2017, 10-19 March
Maastricht, Netherlands
TEFAF News

Carlo Orsi unveils historic Florentine Masterpiece at TEFAF 2016

Posted on:  03/02/2016

The centrepiece of leading Italian dealer Carlo Orsi’s stand (344) at TEFAF 2016 is an impressive oil on canvas of The Death of Filippo Strozzi by the Florentine artist Giuseppe Bezzuoli (1784-1855), price in the region of 300,000 euro.Commissioned by the philanthropist Niccolo Puccini, this powerful historical painting was known only to a small circle and has never been on public view before. Strozzi (1428-1491) was an Italian banker and statesman banned from Florence as a young man by the Medici because of his family’s opposition to Cosimo de’Medici.It was in Naples that Strozzi established his successful career as a respected banker and when he returned to Florence he commissioned Benedetto da Maiano to build the splendid family home, Palazzo Strozzi, though sadly did not live to see it completed.Puccini, a leading intellectual and supporter of the Risorgimento, found Strozzi’s courage against tyranny a fitting subject with which to endorse his own political leanings.

Carlo Orsi unveils historic Florentine Masterpiece at TEFAF 2016

Posted on:  03/02/2016

The centrepiece of leading Italian dealer Carlo Orsi’s stand (344) at TEFAF 2016 is an impressive oil on canvas of The Death of Filippo Strozzi by the Florentine artist Giuseppe Bezzuoli (1784-1855), price in the region of 300,000 euro.Commissioned by the philanthropist Niccolo Puccini, this powerful historical painting was known only to a small circle and has never been on public view before. Strozzi (1428-1491) was an Italian banker and statesman banned from Florence as a young man by the Medici because of his family’s opposition to Cosimo de’Medici.It was in Naples that Strozzi established his successful career as a respected banker and when he returned to Florence he commissioned Benedetto da Maiano to build the splendid family home, Palazzo Strozzi, though sadly did not live to see it completed.Puccini, a leading intellectual and supporter of the Risorgimento, found Strozzi’s courage against tyranny a fitting subject with which to endorse his own political leanings.

Moretti Gallery presents Bernardo Bellotto - A view of the Grand Canal

Posted on:  03/02/2016

This magnificent veduta of Venice depicts the Grand Canal, facing south from the Palazzo
Foscari to the church of Santa Maria della Carità. It originally formed part of a large group of over forty Venetian views, commissioned for Castle Howard by Henry Howard, 4th Earl of Carlisle, during his second Grand Tour of Italy between 1738 and 1739.

The picture is amongst the earliest and most important examples of Bernardo Bellotto’s works and, along with its Castle Howard companions by artists such as Giovanni Antonio Canal - better known as Canaletto - Michele Marieschi, and others, it is a part of the largest body of his works to have been purchased by a single patron. Painted at a time when the young Bellotto was being taught in his uncle Canaletto’s studio, it bears elegant witness to the talent of the young painter and the precocity with which he developed his personal style.

Moretti Gallery presents Bernardo Bellotto - A view of the Grand Canal

Posted on:  03/02/2016

This magnificent veduta of Venice depicts the Grand Canal, facing south from the Palazzo
Foscari to the church of Santa Maria della Carità. It originally formed part of a large group of over forty Venetian views, commissioned for Castle Howard by Henry Howard, 4th Earl of Carlisle, during his second Grand Tour of Italy between 1738 and 1739.

The picture is amongst the earliest and most important examples of Bernardo Bellotto’s works and, along with its Castle Howard companions by artists such as Giovanni Antonio Canal - better known as Canaletto - Michele Marieschi, and others, it is a part of the largest body of his works to have been purchased by a single patron. Painted at a time when the young Bellotto was being taught in his uncle Canaletto’s studio, it bears elegant witness to the talent of the young painter and the precocity with which he developed his personal style.

'Four Centuries of Master Drawings' by Showcase exhibitor Onno van Seggelen

Posted on:  02/23/2016

Showcase exhibitor Onno van Seggelen will present a selling exhibition with a selection of their finest drawings at TEFAF 2016. Their presentation 'Four Centuries of Master Drawings', includes work by Jan Brueghel the Younger, Dirk Langendijk, Hendrik Petrus Berlage, Willem Schellinks, Claes van Beresteyn, Pieter Jansz., Pieter Barbiers I, Albertus Brondgeest, Gerrit Hulseboom, Hendrick Cornelis Vroom, Josua de Grave, Jacob van Strij, Abraham Rutgers, Jacob Cats, Jan de Bisschop, Léonard Defrance, Louis Apol, Georges De Feure, Cornelis Pronk and more.

Onno van Seggelen looks forward to meeting you at TEFAF Showcase S2!

'Four Centuries of Master Drawings' by Showcase exhibitor Onno van Seggelen

Posted on:  02/23/2016

Showcase exhibitor Onno van Seggelen will present a selling exhibition with a selection of their finest drawings at TEFAF 2016. Their presentation 'Four Centuries of Master Drawings', includes work by Jan Brueghel the Younger, Dirk Langendijk, Hendrik Petrus Berlage, Willem Schellinks, Claes van Beresteyn, Pieter Jansz., Pieter Barbiers I, Albertus Brondgeest, Gerrit Hulseboom, Hendrick Cornelis Vroom, Josua de Grave, Jacob van Strij, Abraham Rutgers, Jacob Cats, Jan de Bisschop, Léonard Defrance, Louis Apol, Georges De Feure, Cornelis Pronk and more.

Onno van Seggelen looks forward to meeting you at TEFAF Showcase S2!

Hemmerle at TEFAF 2016

Posted on:  02/22/2016

22 February 2016

Hemmerle is pleased to be exhibiting at TEFAF Maastricht for the 19th time. Presented at the fair is a new exhibition-stand featuring a sculptural structure designed by the Dutch architect Tom Postma in collaboration with Hemmerle. Postma is the fair architect for TEFAF Maastricht, among other world class building projects.

Uniting ambitious design with sophisticated engineering, Hemmerle and Postma worked together to create an experimental space that compliments the jewellery within by using the power of aesthetic innovation and beauty to engage viewers in unexpected ways. The interlocking architectural structure combines bold form with surprising function. Composed from 16 individual screens made up of over 3,000 American walnut-wood rods, each individually crafted and connected to over 16,500 uniquely engineered aluminium rods, the multi-layered screens of the design appear to float and defy the rules of gravity.

This challenging design took over a year to finalise, as Tom Postma explains: "It was a process of constant trial and error. Everything about this design is new, and we had to learn along the way how it was going to materialise as we had envisioned. It required a level of dedication and patience echoed in Hemmerle’s design ethos and craftsmanship, always aimed at the highest level of creative output and quality."

The aim was to create an environment that would amplify Hemmerle’s design philosophy and drive for innovation, as well as reflect its distinct identity. As with Hemmerle’s jewellery, the design has a carefully considered approach to the use of materials and a focus on attention to detail. Christian Hemmerle explains: "We wanted to create a space with a lighter appearance, transparent yet with an inviting and warm atmosphere. Tom Postma and his team have exceeded all our expectations and the result is intriguing not only in terms of design, but also in the outstanding craftsmanship involved. With the use of wood and aluminium, the design fits the Hemmerle aesthetic perfectly."

Hemmerle (stand 141) is previewing The [AL] Project at TEFAF Maastricht; a new series of jewels exploring the unique properties of aluminium through innovative design and exquisite craftsmanship. Consisting of over 15 pairs of earrings and a brooch, these one-of-a-kind pieces are inspired by eclectic themes such as nature, minimalism and geometry. Intricately crafted in aluminium and paired with gemstones such as diamonds, sapphires, aquamarines and garnets, the creations reflect Hemmerle’s strong visual identity. Aluminium is a metal with a rich history; once the most valuable and sought after material in the world, it went on to become used in almost every aspect of human life. A limited edition book will be published to celebrate the pieces.

Hemmerle at TEFAF 2016

Posted on:  02/22/2016

22 February 2016

Hemmerle is pleased to be exhibiting at TEFAF Maastricht for the 19th time. Presented at the fair is a new exhibition-stand featuring a sculptural structure designed by the Dutch architect Tom Postma in collaboration with Hemmerle. Postma is the fair architect for TEFAF Maastricht, among other world class building projects.

Uniting ambitious design with sophisticated engineering, Hemmerle and Postma worked together to create an experimental space that compliments the jewellery within by using the power of aesthetic innovation and beauty to engage viewers in unexpected ways. The interlocking architectural structure combines bold form with surprising function. Composed from 16 individual screens made up of over 3,000 American walnut-wood rods, each individually crafted and connected to over 16,500 uniquely engineered aluminium rods, the multi-layered screens of the design appear to float and defy the rules of gravity.

This challenging design took over a year to finalise, as Tom Postma explains: "It was a process of constant trial and error. Everything about this design is new, and we had to learn along the way how it was going to materialise as we had envisioned. It required a level of dedication and patience echoed in Hemmerle’s design ethos and craftsmanship, always aimed at the highest level of creative output and quality."

The aim was to create an environment that would amplify Hemmerle’s design philosophy and drive for innovation, as well as reflect its distinct identity. As with Hemmerle’s jewellery, the design has a carefully considered approach to the use of materials and a focus on attention to detail. Christian Hemmerle explains: "We wanted to create a space with a lighter appearance, transparent yet with an inviting and warm atmosphere. Tom Postma and his team have exceeded all our expectations and the result is intriguing not only in terms of design, but also in the outstanding craftsmanship involved. With the use of wood and aluminium, the design fits the Hemmerle aesthetic perfectly."

Hemmerle (stand 141) is previewing The [AL] Project at TEFAF Maastricht; a new series of jewels exploring the unique properties of aluminium through innovative design and exquisite craftsmanship. Consisting of over 15 pairs of earrings and a brooch, these one-of-a-kind pieces are inspired by eclectic themes such as nature, minimalism and geometry. Intricately crafted in aluminium and paired with gemstones such as diamonds, sapphires, aquamarines and garnets, the creations reflect Hemmerle’s strong visual identity. Aluminium is a metal with a rich history; once the most valuable and sought after material in the world, it went on to become used in almost every aspect of human life. A limited edition book will be published to celebrate the pieces.

TEFAF loan exhibition 2016: Collecting Collectors

Posted on:  02/18/2016

18 February 2016

As in previous years, the loan exhibition in TEFAF Paper will offer visitors a one-off opportunity to view a unique selection of prints and drawings from a museum with a major collection in the field. This year’s exhibition, entitled Collecting Collectors, shows a selection of master drawings and prints from Museum Boijmans Van Beuningen, Rotterdam, the Netherlands. The drawings and prints were acquired over the last 167 years.

A particular highlight of the collection are the works by Fra Bartolommeo (1473-1517), numbering 400 sheets with 500 drawings assembled in two luxury albums by Florentine collector Niccolò Gabburri in 1729. One of the albums will be included in the selection at TEFAF Maastricht 2016, as a prelude to the forthcoming large Fra Bartolommeo exhibition in the Boijmans in the autumn of 2016.
Also included in Collecting Collectors are works by old masters such as Albrecht Dürer, Lucas van Leyden and Rembrandt van Rijn to modern and contemporary artists like Paul Cézanne, Salvador Dalí, René Magritte and Yayoi Kusama.  

Museum Boijmans Van Beuningen is named after two collectors who both were essential in the establishment of the museum’s international reputation – Frans Boijmans (1767-1847) and D.G. van Beuningen (1877-1955). Boijmans’ bequest founded the museum in 1849 and in 1940 Van Beuningen acquired and then donated the majority of the Franz Koenigs collection of master drawings. Other eminent collectors who contributed greatly to the collections were Dr. Adriaan Domela Nieuwenhuis (1850-1935) and Dr. Johan Bierens de Haan (1867-1951).
The collection of prints and drawings is the largest subset of Museum Boijmans Van Beuningen’s collection, containing around 17,000 drawings and 65,000 prints. It provides an overview of western art history from the Middle Ages until the present day.

AXA ART is partner of Collecting Collectors

TEFAF loan exhibition 2016: Collecting Collectors

Posted on:  02/18/2016

18 February 2016

As in previous years, the loan exhibition in TEFAF Paper will offer visitors a one-off opportunity to view a unique selection of prints and drawings from a museum with a major collection in the field. This year’s exhibition, entitled Collecting Collectors, shows a selection of master drawings and prints from Museum Boijmans Van Beuningen, Rotterdam, the Netherlands. The drawings and prints were acquired over the last 167 years.

A particular highlight of the collection are the works by Fra Bartolommeo (1473-1517), numbering 400 sheets with 500 drawings assembled in two luxury albums by Florentine collector Niccolò Gabburri in 1729. One of the albums will be included in the selection at TEFAF Maastricht 2016, as a prelude to the forthcoming large Fra Bartolommeo exhibition in the Boijmans in the autumn of 2016.
Also included in Collecting Collectors are works by old masters such as Albrecht Dürer, Lucas van Leyden and Rembrandt van Rijn to modern and contemporary artists like Paul Cézanne, Salvador Dalí, René Magritte and Yayoi Kusama.  

Museum Boijmans Van Beuningen is named after two collectors who both were essential in the establishment of the museum’s international reputation – Frans Boijmans (1767-1847) and D.G. van Beuningen (1877-1955). Boijmans’ bequest founded the museum in 1849 and in 1940 Van Beuningen acquired and then donated the majority of the Franz Koenigs collection of master drawings. Other eminent collectors who contributed greatly to the collections were Dr. Adriaan Domela Nieuwenhuis (1850-1935) and Dr. Johan Bierens de Haan (1867-1951).
The collection of prints and drawings is the largest subset of Museum Boijmans Van Beuningen’s collection, containing around 17,000 drawings and 65,000 prints. It provides an overview of western art history from the Middle Ages until the present day.

AXA ART is partner of Collecting Collectors

Ganymede and the Eagle: late Baroque bronze Masterpiece by Soldani-Benzi at TEFAF 2016

Posted on:  02/17/2016

17 February 2016

International dealers in the field of European sculpture, Tomasso Brothers Fine Art, will unveil a rare work by the Florentine master of the late Baroque era, Massimiliano Soldani-Benzi (1656-1740).

Ganymede and the Eagle, circa 1714, depicts a poetic moment from classical mythology when Zeus, disguised as an eagle, captures Ganymede, in Homer’s words “the loveliest born of the race of mortals”, to become his cup-bearer.  This dramatic composition is a wonderful example of Soldani-Benzi’s suave modelling of form, and the sumptuous finish of his bronzes. It is also an extremely rare model: the only other known version is held by the Fitzwilliam Museum, Cambridge.

Soldani-Benzi is acknowledged as the finest bronze caster in late 17th and early 18th century Europe, and along with Foggini, is considered the most significant proponent of the Florentine late Baroque style in sculpture. He excelled in medal and coin-making, enjoying commissions from Pope Innocent XI and Queen Christina of Sweden, and in 1682 he became Director of the Grand-Ducal Mint.  His workshop, situated on the ground floor of the Galleria degli Uffizi, was patronised by the Medici Grand Dukes, the Elector Palatine and the 1st Duke of Marlborough, amongst many prestigious foreign clients.

