Tag Archives: Frieze Masters

FRIEZE MASTERS 2016

Frieze Masters, The Regent’s Park, London NW1 4HA, (the north-east corner of The Regent’s Park, near the London Zoo), 6th-9th October 2016

Prahlad Bubbar Ltd. Ladies celebrate Holi on a Pleasure Pavilion Leaf from an album made for Antoine Polier Attributed to Mihr Chand, with calligraphy by Hafiz Nur Ullah Lucknow, India, c. 1775-1780 Opaque watercolour and gold on paper Folio 45.5 x 62 cm; Painting 29 x 42.5 cm

Prahlad Bubbar Ltd.
Ladies celebrate Holi on a Pleasure Pavilion
Leaf from an album made for Antoine Polier
Attributed to Mihr Chand, with calligraphy by Hafiz Nur Ullah
Lucknow, India, c. 1775-1780
Opaque watercolour and gold on paper
Folio 45.5 x 62 cm; Painting 29 x 42.5 cm

 

The well-known architect Annabelle Selldorf has designed the structure for this the fifth edition of Frieze Masters and it will play host to one hundred and thirty-three leading historical and modern galleries from around the world.

BLAIN|SOUTHERN LONDON Lynn Chadwick, The Stranger, 1954, Courtesy The Estate of Lynn Chadwick and Blain|Southern, Photo: Matthew Hollow

BLAIN|SOUTHERN LONDON
Lynn Chadwick, The Stranger, 1954,
Courtesy The Estate of Lynn Chadwick and Blain|Southern,
Photo: Matthew Hollow

 

As Frieze’s Director Victoria Siddall commented: ‘The quality and breadth of work in Frieze Masters keeps it fresh and exciting each year. I am looking forward to seeing even more antiquities dealers in the fair, as well as Indian art, alongside the best Old Masters and 20th-century work. Curators play an important role in this fair as well as in our contemporary fairs, and this year we welcome Tim Marlow (Director of Artistic Programmes, Royal Academy, London) who is co-curating Frieze Masters Talks, and Toby Kamps of the Menil Collection in Houston who is presenting his first edition of Spotlight.

 Once again we will see galleries from different fields collaborate on ground-breaking presentations, as the fair continues to offer new models for looking at and collecting art.’

 

 

 

Daniel Crouch Rare Books Benjamin Read, View in the Colosseum Regents Park London, Summer Fashions for 1836. London, 1836. Image courtesy of Daniel Crouch Rare Books.

Daniel Crouch Rare Books
Benjamin Read,
View in the Colosseum Regents Park London, Summer Fashions for 1836. London, 1836.
Image courtesy of Daniel Crouch Rare Books.

 

Luxembourg & Dayan Robert Rauschenberg (1925-2008), Untitled (mud painting), 1953-1992 Courtesy Luxembourg & Dayan

Luxembourg & Dayan
Robert Rauschenberg (1925-2008),
Untitled (mud painting), 1953-1992
Courtesy Luxembourg & Dayan

 

Dr. Jörn Günther Rare Books AG Beauchamp-Corbet Hours, manuscript on vellum, illuminated by the Milemete workshop, mainly by the De Bois Master. England, London, dated 1328 image courtesy of Dr. Jorn Gunther Rare Books

Dr. Jörn Günther Rare Books AG
Beauchamp-Corbet Hours, manuscript on vellum, illuminated by the Milemete workshop, mainly by the De Bois Master. England, London, dated 1328
image courtesy of Dr. Jorn Gunther Rare Books

 

Mayor Gallery Ad Dekkers Relief met drie circkels 1967 Polyester, paint Ø 180 x 3 cm Ø 70 7/8 x 1 1/8 in

Mayor Gallery
Ad Dekkers
Relief met drie circkels 1967
Polyester, paint Ø 180 x 3 cm Ø 70 7/8 x 1 1/8 in

 

 

 

 

 

 

 

 

 

 

 

 

Waddington Custot Manolo Millares, Ínsula, 1967, mixed media on burlap. Courtesy Waddington Custot

Waddington Custot
Manolo Millares, Ínsula, 1967,
mixed media on burlap.
Courtesy Waddington Custot

 

Kallos Gallery Archaic Cretan Bronze Helmet, circa 650-620 BC. Credit Steve Wakeham & Kallos Gallery

Kallos Gallery
Archaic Cretan Bronze Helmet, circa 650-620 BC.
Credit Steve Wakeham & Kallos Gallery

 

Bernard Jacobson Gallery Robert Motherwell (1915-1991) Untitled (New England Elegy No.5) 1967 Oil on canvas 296.6 x 355.6 cms (116 3/4 x 140 ins) RM12608

Bernard Jacobson Gallery
Robert Motherwell (1915-1991)
Untitled (New England Elegy No.5)
1967
Oil on canvas
296.6 x 355.6 cms (116 3/4 x 140 ins)
RM12608

 

 

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Frieze Masters 2015

Frieze Masters 2015, The Regent’s Park, London NW1, 14th-18th October 2015

Jan van Kessel, Snakes, Spiders and Caterpillars contorted to spell the Artist's Name, 1657, Copper, 15x20cm. Courtesy of Johnny van Haeften.

