of looking at the work, which is very exciting.

     

    Andreas Pampoulides: We always have to be thinking on our feet. I think the nature of the object itself has to speak – the quality, the condition – and sometimes that’s enough to engage people. But more importantly, we always have to find some sort of narrative that people can connect to. That links into my philosophy for the gallery, which is that we try to make the language we use as unpretentious as possible, because we want people to feel that they can engage with this stuff.

     

    Last year, I sold a high-value, historically important  English 18th-century portrait bust to someone who’s the doppelgänger of that portrait. There was an immediate connection there, and that was my angle. If people don’t know about the historical context, you can always connect over basic things – love, hate, death, feasting, the beauty of nature. It sounds very ‘lowest common denominator’ but, in a way, we have to work out what people like and what they’re interested in. Of course, we need to understand all the attributes of every artwork that we handle, but we publish them based on what we think people are going to engage with.

     

     

    And how do you emphasise the materiality of Old Master works – that they’re not simply images – and draw attention to their state of conservation?

     

    Eve Straussman-Pflanzer: We’re currently piloting a public conservation project at the Detroit Institute of Arts: one of our conservation fellows is working on a Jan Hals portrait in the galleries, conserving it and doing the inpainting, with 10-minute talks on the hour. The public can watch and are free to ask questions. Another project that I’m working on, in collaboration with the conservation department, is a focus show on The Wedding Dance by Bruegel the Elder – an icon of the DIA’s collection. We’re coming at it from a conservation perspective and, using digital media, we’re going to reveal to the public the ways in which the colours have faded over time to illuminate how what you see at now is not exactly what you would have seen when the artist finished the painting in 1566. Those are two very concrete ways of opening up the mysteries of conservation practice and informing the public about how the surfaces of artworks change – and hopefully getting another generation to think about the possibility of going into this field, too.

     

    Andreas Pampoulides: We also focus on condition: the last catalogue we published, on a painting by Domenico Fetti, included a whole chapter about what we found through X-rays, infrared imaging and so on. It’s been amazing to see people’s reaction to the fact that there was another painting beneath the surface. With the naked eye, you could see some underpainting, but until you saw the X-ray, it was hard to understand that the funny shadow was actually a face showing through drapery.

     

    The beauty of sculpture is that you can engage with it in so many different ways… picking it up, turning it upside down, understanding the way it was made. It occupies a space in a room, so you can do something very different to what you would normally do with a painting.

     

    Eve Straussman-Pflanzer: Tactility is important. We have a very popular sculpture of a donkey [by Renée Sintenis] that stands close to one of our entrances, which we allow the public to touch. Of course, when we’re thinking about diversity, that includes people who are blind or have low vision: there are ongoing discussions at the museum about how to make objects accessible in ways that engage senses other than sight, and a lot of museums now have touch collections. Without question, the ability to engage with an object with your hands is a wholly different experience from just looking at or hearing about it.

     

     

    Could Old Master paintings and sculptures be more intelligently brought together in displays, whether public or private?

     

    Eve Straussman-Pflanzer: Bringing together objects in different media is a guiding principle at the DIA – and has been since Wilhelm Valentiner was the director [from 1924–45]. Painting, sculpture and the decorative arts are seen in collaboration, in exchange with each other, and in my opinion that’s definitely the way forward. A lot of the large civic museums in the United States have divisions between departments, which creates unnecessary and artificial boundaries in collections. If we can help an object speak, we need to be open and flexible about where we place it. That’s really my philosophy.

     

    Andreas Pampoulides: After I started the gallery with Andrea Lullo, whose background is in painting, we became a lot more sensitive towards each other’s expertise – buying things that spoke to each other across categories. I think that chimes with the way that people collect today: no-one buys only Old Master paintings anymore, or only Old Master sculpture. We want to show people that you can live with these things, but also react to the way that people are now collecting. It’s such a great joy to be able to show, say, a portrait from the 17th century with one from the 20th century, and then a sculpture made by a related artist who was influenced by an earlier painter. The trick is spotting what might work together.

     

     

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

     

    Eve Straussman-Pflanzer: There may not be an overwhelming amount of material, but every year, whether at auction houses or art fairs, I see museum-quality pieces. As a curator, I have desiderata for the collection based on my study of it, and what I think would be the best things to strengthen it. Making acquisitions is a balance between adhering to that list and studying what becomes available. Of course, with limited funds, it can be a challenge to decide what to privilege over something else.

     

    Andreas Pampoulides: With pretty much any important artwork that we buy or are contemplating, we’re thinking, could this be hanging on the walls of a museum, could this be in this place or that place. That’s fundamental to us: curators have the sensitivity, the intelligence and also the interest to build collections. What I’ve found, especially in America, is that they’re usually very open and friendly too, and make it easy for dealers to have a relationship with them.

     

     

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

     

    Eve Straussman-Pflanzer: In terms of acquisitions, I think as curators we need to be open about what we’re looking for. When it comes to working with dealers, when they need advice or help ­– attribution is a tricky area – I think you have to judge it case by case. Of course, the fact that dealers are running businesses means you have to approach these situations gingerly, but I definitely don’t think it should be a one-way relationship.

     

    Andreas Pampoulides: As a gallery – and I know this is true for a lot of other dealers, especially of the younger generation – we’re often open to the idea of selling something to a museum at a discount. It’s a privilege to have something that we’ve handled hanging in a museum – and it’s true, that can also help us to forge connections with the museum’s patrons and trustees. There’s no reason why we can’t all benefit from the discoveries that we make.

  • American Tan VII, 2006-07, by Gary Hume. Patinated bronze with gloss paint, Ed of 2 + 1 AP. Copyright: The Artist; Courtesy: New Art Centre, Roche Court Sculpture Park, Wiltshire, UK

     

    Sculpture has always been celebrated at Masterpiece and our first Sculpture Series, drawn from our exhibitors and curated by Jo Baring, Director of the Ingram Collection of Modern British & Contemporary Art, will showcase dynamic modern and contemporary works by celebrated artists.

     

    Visitors can discover these pieces throughout the Fair and hear from the artist Gary Hume in conversation with Jo Baring in our Lecture Theatre on Monday 1 July, 7pm.

     

    Click here to reserve your place at this talk.

  • 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.

     

    Cross-Collecting

    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.

     

    Jewellery

    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.

     

    Talks

    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.