The present model is first mentioned in correspondence between Soldani-Benzi and his London agent Zamboni, dated 15th October 1716, regarding four casts Lord Burlington had ordered two years previously but not yet paid for. They included a ‘Venus and Adonis’, of which there is an example in the J. Paul Getty Museum, California, and a matching pair of groups depicting ‘Leda and the Swan’ and ’Ganymede and the Eagle’.  It is known that a ‘Ganymede and the Eagle’ was sent to England, although ‘Leda and the Swan’ is now missing.
The present bronze was previously at Swithland Hall, Leicestershire, residence of the Earls of Lanesborough.

Massimiliano Soldani-Benzi (1656-1740)
Ganymede and the Eagle
Bronze, 31.5 x 38.5 cm
€1,000,000

Ganymede and the Eagle: late Baroque bronze Masterpiece by Soldani-Benzi at TEFAF 2016

Posted on:  02/17/2016

17 February 2016

International dealers in the field of European sculpture, Tomasso Brothers Fine Art, will unveil a rare work by the Florentine master of the late Baroque era, Massimiliano Soldani-Benzi (1656-1740).

Ganymede and the Eagle, circa 1714, depicts a poetic moment from classical mythology when Zeus, disguised as an eagle, captures Ganymede, in Homer’s words “the loveliest born of the race of mortals”, to become his cup-bearer.  This dramatic composition is a wonderful example of Soldani-Benzi’s suave modelling of form, and the sumptuous finish of his bronzes. It is also an extremely rare model: the only other known version is held by the Fitzwilliam Museum, Cambridge.

Soldani-Benzi is acknowledged as the finest bronze caster in late 17th and early 18th century Europe, and along with Foggini, is considered the most significant proponent of the Florentine late Baroque style in sculpture. He excelled in medal and coin-making, enjoying commissions from Pope Innocent XI and Queen Christina of Sweden, and in 1682 he became Director of the Grand-Ducal Mint.  His workshop, situated on the ground floor of the Galleria degli Uffizi, was patronised by the Medici Grand Dukes, the Elector Palatine and the 1st Duke of Marlborough, amongst many prestigious foreign clients.

The present model is first mentioned in correspondence between Soldani-Benzi and his London agent Zamboni, dated 15th October 1716, regarding four casts Lord Burlington had ordered two years previously but not yet paid for. They included a ‘Venus and Adonis’, of which there is an example in the J. Paul Getty Museum, California, and a matching pair of groups depicting ‘Leda and the Swan’ and ’Ganymede and the Eagle’.  It is known that a ‘Ganymede and the Eagle’ was sent to England, although ‘Leda and the Swan’ is now missing.
The present bronze was previously at Swithland Hall, Leicestershire, residence of the Earls of Lanesborough.

Massimiliano Soldani-Benzi (1656-1740)
Ganymede and the Eagle
Bronze, 31.5 x 38.5 cm
€1,000,000

Koopman Rare Art to show The Bennett Indian Yacht Club trophy at TEFAF Maastricht 2016

Posted on:  02/16/2016

16 February 2016

A monumental punch bowl, a sensational piece of American silver is to be shown by Koopman Rare Art at TEFAF Maastricht.

Commissioned from Tiffany’s of New York in 1894 by the flamboyant playboy, James Gordon Bennett Jr. (1841-1918), the punch bowl stands an impressive 25 inches high and has an asking price of £450,000. Gordon Bennett commissioned the punch bowl as a trophy for a sailing race and when it was unveiled, the Bennett Indian Yacht Cup was described as ‘the most beautiful yachting prize as well as the most costly ever offered’ (the price paid was a staggering $2,500). It was also recognised as being a masterpiece in silver and ‘an example of American work that must challenge the critical admiration of European connoisseurs and yachtsmen throughout the world.’

The punch bowl rests on an opulent base dramatically cast with a mermaid and two dolphins in churning waves. The outside of the bowl itself is chased on one side with a scene of Indians in canoes in front of a succession of steam ships, while the other side shows more Indian canoeists. The bowl’s waved rim is applied with feathered hangings, with Indian shields and regalia forming the central features, while the two handles take the form of kneeling squaws one staring out into the distance, the other observing the scene on the bowl.

James Gordon Bennett Jr. was the son of the founder of the New York Herald, who, in 1819, had emmigrated from Newmill in Banffshire, Scotlandto the United States. A keen and competent yachtsman, throughout his life Gordon Bennett had a passion for sponsoring sporting races, particularly the newly developing sports notably motor, air balloon and early aeroplane races. The Grand Prix de France, for example developed from the Gordon Bennett Automobile Cup.For each event he commissioned Tiffany to create an appropriate trophy.

This particular Tiffany masterpiece was presented to the winner of what was essentially only a two-yacht race between Andrew Barclay Walker of Glasgow’s Ailsa and the Prince of Wales' Britannia. The race, held off Nice on 29th March 1895, was sailed over a triangular course of thirty miles with eight turns. At the time the race generated more interest than any other previous contest and contemporary reports tell of Nice harbour filled with boats packed with keen spectators – not dissimilar to the attention that The America’s Cup attracts today. The Ailsa, under Captain Thomas Jay of Rowhedge, triumphed, narrowly beating the Britannia by two minutes one second.

The whereabouts of this magnificent Tiffany work of art from the time of it being presented to the owner of the Ailsa until it entered the collection of John and Katsy Metcome of Houston, Texas is unknown. It was subsequently sold through Sotheby’s in New York in 1993 when it entered another private American collection. Its last public appearance was in the exhibition Marks of Achievement, Four Centuries of American Presentation Silver, Museum of Fine Arts, Houston, 1987.

Lewis Smith, Director of Koopman Rare Art, said: “We are delighted to be showing this outstanding Tiffany masterpiece at TEFAF. Iconic pieces of great American silver such as this rarely come to the market. This is therefore a unique opportunity to acquire a museum quality work that embodies not only superlative craftsmanship but also exceptional artistry. In addition it is one of the most impressive yachting, indeed even sporting trophies of all time. A classic monument of international status it will appeal to the world's top collectors and will sit comfortably alongside the many magnificent examples by Paul Storr, Paul de Lamerie, and other leading European silversmiths which will also be on display on our stand.

Koopman Rare Art to show The Bennett Indian Yacht Club trophy at TEFAF Maastricht 2016

Posted on:  02/16/2016

16 February 2016

A monumental punch bowl, a sensational piece of American silver is to be shown by Koopman Rare Art at TEFAF Maastricht.

Commissioned from Tiffany’s of New York in 1894 by the flamboyant playboy, James Gordon Bennett Jr. (1841-1918), the punch bowl stands an impressive 25 inches high and has an asking price of £450,000. Gordon Bennett commissioned the punch bowl as a trophy for a sailing race and when it was unveiled, the Bennett Indian Yacht Cup was described as ‘the most beautiful yachting prize as well as the most costly ever offered’ (the price paid was a staggering $2,500). It was also recognised as being a masterpiece in silver and ‘an example of American work that must challenge the critical admiration of European connoisseurs and yachtsmen throughout the world.’

The punch bowl rests on an opulent base dramatically cast with a mermaid and two dolphins in churning waves. The outside of the bowl itself is chased on one side with a scene of Indians in canoes in front of a succession of steam ships, while the other side shows more Indian canoeists. The bowl’s waved rim is applied with feathered hangings, with Indian shields and regalia forming the central features, while the two handles take the form of kneeling squaws one staring out into the distance, the other observing the scene on the bowl.

James Gordon Bennett Jr. was the son of the founder of the New York Herald, who, in 1819, had emmigrated from Newmill in Banffshire, Scotlandto the United States. A keen and competent yachtsman, throughout his life Gordon Bennett had a passion for sponsoring sporting races, particularly the newly developing sports notably motor, air balloon and early aeroplane races. The Grand Prix de France, for example developed from the Gordon Bennett Automobile Cup.For each event he commissioned Tiffany to create an appropriate trophy.

This particular Tiffany masterpiece was presented to the winner of what was essentially only a two-yacht race between Andrew Barclay Walker of Glasgow’s Ailsa and the Prince of Wales' Britannia. The race, held off Nice on 29th March 1895, was sailed over a triangular course of thirty miles with eight turns. At the time the race generated more interest than any other previous contest and contemporary reports tell of Nice harbour filled with boats packed with keen spectators – not dissimilar to the attention that The America’s Cup attracts today. The Ailsa, under Captain Thomas Jay of Rowhedge, triumphed, narrowly beating the Britannia by two minutes one second.

The whereabouts of this magnificent Tiffany work of art from the time of it being presented to the owner of the Ailsa until it entered the collection of John and Katsy Metcome of Houston, Texas is unknown. It was subsequently sold through Sotheby’s in New York in 1993 when it entered another private American collection. Its last public appearance was in the exhibition Marks of Achievement, Four Centuries of American Presentation Silver, Museum of Fine Arts, Houston, 1987.

Lewis Smith, Director of Koopman Rare Art, said: “We are delighted to be showing this outstanding Tiffany masterpiece at TEFAF. Iconic pieces of great American silver such as this rarely come to the market. This is therefore a unique opportunity to acquire a museum quality work that embodies not only superlative craftsmanship but also exceptional artistry. In addition it is one of the most impressive yachting, indeed even sporting trophies of all time. A classic monument of international status it will appeal to the world's top collectors and will sit comfortably alongside the many magnificent examples by Paul Storr, Paul de Lamerie, and other leading European silversmiths which will also be on display on our stand.

Caviglia at TEFAF 2016

Posted on:  02/15/2016

15 Februay 2016

For TEFAF 2016, Gallery Caviglia is launching a special exhibition of European and Asian ceramic animals. The animal world has always been an important source of inspiration widely used by European and Chinese potters for local as well as export markets.
This ensemble has never been seen on the market in the last 20 years and will be shown for the first time at TEFAF.  

The pièce de resistance of the show is the extraordinary collection of game tureens mainly from Höchst, Strasbourg and Sceaux manufactories, catalogued in the publication Gourmet Menagerie European and Chinese ceramic animals. This extensive selection is an echo to 18th century faience table ware German or French princely banquet dressed for a special occasion such as a hunting party in 18th century. These tureens were containing the ragout of the captured game waiting for you to be enjoyed. Bon appétit!

Image
Sceaux, period of Jacques Chapelle
A duck tureen with it tray painted in trompe l’oeil
Tin-enameled earthenware, polychrome 'petit feu' décor
36 x 31 cm
Length of tray 40 cm
Circa 1755

Caviglia at TEFAF 2016

Posted on:  02/15/2016

15 Februay 2016

For TEFAF 2016, Gallery Caviglia is launching a special exhibition of European and Asian ceramic animals. The animal world has always been an important source of inspiration widely used by European and Chinese potters for local as well as export markets.
This ensemble has never been seen on the market in the last 20 years and will be shown for the first time at TEFAF.  

The pièce de resistance of the show is the extraordinary collection of game tureens mainly from Höchst, Strasbourg and Sceaux manufactories, catalogued in the publication Gourmet Menagerie European and Chinese ceramic animals. This extensive selection is an echo to 18th century faience table ware German or French princely banquet dressed for a special occasion such as a hunting party in 18th century. These tureens were containing the ragout of the captured game waiting for you to be enjoyed. Bon appétit!

Image
Sceaux, period of Jacques Chapelle
A duck tureen with it tray painted in trompe l’oeil
Tin-enameled earthenware, polychrome 'petit feu' décor
36 x 31 cm
Length of tray 40 cm
Circa 1755

The Weiss Gallery at TEFAF 2016

Posted on:  02/14/2016

14 February 2016

Following a successful 2015, The Weiss Gallery - dealer in Tudor, Stuart and Northern European Old Master portraiture - returns to TEFAF Maastricht with several new exciting discoveries. Amongst this year’s highlights is a fine portrait by Paulus Moreelse depicting a lady from one of seventeenth-century Utrecht’s most noble families. Dressed in a richly embroidered gold and black dress, in the highest fashion of the day, Emerentia de la Kethulle, nee van Ravenswaay (1593 – 1634) (frontispiece) is a magnificent costume piece, as well as a finely observed portrait.

True to The Weiss Gallery’s roots, there will be exceptional examples of Tudor & Stuart portraiture at TEFAF. These include a striking portrayal of Sir Francis Drake’s brother Thomas by Hieronimo Custodis, an important portrait of the renowned Earl of Essex by Marcus Gheeraerts, and most notably a masterpiece by William Larkin.

The gallery will bring further fine examples of Dutch and Flemish masters, including works by the Pourbus family, George Geldorp and notably a recently discovered fragment by Sir Anthony van Dyck. The piece represents the head of Jupiter from one of the artist’s most celebrated, and early, mythological subjects, Jupiter and Antiope. Intriguingly, this work is thought to have once belonged to his master Sir Peter Paul Rubens and demonstrates Van Dyck’s instinctive brushwork.

Celebrating the gallery’s 30th anniversary, owner Mark Weiss is “proud to bring a selection of museum-quality masterpieces to TEFAF.” The Weiss Gallery has made many notable sales that now grace distinguished royal, private and public collections around the world, including Tate Britain, The National Portrait Gallery in London, and the National Gallery of Victoria in Australia.

Image
Paulus Moreelse (1571-1638)
Emerentia de la Kethulle, née van Ravenswaay (1593-1634)
Oil on panel: 123.5 x 89 cm.
Monogrammed and dated upper right ‘AEtat suae 31 / PM 1625’
Painted 1625

The Weiss Gallery at TEFAF 2016

Posted on:  02/14/2016

14 February 2016

Following a successful 2015, The Weiss Gallery - dealer in Tudor, Stuart and Northern European Old Master portraiture - returns to TEFAF Maastricht with several new exciting discoveries. Amongst this year’s highlights is a fine portrait by Paulus Moreelse depicting a lady from one of seventeenth-century Utrecht’s most noble families. Dressed in a richly embroidered gold and black dress, in the highest fashion of the day, Emerentia de la Kethulle, nee van Ravenswaay (1593 – 1634) (frontispiece) is a magnificent costume piece, as well as a finely observed portrait.

True to The Weiss Gallery’s roots, there will be exceptional examples of Tudor & Stuart portraiture at TEFAF. These include a striking portrayal of Sir Francis Drake’s brother Thomas by Hieronimo Custodis, an important portrait of the renowned Earl of Essex by Marcus Gheeraerts, and most notably a masterpiece by William Larkin.

The gallery will bring further fine examples of Dutch and Flemish masters, including works by the Pourbus family, George Geldorp and notably a recently discovered fragment by Sir Anthony van Dyck. The piece represents the head of Jupiter from one of the artist’s most celebrated, and early, mythological subjects, Jupiter and Antiope. Intriguingly, this work is thought to have once belonged to his master Sir Peter Paul Rubens and demonstrates Van Dyck’s instinctive brushwork.

Celebrating the gallery’s 30th anniversary, owner Mark Weiss is “proud to bring a selection of museum-quality masterpieces to TEFAF.” The Weiss Gallery has made many notable sales that now grace distinguished royal, private and public collections around the world, including Tate Britain, The National Portrait Gallery in London, and the National Gallery of Victoria in Australia.