Jan van Kessel,
Snakes, Spiders and Caterpillars contorted to spell the
Artist’s Name, 1657,
Copper, 15x20cm.
Courtesy of Johnny van Haeften.

Now in its fourth edition this fair hosts a hundred and thirty one historical and modern galleries displaying works from across several thousand years.  So whether it is antiquities, drawings, old masters, illuminated manuscripts, books, Asian art, sculpture or modern art that draws your interest, you will certainly find something to engage you here.

Collections: Fontana Workshop Noli Mi Tangere ,c.1560 Maiolica, 43cm diameter. Courtesy of Bazaart Ltd

Collections:
Fontana Workshop
Noli Mi Tangere ,c.1560
Maiolica, 43cm diameter.
Courtesy of Bazaart Ltd

Sir Norman Rosenthal has curated a new section entitled Collections and says of it: ‘Each of these eight presentations by individual dealers, spanning millennia, contain within them germs of ideas for exhibitions that could easily take place at any of the great public institutions in the world. This section will show that it is still possible, with both knowledge and love, to put together outstanding collections of art that demonstrate the highest level of creativity in all different periods of history.’

 

Defendente Ferrari, The Virgin Suckling the Child, c. 1530, Oil on walnut wood panel, 85×58cm. Courtesy of Sarti Gallery.

Defendente Ferrari,
The Virgin Suckling the Child, c. 1530,
Oil on walnut wood panel, 85×58cm.
Courtesy of Sarti Gallery.

 

Utagawa Kuniyoshi, Returning from the Shin Yoshiwara by Moonlight, c. 1834, Color woodblock print, 27×38cm. Courtesy of Sebastian Izzard LLC.

Utagawa Kuniyoshi,
Returning from the Shin Yoshiwara by Moonlight, c. 1834,
Color woodblock print, 27×38cm.
Courtesy of Sebastian Izzard LLC.

 

Egon Schiele, Seated semi-nude with hat and purple stockings, 1910 Black crayon, gouache and watercolour on paper, 45×32cm. Courtesy of Wienerroither Kohlbacher.

Egon Schiele,
Seated semi-nude with hat and purple stockings, 1910
Black crayon, gouache and watercolour on paper, 45×32cm.
Courtesy of Wienerroither Kohlbacher.

 

Head of a stylized anthropomorphic statuette Cycladic art, c.2500BC, White marble, 8×5cm. Courtesy of David Ghezelbash Archéologie.

Head of a stylized anthropomorphic statuette
Cycladic art, c.2500BC,
White marble, 8×5cm.
Courtesy of David Ghezelbash Archéologie.

 

Samuel Palmer, Going to Evening Church,1874, Watercolour over pencil, heightened with bodycolour, 30×70cm. Courtesy of The Fine Art Society.

Samuel Palmer,
Going to Evening Church,1874,
Watercolour over pencil, heightened with bodycolour, 30×70cm.
Courtesy of The Fine Art Society.

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Unknown artist, possibly German School, early 18th Century The World Turn’d Upside Down Oil on canvas: 75 x 45 in. (190.5 x 114.3 cm.) Courtesy of the Weiss Gallery

Unknown artist, possibly German School, early 18th Century
The World Turn’d Upside Down
Oil on canvas: 75 x 45 in. (190.5 x 114.3 cm.)
Courtesy of the Weiss Gallery

 

FRIEZE MASTERS 2014

FRIEZE MASTERS 2014, The Regent’s Park, London, 15th– 19th October

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Now in its third year this fair which combines ancient and modern works from over a hundred and twenty of the world’s leading galleries is being housed in a specially created contemporary setting by the noted architect Annabelle Selldorf.

Aegean marble seated idol Late Neolithic, c.5th millennium BC Height: 10cm Provenance: Private collection France, acquired in Bulgaria late 1960s The steatopygous female sits with her legs folded diagonally, her arms held horizontally across the body below well-spaced breasts and above a distinctly rounded abdomen. The waist is relatively narrow emphasizing her voluminous hips, legs and exaggerated bottom. The neck and head come to a simple tapering point, the face concave with strong chin and pronounced nose, most evident in profile. This rare idol is in an excellent state of preservation retaining, in parts, its original polished surface. Carved about 7000 years ago, the figure celebrates an extreme female form and served as a symbol of abundance and fecundity. Rupert Wace Ancient Art

Aegean marble seated idol
Late Neolithic, c.5th millennium BC
Height: 10cm
Provenance: Private collection France, acquired in Bulgaria late 1960s
The steatopygous female sits with her legs folded diagonally, her arms held horizontally across the body below well-spaced breasts and above a distinctly rounded abdomen. The waist is relatively narrow emphasizing her voluminous hips, legs and exaggerated bottom. The neck and head come to a simple tapering point, the face concave with strong chin and pronounced nose, most evident in profile.
This rare idol is in an excellent state of preservation retaining, in parts, its original polished surface. Carved about 7000 years ago, the figure celebrates an extreme female form and served as a symbol of abundance and fecundity.
Rupert Wace Ancient Art

Among exhibitors is Rupert Wace whose antiquities provide the perfect foil to modern works while Daniel Crouch Rare Books takes part for the first time.

