8 TEFAF Exhibitors on Their Greatest Discoveries

Lullo • Pampoulides
Domenico Fetti, Melancholia, 1615.

Initially cataloged in 1988 as one of many workshop replicas of Domenico Fetti’s (c. 1591/92–1623) famous composition, Melancholia resurfaced at auction in 2017, where its extraordinary quality was immediately recognized by Lullo · Pampoulides. “Despite the yellowed and oxidized varnish that obscured its full potential, the painting stood out for its significant differences from other known versions,” notes Matteo Zambolo, researcher and partner at Lullo · Pampoulides. “The extraordinary quality of the work, acknowledged by Keith Christiansen in the auction catalog entry, gave our intuition the confidence to purchase it.”

“After acquiring the painting, the gallery embarked on an extensive restoration project that lasted nearly two years, involving scientific analysis and art historical research,” shares Zambolo. The results were remarkable. Zambolo continues to explain that “Through the conservation process, it became clear that this was not a mere replica but an autographed painting by Fetti. In fact, it was the prime version of the iconic composition.” The painting would later go on to inspire two other autographed iterations, now displayed at the Gallerie dell’Accademia in Venice and Musée du Louvre in Paris.

Among the most exciting discoveries was the painting’s pentimenti, or visible alterations, made by the artist during the painting process. These changes, along with a discovered underpainting of a female saint, pointing to the artist’s dynamic and evolving creative process. As Zambolo reflects, “These hidden details underscored Fetti’s creative evolution, and they added unprecedented value to the painting’s art historical appeal.”

The newly restored painting made its debut at TEFAF Maastricht in 2019. “The unveiling of this masterpiece marked a significant moment for us,” Zambolo notes. The work was acquired by the Art Institute of Chicago, marking a proud moment for the gallery. “This rediscovery represents the culmination of our mission to bring overlooked artworks to the public and to reassert the importance of underappreciated artists like Domenico Fetti.”

Galerie Perrin
Louis Daguerre, Charles Marie Bouton, Diorama of the Campo Santo of Pisa, 1834.

Galerie Perrin, a gallery presenting works from the 17th, 18th, and 19th century with a particular focus on 18th-century French decorative arts, exhibited a remarkable discovery during TEFAF Maastricht 2019: a unique double-sided diorama by Louis Daguerre (1787–1851) and Charles Marie Bouton (1781–1853), depicting the Campo Santo in Pisa, Italy. Dating from 1834, “this exceptional oil-on-canvas piece exemplifies a pioneering moment in the history of visual art. Created by two of the 19th century’s most innovative minds, the diorama is a rare and important artifact, with very few surviving examples still circulating the secondary market or present in private collections,” says Philippe Perrin, Director of Galerie Perrin.

In 1821, Daguerre and Bouton collaborated to invent the diorama, a process that combined both painting and installation techniques. “Daguerre’s tour de force was to introduce movement into the painting itself,” shares Perrin, revolutionizing a traditionally static medium. “Using a transparent canvas and an ingenious lighting system, figures in the painting seemingly came to life as the light shifted, creating a dynamic and changing visual experience,” he explains. In this diorama, the changing light subtly transitions the scene from daylight to dusk, dramatically altering the atmosphere.

For Perrin, acquiring this diorama was an intellectual and artistic triumph. The gallery describes how the discovery was particularly impactful: “First of all, the incredible effect when we saw it in action for the first time. We’d never seen such an object or such an effect before.” The diorama’s technical innovation is a precursor to the development of early photography, and its beauty transcends disciplinary boundaries, “making it a significant innovative advancement in art, cinema, and history,” says Perrin. “This object not only transcends disciplines but is also a highly innovative and beautiful pictural work.”

Dioramas of the 19th century have long been overlooked in academic circles. As Perrin explains, “dioramas from this period have unfortunately fallen into oblivion, and there are very few of them still in circulation.” The work’s acquisition in 2019 marked a pivotal moment for the gallery, which was keen to bring the diorama’s unique character to the public. The work was sold to a private collector, who has since generously loaned it for exhibitions at institutions such as LACMA in Los Angeles.

