As London prepares to welcome Frieze Masters next week, the city once again becomes the meeting point of centuries of art history, a place where the past and present engage in a quiet, powerful dialogue. Few events capture this interplay as beautifully as Frieze Masters.
For me, Frieze Masters has always held a special allure. It’s where the soul of collecting reveals itself, where one can move seamlessly from ancient artefacts to Old Masters, from 20th-century icons to post-war British sculpture, all under one roof. Each booth becomes its own microcosm of beauty, intellect, and connoisseurship, qualities that lie at the heart of what we hold dear at Andipa.
This year, I’m particularly looking forward to visiting a handful of galleries that resonate deeply with my personal journey through art.
David Aaron, specialists in antiquities, never fail to impress with their refined selection of treasures from the ancient world. Their stand is a reminder that great art has always been about timeless form, human expression, and spiritual depth, qualities that transcend epochs.
Sam Fogg holds a more personal connection for me. Decades ago, when Andipa dealt solely in Byzantine and Ethiopian icons, Sam’s gallery was a close and respected contemporary in the Ethiopian field. To see how he continues to champion medieval art, manuscripts, and craftsmanship of the sacred is a nostalgic pleasure, and a testament to the enduring value of tradition and knowledge.
From sacred imagery to the secular splendour of the Golden Age: Johnny Van Haeften’s booth is always a highlight. His exquisite selection of 17th-century Dutch and Flemish paintings never fails to evoke the quiet magic of light, stillness, and detail that defines that era. These works, often modest in size, carry a spiritual resonance that rivals the grandest of canvases.
Modern British art, a passion close to Andipa’s heart, finds brilliant expression at Osborne Samuel, where sculptures by Henry Moore and Lynn Chadwick stand as testaments to post-war resilience and imagination. Their tactile power, both grounded and ethereal, reminds us that sculpture at its best is a conversation between material and soul.
And of course, Offer Waterman’s presentation is one I eagerly anticipate each year. His carefully curated selection of Modern British masters, particularly David Hockney, always feels fresh, joyful, and deeply intelligent. Hockney’s work, with its unmistakable line and radiant colour, speaks to the modern collector’s heart: the marriage of observation and optimism.
Finally, I would never miss Axel Vervoordt, a name synonymous with harmony, restraint, and the art of space. His installations are not merely displays but experiences; he creates environments where time feels suspended and objects converse in silence.
Frieze Masters is, in many ways, a mirror to my collector’s journey: one that begins with curiosity and ends with reverence. Each encounter rekindles the wonder that first drew us to art. As I walk through the aisles this year, I look forward to rediscovering that spark — and perhaps, finding a new dialogue between Andipa’s present and its past.
