Art market

Shadows are dispersing from two cultural institutions as the autumn fair season begins

LA BIENNALE PARIS, née Biennale des Antiquaires and now, confusingly, an annual event, is hampered by the duality of its nature, as well as the ambiguity of the name. As the organisers, the Syndicat National des Antiquaires, have rightly pointed out, it was originally not intended to be a trade fair, but rather a French cultural event at which French galleries display predominantly French art.

However, over time, it has also become, to some extent, an international fair, with a number of participants from abroad. For these dealers, unlike their colleagues, it is essential to sell, rather than just show. To make it easier, this year’s run has been cut by two days, as any sales tend to be made early on.

The Biennale’s recent history has been troubled. In 2016, a hitherto highly respected dealer was found to be offering faked 18th-century ‘Royal’ furniture,

despite supposedly rigorous pre-fair vetting. A number of eminent exhibitors withdrew in protest. As a consequence, the vetting was entrusted to an independent committee, which included no exhibitors and was chaired by the heads of the two professional bodies of experts and appraisers. These chairmen have now resigned because three dealers have been given stands, although their activities are under investigation.

A source close to the National Company of Experts was quoted in Figaro as saying that it ‘cannot guarantee an event that is no longer under control, and turn a blind eye to exhibitors who have been indicted, even if the presumption of innocence remains’.

I have written here before about Sam Szafran (Fig 1), a remarkable free spirit who has lived and painted in the same Paris apartment for more than 50 years. At this year’s Biennale, at the Grand Palais from September 13 to 17, I look forward to seeing his 39½in by 55in untitled watercolour and pastel with Galerie Claude Bernard.

Another cultural institution whose history has been controversial since before it was even built is Hastings Contemporary, né the Jerwood. There was vociferous local opposition to its being built in the most picturesque part of the town, by the fishing boats and net sheds, rather than along the front where it might have boosted regeneration more effectively.

Launched in 2012, after funding disagreements, it has now broken organisational ties with the Jerwood Foundation (which still owns the site), rebranding itself and reopening early last month.

The first exhibitions, by Tal R, Roy Oxlade, David Bomberg and Quentin Blake, will continue until October. Then, from October 19 to January 5, the focus will be on Victor Willing (Fig 2) (1928–88), a ‘ground-breaking artist whose large-scale paintings illustrating phases of domestic life’ have been rather overshadowed by the work of his wife, Paula Rego. It is to be hoped that the travails of both organisations are now in the past.

I have compiled a calendar of some of the many fairs and other market events that will be taking place this autumn (see box). Here, I am also taking the opportunity to mention a few 20th-century and contemporary dealers’ shows. Next week Gallimaufrey

Fig 1: Sam Szafran’s untitled watercolour and pastel. With Galerie Claude Bernard

The Fosse Gallery, The Manor House, The Square, Stow-onthe-wold, Gloucestershire (October 6–26), will show paintings by Richard Pikesley, past president of the New English Art Club and a master of skies and bird’s eye views.

Fig 2: Standing Nude by Victor Willing. At Hastings Contemporary

Julian Perry’s paintings at Austin Desmond Fine Art, Pied Bull Yard, London WC1 (October 11–November 4) will make a near-seamless continuation. Perry’s show ‘Where Grew the Tree’ will also concentrate on climate change and coastal erosion in Suffolk. As in previous exhibitions, trees and their ghosts are the theme.

The Geedon Gallery, Fingringhoe, Colchester, Essex, will present botanical watercolours by Yvonne Skargon (1931–2010) (October 5–20). There will also be work by Fred Cuming, RA, Richard Bawden and others.

Messum’s London, 28 Cork Street, W1 (September 13–October 4), and Wiltshire Barn, Tisbury (September 14 to October 19), features Laurence Edwards. Many of his sculptures are colossal. Inspired by the Suffolk coast, where forests once stretched out into Doggerland, they combine trees and human figures in ways reminiscent of Greek mythology.

Thaddaeus Ropac, 37, Dover Street, London W1 (September 10–November 9), shows James Rosenquist (1933–2017), who was at the forefront of the nascent Pop movement in the 1980s. His ambition: ‘I want people who look at my paintings to be able to pass through the illusory surface of the canvas and enter a space where the ideas in my head collide with theirs.’

Hazlitt Holland-hibbert, 38, Bury Street, SW1, has been appointed to represent the estate of the sculptor Sir Eduardo Paolozzi (1924–2005), the first fruit, (October 17– December 13) being sculptures, collages and drawings from the first 15 years of Paolozzi’s career.