Masterpiece London swathed in Luxury but focuses on the trifecta of art, antiques, and design
The chief executive of Masterpiece London, Nazy Vassegh, claims that since her appointment in the year 2013, she has taken it upon herself to “recalibrate” this unabashedly lavish fair in the capital of UK.
The fair is associated with a unique approach of mixing the old art with the new, however the emphasis that it previously laid on the luxury goods section has been considerably downsized. This section actually has been seen in an unfavorable light by some purists, who paradoxically see it as a cheapening of the tone of this eye popper of an event.
According to Vassegh, however a balanced focus on the trifecta of art, antiques and design will work in favor of building a strong and unique identity for the fair. The fair that opened on the 30th of June for its seventh edition, this year is reinforced with tightened selection guidelines and criteria for exhibitors in an effort to weed out the questionable exhibits.
To add substance to the content of the fair, the intellectual section and educational program at the fair is further fortified with a session on British Decorative arts by the Metropolitan Museum of Art (Met) in New York.
These changes that have been brought in gradually to beef up the substance of the fair, have gone on only to benefit the whole event which saw a record 40,000 visitors last year, which is believed to be partly because of word of mouth, claims Vassegh. This is a matter of great pride for a fair that is merely six years old.
Of course, much like most of the fairs that are just starting out, there is bound to be a flux, and this year among the 150 exhibitors at the fair, 23 are new names. Some of the more interesting ones in the list include Tornabuoni Art and Cortesi Gallery two of the latest in the barrage of Italian post-war and contemporary art galleries in London and the Dutch gallery Axel Vervoordt famed for its chic blend of Modern art and design with antiquities.
Vassegh further emphasizes the importance of striking the right balance of all three disciplines in order to appeal to the curators and collectors who intend to acquire pieces and the visitors with an inclination and liking for all things cultural. This year’s fair is expected to see the disciplines of modern and contemporary design come in focus and occupy the prime spot. Among the newcomers is also a design gallery based out of Stockholm that has registered itself in the Masterpiece which is its first experience to participate in a non-specialist fair.
The director of Richard Green Gallery, Jonathan Green calls the Masterpiece a “good looking” fair which he has seen improving at a slow yet sure footed manner on its own pace. There is still a lot of speculation about the actual sale and its correlation to the number of participant exhibitors, but last year around ten paintings were sold here at the fair. Green further expresses his faith and support for the works that the gallery picks up and has no doubts about the efforts put in to present them to the potential audience. He also hopes to make a few millions of pounds while citing that the output is in fact dependent on what you put in.