Image
Paulus Moreelse (1571-1638)
Emerentia de la Kethulle, née van Ravenswaay (1593-1634)
Oil on panel: 123.5 x 89 cm.
Monogrammed and dated upper right ‘AEtat suae 31 / PM 1625’
Painted 1625

Stoppenbach & Delestre presents Pierre Eugène Montézin at TEFAF 2016

Posted on:  02/13/2016

13 February 2016

Stoppenbach & Delestre (stand 331) will present Pierre Eugène Montézin at TEFAF. Montézin rates among the best and most sought after Post-Impressionist masters. Pierre Eugène Montézin (French, 1874–1946) was a Post-Impressionist painter born in Paris. After beginning his career as a muralist, he was influenced early on by the legacy of Impressionist painters, and began to painten plein-airlandscapes. Friends with artist Ernest Quost (French, 1834–1931), Montézin’s work further developed painterly dabs of color depicting vibrant outdoor scenes with a great clarity of light. Montézin was named a Chevalier de la Légion d'honneur in 1923, President of the Salon Jury in 1932, and elected at the Académie des beaux-arts in 1941. His work is part of the collections of the Kunsthalle Museum in Mannheim, Germany, the Museum of Modern Art in Paris, and the Petit-Palais Modern Art Museum in Geneva, among many others.

Montézin’s works consistently present a romantic perception of a world undamaged by turmoil but rather, revel in a rural ideal of natural beauty.

Image 
Pierre-Eugène Montézin
Vue d’un village sous la neige
Oil on canvas
Signed lower left
50 x 64.8 cm

 

Source: Artnet

Stoppenbach & Delestre presents Pierre Eugène Montézin at TEFAF 2016

Posted on:  02/13/2016

13 February 2016

Stoppenbach & Delestre (stand 331) will present Pierre Eugène Montézin at TEFAF. Montézin rates among the best and most sought after Post-Impressionist masters. Pierre Eugène Montézin (French, 1874–1946) was a Post-Impressionist painter born in Paris. After beginning his career as a muralist, he was influenced early on by the legacy of Impressionist painters, and began to painten plein-airlandscapes. Friends with artist Ernest Quost (French, 1834–1931), Montézin’s work further developed painterly dabs of color depicting vibrant outdoor scenes with a great clarity of light. Montézin was named a Chevalier de la Légion d'honneur in 1923, President of the Salon Jury in 1932, and elected at the Académie des beaux-arts in 1941. His work is part of the collections of the Kunsthalle Museum in Mannheim, Germany, the Museum of Modern Art in Paris, and the Petit-Palais Modern Art Museum in Geneva, among many others.

Montézin’s works consistently present a romantic perception of a world undamaged by turmoil but rather, revel in a rural ideal of natural beauty.

Image 
Pierre-Eugène Montézin
Vue d’un village sous la neige
Oil on canvas
Signed lower left
50 x 64.8 cm

 

Source: Artnet

Verdura & Belperron to Exhibit for the First Time at TEFAF Maastricht 2016

Posted on:  02/12/2016

12 February 2016

Verdura and Belperron announced this month that it will exhibit for the first time at TEFAF Maastricht. They will showcase both new and vintage jewelry highlighting each house’s signature design. “We couldn’t be more excited to be exhibiting at TEFAF Maastricht for the first time, presenting our finest works to the world’s finest audience of collectors,” commented Nico Landrigan, Verdura and Belperron President.

Highlights from Verdura include the special edition limited edition Theodora Cuff, recently introduced to mark Verdura’s 75th Anniversary. Inspired by a Byzantine mosaic of Empress Theodora, Duke Fulco di Verdura’s iconoclastic motif represents his 1930 break from the status quo of platinum and diamond jewelry. Verdura, with Coco Chanel as his muse, introduced this revolutionary design, gemstones pressed into yellow gold in splendid juxtaposition. A trio of large gems in high relief – 9 carat sapphire, 5 carat emerald and 5 carat amethyst - is set among 31 stones of every shape and color, on a hinged cuff of 18K gold and black enamel. Limited edition of 200; signed and numbered.

Highlights from Belperron include the Leaf Coronet Cuff. From the vast design archive of Suzanne Belperron, the Leaf Coronet Cuff epitomizes Belperron’s pioneering aesthetic: sensual, tactile and arrestingly modern. This diamond-studded platinum cuff reflects her signature sculptural style, with articulated, diamond-set rock crystal leaves arrayed to form a tribal coronet. Belperron became known for combining gemstones and precious metal without regard for their intrinsic value, focusing instead on the the beauty of each combination. Asked why she never signed her work, she stated “My style is my signature.”

Image
Left: Theodora Cuff, Verdura
Right: Leaf Coronet Cuff, Belperron

Verdura & Belperron to Exhibit for the First Time at TEFAF Maastricht 2016

Posted on:  02/12/2016

12 February 2016

Verdura and Belperron announced this month that it will exhibit for the first time at TEFAF Maastricht. They will showcase both new and vintage jewelry highlighting each house’s signature design. “We couldn’t be more excited to be exhibiting at TEFAF Maastricht for the first time, presenting our finest works to the world’s finest audience of collectors,” commented Nico Landrigan, Verdura and Belperron President.

Highlights from Verdura include the special edition limited edition Theodora Cuff, recently introduced to mark Verdura’s 75th Anniversary. Inspired by a Byzantine mosaic of Empress Theodora, Duke Fulco di Verdura’s iconoclastic motif represents his 1930 break from the status quo of platinum and diamond jewelry. Verdura, with Coco Chanel as his muse, introduced this revolutionary design, gemstones pressed into yellow gold in splendid juxtaposition. A trio of large gems in high relief – 9 carat sapphire, 5 carat emerald and 5 carat amethyst - is set among 31 stones of every shape and color, on a hinged cuff of 18K gold and black enamel. Limited edition of 200; signed and numbered.

Highlights from Belperron include the Leaf Coronet Cuff. From the vast design archive of Suzanne Belperron, the Leaf Coronet Cuff epitomizes Belperron’s pioneering aesthetic: sensual, tactile and arrestingly modern. This diamond-studded platinum cuff reflects her signature sculptural style, with articulated, diamond-set rock crystal leaves arrayed to form a tribal coronet. Belperron became known for combining gemstones and precious metal without regard for their intrinsic value, focusing instead on the the beauty of each combination. Asked why she never signed her work, she stated “My style is my signature.”

Image
Left: Theodora Cuff, Verdura
Right: Leaf Coronet Cuff, Belperron

Bernard de Grunne presents Seated Baule figure as Thrones of the Spirits at TEFAF Maastricht

Posted on:  02/11/2016

11 February 2016

Bernard de Grunne will participate to his 16th TEFAF Maastricht where he will showcase a collection of 18 museum-quality pieces, focusing specifically on seated figures from the Baule tribe in Central Ivory Coast. It took about 4 years to gather these exceptional collection, but also to make the researches aiming to a better knowledge about this phenomenon: why carving seated figures is so unusual.



Origins of the Baule tribe
The Baule as an ethnic group are a mix of a “root” Baule culture in Central Ivory Coast originating from the Mamla Baule sub-group dating back to before A.D. 1700. They have merged with some cultural elements of the migrating people of Akan origin, led by the Queen Abla Poku from the Ashanti confederation, who after a war of succession between A.D. 1725 and 1750 settled in Mamla territory dividing in subgroups. The legend tells that the Queen sacrificed her own son to be able to cross a river, and declared “Baou-li” meaning “The child has died”, which gave its name to the Baule tribe.
Their area was defined by two rivers, Bandama and Komoé, known to be rich in gold mines. They were an egalitarian society, considered as anarchic population by the colonies because they were independent and took political decisions under the council of elders.

Art Style of the Baule
The art styles of Ivory Coast are divided in different groups such as Gouro, Baule, Dan, Senoufo, Lagoon population and Lobi. The Baule style is one of the most refined of African Art, including very famous carvers from this continent. All the anatomic details of the human body are carved with extreme delicateness (coiffure, scarifications marks, finger and toe nails, muscles...).
The majority of the Baule figures are standing, and they usually represent the ideal man ("blolo-bian") and woman ("blolo-ba") being the incarnation of the spouses of the other world of the spirits, which are protective and revealed by the diviner of the village.

Specifications of the seated Baule figures
A rarer style of Baule figures are represented seated which were carved for the diviners as tolls for their ceremonies.
The terracotta statues from the Nok culture in Nigeria are the oldest images of seated humans in Africa (between B.C. 1000 to A.D. 500) except for those of Dynastic Egypt. Among other styles of Subsaharan Africa, the seated posture is laos a rare iconography. For instance, among 114 Hemba (Zaire) ancestral figures published by Neyt, only 6 are represented seated {...} showing how unusual this posture becomes in Central African art styles. According to him, the seated position implied prestige and power. He also suggests that each Hemba chiefdom had only one seated ancestral figure as an icon of the eponymous founding hero of the chiefdom for all the order standing ones.
B. de Gunne's survey of 1308 Baule figures published in the Yale University van Rijn archives of African art shows that only 300 (23%) are seated.

Examples of seated Baule figures
Among his researches, B. de G. identified seven "Masters" and their entourage, to whom he attributed each a name of convenience, as the artists never left their names as a signature on their works. He resorted to the names of famous collectors, or dealers, who were the discoverers or the first owners of the most perfect works example for each respective “Master” and/or workshop.
The "Vérité" Master (coming from the famous collector Pierre Vérité) defines the specific style of some spectacular pieces, gathering a corpus of 7 seated figures with long braided bears made of natural fiber.
The "Ascher" Master (coming from the renowned dealer Ernst Ascher) defines a corpus of 12 Baule figures recognizable by their high coiffures, finely carved, with some deep red patina and an intense facial expression.
These seated figures are exhibited publically and serve as a temporary abode for gods and spirits, who take possession of their human partners and send messages via them when they are in a state of trance. With the help of these statuettes, the diviners lure people and present them with an exciting spectacle.

Thrones of the Spirits
Bernard de Grunne postulates that “following the suggestion of Susan Vogel* {…} the theme of the seated figures typifies this core ancient Baule art style created by the autochthonous Mamla in Central Ivory Coast before the Akan migrations from present day Ghana led by Queen Abla Poku. Just like the seated enthrones Madonnas from Romanesque France in the 13th century.”
Also, “As far as duration of the Baule styles is concerned, one can use chronological markers such as the type of stools on which Baule statues are seated. The statues themselves were brought back to France between 1920 and 1960 while Baule chiefdoms started possibly as early as A.D. 1600.”

Bernard de Grunne presents Seated Baule figure as Thrones of the Spirits at TEFAF Maastricht

Posted on:  02/11/2016

11 February 2016

Bernard de Grunne will participate to his 16th TEFAF Maastricht where he will showcase a collection of 18 museum-quality pieces, focusing specifically on seated figures from the Baule tribe in Central Ivory Coast. It took about 4 years to gather these exceptional collection, but also to make the researches aiming to a better knowledge about this phenomenon: why carving seated figures is so unusual.



Origins of the Baule tribe
The Baule as an ethnic group are a mix of a “root” Baule culture in Central Ivory Coast originating from the Mamla Baule sub-group dating back to before A.D. 1700. They have merged with some cultural elements of the migrating people of Akan origin, led by the Queen Abla Poku from the Ashanti confederation, who after a war of succession between A.D. 1725 and 1750 settled in Mamla territory dividing in subgroups. The legend tells that the Queen sacrificed her own son to be able to cross a river, and declared “Baou-li” meaning “The child has died”, which gave its name to the Baule tribe.
Their area was defined by two rivers, Bandama and Komoé, known to be rich in gold mines. They were an egalitarian society, considered as anarchic population by the colonies because they were independent and took political decisions under the council of elders.

Art Style of the Baule
The art styles of Ivory Coast are divided in different groups such as Gouro, Baule, Dan, Senoufo, Lagoon population and Lobi. The Baule style is one of the most refined of African Art, including very famous carvers from this continent. All the anatomic details of the human body are carved with extreme delicateness (coiffure, scarifications marks, finger and toe nails, muscles...).
The majority of the Baule figures are standing, and they usually represent the ideal man ("blolo-bian") and woman ("blolo-ba") being the incarnation of the spouses of the other world of the spirits, which are protective and revealed by the diviner of the village.

Specifications of the seated Baule figures
A rarer style of Baule figures are represented seated which were carved for the diviners as tolls for their ceremonies.
The terracotta statues from the Nok culture in Nigeria are the oldest images of seated humans in Africa (between B.C. 1000 to A.D. 500) except for those of Dynastic Egypt. Among other styles of Subsaharan Africa, the seated posture is laos a rare iconography. For instance, among 114 Hemba (Zaire) ancestral figures published by Neyt, only 6 are represented seated {...} showing how unusual this posture becomes in Central African art styles. According to him, the seated position implied prestige and power. He also suggests that each Hemba chiefdom had only one seated ancestral figure as an icon of the eponymous founding hero of the chiefdom for all the order standing ones.
B. de Gunne's survey of 1308 Baule figures published in the Yale University van Rijn archives of African art shows that only 300 (23%) are seated.

Examples of seated Baule figures
Among his researches, B. de G. identified seven "Masters" and their entourage, to whom he attributed each a name of convenience, as the artists never left their names as a signature on their works. He resorted to the names of famous collectors, or dealers, who were the discoverers or the first owners of the most perfect works example for each respective “Master” and/or workshop.
The "Vérité" Master (coming from the famous collector Pierre Vérité) defines the specific style of some spectacular pieces, gathering a corpus of 7 seated figures with long braided bears made of natural fiber.
The "Ascher" Master (coming from the renowned dealer Ernst Ascher) defines a corpus of 12 Baule figures recognizable by their high coiffures, finely carved, with some deep red patina and an intense facial expression.
These seated figures are exhibited publically and serve as a temporary abode for gods and spirits, who take possession of their human partners and send messages via them when they are in a state of trance. With the help of these statuettes, the diviners lure people and present them with an exciting spectacle.

Thrones of the Spirits
Bernard de Grunne postulates that “following the suggestion of Susan Vogel* {…} the theme of the seated figures typifies this core ancient Baule art style created by the autochthonous Mamla in Central Ivory Coast before the Akan migrations from present day Ghana led by Queen Abla Poku. Just like the seated enthrones Madonnas from Romanesque France in the 13th century.”
Also, “As far as duration of the Baule styles is concerned, one can use chronological markers such as the type of stools on which Baule statues are seated. The statues themselves were brought back to France between 1920 and 1960 while Baule chiefdoms started possibly as early as A.D. 1600.”

Galerie Daniel Blau at TEFAF 2016

Posted on:  02/10/2016

10 February 2016

TEFAF is the occasion at which Galerie Daniel Blau introduces their most exquisite artworks, which in many instances are collected over years, enabling them to contextualise and often premiere these as groups at the fair. They will introduce unique or previously unrecognised photographic objects to the public.

Daniel Blau is pleased to present an extraordinary selection of 19th and 20th century photographic masterpieces. This year’s program ranges from the magical era of the medium’s origins in 1839 to the rise of photojournalism a hundred years later.

