A green and pink statue
An orange vase with eyes on the side

Black-Figure Chalcidising Eye-Cup, Greek, Attic, circa 520 BC Pottery Diameter: 29.2 cm

As the second edition of Eye of the Collector opens its doors tomorrow at London’s Two Temple Place, the founder, Nazy Vassegh, tells LUX which pieces to look out for

I am writing this column after a long and busy first day installing the second edition of Eye of the Collector. Free of the normal white tents and gallery booths, we have been working for the past six months with our participating galleries to curate a new type of show that encourages creative new dialogues and collecting pathways.

Over one hundred and fifty works from three thousand years of art history have arrived in the past days, each one to be hung with care and consideration ‘as if in a collector’s home’. The whole event is set against the stunning backdrop of Two Temple Place, a neo-gothic masterpiece built in the late nineteenth century for William Waldorf Astor. Our aim is to make the experience of visiting an art fair an enjoyable journey of discovery.

When you enter the private space of an art collector there are always surprises, works that unexpectedly fall outside of their main collecting categories, ‘cri de coeur’ purchases or inherited pieces passed down through generations. It is this curatorial excitement that we strive to recreate through the juxtaposition of works at the fair, suggesting new ways of collecting.

Follow LUX on Instagram: luxthemagazine

This year we have a broad cross section of galleries representing the international canon of art history.

Starting at one of the earliest works, I totally adore this Chalcidising eye-cup being brought by Ariadne Gallery. A drinking vessel for toasting the gods, as the wine went down so the head of Medusa would appear inside.

From the Horn of Africa, we welcome Addis Fine Art to the fair this year, representing some of the greatest artists from Ethiopia and the diaspora. I have been so impressed by the quality of painting led by Tadesse Mesfin, and continuing through two of his students also on show Tizta Berhanu and Nigatu Tsehay.

a painting of a black man disfigured in front of a green background

Nigatu Tsehay (b. 1981), Momentary Glimpse XXV, 2021 Acrylic on canvas 79 x 71 cm

After the Second World War, many of Europe’s artists left in pursuit of a socialist ideal in the Americas. Some of the most talented ended up in Brazil where the Modernist movement was growing rapidly. This year we have some of the finest works from this period being brought to the fair by Ana Escarzaga Gallery, a specialist in that period. My personal favourites are a pair of chairs made by the trailblazer Lina Bo Bardi, designed originally for her own home Casa de Vidrio in São Paulo in the early 1950’s.

Read more: The Inspiration Behind The Eye Of The Collector Art Fair

Following this year’s theme concentrating on the importance of female artists throughout history, one work that has really touched me is Leni Dothan’s Sleeping Madonna, 2011. This video work, showing the artist breastfeeding her young son, is a direct reference to the canon of Christian iconography and grand master painting where the female figure of Mary Magdalen is often portrayed as passive and alone.

Two brown leather chairs

Lina Bo Bardi (b. 1914), “Bola” chair, circa early 1950s. Designed for her own house, “Casa de Vidrio” in São Paulo, this is an edition done in 1980 by Nucleon under Lina´s supervision. Saddle leather with a beautiful patina, black painted iron structure, solid & heavy brass balls and bolts.

Emblematic of the spirit of discovery at the fair are the sublime works by Alice Walton. With a forensic eye, Walton produces highly complex and multi-layered objects infused with a rich tonal blending technique. These textured surfaces are intense and yet calm.

A green and pink statue

Alice Walton (b. 1987), The Travelling Portland, 2021 Jasper Clay H34 x W20 x L17 cm

Continuing the theme of female artists, we are delighted to have an important work by Australian female First Nation artist Nyarapayi Giles. Unusual amongst her peers, Nyarapayi embraced vibrant colour to tell the story of her life. The subtle and flowing application of paint shows great originality; the style she has developed is readily recognisable and unique to her works.