David Aaron
Guennol Rhinoceros, Roman, Hadrianic Period, A.D. 76–138.

When the Guennol Rhinoceros was presented at TEFAF Maastricht in 2022, it marked its first public appearance since 1970. This Roman black marble work had long been a subject of fascination—and mystery. “We could tell there was something magical about the piece,” remarks Salomon Aaron, Director at David Aaron, an antiquities gallery specializing in ancient Classical, Egyptian, Near Eastern, and Islamicworks of art. “The clear artistry of the sculptor and the modeling of the animal’s skin was very special.”

“The sculpture’s journey through history is as impressive as its artistry,” says Salomon. Throughout the mid-20th century, the rhinoceros passed through prestigious collections, including those of Bernard d’Hendecourt, Joseph Brummer, and the renowned Guennol Collection, and had furthermore been displayed at the Brooklyn Museum and the Metropolitan Museum of Art in New York. However, “despite this storied past, its origins and cultural context remained largely unknown,” notes Salomon. The sculpture was initially believed to be Egyptian: “It was never fully understood or studied in terms of what culture it belonged to, but across a dedicated research effort, this ambiguity was finally resolved.” Collaboration with leading experts confirmed that the sculpture was Roman, not Egyptian as once thought. “It was identified to date back to the 2nd century AD, to the Hadrianic Period,” Salomon notes, highlighting the critical role of the scholars in unearthing the sculpture’s true history. During this process of rediscovery, the gallery learned invaluable lessons about interdisciplinary collaboration, “which was pivotal in bringing the sculpture’s story to light,” says Salomon. “It underscored the importance of meticulous research and re-evaluating assumptions.”

The Guennol Rhinoceros is remarkable not just for its historical significance but also for its striking craftsmanship. “Although the piece is fragmentary, one eye remains wholly intact, peering out from the rhino’s face with great intensity,” Salomon highlights. This intricate detail draws viewers in, compelling them to appreciate the sculpture’s fine texture and lifelike presence. The “smoothness of the carved black marble surface” is so enticing that observers often “feel drawn to touch it, further deepening the connection between art and viewer.” The Guennol Rhinoceros is now part of the Al Thani Collection, continuing to captivate audiences around the world.

Walter Padovani
Antonio Minello, Apollo, ca. beginning 16th century.

With a particular specialization in Renaissance sculpture, Walter Padovani places focus on presenting exceptional works that reflect artistic sophistication and historical importance. The gallery’s mission is to rediscover overlooked masterpieces, “highlighting their unique qualities through rigorous research and connoisseurship—a philosophy embodied by the extraordinary marble relief of Apollo by Antonio Minello (c. 1465–1529),” shares gallery owner Walter Padovani.

Acquired from a distinguished private collection—such small-scale Renaissance sculpture of secular subjects being “exceedingly rare on the art market”—the work was initially attributed to Milanese sculptor Agostino Busti. Its true origins were revealed only after careful research and academic collaboration with Professor Andrea Bacchi. As Padovani explains, “The true story of an artwork often unfolds only after deep research, and this work is a perfect example of that process.” He highlights that “through a combination of technical analysis and historical investigation, experts re-attributed the relief to Minello, the Venetian master known for his dynamic Renaissance style.”

The Apollo relief was originally part of the Roman collection of Costanzo Patrizi, and its provenance traces a fascinating path through the collections of Count Grigorij Stroganoff and Camillo Castiglioni. The work’s striking polychromy sets it apart from typical Renaissance works of its kind. “Most Renaissance reliefs of this nature adhered to the tradition of pure white marble. However, this sculpture stands out with its black and yellow antique marble framing, reflecting a contrasting Roman aesthetic,” Padovani explains. “In his 1624 inventory, Marquis Patrizi described an Apollo and a Cleopatra relief, both framed in black and yellow marble,” says Padovani. “Through personal research and with the help of experts, I had the privilege to examine the Cleopatra relief, housed at the Musée des Beaux-Arts in Rennes. To my surprise, I found that the polychrome marbles were identical to those used in the Apollo,” he adds, “confirming the pieces had been modernized—by constructing an external decorative and polychrome structure— when in the Patrizi collection, to reflect Roman tastes.”

