At Frieze Masters, Skarstedt Gallery also brought a mix of media and prices, starting with historical drawings from Martin Kippenberger and
in the $300,000 to $350,000 range, to an
painting from the Norman Braman collection. Skarstedt’s London director Bona Colonna Montagu said Frieze Masters was a fair well-suited to the gallery’s specialization in important historical pieces.
“We love this fair,” said Montagu. “It’s very considered, it’s more museum-like. People take their time, they come here, they have a lovely meal, they look at the art.”
sold with an asking price of $850,000, as did one of
’s “fire” paintings, for which the gallery was asking $950,000. Works by
, Kippenberger, and Condo also sold.
Also at Frieze Masters, New York’s Acquavella Galleries
, Les Constructeurs avec arbre
(1949–50), to an American collector for $14 million, said partner Alexander Acquavella. He described Frieze Week as more than ever a “destination art week,” thanks to great museum shows on in London, which had also informed his booth. He had brought a work by
, still unsold as of Friday afternoon, and a
painting; both artists are currently the subject of retrospectives in London.
Francesca Piccolboni, director of Tornabuoni Art, which has galleries in Florence, Paris, and London, among other locations, said Frieze Masters was occasionally a challenging fair for Italian art dealers, since it coincided with the Italian auctions at Christie’s and Sotheby’s. But this year, she said, collectors were far more decisive, which she credited to having fair prices for works that buyers could see were a good value for the quality. She gave the example of the painter and colorist
, whose work, she said, was relatively affordable compared with some of his post-war contemporaries such as
“We have a lot of competitors here in London, especially the Italian sales, so in the last years, the collectors, they took their decisions more slowly, because they want to evaluate all the different options,” said Piccolboni. “But this year we were very impressed, they arrived here and within the first half an hour, one hour, they confirmed different pieces.”
The gallery sold a Dorazio to an important American collector, and an
to a French collector. Other works that weren’t present in the booth also sold, including a Scheggi, and works from the
retrospective currently on in Tornabuoni’s London space. Prices in the booth ranged from €200,000 to €3.6 million.
Kim Williams, associate director of Luxembourg & Dayan, said the gallery’s collaboration with Milan’s Gió Marconi
, yielding an immersive booth featuring the work of
set in a recreation of his countryside home, arose naturally, after gallery owner Amalia Dayan visited Baj’s widow Roberta. Marconi, whose father Giorgio had been Baj’s first dealer, brought Italian collectors, while Luxembourg & Dayan brought its own client base. The result was “quite a few good sales and a few reserves,” said Williams.
“He’s quite new to a U.K. audience, and there’s a number of Italians who are very happy to see him again,” Williams said, adding that the buyers had mostly been people who collect things “in and around post-war Italian” art. Works in the booth ranged from €45,000 to €200,000.