Two circles in red and yellow

Nyarapayi Giles, (b.c.1940), Warmurrungu – Two Circles, 2016 Acrylic on canvas 179 x 148 cm (Framed)

The first edition of Eye of the Collector last September was a great success. We had always said we would be happy if we managed to get 3000 people through the door over the four days. We have nearly half that booked now for VIP Day alone tomorrow.

Tickets are available at eyeofthecollector.com for Thursday 12th, Friday 13th and Saturday 14th May 2002

Share:
Reading time: 4 min
A woman in a pink dress standing in front of golden and wooden doors
A woman in a pink dress standing in front of golden and wooden doors

Nazy Vassegh photographed in the Grand Hall at Two Temple Place. Photo by Alex Board

This May sees the second edition of Eye of the Collector kicking off the summer art season in London. Conceived as a new style of art fair, the concept sees Two Temple Place transformed into an imaginary collector’s home for a boutique style fair. Ahead of the opening, the founder, Nazy Vassegh, tells us why she created this unique fair and the key focus this focus this year

The idea for Eye of the Collector came about from a work trip I took to the opening of the 2019 Venice Biennale. As I wandered around extraordinary palazzi full of carefully curated breath-taking art from all eras, I questioned why art fairs were so formulaic – boring white tents and aisle after aisle of white box booths. My collector friends were also starting to complain to me about suffering from ‘fairtigue’. Given that I worked in what was supposed to be a creative industry, I thought it was time to take action.

A white tree with antlers coming out of the top

Image from Eye of the Collector 2021: Susie MacMurray, The Stalker 2021. Courtesy of Pangolin gallery

Returning to the UK, the search for an appropriate home for Eye of the Collector began. My husband was working in the fashion business at the time and had staged a show during London Fashion Week at Two Temple Place. When he showed me the building and I learnt more about the history of the interior it became quickly clear that this was the perfect home for what we wanted to achieve.

Follow LUX on Instagram: luxthemagazine

Built in 1895 for William Waldorf Astor, then one of the richest men in the world, the brief to the architect had been to create ‘the finest building irrespective of cost’. The result is a riot of neo-Gothic panelling, stained glass windows and rare marble mosaic floors created by the finest craftsmen of the time. As a sign of true quality, the supporting pillars of the galleried landing were carved from solid ebony and, in the reinforced safe room, William Waldorf kept the title deeds for most of modern Manhattan.

A wooden room with art on the walls

Image from Eye Viewing Room, 2021 showing the Lower Gallery

My intention had always been to present art and design in a setting that collectors could imagine in the context of their own homes and this fitted the bill perfectly. Owned and run by the Bulldog Trust I also liked the idea that we were re-purposing a historic building and in so doing supporting a charity dedicated to good causes.

After a digital-only edition in 2020, Eye of the Collector finally launched in real life in September 2021. Given all the disruption of the previous eighteen months I really didn’t know what to expect. This was going to be the first real art event in a long time and no-one could predict how collectors and the wider art world would react, especially to something as new as Eye of the Collector.

A red couch in a grey and beige room with art on the wall

A range of art is shown at Eye of the Collector from works by emerging artists to the masterpiece classics

Art and design from modern day to antiquity was presented from thirty international galleries, curated as if in an imaginary collector’s home free of the traditional booths and putting the art centre stage to encourage new collecting pathways and creative artistic juxtapositions. Prices ranged from a few thousand pounds for an original work by an up-and-coming young artist to a few million pounds for an early masterpiece by Lucien Freud. This allowed collectors of all types and at all stages of their collecting journey to engage.

Read more: Sophie Neuendorf’s Inside Guide To The Venice Biennale

Our next edition will take place from 11-14 May once again at Two Temple Place, WC2. This time around we are placing an emphasis on female artists. A wide variety of works will be offered for sale including contemporary art, some made especially for the fair, mid-century and modern design, ancient art and studio ceramics.

Find out more: eyeofthecollector.com

Share:
Reading time: 3 min