{"id":1277,"date":"2020-07-06T09:20:40","date_gmt":"2020-07-06T03:50:40","guid":{"rendered":"https:\/\/www.ticketfairy.com\/word\/?p=1277"},"modified":"2021-08-18T20:16:14","modified_gmt":"2021-08-18T14:46:14","slug":"masterpiece-online-londons-annual-art-fair","status":"publish","type":"post","link":"https:\/\/www.ticketfairy.com\/word\/2020\/07\/06\/masterpiece-online-londons-annual-art-fair\/","title":{"rendered":"Masterpiece Online – London’s Annual Art Fair"},"content":{"rendered":"

Owing to the hurdles the global coronavirus pandemic posed on art fairs, the annual art fair of London, Masterpiece London was conducted online as Masterpiece Online<\/a>.<\/u> Exhibiting works from 135 galleries, the affair was one of the many art fairs which took to the internet.<\/p>\n

Collecting website, Artsy,<\/a> had hosted the viewing rooms and the e-commerce aspects of the online fair on a microsite. Additionally, Masterpiece Online had also offered a redesigned version of its own website complete with exhibitor bios, images of artworks on sale along with contact details. However, the site did not provide a purchasing platform. Virtual attendees could watch videos made by dealers and schedule a private viewing of up to six people with an expert for a guided tour, informed the fair\u2019s managing director, Lucie Kitchener.<\/a><\/p>\n

Referring to the fair\u2019s mission since its inception to encourage a mix of eras, styles, and media (widely known as cross-collecting), the chairman of Masterpiece London, Philip Hewat-Jaboor, said, \u201cTo me, the challenge was to preserve the ethos of the fair : cross-collection, educational and very high quality.\u201d \u201cWe\u2019re going to have to learn to appreciate the complexities of art online, though it will never ever replace having an object in your hand\u201d, he added. The organizers felt that having the fair online could \u2018attract new people\u2019 and \u2018be a net positive\u2019\u2014 \u201cWe can hook people who wouldn\u2019t engage otherwise, because of time or travel constraints. I think there\u2019s a pent-up demand for this\u201d, told Hewat-Jaboor to Ted Loos of The New York Times.<\/a><\/p>\n

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\u2018Globustisch\u2019 or a globe-form work table in mahogany done in the Biedermeier style around 1820 was displayed in the virtual booth of Thomas Coulborn & Sons. Copyright image via Thomas Coulborn & Sons<\/a><\/p><\/div>\n

The Dickinson gallery<\/a> of London and New York took a \u2018hybrid approach\u2019 and hung its London space as a replica of a booth at the Masterpiece, allowing for online attendees to watch a video of the installation. The Dickinson presented two themed virtual rooms of which one was \u201cartists inspired by travel\u201d, and the other was \u201cCubism\u201d, informed Emma Ward<\/a>, one of the gallery\u2019s directors.<\/p>\n

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Giovanni Paolo Panini’s \u201cRome, The Pantheon, A View of the Interior\u201d (1734) was in one of the virtual rooms of the Dickinson gallery of New York and London. Copyright artwork via Dickinson<\/a><\/p><\/div>\n

Photography dealer, Peter Fetterman of the Peter Fetterman Gallery<\/a> displayed what he described as \u201cthe most beautiful print I have ever seen\u201d – The Dream<\/em> (Mary Ann Hillier) by Julia Margaret Cameron from 1869 – along with Henri Cartier Bresson\u2019s Queen Charlotte\u2019s Ball<\/em> (1959) and other images. While Fetterman missed his daily walks in Chelsea to the fair\u2019s usual location in Ranelagh Gardens, he said that Masterpiece Online was \u201cstill a wonderful opportunity to keep in touch with all the sophisticated English clients\u201d they had made there over the years. \u201cMy new mantra is \u2018Embrace change; it\u2019s good for you\u2019\u201d, he added<\/a>.<\/p>\n

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\u201cThe Dream (Mary Ann Hillier)\u201d Julia Margaret Cameron (1869). Copyright image via Peter Fetterman Gallery<\/a><\/p><\/div>\n

Amsterdam based collector, Elsbeth van Tets, informed<\/a> that she was encouraged by the online auctions at Sotheby\u2019s, where two noted dealers, Danny Katz and Rafael Valls, were sold entirely online. In comparison to their usual prices at the European Fine Art Fair, van Tets noticed that the artworks were sold online at higher prices, which was \u201cproof\u201d to her that it could work if \u201cpresented well\u201d. \u201cPeople were stuck at home and desperate to buy\u201d, she concluded. For Masterpiece Online, she looked at works on behalf of Amsterdam\u2019s Rijksmuseum.<\/p>\n

London based lawyer and collector, Andrew Jones said<\/a> that the virtual rendition of Masterpiece London was \u201ca big leap\u201d but he was open-minded. He said that art fairs and trades are \u201cabout relationships\u201d and he would consider virtual chats with dealers because he would rather buy from someone he has talked to a few times. \u201cThe trust side of art fairs is really important\u201d, he said.<\/p>\n

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Featured Image Via Unsplash<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Owing to the hurdles the global coronavirus pandemic posed on art fairs, the annual art fair of London, Masterpiece London was conducted online as Masterpiece Online. Exhibiting works from 135 galleries, the affair was one of the many art fairs which took to the internet. Collecting website, Artsy, had hosted the viewing rooms and the<\/p>\n

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