Our secret buyer navigates the art fairs

Art fairs have a special piquancy and flavour that make them an irresistible destination for collectors and viewers. And they are always with us. Why do art fairs proliferate as they do? I can think of a number of reasons. Above all, they provide a unique space for direct interaction between artists, galleries, dealers, collectors, and straightforward visitors who simply enjoy looking at art. And there is always a lot to see. For a regional fair, Brighton Art Fair is large at over 100 stands. In London they can greatly exceed that number. Frieze 2024, for example, will feature 165 galleries from 43 countries. In a single space you can see and experience a wide spectrum of creativity, imagination, technical accomplishment and ingenuity in many different media.

Navigating these fairs requires some organisation on your part. First, allow plenty of time for your visit. The afterwork drive-by will just not do. I need to stay for at least half a day, comforted by the knowledge that food and drink of some kind are always on hand. Inevitably there will be a lot of material which doesn’t particularly interest you, or you have already seen too much of. You have your own tastes and interests and you must ruthlessly bypass what does not attract you. That will give you ample time to get stuck into what you find really interesting. Especially if you are in the buying frame of mind.

For collectors, art fairs provide an almost perfect market. The galleries and artists are there to sell. An economist would say that it’s the ideal model. The sellers are in open competition with each other. Some of course are more in competition than others, specialists less so than generalists. But they all take a look at what other dealers are offering and know at what price they can and cannot sell. Whether you are at an ‘affordable’ art fair, for example Battersea, where prices travel between £50 and £3,000, or what some might call an ‘unaffordable’ art fair (they of course would not use that word), such as Frieze New York or Art Basel (beloved of the Financial Times), prices are open for inspection and comparison.

Beyond the ability to survey prices – and hopefully pick up bargains –collectors enjoy a lot of collateral benefits. I would place on a high level the friendliness of the exhibitors and their willingness to talk about the pieces they have on offer. If I find a work of interest, whether I might buy it or not, one of my ploys is to ask for the story behind it. That for me has opened up fascinating conversations about the artists themselves, their history, development, technique and creative intent. And it may well lead to a deal.

There is also much of modern art history to digest at these fairs. Works by long-established artists, representing different stages in their development and interests, will be found among the various stands. Follow Augustus or Gwen John, Christopher Wood, Maggi Hambling, the Bloomsburyites, Jacob Epstein and his contemporaries. Artists’ drawings always have a good story to tell, and you do not get much of a chance away from fairs to see them. Although I have never been a particular fan of John Piper, especially his rather dull treatment of architectural subjects, I saw two years ago a much wider spectrum of his later, dazzling, more abstract work, of which I had no real knowledge. Playing two sellers off against each other, I took the plunge. It’s only on my wall because I found it at a fair.

Finally, always go with a companion, mentor or buddy. If you go with the right person you can enjoy outspoken and challenging views (“You must be mad!”), a second opinion (“Yes I would go for that”), competition (“If you don’t buy it, I will”), or a simple constructive suggestion (“Hmm! Shall we see what’s in the next room?”). Much to look forward to.