"Growth Chair" (2012), by Mathias Bengtsson, on view at Galerie Maria Wettergren
(Courtesy Galerie Maria Wettergren, Paris)
What has long set apart the PAD (Pavilion of Art and Design) fairs, founded in 1996 by Patrick Perrin and Stéphane Custot in Paris, is the premise that sophisticated taste doesn’t discriminate among genres. Uniting the likes of Gió Ponti and Joan Miró, the mix reflects the kind of worldly eclecticism that is seducing a growing set of style-conscious collectors.
At this year’s edition of PAD London, which runs from October 16 through 20 in a luxurious custom-built tent in Berkeley Square, visitors will notice in particular, “the growing market for tribal art,” says Perrin, pointing out the addition of African and Oceanic specialist Bernard Dulon, who joins PAD veteran Entwistle. Pre-Columbian specialist Galerie Mermoz returns for a second year, while Jean-Christophe Charbonnier makes his debut with a selection of Japanese art and armor that wouldn’t look out of place in an urban loft.
Among the 60 dealers, around 20 of which specialize in blue-chip fine art, judicious doses of photography, antiquities, contemporary jewelry, and 19th-century decorative arts can also be found. Historic 20th-century modernist wares abound, but for many, the main draw of the fair is fresh design: from Rick Owens at Carpenters Workshop Gallery to Hélène Binet at Gabrielle Ammann Gallery to Karim Chaya at newcomer Smogallery of Beirut.
“At this fair we meet quite a different audience—younger, more open and noticeably receptive,” says Martin Levy, of august antiques purveyor H. Blairman & Sons Ltd, whose booth will focus on English Arts & Crafts. Their taste “transcends any particular style or period,” he adds, “but it does appear to reflect a boredom with minimalist white interiors.”