The gallery will present one of the earliest pictures ever made by the photographic pioneer Hippolyte Bayard (1801 - 1887) who began investigating light’s chemical reactions as early as 1830. In 1839 he publicly announced his direct paper positive invention which created the magical, unique picture of Héra Barberini that allows us today to see the very same radiant light he captured in 1839. Bayard’s brilliance can be further admired in a group of seven prints, each displaying a different tonality and contrast, which are the beautiful survivors and some of the earliest examples of monochrome “colour” photography. Bayard’s masterpieces are exceedingly rare on the art market as most of his work was left to the Société Française de Photographie, which he co-founded in 1854. It is thanks to the illustrious Duc de Luynes, whose patronage and passion for photography, which saw his family’s fortune dwindle as his collection expanded, allows us to still admire these spectacular examples of early photography today.
Blau's 20th century selection premiers a group of vintage Weegee prints, which were recently discovered in the American “Newspaper Enterprise Association” (N.E.A.) archive. For most of his early career Weegee relentlessly captured New York’s untold stories. From the grandiose halls of the Metropolitan Opera House to the unsophisticated sanctuary of Sammy’s Bar, the congregation of inquisitive spectators to the abrupt silence of a gangland murder, Weegee found the sensational, the scandalous, the melodramatic and the newsworthy - and he certainly covered it all! The prices of these vintage prints start at 5,000 Euros.
Furthermore the gallery presents a group of vintage colour prints of atomic bomb testings from the 1950s, which are not only impressive in their quality but also extremely rare. Most of the photography published in the 1950s was still in black-and-white as there was only very limited use for colour. Large pictures of American nuclear tests in colour (Daniel Blau’s long-standing specialty) are among the great rarities of 20th century documentary photography. Today, they treasure these objects as works of art in their own right.

Galerie Daniel Blau at TEFAF 2016

Posted on:  02/10/2016

10 February 2016

TEFAF is the occasion at which Galerie Daniel Blau introduces their most exquisite artworks, which in many instances are collected over years, enabling them to contextualise and often premiere these as groups at the fair. They will introduce unique or previously unrecognised photographic objects to the public.

Daniel Blau is pleased to present an extraordinary selection of 19th and 20th century photographic masterpieces. This year’s program ranges from the magical era of the medium’s origins in 1839 to the rise of photojournalism a hundred years later.

The gallery will present one of the earliest pictures ever made by the photographic pioneer Hippolyte Bayard (1801 - 1887) who began investigating light’s chemical reactions as early as 1830. In 1839 he publicly announced his direct paper positive invention which created the magical, unique picture of Héra Barberini that allows us today to see the very same radiant light he captured in 1839. Bayard’s brilliance can be further admired in a group of seven prints, each displaying a different tonality and contrast, which are the beautiful survivors and some of the earliest examples of monochrome “colour” photography. Bayard’s masterpieces are exceedingly rare on the art market as most of his work was left to the Société Française de Photographie, which he co-founded in 1854. It is thanks to the illustrious Duc de Luynes, whose patronage and passion for photography, which saw his family’s fortune dwindle as his collection expanded, allows us to still admire these spectacular examples of early photography today.
Blau's 20th century selection premiers a group of vintage Weegee prints, which were recently discovered in the American “Newspaper Enterprise Association” (N.E.A.) archive. For most of his early career Weegee relentlessly captured New York’s untold stories. From the grandiose halls of the Metropolitan Opera House to the unsophisticated sanctuary of Sammy’s Bar, the congregation of inquisitive spectators to the abrupt silence of a gangland murder, Weegee found the sensational, the scandalous, the melodramatic and the newsworthy - and he certainly covered it all! The prices of these vintage prints start at 5,000 Euros.
Furthermore the gallery presents a group of vintage colour prints of atomic bomb testings from the 1950s, which are not only impressive in their quality but also extremely rare. Most of the photography published in the 1950s was still in black-and-white as there was only very limited use for colour. Large pictures of American nuclear tests in colour (Daniel Blau’s long-standing specialty) are among the great rarities of 20th century documentary photography. Today, they treasure these objects as works of art in their own right.

TEFAF Maastricht to launch two new annual art fairs in New York

Posted on:  02/03/2016

3 February 2016

TEFAF Maastricht will launch two TEFAF art fairs. The fairs will be presented annually in New York at the Park Avenue Armory.

The first fair, TEFAF | New York | Fall, will premiere in October 2016 and focus on art from antiquitiy to the 20th Century. The second fair TEFAF | New York | Spring, will premiere in May 2017 with an emphasis on modern and contemporary art and design.

The TEFAF fairs will provide an unprecedented showcase in New York for leading art dealers from around the world. Their exhibitions will flow throughout the Armory’s landmark building encompassing the Wade Thompson Drill Hall and extending to both the ground and first floors of the Armory’s period rooms, creating two fairs of unprecedented depth and impact in New York City. Together the fairs will be able to support around 170 dealer presentations. Participating dealers in TEFAF fairs are welcomed only after a rigorous application and approval process. It is anticipated that each fair will include approximately 80 to 90 dealers from around the world.

Read more about the two new art fairs in the press release.

TEFAF Maastricht to launch two new annual art fairs in New York

Posted on:  02/03/2016

3 February 2016

TEFAF Maastricht will launch two TEFAF art fairs. The fairs will be presented annually in New York at the Park Avenue Armory.

The first fair, TEFAF | New York | Fall, will premiere in October 2016 and focus on art from antiquitiy to the 20th Century. The second fair TEFAF | New York | Spring, will premiere in May 2017 with an emphasis on modern and contemporary art and design.

The TEFAF fairs will provide an unprecedented showcase in New York for leading art dealers from around the world. Their exhibitions will flow throughout the Armory’s landmark building encompassing the Wade Thompson Drill Hall and extending to both the ground and first floors of the Armory’s period rooms, creating two fairs of unprecedented depth and impact in New York City. Together the fairs will be able to support around 170 dealer presentations. Participating dealers in TEFAF fairs are welcomed only after a rigorous application and approval process. It is anticipated that each fair will include approximately 80 to 90 dealers from around the world.

Read more about the two new art fairs in the press release.

Second TEFAF Talk: 'Open Furniture at The Wallace Collection'

Posted on:  02/02/2016

2 February 2016

We are delighted to present the second in this year’s TEFAF Talk series: 'Open Furniture at The Wallace Collection'

Details
Open Furniture at The Wallace Collection
18 February 2016
8.30am – 10am
The Wallace Collection
In association with Apollo Magazine 

Helen Jacobsen and Ada de Wit will lead two groups of guests as part of the Wallace Collection’s 'Open Furniture month'. Guests will have a chance to see inside and examine some of the Wallace Collection's most important pieces of furniture and see how the popularity of writing and all things intellectual in 18th-century France influenced the production of furniture.

TEFAF Talks are free and include breakfast, but you must book in advance to confirm your place. Places will be allocated on a first-come, first-served basis. Please email annie@goldensquared.com to secure your place for this unique experience.

Follow the TEFAF Talks on social media using the hashtags #TEFAFTalks and #TEFAF2016. On Twitter, follow the handles @TEFAF @GoldenSquared  and on Instagram @tefaf_maastricht @goldensquared .

Address
The Wallace Collection
Hertford House, Manchester Square, London W1U 3BN

Second TEFAF Talk: 'Open Furniture at The Wallace Collection'

Posted on:  02/02/2016

2 February 2016

We are delighted to present the second in this year’s TEFAF Talk series: 'Open Furniture at The Wallace Collection'

Details
Open Furniture at The Wallace Collection
18 February 2016
8.30am – 10am
The Wallace Collection
In association with Apollo Magazine 

Helen Jacobsen and Ada de Wit will lead two groups of guests as part of the Wallace Collection’s 'Open Furniture month'. Guests will have a chance to see inside and examine some of the Wallace Collection's most important pieces of furniture and see how the popularity of writing and all things intellectual in 18th-century France influenced the production of furniture.

TEFAF Talks are free and include breakfast, but you must book in advance to confirm your place. Places will be allocated on a first-come, first-served basis. Please email annie@goldensquared.com to secure your place for this unique experience.

Follow the TEFAF Talks on social media using the hashtags #TEFAFTalks and #TEFAF2016. On Twitter, follow the handles @TEFAF @GoldenSquared  and on Instagram @tefaf_maastricht @goldensquared .

Address
The Wallace Collection
Hertford House, Manchester Square, London W1U 3BN

Sur la table….. “The Elegant Table in the time of Delft Masterworks”

Posted on:  02/02/2016

2 February 2016

Sur la table…… “The Elegant Table in the time of Delft Masterworks” is theme of exhibition at Aronson Antiquairs presentation at TEFAF 2016.

Robert Aronson of Aronson Antiquairs of Amsterdam is delighted to present a special exhibition Sur La Table…… “The Elegant Table in the time of Delft Masterworks” at TEFAF 2016. “We have recently been able to acquire from important sources a variety of remarkable and very rare objects that shared a quality we would like to share with visitors to TEFAF this year. “The finest examples of Delft created during the 17th and 18th centuries often were intended to impress guests visiting the owner’s home, especially when dining there. Our TEFAF presentation, Sur La Table ….. “The Elegant Table in the time of Delft Masterworks” illustrates why grand table settings were admired for their entertainment value as much as for their beauty and craftsmanship. Often these specially commissioned Delftworks were decorative and not intended for use. It was a badge of honor and esteem to be invited to a home where the host reserved his most treasured Delftware to share with his guests over a fine meal. The French term “Sur la table” or “at the table” refers to the renewed way of dining in the Netherlands from the second half of the 17th century “à la façon Française – in the manner of the French.”

Aronson continues: “My pride in TEFAF is unbridled. It continues to attract the most discerning and sophisticated collectors in all the major disciplines, from paintings and sculpture to ceramics, glass, silver and textiles. We are fortunate each year not only to welcome the most important museums and their patrons, but private collectors and their advisors, all seeking to acquire the most valuable new artworks entering the market.” Robert Aronson literally grew up at TEFAF, where his late Father, Dave Aronson, served as Chairman. Robert admits that opening day still excites him as he witnesses visitors’ delight viewing what is acknowledged to be the largest assemblage of the finest artworks on the planet under one roof at a single exposition. “TEFAF offers visitors a unique experience. Besides the amazing connoisseurship you’ll see here, there’s no fair in the world where as rigorous investigation of each item’s quality, condition and authenticity takes place. The dealers demonstrate respect both for their profession as well as their clients by bringing to TEFAF the absolutely best examples on the market today.” Aronson Antiquairs numbers among its clients international connoisseurs and museums including The Wadsworth Museum, the Metropolitan Museum of Art, The British Museum and Holland’s own Rijksmuseum. Aronson says the long and interesting history of Dutch Delftware continues to fascinate beginning collectors and seasoned ones too.

More about Dutch Delftware
Dutch Delftware has been handmade in Holland for more than 400 years. It began when trade with Italy, Spain and Portugal brought earthenware to the Netherlands. By the 17th century the Dutch East India Company had introduced Europe to Chinese porcelain and exports flourished as the West strived to duplicate the Chinese formula for fine blue and white porcelain. When war in China interrupted the trade, potters in Delft expanded their businesses to create earthenware versions of ‘porcelain.’ At the height of production The Guild of Saint Luke counted almost 40 factories in the small city of Delft. They were innovative and adapted to fill the needs of clients all over Europe, with the elegant term ‘faience’ becoming synonymous with 'delftware.’ For over 130 years Aronson Antiquairs has sought to carry the very finest examples of Delft in the full range of forms and patterns, from the extremely rare Black Delft to Japanese Imari designs and the instantly recognizable Blue and White and Chinoiserie motifs in platters, figures, vases, bowls and plaque forms. The word “Delftware” has long been associated with a visit to Holland.

Wallace Chan’s debut at TEFAF Maastricht

Posted on:  02/01/2016

1 February 2016

Wallace Chan, the first Chinese jewelry artist ever invited to exhibit at TEFAF, will present his jewelry art creations, glass carvings and large-scaled titanium sculptures, sharing with international collectors his creative path from the traditional to the contemporary, and from the East to the West.

Wallace Chan founded his own gemstone carving workshop in 1974, when he was 17. In 1987, he invented the “Wallace Cut”, an illusionary carving technique that transcends dimensions. As a result, he was crowned the “Carving Prodigy from Asia” by European media. In 2001, after a decade immersing in Buddhist art, he created the Great Stupa for Fo Guang Shan, Taiwan.
Chan also spent 8 years to experiment with titanium, the most bio-friendly metal known to date. He surprised BASELWORLD 2007 with a series of jewelry creations featuring ethereal titanium structures, the technical secrets of which he later unveiled to the world.

Chan was the first Chinese jewelry artist ever invited to exhibit and deliver speeches at the GIA headquarter. In 2012 and 2014, he emerged at the Biennale des Antiquaires in Paris as the first and only Asian artist ever invited to exhibit at this fair. International media has featured Wallace Chan extensively, introducing his creations as well as innovations, to name but a few – the patented jadeite thinning and luminosity enhancing technology, and his revolutionary gemstone-setting-gemstone technique. Today, Wallace Chan is recognized as a jewelry creator, an artist and a philosopher.

TEFAF Maastricht supports the conservation of The Photographic Collection of Rashid Talukder

Posted on:  01/28/2016

28 January 2016

The European Fine Art Foundation (which runs TEFAF Maastricht) and the Prince Claus Fund are providing financial support to the DRIK Picture Library in Dhaka, Bangladesh, to preserve a significant portion of a collection of negatives belonging to one of Bangladesh’s most important photographers, Rashid Talukder.

During the Liberation War, Talukder produced numerous iconic photos that stand as testament to the social and political scenario of Bangladesh during that turbulent period. All his negatives were stored, unarchived, in a steel trunk, wrapped in cloth and buried underground: this extraordinary collection is now in a state of decay. The photographic works are unseen as thenegatives and slides have not been printed and digitally converted.

There are 155,568 negatives in total, some of which have already been lost through poor storage. The project supported by TEFAF and the Prince Claus Fund will preserve the most fragile 18,000 negatives to provide one of the very few records of the Liberation War. In addition, the project is intended to construct a virtual memoir of one of the most important Bangladeshi photojournalists from that era.

Read more about this project in the press release.

TEFAF Maastricht supports the conservation of The Photographic Collection of Rashid Talukder

Posted on:  01/28/2016

28 January 2016

The European Fine Art Foundation (which runs TEFAF Maastricht) and the Prince Claus Fund are providing financial support to the DRIK Picture Library in Dhaka, Bangladesh, to preserve a significant portion of a collection of negatives belonging to one of Bangladesh’s most important photographers, Rashid Talukder.

During the Liberation War, Talukder produced numerous iconic photos that stand as testament to the social and political scenario of Bangladesh during that turbulent period. All his negatives were stored, unarchived, in a steel trunk, wrapped in cloth and buried underground: this extraordinary collection is now in a state of decay. The photographic works are unseen as thenegatives and slides have not been printed and digitally converted.

There are 155,568 negatives in total, some of which have already been lost through poor storage. The project supported by TEFAF and the Prince Claus Fund will preserve the most fragile 18,000 negatives to provide one of the very few records of the Liberation War. In addition, the project is intended to construct a virtual memoir of one of the most important Bangladeshi photojournalists from that era.

Read more about this project in the press release.

TEFAF Museum Restoration Fund awarded to Musée des beaux-arts and the Singer Memorial Foundation

Posted on:  01/27/2016

27 January 2016

The Executive Committee of The European Fine Art Foundation has awarded a grant of €50,000 to two interesting and important but very different restoration projects – the reconstruction of The Tower of Nanjing from the de Robien collection at the Musée des Beaux-Arts de Rennes and the restoration of The Girl in the Muslin Dress – Symphony in White by James McNeill Whistler (1834 - 1903) at The Singer Memorial Foundation, Laren, The Netherlands.

The Fund was set up by TEFAF Maastricht in 2012 to provide up to €50,000 in total annually to help institutions around the world restore and conserve works of art in their collections. Museums and institutions that have attended TEFAF Maastricht are eligible to apply for the grants, which are awarded by an independent panel of experts. Both of this year’s projects are technically complex and demanding.

Read more about this project in the press release.

