PAD London 2019 round-up
TDE reports on the highlights.
DESPITE THE UP and down weather and the equally turbulent Brexit-inflected political climate, the mood was buoyant at this year’s PAD. Over 28,900 people visited over the seven day period, browsing the 68 international stands exhibiting fine and decorative art from many cultures and eras. Particularly notable this year were the number of Asian visitors, largely from Japan, China and Taiwan, won over perhaps by the fair’s distinctively Gallic, domestically-focused mix of art and design.
Contemporary collectible design made an excellent showing – from Nacho Carbonell’s enthralling ‘Big Chandelier’ on the Carpenters Workshop Gallery stand, through to Porky Hefer’s eye-catching red and white bull-shaped nest-like seat, ‘Bull Hefer’, at Southern Guild.
Sarah Myerscough Gallery took the prize for best stand, with its atmospheric curation of the outstanding craftsmanship on display, whilst also scooping the Best Contemporary Design prize for John Makepeace’s delicate scorched ‘Trine’ chairs. These sold instantly.
Besides Hefer’s seat, which sold for £57,000 on the first day, new participants Southern Guild sold both of Chris Soal’s large-scale, environmental wall pieces, one made from tooth-picks, another from bottle-tops, as well as ceramics by Zizipho Poswa and bronze pieces by Atang Tshikare.
Among other reported sales, Gallery FUMI sold a luxuriously lacquered table by Max Lamb for £52,000, while Todd Merrill sold a Marc Fish lounge chair and console tables as well as Jean-Luc Le Mounier‘s ‘Hamada Low Table’ (2019), each for five figure sums. Other categories – twentieth century design and fine art; jewellery, antiquities and tribal art – also reported strong sales, including Lucas Ratton, who sold an early 20th century Baule figure from Ivory Coast for approximately €50,000.
On our tour around the fair, The Design Edit put the question to a handful of gallerists: “What does collectible design mean to you?” You can see their replies in our accompanying video.