But it is two fairs which dominate, The Grosvenor House Art and Antiques Fair and the Summer Fine Art & Antiques Fair at Olympia which enters its fourth decade this year.
The Olympia event runs from June 3 to 13 at the famed West London exhibition centre on Hammersmith Road, W14 and has, for years, been arguably the most important fair in the land.
Increasingly, it attracts the calibre of dealer you expect at the top of the fair tree, those who show at Maastricht, the Paris Biennale, Palm Beach Classic, the New York International and, yes, Grosvenor House.
But it has a broader base than those stratospheric events and there are plenty of dealers bringing what is the most diverse and biggest selection of quality stock anywhere.
That is why June Olympia has long been termed the barometer of the trade, and every year anyone remotely connected professionally with the art world waits for Olympia to indicate just what is the state of play.
There was a time when perennially business buzzed at this fair and it did seem to perform miracles. Those days are long gone, and recently Olympia has reflected just what a tough time the trade is enduring.
A few years ago everyone, apart from the organisers, was dismayed to see this fine-quality fair reach more than 400 exhibitors. Last year it was down a little and mercifully this year the total stands at around 380.
However, the early publicity for the fair talked about more than 400 standholders so there is no doubt that the Olympia owners (and, as reported last week, the complex has just got some new ones) will keep selling stands as long as people take them.
Stands, of course, are revenue for the owners but such a huge number seem to dismay exhibitors as much as footsore visitors who cannot find their way around.
But large as it was, last year’s Summer Olympia saw a new, innovative, modern look which was universally appreciated.
Some of the designed stands were showstoppers and we can expect more of that this year.
If Olympia does not do well, I have always maintained you cannot blame the organising team, which is led by the very able Dan Gorton.
Again, they have brought together a formidable roster of top dealers and there is an increasingly international dimension. Maastricht veterans Vanderven & Vanderven from Holland joined the fair last year and stole much of the limelight with a stand to house their Chinese works of art which seemed more like a film set than a booth.
And the cream of the British trade return to Olympia, dealers such as Gordon Watson, Mallett, Jonathan Horne, MacConnal Mason, Colefax and Fowler, Edric Van Vredenburgh, Craig Carrington, Jorge Welsh (who also has a shop in Lisbon) and many others.
This year, there are 19 exhibitors new to the fair, among them Santos from Kensington with ceramics and St. James’s specialist in early Chinese furniture Nicholas Grindley. Among those returning are St. James’s art dealer Chris Beetles and Mayfair specialist in Continental furniture Adrian Alan.
Last year’s Summer Olympia carried high hopes, looked splendid but did not bring in the required business. A successful Summer Olympia this year would be just the fillip the trade needs. No high hopes, no predictions, just fingers crossed.
Admission is £15 on opening day and £10 thereafter. And, as opposed to past years, the fair no longer closes on the first Monday.
International status, all the trade all there, Olympian efforts...Now, will it work?
JUNE in London means the big fairs, an increasing number of dealers’ selling shows and, this year, such trade initiatives as Art Fortnight and London Sculpture Week. It is the month when all eyes are turned on the capital’s art and antiques trade and dealers, collectors and museum curators fly in from all over the world.