TEFAF Museum Restoration Fund awarded to Musée des beaux-arts and the Singer Memorial Foundation

Posted on:  01/27/2016

27 January 2016

The Executive Committee of The European Fine Art Foundation has awarded a grant of €50,000 to two interesting and important but very different restoration projects – the reconstruction of The Tower of Nanjing from the de Robien collection at the Musée des Beaux-Arts de Rennes and the restoration of The Girl in the Muslin Dress – Symphony in White by James McNeill Whistler (1834 - 1903) at The Singer Memorial Foundation, Laren, The Netherlands.

The Fund was set up by TEFAF Maastricht in 2012 to provide up to €50,000 in total annually to help institutions around the world restore and conserve works of art in their collections. Museums and institutions that have attended TEFAF Maastricht are eligible to apply for the grants, which are awarded by an independent panel of experts. Both of this year’s projects are technically complex and demanding.

Read more about this project in the press release.

Reunion of paintings by Flemish artist Jan Boeckhorst at TEFAF 2016

Posted on:  01/21/2016

21 January 2016

TEFAF 2016 will be highlighted by the spectacular reunion of three versions of A grey horse in a landscape by the Flemish artist Jan Boeckhorst (c. 1604-1668). Exhibited at TEFAF 2016 by Haboldt Pictura Fine Arts together for the very first time, the confrontation of these three large oil studies will throw a fascinating light on outstanding questions regarding the conception, execution, and diffusion of paintings from Antwerp studios during the seventeenth century.

The prototype for these lively and expressive paintings was no doubt conceived by Anthony Van Dyck, for his now-lost Horses of Achilles, of which a studio version is preserved at the National Gallery in London. Van Dyck, in turn, was certainly inspired by Rubens; Rubens himself, for similar representations of horses, had turned to Leonardo’s lost Battle of Anghiari, anticipated in many preparatory studies by Da Vinci himself, and recorded in engravings by later artists, and of course in a monumental drawing by Rubens, now at the Louvre.

Because of their proximity to Van Dyck’s Horses of Achilles, the Grey Horse from a Dutch private collection (here referred to as version A), and the version formerly in the collection Bernard Chesnais (version B), have been dated by Maria Galen to the first half of the 1630s. Version C, painted on canvas glued to panel, is executed in a more fluid and thinner paint. With its softer contours, it represents a more accessible and less overwhelming image, which Maria Galen considers to be executed by Boeckhorst’s studio.

Of German origin, Jan Boeckhorst moved to Antwerp in 1626, where he probably worked in the studio of Jacob Jordaens (1593-1678) and with Anthony van Dyck (1599-1641). He became a member of the Antwerp guild in 1633 (or 1634), and collaborated with Peter Paul Rubens (1577-1640) and others on the decoration of the Torre de la Parada in Madrid. Like Rubens, Boeckhorst made two journeys to Italy: to Genoa and Venice in 1637, and to Rome in 1639. After his return to Antwerp at some point during the 1640s, he completed and retouched certain canvases which were left uncompleted by Rubens upon his death, and collaborated with Frans Snyders and Jan Wildens by adding the staffage to several of their paintings. After 1650, Boeckhorst became one of the most sought-after painters in Antwerp, providing history paintings to private collectors and art dealers, as well as altar pieces to the churches and monasteries of Antwerp and Münster.

Reunion of paintings by Flemish artist Jan Boeckhorst at TEFAF 2016

Posted on:  01/21/2016

21 January 2016

TEFAF 2016 will be highlighted by the spectacular reunion of three versions of A grey horse in a landscape by the Flemish artist Jan Boeckhorst (c. 1604-1668). Exhibited at TEFAF 2016 by Haboldt Pictura Fine Arts together for the very first time, the confrontation of these three large oil studies will throw a fascinating light on outstanding questions regarding the conception, execution, and diffusion of paintings from Antwerp studios during the seventeenth century.

The prototype for these lively and expressive paintings was no doubt conceived by Anthony Van Dyck, for his now-lost Horses of Achilles, of which a studio version is preserved at the National Gallery in London. Van Dyck, in turn, was certainly inspired by Rubens; Rubens himself, for similar representations of horses, had turned to Leonardo’s lost Battle of Anghiari, anticipated in many preparatory studies by Da Vinci himself, and recorded in engravings by later artists, and of course in a monumental drawing by Rubens, now at the Louvre.

Because of their proximity to Van Dyck’s Horses of Achilles, the Grey Horse from a Dutch private collection (here referred to as version A), and the version formerly in the collection Bernard Chesnais (version B), have been dated by Maria Galen to the first half of the 1630s. Version C, painted on canvas glued to panel, is executed in a more fluid and thinner paint. With its softer contours, it represents a more accessible and less overwhelming image, which Maria Galen considers to be executed by Boeckhorst’s studio.

Of German origin, Jan Boeckhorst moved to Antwerp in 1626, where he probably worked in the studio of Jacob Jordaens (1593-1678) and with Anthony van Dyck (1599-1641). He became a member of the Antwerp guild in 1633 (or 1634), and collaborated with Peter Paul Rubens (1577-1640) and others on the decoration of the Torre de la Parada in Madrid. Like Rubens, Boeckhorst made two journeys to Italy: to Genoa and Venice in 1637, and to Rome in 1639. After his return to Antwerp at some point during the 1640s, he completed and retouched certain canvases which were left uncompleted by Rubens upon his death, and collaborated with Frans Snyders and Jan Wildens by adding the staffage to several of their paintings. After 1650, Boeckhorst became one of the most sought-after painters in Antwerp, providing history paintings to private collectors and art dealers, as well as altar pieces to the churches and monasteries of Antwerp and Münster.

Maastricht adds some notable and diverse newcomers to the mix, including a rare musical instruments expert

Posted on:  01/19/2016

19 January 2016

As TEFAF Maastricht goes into its 29th year the organisers emphasise their determination to maintain exacting standards and put on parade the finest specialists from around the globe. TEFAF have released their 2016 exhibitor list and most of those finest specialists are returning, reinforced by some 11 notable newcomers across the disciplines.

The exhibitor tally of 269 exhibitors is much the same as last year, a good thing as the fair is large enough and too many participants can dilute overall excellence.

Making their debut in the ultra-swanky Haute Joaillerie section are Wallace Chan from Hong Kong and Verdura of New York while TEFAF Paper host for the first time Eric Gillis of Brussels, Patrick Heide from London and New York’s Mireille Mosier.

TEFAF Modern welcome Buchmann Galerie from Berlin, top London gallery Waddington Custot and Pearl Lam of Shanghai, Singapore and Hong Kong.

Joining the large Antiques section are Burzio from London and rare musical instrument expert Jean-Michel Renard while long-established London Chinese and Japanese works of art specialists Sydney L. Moss will bolster the Asian art representation.

A highlight of Sydney Moss’s stand will be the pair of softwood Japanese nio sculptures we illustrate. Each bears the seal of renowned scholar and sculptor Ritsuo (1663-1747).

TEFAF will run at the city’s congress centre from March 11-20.

Colnaghi and Tomassos house share for their Upper East Side shows

Posted on:  01/19/2016

19 January 2016

Last month I reported that Coll & Cortes of London and Madrid, specialists in Spanish and Hispanic Old Masters, had merged with Konrad Bernheimer and become part of Colnaghi, which he owns.

Their first overseas posting under the Colnaghi banner will be a selling exhibition in the palatial Vanderbilt mansion of New York dealer Carlton Hobbs at 60 East 93rd Street from January 21 to 30.

We are promised some new discoveries among the Old Masters of the Spanish-speaking world, and also a preview of some of the works Coll & Cortes will take to Maastricht.

They share the honours with fellow St. James’s gallery Tomasso Brothers who mount a selling show ‘Important European Bronzes’ at the same time in the same mansion.

Taking centre stage is the newly-discovered bronze relief we illustrate. By the master of the medium Antonio di Pietro Averlino, called Filarete (c.1400-c.1469), it depicts Julius Caesar leading his defeated foe, King Juba, in a triumphal procession. The 27 cm wide relief dates from around 1433 when Filarete began designing the monumental bronze doors of St. Peter’s Basilica.

The Tomassos will also display a c.1580 bronze figure by Giambologna as part of a sumptuous showcase of what two top London galleries can do when they pull the stops out. The exhibitions coincide with the New York Old Masters sales.

Hemmerle presents ‘The [AL] Project’: jewels exploring the properties of aluminium

Posted on:  01/15/2016

15 January 2016

Hemmerle announces 'The [AL] Project': a new series of jewels exploring the unique properties of aluminium through innovative design and exquisite craftsmanship.

Consisting of over 15 pairs of earrings and a brooch, these one-of-a-kind pieces are inspired by eclectic themes such as nature, minimalism and geometry. Intricately crafted in aluminium and paired with gemstones such as diamonds, sapphires, aquamarines and garnets, the creations reflect Hemmerle’s strong visual identity. Aluminium is a metal with a rich history; once the most valuable and sought after material in the world, it went on to become used in almost every aspect of human life. Christian Hemmerle explains   "Aluminium’s natural strength and lightness in weight provided the perfect opportunity for us to experiment further with the metal and celebrate its past splendour. Its malleability enabled us to focus on innovation and create intricate works which are delicate in design yet highly durable, whilst remaining true to our dedication to craftsmanship. Informed by the aesthetic we have defined over several decades, the resulting creations are distinctly Hemmerle but imbued with an element of surprise."

Through a process of anodizing, Hemmerle created aluminium in a variety of hues that complement the natural colours of gemstones. A clematis flower brooch is exquisitely modelled in aluminium, its petals full of purple nuances anodized to match perfectly in colour its diamond and purple sapphire centre. Textured dark red ranunculus flower earrings glisten with diamonds enclosed in their petals, set upside down to give a spiky effect. Vibrant bluebells are studded with sapphires and pink blossom and white lily-of-the-valley sparkle with diamonds. In further works, dark-green tsavorites and deep-blue sapphires are set within electric coloured green and blue frames. In a pair of earrings, pave diamonds are layered with black aluminium minimalist, systematic geometric forms.

The [AL] Project will be previewed at TEFAF Maastricht, 11 – 20 March 2016. A limited edition book will be published to celebrate the pieces.

Image: Hemmerle ´Clematis´ Brooch, sapphires, diamonds, aluminium, white gold

More information: www.hemmerle.com

Hemmerle presents ‘The [AL] Project’: jewels exploring the properties of aluminium

Posted on:  01/15/2016

15 January 2016

Hemmerle announces 'The [AL] Project': a new series of jewels exploring the unique properties of aluminium through innovative design and exquisite craftsmanship.

Consisting of over 15 pairs of earrings and a brooch, these one-of-a-kind pieces are inspired by eclectic themes such as nature, minimalism and geometry. Intricately crafted in aluminium and paired with gemstones such as diamonds, sapphires, aquamarines and garnets, the creations reflect Hemmerle’s strong visual identity. Aluminium is a metal with a rich history; once the most valuable and sought after material in the world, it went on to become used in almost every aspect of human life. Christian Hemmerle explains   "Aluminium’s natural strength and lightness in weight provided the perfect opportunity for us to experiment further with the metal and celebrate its past splendour. Its malleability enabled us to focus on innovation and create intricate works which are delicate in design yet highly durable, whilst remaining true to our dedication to craftsmanship. Informed by the aesthetic we have defined over several decades, the resulting creations are distinctly Hemmerle but imbued with an element of surprise."

Through a process of anodizing, Hemmerle created aluminium in a variety of hues that complement the natural colours of gemstones. A clematis flower brooch is exquisitely modelled in aluminium, its petals full of purple nuances anodized to match perfectly in colour its diamond and purple sapphire centre. Textured dark red ranunculus flower earrings glisten with diamonds enclosed in their petals, set upside down to give a spiky effect. Vibrant bluebells are studded with sapphires and pink blossom and white lily-of-the-valley sparkle with diamonds. In further works, dark-green tsavorites and deep-blue sapphires are set within electric coloured green and blue frames. In a pair of earrings, pave diamonds are layered with black aluminium minimalist, systematic geometric forms.

The [AL] Project will be previewed at TEFAF Maastricht, 11 – 20 March 2016. A limited edition book will be published to celebrate the pieces.

Image: Hemmerle ´Clematis´ Brooch, sapphires, diamonds, aluminium, white gold

More information: www.hemmerle.com

TEFAF Maastricht releases exhibitor list 2016

Posted on:  01/08/2016

8 January 2016

TEFAF Maastricht has released the exhibitor list for the 2016 fair, which includes a number of highly regarded new exhibitors from around the globe, whose presence will serve to enrich the offering to collectors. 

The 2016 edition of TEFAF will welcome 269 exhibitors. There will be new exhibitors in TEFAF Haute Joaillerie, TEFAF Paper, TEFAF Modern and TEFAF Antiques.
In TEFAF Haute Joaillerie, master jeweller Wallace Chan, Hong Kong, will present his astonishing jewelled sculptures whilst New York-based jewellers, Verdura will present contemporary versions of Suzanne Belperron’s iconic designs.
The TEFAF Paper section continues to grow in strength, adding to its roster of dealers Eric Gillis Fine Art, Brussels, Patrick Heide, London, and Mireille Mosler Ltd, New York.
TEFAF Modern will incorporate Buchmann Galerie, Berlin, who last year participated in Night Fishing, curated by Sydney Picasso; revered London dealers Waddington Custot and Pearl Lam Galleries, Shanghai, Singapore, Hong Kong.
TEFAF Antiques welcomes Burzio, London dealers in antiques and works of art; Asian Art specialists Sydney L. Moss, London and Jean-Michel Renard, Bellenaves, experts in rare musical instruments. TEFAF is also delighted to welcome back Van Cleef & Arpels, Paris, and Maison d’Art, Monaco.

Read more about the TEFAF 2016 exhibitors in the press release.

TEFAF Maastricht releases exhibitor list 2016

Posted on:  01/08/2016

8 January 2016

TEFAF Maastricht has released the exhibitor list for the 2016 fair, which includes a number of highly regarded new exhibitors from around the globe, whose presence will serve to enrich the offering to collectors. 

The 2016 edition of TEFAF will welcome 269 exhibitors. There will be new exhibitors in TEFAF Haute Joaillerie, TEFAF Paper, TEFAF Modern and TEFAF Antiques.
In TEFAF Haute Joaillerie, master jeweller Wallace Chan, Hong Kong, will present his astonishing jewelled sculptures whilst New York-based jewellers, Verdura will present contemporary versions of Suzanne Belperron’s iconic designs.
The TEFAF Paper section continues to grow in strength, adding to its roster of dealers Eric Gillis Fine Art, Brussels, Patrick Heide, London, and Mireille Mosler Ltd, New York.
TEFAF Modern will incorporate Buchmann Galerie, Berlin, who last year participated in Night Fishing, curated by Sydney Picasso; revered London dealers Waddington Custot and Pearl Lam Galleries, Shanghai, Singapore, Hong Kong.
TEFAF Antiques welcomes Burzio, London dealers in antiques and works of art; Asian Art specialists Sydney L. Moss, London and Jean-Michel Renard, Bellenaves, experts in rare musical instruments. TEFAF is also delighted to welcome back Van Cleef & Arpels, Paris, and Maison d’Art, Monaco.

Read more about the TEFAF 2016 exhibitors in the press release.