Following its display at TEFAF Maastricht 2019, the work was placed in a private collection, “where it continues to be appreciated for its historical significance and artistic beauty.”

Applicat-Prazan
Pierre Soulages, Peinture 195 x 130, 21 août 1958, 1958.

Applicat-Prazan is dedicated to showcasing exceptional works from the postwar School of Paris, an innovative period marked by bold artistic experimentation. Among the most significant artists of this period is Pierre Soulages (1919–2022), whose contributions to abstract painting have been widely recognized. Between 1946 and 1959, “Soulages executed 372 paintings in this period, of which 51—measuring ‘120 figures’ (195 × 130 cm) or larger—were counted and considered significant works,” shares Franck Prazan, Director of Applicat-Prazan. “Among these, 24 are in museums, institutions, or belong to the artist’s estate, and the remaining 27 are believed to be in private collections.”

For Applicat-Prazan, Peinture 195 x 130, 21 août 1958 (1958)—presented at TEFAF Maastricht in 2010—stands out as one of the most significant of the artist’s career. This painting presents a rare and unparalleled discovery, exceeding even the gallery’s own rigorous standards. The gallery’s ambition is to present artworks that would not “be rated below an 8, on a scale of 1 to 10, in terms of quality,” Prazan shares. “This work was a 12 out of 10.”

It was a work the gallery had to secure, after being held in a private collection near Chicago and not having appeared on the market for decades. “We did everything we could to convince them to let us have it,” Prazan shares. Prazan emphasizes the significance of this masterpiece in the broader context of the postwar period: “It represents the pinnacle of Soulages’s innovative approach, capturing the essence of his transformative technique and his unique ability to manipulate light and texture.” As one of Soulages’s finest creations, this painting “not only represents the artist’s technical prowess but also embodies the spirit of the postwar movement,” concludes Prazan.

Galerie Utermann
Gabriele Münter, Rote Wolke mit Haus, 1910.

For their presentation during the 2024 edition of TEFAF Maastricht, Galerie Utermann highlighted its focus on exceptional works by key artists from the transformative movements of Classical Modernism and German Expressionism, among them Gabriele Münter’s (1877–1962) Rote Wolke mit Haus (Red Cloud with House) (1910). Following the gallery’s mission to promote art characterized by emotional expressiveness and timeless quality, Lukas Minssen, Managing Partner and owner of Galerie Utermann, shares: “These are values embodied by the work of Gabriele Münter, and particularly in Rote Wolke mit Haus.”

The gallery acquired Münter’s Rote Wolke mit Haus from a long-held private collection in the US, “where it had remained out of public view for decades.” As Minssen explains, “the artist was once overshadowed by her association with Wassily Kandinsky and the perceived grandeur of her male contemporaries.” However, “Münter recently gained her rightful place in art history as one of the leading artists of the early 20^th century,” citing the increasing prominence of her work now placed in major institutions.

The discovery of Rote Wolke mit Haus marked an important milestone for the gallery. The gallery’s research into Münter’s recurring motif of the red cloud revealed another significant work, Die Rote Wolke (The Red Cloud) from the collection of the Raclin Murphy Museum of Art at the University of Notre Dame, Indiana. Created just a year after the work presented by Utermann, both paintings explore the same theme with a slightly different treatment of the medium. “It is fascinating that these two paintings are fully evolved, two completely independent works created so close together,” says Minssen. While both works feature the same subject, Minssen states that “the earlier piece stands out for its freer, more intuitive style, emphasizing the expressionist significance and setting it apart for the artist’s broader body of work.”

The painting was placed in a German private collection, “ensuring its continued appreciation” and “reflecting Gabriele Münter’s forthcoming influence, rediscovery, and reintroduction to the public perception,” shares Minssen, highlighting the growing recognition of Münter‘s pioneering role in the development of Modernism.

Didier Ltd
Alexander Calder, Unique Copper and Galvanized Steel Necklace, c. 1928.