‘A free-standing atlas of Europe’, by George Willdey and Thomas Jefferys, C. 1750. (image credit to Daniel Crouch Rare Books)

‘A free-standing atlas of Europe’, by George Willdey and Thomas Jefferys, C. 1750.
(image credit to Daniel Crouch Rare Books)

Once again there will be a series of solo presentations which will include Francis Bacon (Marlborough Fine Art, London), Alighierio Boetti (Ben Brown Fine Arts, London), William Hogarth (Andrew Edmunds, London), David Smith (Mnuchin Gallery, New York) and Antoni Tàpies (Timothy Taylor Gallery, London).

From left to right: David Smith, Forging VI, 1955, Forging VIII, 1955, Forging VII, 1955, Yellow Vertical (Construction in Three Elements), 1955, The Woman Bandit (unfinished), 1956- 58, and Construction with Forged Neck, 1955 Photograph by the artist at Bolton Landing Dock, Lake George, New York, c. 1956 © Estate of David Smith/Licensed by VAGA, New York Mnuchin Gallery, New York

From left to right: David Smith, Forging VI, 1955, Forging VIII, 1955, Forging VII, 1955, Yellow Vertical (Construction in Three Elements), 1955, The Woman Bandit (unfinished), 1956- 58, and Construction with Forged Neck, 1955
Photograph by the artist at Bolton Landing Dock, Lake George, New York, c. 1956
© Estate of David Smith/Licensed by VAGA, New York
Mnuchin Gallery, New York

Don’t forget that there will be a programme of talks too.

Alighiero Boetti Aelleigiaccaieerreobioetitii, 1973 Ballpoint pen on paper 70 x 100 cm. (27 1/2 x 39 3/8 in.) Provenance: Zaira Mis, Brussels Private Collection, London Exhibitions: Madrid, Museo Nacional Centro de Arte Reina Sofía; London, Tate Modern; New York, The Museum of Modern Art, Alighiero Boetti: Game Plan, October 2011 - October 2012 (exhibited at Museo Reina Sofía and Tate), p. 101, illustrated in colour Hong Kong, Ben Brown Fine Arts, Alighiero Boetti + Pier Paolo Calzolari, Mario Merz, Giuseppe Penone, Michelangelo Pistoletto, 15 May - 28 July 2012 Doha, Katara Cultural Village Foundation, Alighiero Boetti, 17 March - 2 May 2013 Bibliography: Exhibition Catalogue, London, Ben Brown Fine Arts, Alighiero Boetti, Un pozzo senza fine, Embroideries, 2006, p. 17, illustrated in colour Jean-Christophe Ammann, Alighiero Boetti, Catalogo generale, Opere 1972 – 1979, Milan 2012, vol. II, p. 89, no. 475, illustrated in colour This work is registered in the Archivio Alighiero Boetti, Rome under number 2773.

Alighiero Boetti Aelleigiaccaieerreobioetitii, 1973 Ballpoint pen on paper 70 x 100 cm. (27 1/2 x 39 3/8 in.)
Provenance:
Zaira Mis, Brussels
Private Collection, London
Exhibitions:
Madrid, Museo Nacional Centro de Arte Reina Sofía; London, Tate Modern; New York, The Museum of Modern Art, Alighiero Boetti: Game Plan, October 2011 – October 2012 (exhibited at Museo Reina Sofía and Tate), p. 101, illustrated in colour
Hong Kong, Ben Brown Fine Arts, Alighiero Boetti + Pier Paolo Calzolari, Mario Merz, Giuseppe Penone, Michelangelo Pistoletto, 15 May – 28 July 2012
Doha, Katara Cultural Village Foundation, Alighiero Boetti, 17 March – 2 May 2013
Bibliography:
Exhibition Catalogue, London, Ben Brown Fine Arts, Alighiero Boetti, Un pozzo senza fine, Embroideries, 2006, p. 17, illustrated in colour
Jean-Christophe Ammann, Alighiero Boetti, Catalogo generale, Opere 1972 – 1979, Milan 2012, vol. II, p. 89, no. 475, illustrated in colour
This work is registered in the Archivio Alighiero Boetti, Rome under number 2773.

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WILLIAM HOGARTH (1697-1764) The Bathos, or Manner of Sinking, in Sublime Paintings, inscribed to the Dealers in Dark Pictures 3 March 1764 Etching & engraving Exceptional impression, the fine lines in the sky above the gallows still printing P.216 only state Andrew Edmunds

WILLIAM HOGARTH (1697-1764)
The Bathos, or Manner of Sinking, in Sublime Paintings,
inscribed to the Dealers in Dark Pictures
3 March 1764
Etching & engraving
Exceptional impression, the fine lines in the sky above the gallows still printing
P.216 only state
Andrew Edmunds