From Welsh transvestites to the crowned heads of Europe Wartski have seen it all in their long history

Posted on:  12/14/2015

14 December 2015

Centred on a small shop at 14 Grafton Street in the heart of Mayfair, Wartski have become one of the biggest names in the international antique jewellery trade and are most readily associated with the work of Carl Fabergé.

Last year the firm made headlines as the jewellers instrumental in identifying the long lost Third Imperial Fabergé Egg (pictured) but as they celebrate their 150th anniversary Wartski can reflect on a distinguished history where they have made many headlines over the years.

The firm mark the occasion with a remarkable book ‘Wartski – the First 150 years’ written by Geoffrey Munn, their personable and popular managing director who is an accomplished expert and author in his field and well known for his appearances on BBC Antiques Roadshow.

The story in the UK begins after the Wartski family fled from Poland to North Wales and thanks to a chance meeting with local landowner, the famously extravagant transvestite Marquess of Anglesey, Morris Wartski opened his first retail shop at Bangor in 1895. They soon moved to the holiday resort of Llandudno where the family business thrived and commenced a history of royal patronage starting with Edward VII.

A branch was opened in London’s New Bond Street in 1913 and after the Russian Revolution of 1917 the family’s East European ancestry initiated business with the Soviet Union and various collections were brought to the West, including the iconic Imperial Easter Eggs.

The family have over the years published many scholarly works and Mr Munn’s excellent story continues this long literary tradition. One of the most fascinating chapters, The Great and the Good, is devoted to Wartski customers and what a list it is including President Kennedy, Sir Noel Coward, Dame Margot Fonteyn, Elizabeth Taylor, Frank Sinatra, Barbra Streisand and Elton John. Plus most of the crowned heads of Europe.

The chairman of the firm is Morris Wartski’s great-grandson Nicholas Snowman and his son Hector is the fifth generation of the family to take his place on the board.

To celebrate their anniversary Wartski sponsor ‘Bejewelled Treasures: The Al Thani Collection’ at the Victoria and Albert Museum until March 18 2016.

More than a history of the firm ‘Wartski – the First 150 years’ is also a scintillating social history of the jewellery trade and the rich and famous. It is available from ACC at £65 ($125).

Ancient gifts tick all the modern boxes

Posted on:  12/14/2015

14 December 2015

Like it or not Christmas is upon us, although we have been urged to shop for the season since early November if not before.

In the UK antique and art dealers have been taking advantage of the shopping opportunity by urging us all to buy our gifts at the many festive exhibitions now in full swing. And antiques particularly can make unique and imaginative presents.

A winning area in this context are antiquities, intriguing, delightful, decorative, varied and very often surprisingly affordable. A good place to start looking is the annual Christmas Exhibition at the charming Crown Passage, St. James’s gallery of Rupert Wace Ancient Art where Mr Wace has assembled over 100 objects and prices start at a few hundred pounds.

Ancient jewellery is always a favourite. One can actually wear a necklace from the time of the Pharaohs or Roman gold rings with magical intaglios, and a highlight of the current Wace show, which continues until December 22, is the c.6th century Byzantine gold cross with garnet we illustrate, priced at £5500.

A lot cheaper are a selection of Danish Neolithic flint daggers, skilfully crafted yet with a contemporary appeal, and most acceptable under the tree is an attractive group of small figurative sculptures from the Hellenistic period.

For Christmas present I suggest delving into the distant past.

Colnaghi make a Spanish connection and move into a new gallery and a new era

Posted on:  12/14/2015

14 December 2015

Founded in 1760, and still one of the big hitters in the international Old Masters market, Mayfair dealership Colnaghi enter a new chapter with chairman Konrad Bernheimer’s announcement of a merger with Coll & Cortes of London and Madrid.

Continuing with the same name, in the first half of next year Colnaghi will move from Old Bond Street to a new custom-built, 4000 sq ft gallery in Bury Street, St. James’s. The return to St. James’s comes a century after the firm moved from Pall Mall to Mayfair and the new gallery will offer a more diverse stock covering European Old Masters alongside the speciality of Coll & Cortes, art from the Spanish-speaking world.

Coll & Cortes was founded in 2005 by Jorge Coll and Nicolas Cortes and launched with a gallery on Calle Justiniano in Madrid. They expanded to a Mayfair gallery in 2012 but after joining Colnaghi in St. James’s next year they will, at least for the present, continue to operate in Madrid under their own name.

Konrad Bernheimer, whose family have been dealing in Munich for four generations, says: “Ever since I first took ownership of Colnaghi in 2002 I have always recognised that a large part of my role has been as a steward for the business and a custodian of its legacy.

“The decision of my business partner, Katrin Bellinger, to cease trading has coincided with my 65th year and we are determined to position the company in a way that it will thrive into the future at the centre of this market. I am thrilled to welcome Jorge Coll and Nicolas Cortes as business partners.”

Colnaghi’s extensive library will move to Bury Street but their historic and precious archives will remain at the Waddesdon Estate in Buckinghamshire where they are stored under perfect climate conditions.
Both Konrad Bernheimer (pictured right) and Coll and Cortes (left) are regulars at TEFAF Maastricht.

TEFAF 2016 makes a grand entrance

Posted on:  12/14/2015

14 December 2015

TEFAF Maastricht, widely recognised as the world’s leading art and antiques fair, is constantly raising its exacting standards to meet the demands of the international art market and has released some details of changes at next year’s TEFAF at the Maastricht Exhibition and Congress Centre from March 11 to 20.

Some sections of the floor plan have been tweaked to improve accessibility and these include a new design for the entrance hall giving dual access to the fair. There will be direct access to the antiques section from the main entrance area (we illustrate the entrance last year, photo Loraine Bodowes).

Most welcome is a more spacious and visible entrance to TEFAF Paper incorporating lifts. There will be a new catering area on the ground floor near the TEFAF Paper entrance and a new catering space upstairs which will be semi-incorporated into the TEFAF Paper section.

The TEFAF Art Symposium on March 11 2016 will again provide the platform for the presentation of the annual Art Market Report by Dr Clare McAndrew.

TEFAF 2016 makes a grand entrance

Posted on:  12/14/2015

14 December 2015

TEFAF Maastricht, widely recognised as the world’s leading art and antiques fair, is constantly raising its exacting standards to meet the demands of the international art market and has released some details of changes at next year’s TEFAF at the Maastricht Exhibition and Congress Centre from March 11 to 20.

Some sections of the floor plan have been tweaked to improve accessibility and these include a new design for the entrance hall giving dual access to the fair. There will be direct access to the antiques section from the main entrance area (we illustrate the entrance last year, photo Loraine Bodowes).

Most welcome is a more spacious and visible entrance to TEFAF Paper incorporating lifts. There will be a new catering area on the ground floor near the TEFAF Paper entrance and a new catering space upstairs which will be semi-incorporated into the TEFAF Paper section.

The TEFAF Art Symposium on March 11 2016 will again provide the platform for the presentation of the annual Art Market Report by Dr Clare McAndrew.

TEFAF Showcase exhibitors 2016

Posted on:  12/08/2015

8 December 2015

This year four exhibitors have been chosen for TEFAF Showcase at the 2016 Fair. TEFAF Showcase gives younger dealers a one-off chance to take part in TEFAF Maastricht, which has an unrivalled reputation as the world’s leading international art fair. The successful candidates come from Paris, London, New York and Rotterdam and represent a wide range of disciplines.

TEFAF Showcase galleries 2016 are:

Oscar Graf Gallery
Oscar Graf’s Paris based gallery is devoted to French, British and American furniture and works of art from 1870 to 1910, a period that marks the birth of modern design.

Kunstconsult
Kunstconsult specialises in art nouveau, art deco, modernism and 20th century design, covering a wide spectrum of disciplines including furniture, textiles, sculpture and painting.

Onno van Seggelen Fine Arts
Dealing privately from his Rotterdam gallery, Onno van Seggelen stocks a wide range of master drawings from the 16th to the 20th centuries and counts many leading museums amongst his clients.

Benjamin Proust Fine Art Limited
In his London gallery, Benjamin Proust has a wide range of sculpture from antiquity to the 20th century but renaissance and baroque sculpture are areas of particular interest and specialisation.

TEFAF Showcase exhibitors 2016

Posted on:  12/08/2015

8 December 2015

This year four exhibitors have been chosen for TEFAF Showcase at the 2016 Fair. TEFAF Showcase gives younger dealers a one-off chance to take part in TEFAF Maastricht, which has an unrivalled reputation as the world’s leading international art fair. The successful candidates come from Paris, London, New York and Rotterdam and represent a wide range of disciplines.

TEFAF Showcase galleries 2016 are:

Oscar Graf Gallery
Oscar Graf’s Paris based gallery is devoted to French, British and American furniture and works of art from 1870 to 1910, a period that marks the birth of modern design.

Kunstconsult
Kunstconsult specialises in art nouveau, art deco, modernism and 20th century design, covering a wide spectrum of disciplines including furniture, textiles, sculpture and painting.

Onno van Seggelen Fine Arts
Dealing privately from his Rotterdam gallery, Onno van Seggelen stocks a wide range of master drawings from the 16th to the 20th centuries and counts many leading museums amongst his clients.

Benjamin Proust Fine Art Limited
In his London gallery, Benjamin Proust has a wide range of sculpture from antiquity to the 20th century but renaissance and baroque sculpture are areas of particular interest and specialisation.

In memoriam Willem Baron van Dedem (1929-2015)

Posted on:  11/28/2015

It is with deep sadness that we announce the passing of our beloved and highly respected President, Willem Baron van Dedem. In him we have lost one of our most loyal and faithful torchbearers. We are immensely grateful for all he has done for us.

Willem Baron van Dedem (1929-2015) was admired by all who knew him for his strength, spirit and sharp eye. His expertise in the field of Dutch Old Master paintings originated from a true passion and love for the arts.

As a young boy he was captivated by the works of art in the collection of his great-uncle, the shipping magnate Daniel George van Beuningen, a collection that was fundamental to the establishment of the international reputation of the Boijmans van Beuningen Museum in Rotterdam, particularly in the fields of old master paintings and works on paper.

It was however not until the 1960s when a visit to an art fair ignited a fire that would continue to burn for the rest of his life. That fire was the excitement of being a collector himself, made possible by the considerable success of his business undertakings. For Willem van Dedem collecting was an ongoing quest for the outstanding, the excellent and the magnificent, eager to trade a work from his existing collection when he would have the opportunity to acquire one that he felt was even more desirable.

Willem van Dedem enjoyed learning from the expertise and opinions of others and in return would not hold back in sharing his own. Over the years he proved that he was willing to share more than just words: with substantial donations to the Mauritshuis, the National Gallery in London and more recently the Rijksmuseum, he has made some of the finest examples of 17th -century painting available to the public.

He also maintained good relations with art dealers and welcomed their observations. In 1997 TEFAF was therefore exceptionally lucky to welcome him as the President of our Board of Trustees knowing we could rely on both his business acumen and his views as a collector.

With his natural authority and his absolute sincerity he became the backbone of our Board.

Accompanied by his wife Ronny, he would make time to visit dealers and the TEFAF office staff in the run up to the Fair. It was Willem Baron van Dedem who encouraged our organisation to be more open about life behind the scenes of TEFAF. The advanced vetting technologies and the spectacular annual transformation of an empty hall in the MECC in Maastricht into an art lovers’ paradise made him particularly proud.

TEFAF and the wider art world have suffered a considerable loss.

We are thankful for the many years Willem was part of our professional and personal lives. He played a pivotal role in our history and his legacy will continue to shape our future.

He will be sorely missed. Our thoughts are with his wife Ronny, children and grandchildren.

With deep regret,

TEFAF Board of Trustees
TEFAF Executive Committee
TEFAF Staff


Read an interview with Willem Baron van Dedem in Apollo Magazine

In memoriam Willem Baron van Dedem (1929-2015)

Posted on:  11/28/2015

It is with deep sadness that we announce the passing of our beloved and highly respected President, Willem Baron van Dedem. In him we have lost one of our most loyal and faithful torchbearers. We are immensely grateful for all he has done for us.

Willem Baron van Dedem (1929-2015) was admired by all who knew him for his strength, spirit and sharp eye. His expertise in the field of Dutch Old Master paintings originated from a true passion and love for the arts.

As a young boy he was captivated by the works of art in the collection of his great-uncle, the shipping magnate Daniel George van Beuningen, a collection that was fundamental to the establishment of the international reputation of the Boijmans van Beuningen Museum in Rotterdam, particularly in the fields of old master paintings and works on paper.

It was however not until the 1960s when a visit to an art fair ignited a fire that would continue to burn for the rest of his life. That fire was the excitement of being a collector himself, made possible by the considerable success of his business undertakings. For Willem van Dedem collecting was an ongoing quest for the outstanding, the excellent and the magnificent, eager to trade a work from his existing collection when he would have the opportunity to acquire one that he felt was even more desirable.

Willem van Dedem enjoyed learning from the expertise and opinions of others and in return would not hold back in sharing his own. Over the years he proved that he was willing to share more than just words: with substantial donations to the Mauritshuis, the National Gallery in London and more recently the Rijksmuseum, he has made some of the finest examples of 17th -century painting available to the public.

He also maintained good relations with art dealers and welcomed their observations. In 1997 TEFAF was therefore exceptionally lucky to welcome him as the President of our Board of Trustees knowing we could rely on both his business acumen and his views as a collector.

With his natural authority and his absolute sincerity he became the backbone of our Board.

Accompanied by his wife Ronny, he would make time to visit dealers and the TEFAF office staff in the run up to the Fair. It was Willem Baron van Dedem who encouraged our organisation to be more open about life behind the scenes of TEFAF. The advanced vetting technologies and the spectacular annual transformation of an empty hall in the MECC in Maastricht into an art lovers’ paradise made him particularly proud.

TEFAF and the wider art world have suffered a considerable loss.

We are thankful for the many years Willem was part of our professional and personal lives. He played a pivotal role in our history and his legacy will continue to shape our future.

He will be sorely missed. Our thoughts are with his wife Ronny, children and grandchildren.

With deep regret,

TEFAF Board of Trustees
TEFAF Executive Committee
TEFAF Staff


Read an interview with Willem Baron van Dedem in Apollo Magazine

TEFAF Show your Wound

Posted on:  11/11/2015

11 November 2015

Following last year’s success of the section curated by Sydney Picasso to complement TEFAF Modern, the fair will again have a designated space for this purpose. At the forthcoming fair, this area will be curated by Mark Kremer, the highly regarded Amsterdam-based independent curator and writer. Entitled Show Your Wound, a reference to a sculptural work presented by Joseph Beuys in an underground passageway in Munich in 1974-5. The installation will show the work of artists that continue to explore and give expression to the ideas death, decay, dispossession and a sense of trauma (the wound) as suggested in Beuys’ original work. These concepts continue to have relevance for younger generations of artists working all over the world. Mark Kremer will make a selection of artists and invite their representing galleries to showcase their works at TEFAF. All objects will be, as are the rest of the objects at the fair, for sale. The exhibition and coinciding publication aims to create awareness of this work and of the resonance of Beuys’ artistic legacy.

TEFAF is known for providing a forum where historical crossovers can be made and discovered. The exhibition aims to show works by living artists that have not previously been shown at the fair but nevertheless have an art historical connection with works that are currently exhibited. The wound is a familiar motif throughout European art history and plays a significant part in our cultural iconography. The title Show Your Wound will therefore inevitably create links with important works from earlier periods.

