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"LONDON \u2014&amp;nbsp;Words of praise continue to roll in as&amp;nbsp;Frieze Masters&amp;nbsp;draws serious visitors, resembling London\u2019s very own miniature version of&amp;nbsp;TEFAF Maastricht, the gold standard of Old Masters fairs which takes place in the Netherlands every March. \u201CIf there was ever a fair I was meant for,\u201D said London dealer&amp;nbsp;Stephen Ongpin, \u201Cwith Old Masters and modern, this is it. It\u2019s precisely what I do.\u201DOngpin has so far sold&amp;nbsp;Lucian Freud\u2019s smallish (10\u00BE-by-7-inch) pen-and-black-ink-and-black-wax \u201CThe Sleeping Cat\u201D (1944), which had an asking price of \u00A3280,000, as well as the darkly luminous&amp;nbsp;Frank Auerbach&amp;nbsp;charcoal, \u201CStudy of a Seated Female Nude\u201D (1955), which was offerd for \u00A390,000.Better yet, the dealer continued, \u201CI\u2019m meeting a lot of new people who regularly come to the Frieze Art Fair but don\u2019t come to Maastricht.\u201DThe mood was also buoyant at New York\u2019s&amp;nbsp;Cheim &amp;amp; Read, where the gallery sold a smallish&amp;nbsp;Joan Mitchell&amp;nbsp;painting, \u201CUntitled\u201D (1961), for around a million dollars to an English collector, as well as a large&amp;nbsp;Louise Bourgeois&amp;nbsp;bronze, \u201CAvenza Revisited,\u201D in silver nitrate and polished patina from 1968-69, for around $1.5 million.\u201CThe Bourgeois sold to a Swiss collector we\u2019ve never done business with before,\u201D said director&amp;nbsp;Adam Sheffer. \u201CThis is a pretty grand start to the fair \u2014 we\u2019ve only sold the top-end things.\u201DThere were also some big ticket transactions, including&amp;nbsp;Pablo Picasso\u2019s \u201CHomme et Femme au Bouquet\u201D (1970), which sold in the region of $9 million at&amp;nbsp;Wan de Weghe Fine Art. The New York dealer also sold&amp;nbsp;Salvador Dal\u00ED\u2019s pencil-on-paper \u201CAndromeda\u201D (1931), which was listed at $250,000. A veteran of art fairs around the world,&amp;nbsp;Wan de Weghe&amp;nbsp;said that he had made contact with&amp;nbsp;\u201Ca lot of international people\u201D at Frieze Masters.New York\u2019s&amp;nbsp;Sperone Westwater&amp;nbsp;also scored among the single-artist curated solo shows, selling&amp;nbsp;Bruce Nauman\u2019s installation, \u201CParallax Shell\u201D (1971), along with the drawing for it, to a European collector in the $2-3 million range. \u201CPeople are pleased with the concept, and the crossover effect of seeing the past through a more contemporary lens,\u201D said&amp;nbsp;David Leiber, a Sperone Westwater partner. \u201CThe set-up is perfect.\u201DA veteran of numerous TEFAF fairs, Leiber added, \u201CThe atmosphere is a little more relaxed than Maastricht but it has that feeling. Frieze Masters is not segregated like TEFAF,\u201D referring to the latter fair\u2019s strict boundaries between sections, ranging from Dutch Old Masters to contemporary fare.Gallery co-founder&amp;nbsp;Gianenzo Sperone&amp;nbsp;also raved about the riches of older material at Frieze Masters, admitting he himself bought a 4th-century Greek bronze vase from&amp;nbsp;Rupert Wace, a nearby dealer.\u201CI did a little shopping,\u201D admitted Sperone, who said he spent \u00A330,000 on the vase. \u201CI couldn\u2019t believe how cheap it was!\u201DFor all of ARTINFO's Frieze Week coverage,&amp;nbsp;click here.[content:advertisement-center]"^^<http://www.w3.org/2001/XMLSchema#string>
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