A view of Frieze Masters.
Frieze Masters
Sections devoted to the artist’s studio and female artists are to be introduced at Frieze Masters this year.
This is the 11th edition of the fair and the 20th for the Contemporary art Frieze London, both of which run from October 11-15 in Regent’s Park.
The inaugural Modern Women section is run by Camille Morineau, co-founder of Archive of Women Artists, Research and Exhibitions (AWARE), and comprises solo shows on women artists from 1880-1980. Participants include Piano Nobile bringing Ethel Walker works and Perrotin with others by Anna-Eva Bergman and Germaine Richier. Among the artists featured in the launch of the Studio section are Maggi Hambling and Mona Hatoum.
More than 130 galleries are set to take part in Frieze Masters including Colnaghi, Johnny Van Haeften, Rupert Wace and Koopman Rare Art. Newcomers this year include Charles Beddington, Sadie Coles and White Cube.
The Stand Out section, which returns for its third year under Luke Syson, director of the Fitzwilliam Museum, features decorative arts. Participants include Peter Finer, Sam Fogg and Ronald Phillips.
Agnew's
Erich Wolfsfeld, Study of an Arab Girl, brush and brown ink, brown oil paint and chalk, one of the works at the Agnew’s show.
Coinciding with the National Portrait Gallery’s Portrait Mode project and London Art Week, Agnew’s is holding an exhibition dedicated to German artist Erich Wolfsfeld (1884-1956).
Born to Jewish parents in Prussia, he studied in Berlin and Paris before fighting in the First World War. He continued to pursue his artistic studies and also became a trainer of military police dogs. In 1920, he was appointed professor of painting and etching at the Berlin Academy where he remained until the 1930s when he moved to the UK under the growing Nazi threat.
Influenced by artists such as Adolf von Menzel, Wolfsfeld is widely held to be a leading figure in German Naturalism.
His works are relatively little known today, but with this show, which includes paintings drawings and etchings ranging in price from £650-12,000, the gallery plans to change that fact.
It has reason to be optimistic. One of its long-running projects is boosting the profile of German artist Lotte Laserstein, who studied under Wolsfeld. The British market for her figurative work was launched in a one-woman exhibition the gallery held in 1987. These and similar works now appear regularly at fairs, exhibitions and on the open market.
Browse & Darby
Browse & Darby, the London specialist in British and French pictures, is closing the doors to the Cork Street Gallery on July 19 as it prepares to move.
The firm is relocating to 34 Bury Street, St James’s, and opens in the autumn with the exhibition Anthony Eyton: A Retrospective, celebrating the artist’s centenary.
PAD London
PAD London has released its exhibitor list.
PAD London, which runs from October 10-15, has announced a line-up of 62 galleries including 12 newcomers.
The fair coincides with Frieze Week, taking place in Mayfair’s Berkeley Square. First-timers include Objects with Narratives of Switzerland and Belgium, Gallery LVS of South Korea, and Melchiorri Studio Gallery of the UK and Italy. Those returning include Modernity, Rose Uniacke, Elisabetta Cipriani and Marcelpoil.
London Gallery Weekend
With 123 galleries participating across the city, London Gallery Weekend drew 50,000 visits during its latest run, June 2-4.
The event is mainly Contemporary, featuring firms such as Alison Jacques, Josh Lilley, Page Gallery and Richard Saltoun Gallery, and including an extensive programme of performance art.
It also hosted 22 regional curators from across the UK (including The Hepworth Wakefield and Aberdeen Archives) thanks to a partnership with Art Fund. The curator bursaries scheme was increased this year to extend overseas and four travelled from European institution such as Wiels of Belgium and Museo d’Arte Moderna di Bologna.
Jeremy Epstein, founder and director, and co-director Sarah Rustin said in a statement: “To have succeeded in drawing more visitors this year and such positive feedback on the buzz and excitement around the expanded London Gallery Weekend offering is exactly what we’d hoped for.”