TEFAF Show your Wound

Posted on:  11/11/2015

11 November 2015

Following last year’s success of the section curated by Sydney Picasso to complement TEFAF Modern, the fair will again have a designated space for this purpose. At the forthcoming fair, this area will be curated by Mark Kremer, the highly regarded Amsterdam-based independent curator and writer. Entitled Show Your Wound, a reference to a sculptural work presented by Joseph Beuys in an underground passageway in Munich in 1974-5. The installation will show the work of artists that continue to explore and give expression to the ideas death, decay, dispossession and a sense of trauma (the wound) as suggested in Beuys’ original work. These concepts continue to have relevance for younger generations of artists working all over the world. Mark Kremer will make a selection of artists and invite their representing galleries to showcase their works at TEFAF. All objects will be, as are the rest of the objects at the fair, for sale. The exhibition and coinciding publication aims to create awareness of this work and of the resonance of Beuys’ artistic legacy.

TEFAF is known for providing a forum where historical crossovers can be made and discovered. The exhibition aims to show works by living artists that have not previously been shown at the fair but nevertheless have an art historical connection with works that are currently exhibited. The wound is a familiar motif throughout European art history and plays a significant part in our cultural iconography. The title Show Your Wound will therefore inevitably create links with important works from earlier periods.

Knight Moretti brings together two long-established heavyweights of the international Old Masters market

Posted on:  09/25/2015

25 September 2015

Old Masters dealers Moretti Fine Art and Richard Knight, a renowned art dealer with 45 years experience in the field and until July co-chairman of Old Master and 19th century art at Christie’s, are to cooperate in a new venture called Knight Moretti.

They will together act as agents and dealers in European art based at Fabrizio Moretti’s gallery at 2a-4 Ryder Street, St James’s, SW1. Mr Knight will continue as an independent dealer.

Richard Knight (pictured on the left) says: “I am very excited to be returning to the world of independent art dealing after 11 enjoyable years at Christie’s. I am delighted to be returning to a world I know so well”.

Richard Knight has formidable experience but Fabrizio Moretti (pictured on the right) has packed a lot into the years since he opened his first gallery in Florence in 1999 at the age of 22. He is now one of the world’s foremost specialists in Italian Old Masters with galleries in Florence, London and New York.

He shows at the top prestigious fairs in Europe and the US, is the youngest member of TEFAF’s Executive Committee and is Secretary General of the Florence Biennale which opens later this month.

TEFAF takes part in Preuvenetour

Posted on:  09/03/2015

3 September 2015

Since a few years TEFAF takes part in the Preuvenetour, a charity cycling event. This year about twenty-five teams of four cyclists ride 160 km through the beautiful landscape of South Limburg in the Netherlands with just one goal—to raise money for the MOS Foundation. This foundation raises money for the medical support of sports events.
Today was the 18th edition of the Preuvenetour.

 

 

Rijksmuseum buys painting by Jan Asselijn at TEFAF

Posted on:  03/14/2015

14 March 2015

The Rijksmuseum has purchased a large canvas by the 17th-century painter Jan Asselijn at TEFAF Maastricht.

The painting shows the breach of the St. Anthony’s Dike (now the Zeeburger Dike) in Amsterdam, which resulted from the St. Peter’s Flood of 1651. The purchase was made possible with the support of the Scato Gockinga Fund / Rijksmuseum Fund, the Turing Foundation and an anonymous donor. To celebrate its 10-year role as a main sponsor of the Rijksmuseum, ING also contributed to the acquisition.

Read the press release from the Rijksmuseum

Rijksmuseum buys painting by Jan Asselijn at TEFAF

Posted on:  03/14/2015

14 March 2015

The Rijksmuseum has purchased a large canvas by the 17th-century painter Jan Asselijn at TEFAF Maastricht.

The painting shows the breach of the St. Anthony’s Dike (now the Zeeburger Dike) in Amsterdam, which resulted from the St. Peter’s Flood of 1651. The purchase was made possible with the support of the Scato Gockinga Fund / Rijksmuseum Fund, the Turing Foundation and an anonymous donor. To celebrate its 10-year role as a main sponsor of the Rijksmuseum, ING also contributed to the acquisition.

Read the press release from the Rijksmuseum

Remembering Walter Liedtke

Posted on:  02/07/2015

We have learned with great sadness and shock that the tragic train crash in New York also took the life of one of today's greatest experts on Dutch and Flemish Old Master paintings - the much loved Metropolitan Museum curator Walter Liedtke. He understood the true meaning of cultivation and sophistication like no other. Many of our exhibitors have warm memories of his charming and witty personality, as well as his sharp eye, in-depth knowledge and true passion for art. Walter Liedtke was a very welcome guest at TEFAF and we were honoured to have him as a contributor to our Jubilee publication in 2011. It is almost impossible to imagine he will not be joining us in March. Our thoughts go out to his wife Nancy. We send her our sincerest condolences. We join her friends and family in wishing her strength.

Walter Liedtke's expertise lives on through the many people he has trained and
inspired, through numurous articles and the following publications:

2008
Vermeer: the complete paintings
Walter Liedtke
207 pp., 32 cm., available in English and French
Antwerp (Ludion) and New York (Abrams) 2008
ISBN-13: 978-90-5544-742-8 (Ludion) and 978-0-8109-8336-6 (Abrams)

2007
Dutch paintings in the Metropolitan Museum of Art
Walter Liedtke
Complete scholarly catalogue of the 229 Dutch paintings in the museum from 1600-1800. Accompanied by an exhibition of the complete collection 2007-08
2 vols., ca. 1150 pp., 300 illustrations in color and 250 in black-and-white
New Haven (Yale University Press) 2007
ISBN-13: 978-0-300-12028-8

2001
Vermeer and the Delft School
Walter Liedtke, Michiel Plomp and Axel Rüger
Catalogue of exhibition held in 2001 in New York (Metropolitan Museum of Art) 2001
ISBN 0-87099-973-7

1995
Rembrandt/not Rembrandt in the Metropolitan Museum of Art: aspects of connoisseurship
Walter A. Liedtke and Hubert von Sonnenburg
Catalogue of exhibiiton held in 1995 in New York (Metropolitan Museum of Art)
2 vols. in cassette
ISBN 0-87099-754-8

1992
Flemish paintings in America: a survey of early Netherlandish and Flemish paintings in the public collections of North America
Walter A. Liedtke and Guy Bauman
Antwerp (Mercatorfonds) 1992
ISBN 90-6153-231-0

1984
Flemish paintings in the Metropolitan Museum of Art
Walter Liedtke
Collection catalogue
New York (Metropolitan Museum of Art) 1984
ISBN 0-87099-356-9

1982
Architectural painting in Delft: Gerard Houckgeest, Hendrick van Vliet, Emanuel de Witte
Walter Liedtke
Monograph
Doornspijk (Davaco) 1982
ISBN 90-70288-11-7

Read more about Walter Liedtke on his page at the Metropolitan Museum of Art.

Photo: The Metropolitan Museum of Art.

Remembering Walter Liedtke

Posted on:  02/07/2015

We have learned with great sadness and shock that the tragic train crash in New York also took the life of one of today's greatest experts on Dutch and Flemish Old Master paintings - the much loved Metropolitan Museum curator Walter Liedtke. He understood the true meaning of cultivation and sophistication like no other. Many of our exhibitors have warm memories of his charming and witty personality, as well as his sharp eye, in-depth knowledge and true passion for art. Walter Liedtke was a very welcome guest at TEFAF and we were honoured to have him as a contributor to our Jubilee publication in 2011. It is almost impossible to imagine he will not be joining us in March. Our thoughts go out to his wife Nancy. We send her our sincerest condolences. We join her friends and family in wishing her strength.

Walter Liedtke's expertise lives on through the many people he has trained and
inspired, through numurous articles and the following publications:

2008
Vermeer: the complete paintings
Walter Liedtke
207 pp., 32 cm., available in English and French
Antwerp (Ludion) and New York (Abrams) 2008
ISBN-13: 978-90-5544-742-8 (Ludion) and 978-0-8109-8336-6 (Abrams)

2007
Dutch paintings in the Metropolitan Museum of Art
Walter Liedtke
Complete scholarly catalogue of the 229 Dutch paintings in the museum from 1600-1800. Accompanied by an exhibition of the complete collection 2007-08
2 vols., ca. 1150 pp., 300 illustrations in color and 250 in black-and-white
New Haven (Yale University Press) 2007
ISBN-13: 978-0-300-12028-8

2001
Vermeer and the Delft School
Walter Liedtke, Michiel Plomp and Axel Rüger
Catalogue of exhibition held in 2001 in New York (Metropolitan Museum of Art) 2001
ISBN 0-87099-973-7

1995
Rembrandt/not Rembrandt in the Metropolitan Museum of Art: aspects of connoisseurship
Walter A. Liedtke and Hubert von Sonnenburg
Catalogue of exhibiiton held in 1995 in New York (Metropolitan Museum of Art)
2 vols. in cassette
ISBN 0-87099-754-8

1992
Flemish paintings in America: a survey of early Netherlandish and Flemish paintings in the public collections of North America
Walter A. Liedtke and Guy Bauman
Antwerp (Mercatorfonds) 1992
ISBN 90-6153-231-0

1984
Flemish paintings in the Metropolitan Museum of Art
Walter Liedtke
Collection catalogue
New York (Metropolitan Museum of Art) 1984
ISBN 0-87099-356-9

1982
Architectural painting in Delft: Gerard Houckgeest, Hendrick van Vliet, Emanuel de Witte
Walter Liedtke
Monograph
Doornspijk (Davaco) 1982
ISBN 90-70288-11-7

Read more about Walter Liedtke on his page at the Metropolitan Museum of Art.

Photo: The Metropolitan Museum of Art.

Patrick van Maris to succeed Paul Hustinx as Chief Executive Officer of TEFAF

Posted on:  01/12/2015

12 January 2015

Several months ago, Paul Hustinx informed the Executive Committee of TEFAF, that during 2015, he wished to step down as Managing Director of TEFAF, a position which he has held for 17 years. In view of this and to support its future ambitions, the Executive Committee of TEFAF, the world's leading fair for art, antiques and design, has appointed Patrick van Maris as its new Chief Executive Officer, with effect from 1 May 2015.

Paul Hustinx discussed his desire to step down with the Chairman of the Executive Committee, Willem van Roijen, last summer. “I felt that after 26 years, TEFAF needed a fresh pair of eyes and insight to take it forward”.

Willem van Roijen, Chairman of the Executive Committee of TEFAF, commented: “Of course we are sad that Paul is leaving and we are greatly indebted to him for the excellent reputation TEFAF has established over the past years. At the same time we are delighted that Patrick van Maris will be joining TEFAF as Chief Executive. Having held several senior management positions at Sotheby's and with more than 25 years of experience in the international art world Patrick has the right experience and the ambition to keep our organisation moving forward. He has been our preferred candidate from the moment Paul informed us he was considering stepping down as Managing Director.” 

These changes will come into effect on May 2015. Paul Hustinx will commence his early retirement per 1 September 2015 but will remain connected to TEFAF as advisor. 

Read the Press Release

 

Patrick van Maris to succeed Paul Hustinx as Chief Executive Officer of TEFAF

Posted on:  01/12/2015

12 January 2015

Several months ago, Paul Hustinx informed the Executive Committee of TEFAF, that during 2015, he wished to step down as Managing Director of TEFAF, a position which he has held for 17 years. In view of this and to support its future ambitions, the Executive Committee of TEFAF, the world's leading fair for art, antiques and design, has appointed Patrick van Maris as its new Chief Executive Officer, with effect from 1 May 2015.

Paul Hustinx discussed his desire to step down with the Chairman of the Executive Committee, Willem van Roijen, last summer. “I felt that after 26 years, TEFAF needed a fresh pair of eyes and insight to take it forward”.

Willem van Roijen, Chairman of the Executive Committee of TEFAF, commented: “Of course we are sad that Paul is leaving and we are greatly indebted to him for the excellent reputation TEFAF has established over the past years. At the same time we are delighted that Patrick van Maris will be joining TEFAF as Chief Executive. Having held several senior management positions at Sotheby's and with more than 25 years of experience in the international art world Patrick has the right experience and the ambition to keep our organisation moving forward. He has been our preferred candidate from the moment Paul informed us he was considering stepping down as Managing Director.” 

These changes will come into effect on May 2015. Paul Hustinx will commence his early retirement per 1 September 2015 but will remain connected to TEFAF as advisor. 

Read the Press Release

 

TEFAF Museum Restoration Fund awarded to Francisco de Zurbarán projects in Germany and the USA

Posted on:  11/06/2014

7 November 2014

It has been announced that the Executive Committee of The European Fine Art Foundation has awarded a total grant of €50,000 to two extraordinary projects that both focus on early masterpieces by Francisco de Zurbarán (Fuente de Cantos 1598 – Madrid 1664).

One application was put forward by the Museum Kunstpalast, Düsseldorf for the restoration of Zurbarán’s Saint Francis of Assisi in Meditation, (c. 1630-1635) and the second by the Wadsworth Atheneum Museum of Art in Hartford USA for the restoration of his St. Serapion (1628).

Each year the Executive Committee of The European Fine Art Foundation invites museums that have attended TEFAF Maastricht in that year to apply for a grant from the TEFAF Museum Restoration Fund. The decision is made by an independent panel of experts, this year comprising Prof. Dr Henk van Os, Dr Kenson Kwok, Rachel Kaminsky and David Bull.

The panel was particularly impressed by the quality and diversity of the fine art applications this year. A rare opportunity presented itself to stimulate the exchange of expertise between museums by selecting two extraordinary projects that both focus on early masterpieces by Zurbarán.

Read the press release

TEFAF Museum Restoration Fund awarded to Francisco de Zurbarán projects in Germany and the USA

Posted on:  11/06/2014

7 November 2014

It has been announced that the Executive Committee of The European Fine Art Foundation has awarded a total grant of €50,000 to two extraordinary projects that both focus on early masterpieces by Francisco de Zurbarán (Fuente de Cantos 1598 – Madrid 1664).

One application was put forward by the Museum Kunstpalast, Düsseldorf for the restoration of Zurbarán’s Saint Francis of Assisi in Meditation, (c. 1630-1635) and the second by the Wadsworth Atheneum Museum of Art in Hartford USA for the restoration of his St. Serapion (1628).

Each year the Executive Committee of The European Fine Art Foundation invites museums that have attended TEFAF Maastricht in that year to apply for a grant from the TEFAF Museum Restoration Fund. The decision is made by an independent panel of experts, this year comprising Prof. Dr Henk van Os, Dr Kenson Kwok, Rachel Kaminsky and David Bull.

The panel was particularly impressed by the quality and diversity of the fine art applications this year. A rare opportunity presented itself to stimulate the exchange of expertise between museums by selecting two extraordinary projects that both focus on early masterpieces by Zurbarán.

Read the press release

TEFAF Museum Restoration Fund awarded to Francisco de Zurbarán projects in Germany and the USA

Posted on:  11/06/2014

7 November 2014

It has been announced that the Executive Committee of The European Fine Art Foundation has awarded a total grant of €50,000 to two extraordinary projects that both focus on early masterpieces by Francisco de Zurbarán (Fuente de Cantos 1598 – Madrid 1664).