In 2024 at TEFAF Maastricht, Didier Ltd, specializing in jewelry by postwar artists, exhibited “a truly rare discovery:” a unique copper and galvanized steel necklace (c. 1928) made for artist Margarett Williams Sargent McKean by Alexander Calder (1898–1976). Previously unknown, this necklace now stands as one of the artist’s earliest known works, marking an important moment in the gallery’s collection as well as the beginning of Calder’s creative career of innovative jewelry work.

The necklace is composed of ten spiral elements, eight of which are circular, and one square. “Calder’s signature, incorporated within one of the spirals placed on the front top left of the necklace, is an extraordinary feature,” says Martine Newby Haspeslagh, Director at Didier Ltd. “We have not been able to find his signature present in any other example of jewelry, making this an even more unique and groundbreaking discovery.” Haspeslagh explains that “the necklace was created for the wealthy female artist McKean—a distant relative of John Singer Sargent—known for her rebellious spirit and modern outlook.” Calder’s modern approach to craft becomes apparent through the materials used. “Having such a large statement necklace in base materials—galvanized steel and copper—was quite radical, as women would be expected to wear diamonds and other precious stones. This was revolutionary at the time,” shares Haspeslagh. “Calder’s use of continuous wire and cold connections, instead of soldering, was typical of his wire sculptures, a technique that would come to define much of his work. The relationship between Calder and McKean is key to understanding the necklace’s creation. “Their paths first crossed in 1923 in New York and later in Paris,” explains Haspeslagh. “Calder, who was experimenting with wire sculptures of portrait busts during this period, was commissioned by McKean to create two sculptures depicting her daughters, Margie and Jenny,” highlighting the undeniable connection between these wire sculptures and the artist’s necklace design.

The full story behind the commission, however, remains a mystery: “We would love to know if it was a gift of the artist to Margarett Williams Sargent McKean or an early commission, like the wire portraits of her daughters,” says Haspeslagh, pertaining to the gallery’s curiosity. Regardless of its origin, the necklace has had a powerful provenance, remaining in McKean’s family until its sale in 2023.

Bernard de Grunne
Igbo Statues from Nigeria.

One of the most unforgettable exhibitions at TEFAF for Bernard de Grunne took place in 2010, when the gallery presented a monumental collection of 28 almost life-size Igbo statues from Nigeria. This exhibition, which featured the “largest concentration of Igbo monumental sculpture ever assembled,” says Director Bernard de Grunne, was remarkable not only for the large scale and aesthetic value of the works but also for the meticulously curated display.

De Grunne notes, “We aimed to present—to a contemporary public—these statues as the Igbo people would have, following research by Professor Herbert Cole, the leading scholar on Igbo art.” The statues, “which often depicted conceptual deities—representing the earth, rivers, or war—were displayed together in shrines or villages,” states De Grunne. “They also included temporal figures, such as founding ancestors and legendary heroes.” These displays, where large groups of statues were placed alongside each other, often included “as many as 15 or more figures within a single shrine or village.” The statues, with their varying heights— some reaching up to 180 cm—were displayed in a dynamic arrangement, with smaller figures interacting with larger ones in a visual dialogue. “The figures created a striking presence, standing side by side in a harmonious yet dramatic formation, offering a once-in-a-lifetime opportunity to experience the vibrancy and history of Igbo art in its fullest context,” De Grunne shares.

The significance of this exhibition went beyond its visual impact. “This group of 28 statues marked the fi rst time ever that such an amazing group had been displayed in one location,” explains De Grunne. For him, this display was also deeply personal. The inspiration for this extraordinary show dates to the 1970s, when his father, a passionate collector of African art, acquired four or five Igbo statues. “I remember, as a child, thinking that one day I would love to do a show featuring this army of life-size, marching statues that would be breathtaking to look at,” De Grunne shares. “This childhood vision came to life in 2010, when the gallery successfully brought together all these incredible pieces from around the globe.” While the statues did not remain together following the fair, for De Grunne “it was truly the fulfillment of a dream, an experience I believe will never be replicated in the future.”