With a reputation for being one of our ‘happiest art fairs’, September’s 20/21 British Art Fair has become the ideal place to invest in a striking example of modern or contemporary art, from Tracey Emin to Alfred Wallis
Buying art, according to the organisers of the 20/21 British Art Fair, is like falling in love – sometimes it happens at first sight, other times you are drawn to a particular painting or sculpture without quite knowing why. And if ever a romance was going to blossom it would be at this month’s four-day event at the Royal College of Art, often dubbed ‘the spiritual home of British art’.
Due to be opened this year by Charles Saumarez Smith CBE, Secretary and Chief Executive of the Royal Academy of Arts, the fair brings together 55 exhibitors offering an inclusive collection of paintings, prints, drawings, photography, sculpture from the Modern (1900-1945), Post-War (1945-1970), and Contemporary (1970 onwards).
Visitors can view work by artists as diverse as William Gear, David Hockney, Peter Lanyon, Tracey Emin, Alfred Wallis, Alan Davie, Graham Sutherland, Terry Frost to name a few, and the fact that there are some 55 galleries under one roof offers unrivalled opportunity to fall in love with works large and small costing from hundreds to hundreds of thousands of pounds.
Galleries in attendance this year include Richard Saltoun, London, with selected pieces by Peter Blake and Keith Arnatt; Whitford Fine Art representing pieces by Anthony Caro (above) and Albert Irvin (above); Beaux Arts, London, which will be presenting the figurative work of Lynn Chadwick and Elisabeth Frink; and Osborne Samuel, London, with Barbara Hepworth’s Modernist sculpture Six Forms on a Circle, Henry Moore’s gouache sketch, Three Female Figures; and Ben Nicholson’s plasterboard drawing, S Audley.
The 20/21 British Art Fair, 9-13 September, Royal College of Art, Kensington Gore, London, SW7 2EU.
For more, visit www.britishartfair.co.uk.
Main image: Leon Underwood [1890-1975], ‘Rose’, 1927, oil on canvas, 51 x 41 cm, signed. From Keith Chapman
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