One application was put forward by the Museum Kunstpalast, Düsseldorf for the restoration of Zurbarán’s Saint Francis of Assisi in Meditation, (c. 1630-1635) and the second by the Wadsworth Atheneum Museum of Art in Hartford USA for the restoration of his St. Serapion (1628).

Each year the Executive Committee of The European Fine Art Foundation invites museums that have attended TEFAF Maastricht in that year to apply for a grant from the TEFAF Museum Restoration Fund. The decision is made by an independent panel of experts, this year comprising Prof. Dr Henk van Os, Dr Kenson Kwok, Rachel Kaminsky and David Bull.

The panel was particularly impressed by the quality and diversity of the fine art applications this year. A rare opportunity presented itself to stimulate the exchange of expertise between museums by selecting two extraordinary projects that both focus on early masterpieces by Zurbarán.

Read the press release

TEFAF President Willem Baron van Dedem donates masterpiece by Meindert Hobbema to Rijksmuseum

Posted on:  06/10/2014
Baron Van Dedem and Wim Pijbes at the Rijksmuseum in front of ‘Wooded Landscape with Merrymakers in a Cart, Meindert Hobbema, c. 1665’.

10 June 2014

TEFAF President, Willem baron Van Dedem has been collecting 17th-century Dutch paintings for over 50 years; his collection is regarded as one of the most important collections in the field. The Rijksmuseum in Amsterdam announced that they have been privileged to have acquired from his collection their biggest donation of the past fifty years, 'Wooded Landscape with Merrymakers in a Cart' (approx. 1665) by the Dutch 17th-century painter Meindert Hobbema. This exceptionally well-preserved landscape is one of the best paintings by Meindert Hobbema, one of the most famous Golden Age landscape painters. The masterpiece is a key part of the Rijksmuseum's collection and is on display from June 6 2014 in the Gallery of Honour.

Meindert Hobbema, who was at the peak of his career at the time he painted this landscape, was student of Jacob van Ruisdael. Even though Hobbema's landscapes are very similar to those by his tutor, they are lighter and more cheerful. Tree tops reach out high in the sky and leaves are glistening in the sunlight. What's striking is that Hobbema illuminated his trees from behind, giving the display extra depth.

Wim Pijbes, General Director of the Rijksmuseum: 'A long tradition of important Rijksmuseum donations is honoured at the highest level. To date, there has been no other masterpiece by Hobbema in the Rijksmuseum. It's a dream come true for every director.'

TEFAF President Willem Baron van Dedem donates masterpiece by Meindert Hobbema to Rijksmuseum

Posted on:  06/10/2014
Baron Van Dedem and Wim Pijbes at the Rijksmuseum in front of ‘Wooded Landscape with Merrymakers in a Cart, Meindert Hobbema, c. 1665’.

10 June 2014

TEFAF President, Willem baron Van Dedem has been collecting 17th-century Dutch paintings for over 50 years; his collection is regarded as one of the most important collections in the field. The Rijksmuseum in Amsterdam announced that they have been privileged to have acquired from his collection their biggest donation of the past fifty years, 'Wooded Landscape with Merrymakers in a Cart' (approx. 1665) by the Dutch 17th-century painter Meindert Hobbema. This exceptionally well-preserved landscape is one of the best paintings by Meindert Hobbema, one of the most famous Golden Age landscape painters. The masterpiece is a key part of the Rijksmuseum's collection and is on display from June 6 2014 in the Gallery of Honour.

Meindert Hobbema, who was at the peak of his career at the time he painted this landscape, was student of Jacob van Ruisdael. Even though Hobbema's landscapes are very similar to those by his tutor, they are lighter and more cheerful. Tree tops reach out high in the sky and leaves are glistening in the sunlight. What's striking is that Hobbema illuminated his trees from behind, giving the display extra depth.

Wim Pijbes, General Director of the Rijksmuseum: 'A long tradition of important Rijksmuseum donations is honoured at the highest level. To date, there has been no other masterpiece by Hobbema in the Rijksmuseum. It's a dream come true for every director.'

TEFAF President Willem Baron van Dedem donates masterpiece by Meindert Hobbema to Rijksmuseum

Posted on:  06/10/2014
Baron Van Dedem and Wim Pijbes at the Rijksmuseum in front of ‘Wooded Landscape with Merrymakers in a Cart, Meindert Hobbema, c. 1665’.

10 June 2014

TEFAF President, Willem baron Van Dedem has been collecting 17th-century Dutch paintings for over 50 years; his collection is regarded as one of the most important collections in the field. The Rijksmuseum in Amsterdam announced that they have been privileged to have acquired from his collection their biggest donation of the past fifty years, 'Wooded Landscape with Merrymakers in a Cart' (approx. 1665) by the Dutch 17th-century painter Meindert Hobbema. This exceptionally well-preserved landscape is one of the best paintings by Meindert Hobbema, one of the most famous Golden Age landscape painters. The masterpiece is a key part of the Rijksmuseum's collection and is on display from June 6 2014 in the Gallery of Honour.

Meindert Hobbema, who was at the peak of his career at the time he painted this landscape, was student of Jacob van Ruisdael. Even though Hobbema's landscapes are very similar to those by his tutor, they are lighter and more cheerful. Tree tops reach out high in the sky and leaves are glistening in the sunlight. What's striking is that Hobbema illuminated his trees from behind, giving the display extra depth.

Wim Pijbes, General Director of the Rijksmuseum: 'A long tradition of important Rijksmuseum donations is honoured at the highest level. To date, there has been no other masterpiece by Hobbema in the Rijksmuseum. It's a dream come true for every director.'

Clemens van der Ven
1941 - 2014

Posted on:  04/24/2014
24 April 2014

The Board and Management of TEFAF Maastricht were saddened to learn of the death of Clemens van der Ven.

Clemens was one of the founders of TEFAF Maastricht and a former Chairman of the Board. It is thanks in no small measure to his vision, energy and determination that TEFAF has developed into what it is today. He is part of TEFAF’s history and his work will always be highly regarded.
We are greatly indebted to him.


Willem van Dedem, President
Willem van Roijen, Chairman
Paul Hustinx, General Manager

Clemens van der Ven
1941 - 2014

Posted on:  04/24/2014
24 April 2014

The Board and Management of TEFAF Maastricht were saddened to learn of the death of Clemens van der Ven.

Clemens was one of the founders of TEFAF Maastricht and a former Chairman of the Board. It is thanks in no small measure to his vision, energy and determination that TEFAF has developed into what it is today. He is part of TEFAF’s history and his work will always be highly regarded.
We are greatly indebted to him.


Willem van Dedem, President
Willem van Roijen, Chairman
Paul Hustinx, General Manager

Willem van Roijen appointed Knight in the Order of Oranje Nassau

Posted on:  04/23/2014

23 April 2014

This morning, TEFAF Chairman Willem van Roijen was appointed a Knight of the Order of Oranje Nassau for his sustained, selfless social commitment, in particular to the culture and the welfare of people and animals. Willem van Roijen is the Chairman of the Board of TEFAF Maastricht and of PAN Amsterdam. He is also closely involved with various charitable institutions. He received the royal honour in the town hall of Wassenaar, the town in which he lives.

Maastricht leads the way to better times as art market report says global art market recession is over

Posted on:  04/22/2014

22 April 2014

FOLLOWING this year’s staging from March 13 to 23 there is no doubt that TEFAF Maastricht is still the world’s most important art and antiques fair, both academically and commercially reaching the parts other such fairs just do not reach.

The always eagerly-awaited AXA Art Market Report, annually revealed at TEFAF, this year stated that the global art market is approaching pre-recession proportions and that America is again unquestionably the dominant leader in the field.

Both points were borne out at TEFAF. Overall sales at the top end indicate the art market at this level is recovering and, although I did not personally witness as many Americans as in some past years, those who attended were there to buy.

Obviously, at a fair with more than 270 exhibitors, not everyone flourished but the consensus was that sales made this if not a vintage Maastricht the best for a long while and as usual there were more sales in the six and seven figure bracket than any other comparable event. Certainly the best Maastricht for years.

The outstanding sale at the fair was the exquisite Yuan dish offered by Littleton and Hennessy of London and Hong Kong, a highlight of the whole fair and priced at over €15m (shown here in situ).

Last month when I reported from Maastricht I was told it had been reserved by a North American museum. It may well have been but eventually, more predictably, it sold to a Chinese collector making it the most expensive item sold at the fair.

Star of the show, though, was Van Gogh’s ‘Moulin de la Galette’ which proved a crowd-puller but with a price of $18.5m did not sell on the day, although I hear negotiations for a sale are at an advanced stage.

Always a strength of Maastricht, Old Masters sold even if some of the galleries who usually excel have not as yet reported big sales. However, there were plenty of successes with Otto Naumann of New York selling a work by the Italian Baroque painter Bernardo Strozzi to a private buyer for $3.5m and plenty of others selling at seven figures.

This is not really the forum for Contemporary art but Modern art proved its mettle with a number of dealers, including Galerie Odermatt-Vedovi who sold a hanging Alexander Calder mobile to a European collector with an asking price of €2.6m, enjoying bumper business.

Top silver dealers Koopman from London sold their prize piece, a magnificent soup tureen with the mark of Roettiers, Paris 1770, to a private buyer and antiquities excelled while tribal art and the design section also sold very well.

After a recession which hit all aspects of the art market, although Maastricht fared better than most, this year’s TEFAF does indicate the international market is back on course and, avoiding a shopping list of major sales, suffice to say it is a TEFAF to remember, and the whole market can take heart from that.

Maastricht leads the way to better times as art market report says global art market recession is over

Posted on:  04/22/2014

22 April 2014

FOLLOWING this year’s staging from March 13 to 23 there is no doubt that TEFAF Maastricht is still the world’s most important art and antiques fair, both academically and commercially reaching the parts other such fairs just do not reach.

The always eagerly-awaited AXA Art Market Report, annually revealed at TEFAF, this year stated that the global art market is approaching pre-recession proportions and that America is again unquestionably the dominant leader in the field.

Both points were borne out at TEFAF. Overall sales at the top end indicate the art market at this level is recovering and, although I did not personally witness as many Americans as in some past years, those who attended were there to buy.

Obviously, at a fair with more than 270 exhibitors, not everyone flourished but the consensus was that sales made this if not a vintage Maastricht the best for a long while and as usual there were more sales in the six and seven figure bracket than any other comparable event. Certainly the best Maastricht for years.

The outstanding sale at the fair was the exquisite Yuan dish offered by Littleton and Hennessy of London and Hong Kong, a highlight of the whole fair and priced at over €15m (shown here in situ).

Last month when I reported from Maastricht I was told it had been reserved by a North American museum. It may well have been but eventually, more predictably, it sold to a Chinese collector making it the most expensive item sold at the fair.

Star of the show, though, was Van Gogh’s ‘Moulin de la Galette’ which proved a crowd-puller but with a price of $18.5m did not sell on the day, although I hear negotiations for a sale are at an advanced stage.

Always a strength of Maastricht, Old Masters sold even if some of the galleries who usually excel have not as yet reported big sales. However, there were plenty of successes with Otto Naumann of New York selling a work by the Italian Baroque painter Bernardo Strozzi to a private buyer for $3.5m and plenty of others selling at seven figures.

This is not really the forum for Contemporary art but Modern art proved its mettle with a number of dealers, including Galerie Odermatt-Vedovi who sold a hanging Alexander Calder mobile to a European collector with an asking price of €2.6m, enjoying bumper business.

Top silver dealers Koopman from London sold their prize piece, a magnificent soup tureen with the mark of Roettiers, Paris 1770, to a private buyer and antiquities excelled while tribal art and the design section also sold very well.

After a recession which hit all aspects of the art market, although Maastricht fared better than most, this year’s TEFAF does indicate the international market is back on course and, avoiding a shopping list of major sales, suffice to say it is a TEFAF to remember, and the whole market can take heart from that.

With over 34,000 glasses in a day TEFAF can certainly host a drinks party

Posted on:  04/21/2014

21 April 2014

One only has to visit the cavernous Maastricht venue to appreciate what a mammoth operation TEFAF is and what a challenge of organisation, one that gets bigger every year. To get some idea of the frankly mind-boggling scale of the phenomenon here are some logistics.

This year’s attendance was over 74,000 and visitors came from 56 countries. The lucky ones flew in by private jet and this year a record 375 of them parked at Maastricht-Aachen airport.

Being Holland, flowers are always a highlight and during the course of the fair 33,000 roses, 67,500 tulips, 12,000 spring flowers and 31,000 branches of blossom bloomed around the exhibition centre.

At the private view on March 13 some 10,000 guests consumed 12,600 glasses of champagne, 21,420 glasses of wine and 150,450 canapes and plates of food. Some party. 

Dutch banker takes the TEFAF chair which was previously reserved for dealers

Posted on:  03/16/2014
16 March 2014

Following his serious cycling accident last summer London Oriental art dealer Ben Janssens has resigned as chairman of the executive committee of TEFAF Maastricht but will continue to be an active member of both the board of trustees and the executive committee and remains Chairman Antiquairs.

Willem Baron van Dedem, president of the board of trustees, regretfully accepted Mr Janssens’ decision and thanked him for his significant contribution to the growing success of the fair over his seven years in the chair.

The president also thanked Amsterdam Delft dealer Robert Aronson for his work as acting chairman in recent months.

Considering the severity of Mr Janssens’ injuries perhaps it is not too surprising that he has stepped down. But what is more surprising is his successor, Willem van Roijen, a Dutch banker who has been a member of the executive committee since 1997. This is the first time a non-exhibitor has been elected chairman.

The very good news is that Mr Janssens is expected back on his stand at this month’s fair.

Dutch banker takes the TEFAF chair which was previously reserved for dealers

Posted on:  03/16/2014
16 March 2014

Following his serious cycling accident last summer London Oriental art dealer Ben Janssens has resigned as chairman of the executive committee of TEFAF Maastricht but will continue to be an active member of both the board of trustees and the executive committee and remains Chairman Antiquairs.

Willem Baron van Dedem, president of the board of trustees, regretfully accepted Mr Janssens’ decision and thanked him for his significant contribution to the growing success of the fair over his seven years in the chair.

The president also thanked Amsterdam Delft dealer Robert Aronson for his work as acting chairman in recent months.

Considering the severity of Mr Janssens’ injuries perhaps it is not too surprising that he has stepped down. But what is more surprising is his successor, Willem van Roijen, a Dutch banker who has been a member of the executive committee since 1997. This is the first time a non-exhibitor has been elected chairman.

The very good news is that Mr Janssens is expected back on his stand at this month’s fair.

TEFAF Maastricht's logo: the falcon

Posted on:  11/07/2012
Over the past 25 years TEFAF Maastricht has established an unrivalled reputation as the world’s leading fair for art, antiques and design. The European Fine Art Fair aims to strengthen this position by adopting a new corporate identity and by focusing on three core values – Excellence, Expertise and Elegance. These project and reinforce the character of a fair that defines excellence in art and attracts collectors, connoisseurs, curators and art market professionals from around the world.

The logo
TEFAF Maastricht has a logo with a stylised falcon for the Fair’s title. Just like the falcon’s eye, which is one of the most accurate in nature, the symbol reminds us of the importance of focusing on the essential. This kind of precision and detail is also to be found at the Fair.

The colours of the logo and house style white and black. The traditional falcon reminds Fair participants and visitors alike of the Dutch city of Valkenburg, which means Falcon’s borough or fortress where the Fair’s predecessor was held for a few years.

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