Photo: Benjamin Lozovsky & Carl Timpone/BFA.com Amy Astley and Mitch Owens The design world, and seemingly most of the Upper East Side, turned out for the opening of the New York edition of The European Fine Art Fair at the Park Avenue Armory last night. Spread between three floors were flowers flown in from the
The European Fine Art Fair, known as TEFAF and held every March in the southern Dutch city of Maastricht, had a reputation for stability: the same dealers year after year, bringing their choicest paintings, furniture, and diamond brooches to a well-heeled collector base. But a roiling art market, and increasingly eclectic tastes, led the Dutch
This article is more than 6 years old. TEFAF New York 2017. ©2017 Shannon Heylin. The art market’s orientation to, if not obsession with, “the contemporary” is understandable from a supply and demand perspective. A majority of A-plus historic works is in museums, private collections or the inventories of modern and contemporary dealers. When masterworks
This article is more than 6 years old. Speculation and investment are two delicate subjects in the art market, but they are hardly novel topics. In a market celebrated for breath-taking prices for branded art trophies, art is seen as a potential hedge, an addition to an investment portfolio. There has been no shortage of
Théophile-Alexandre Steinlen (French [born Switzerland], 1859–1923). Mobilization, or La Marseillaise, 1915. Etching, sheet: 25 11/16 x 19 11/16 in. (65.2 x 50 cm). The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1924 (24.58.31) «Organized to commemorate the centennial of World War I, World War I and the Visual Arts features more than
The European Fine Art Foundation (Tefaf) has a new chairman. Nanne Dekking, the chief executive and co-founder of Artory, will take over from Willem van Roijen, effective immediately. Dekking previously served as vice chairman and worldwide head of private sales at Sotheby’s, and was for 11 years employed by Wildenstein & Co. Artory, which he
‘La Mangia, Siena’ (1927) by John Taylor Adams, American (1887–1953), etching on wove paper. Gift of Thomas B. Brumbaugh, professor of fine arts, emeritus. This summer the Vanderbilt University Fine Arts Gallery exhibit American Artists and the Legacy of the Grand Tour, 1880–1960, explores work created and brought home by American artists, and the continuing
Before Frieze set up its swinging shop in London’s Regent’s Park, before Art Basel transposed its staid Swiss self onto Miami Beach, art fairs were small, concentrated events that targeted a narrow class of specialists. None was more connoisseur-driven than the European Fine Art Fair, or Tefaf, the granddaddy of old masters events, held every
Henry Moore’s Stringed Figure (1939), in the booth of London’s Offer Waterman, at TEFAF Spring 2017. MAXIMILÍANO DURÓN/ARTNEWS The storied TEFAF, whose acronym originally stood for The European Fine Art Fair, returns to New York and the Park Avenue Armory for its spring presentation of modern and contemporary art. And while the Old Masters and
Around 1922, in his apartment at Nice, right along France’s balmy Mediterranean shore, Henri Matisse began to paint a series of odalisques — “a French term for a concubine in a harem,” explains London Royal Academy of Arts curator Ann Dumas. Henri Matisse’s 1912 oil painting “Goldfish and Sculpture.” (Courtesy Museum of Fine Arts, Boston)