TEFAF NEW YORK OFFERS FIRST LOOK OF ITS DEBUT FAIR

The Centerpiece of TEFAF Week to be Held at the Historic Park Avenue Armory. The fair will feature 94 of the world’s most illustrious dealers of fine art, design, furniture, and

jewelry from antiquity through the early 20th Century.

 

TEFAF New York Fall will be the centerpiece of the newly launched TEFAF WEEK in New

York, an event-filled week of exhibitions, lectures, and art events scheduled to coincide with the

fair at the Park Avenue Armory. Its mission is to celebrate the fine and decorative arts sector in

New York City during a time when the world’s top specialist dealers, museum curators/directors,

collectors and interior designers converge for TEFAF New York Fall. TEFAF WEEK is a

partnership between TEFAF New York and distinguished cultural institutions and associations,

world-class museums and top-tier fine and decorative art specialists in the New York

metropolitan area.

First Look at TEFAF New York Fall

The exhibitors of TEFAF New York Fall are leaders in their respective fields with a number of

them showing for the first time in New York, or returning after a significant hiatus. They are A.

Aardewerk Antiquair Juwelier, Adam Williams Fine Art Ltd., Agnews, Alberto Di Castro,

Alessandra Di Castro, Åmells, Antiquariaat Forum bv, Ben Janssens Oriental Art Ltd., Benappi,

Burzio, Carlo Orsi, Christophe de Quénetain, Daniel Katz Ltd., De Jonckheere, Dickinson,

Eguiguren Arte de Hispanoamérica, Eric Coatalem, G. Sarti Antiques Ltd., Galerie Didier Claes,

Galerie Jacques Germain, Galerie Kevorkian, Galerie Meyer – Oceanic & Eskimo Art, Galerie

Sanct Lucas GmbH, Galleria Carlo Virgilio & Co, Gallery Perrin, Hemmerle, Heribert Tenschert-

Antiquariat Bibermühle AG, Jaime Eguiguren-Arte y Antigüedades, Jean-Luc Baroni Ltd, Joan

Wijermars, Jorge Welsh Works of Art, Ltd., Julius Böhler Kunsthandlung GmbH, Kunstgalerij

Albricht, Kunsthandel S. Mehringer OHG, Kunstkammer Georg Laue, Lowell Libson Ltd, Otto

Jakob, Reza, Rob Smeets Old Master Paintings, Sam Fogg Ltd., Siegelson, Vanderven

Oriental Art and Wallace Chan.

 

 

Highlights

Three dealers from this eminent group listed above – The Kunstkammer Georg Laue,

(Munich/London), Blumka Gallery (NY) and Kunsthandlung Julius Böhler (Starnberg,

Germany) – have joined forces to present a superb mini-exhibition at TEFAF New York Fall.

They will showcase a selection of outstanding works of art from the Middle Ages, Renaissance

and Baroque periods in the modern setting defined by TEFAF

Fair Designer Tom Postma to enhance the historic room where

the exhibition will be mounted. The bold backdrop of modern

architecture with see-through apertures of the period room will

create a unique platform to exhibit the works of art.

A special feature of this exhibition is the still life with artworks

made of silver, coconut, amber, filigree glass, and other

precious materials that will be displayed in central showcase,

thus evoking the atmosphere of princely Kunst- and

Wunderkammer – A Cabinet of Curiosities – from the 16th-

17th centuries. Georg Laue will also build a collector’s cabinet

(left) according to historical record (This arrangement is based

on a painting by the Hamburg artist Georg Hinz whose

Kunstkammer representations give an insight into the collecting

and display practises in the 17th century, when artworks of

precious materials such as silver, gold, amber or coral were

interacting with rare natural curiosities like shells or coconuts.

Exhibitor: Georg Laue

Madonna and Child with St John by Leonhard Kern, South

German, Forchtenberg, ca 1615, Alabaster, Height 31 cm,

width 25 cm.

The Madonna and Child relief is highly significant, as only few

works from Michael and Leonhard Kern are known from this early

period. Leonhard Kern would develop into one of the most

important German sculptors.

Exhibitor: Heribert Tenschert Antiquariat

Bibermuhle AG, Switzerland

An extraordinary illuminated manuscript on vellum

with 30 large drawings (better known as the Master of

the Brussels Initials, active in Paris around 1400) will

be exhibited for the first time in the United States at

TEFAF New York Fall.

The magnificent pictures, previously unknown

masterpieces by one of the Limbourg brothers,

surpass everything known about drawing in French

manuscripts of the 15th century. This is the first

chance for the US public to see these important

drawings by one of the Limbourg brothers who were also responsible for the Très Riches

Heures, the most beautiful and most famous Book of Hours of all time. In an astonishing way

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the rare and partly unique iconography and the compositions hark back to Neapolitan

illumination from the time of Robert d’Anjou and to Duccio’s Maestà of 1310 in Siena and

connect with chief works from Northern Italy. Left unfinished, they oscillate between preparatory

work and what the time around 1400 called “portrait d’encre”; at a certain point of finishing they

may have been intended to remain uncolored. This links them closely to the elaborate pen

drawing of St Jerome in his Study, frontispiece of the Bible moralisée, which was probably

begun by the Limbourg brothers for Philip the Bold of Burgundy before 1404.

Exhibitor: Daniel Katz, London

Cast from a model by Alessandro Algardi (Bologna

1598 – Rome 1654)

Saint Michael overcoming the devil

Rome, 17th century, Bronze. 53.5 cm.

London-based Daniel Katz has been dealing in Old

Master sculpture since 1968 and is renowned for

handling only the best. Blessed with a famously

discerning eye, he blends the passion of a collector with

the expertise of a connoisseur. He will bring a

spectacular selection of pieces to TEFAF New York Fall.

This dynamic bronze (shown left) represents Saint

Michael overcoming Satan, a popular subject during the

Counter-Reformation in Italy. After Bernini, Algardi was

the greatest sculptor of the Roman baroque. Multitalented,

he was also active as an architect and was an

accomplished draughtsman. Splendidly energetic, the present group is a faithful reduction of

the original composition. A slightly larger variant can be found in the Victoria and Albert

Museum, London.

Exhibitor: Hirschl & Adler, New York

Herter Brothers, New York (active 1864–1907)

Collector’s Cabinet

Rosewood, with mahogany, maple, oak, and

satinwood; copper, “yellow metal,”

silver, gold (plaques); gilt bronze, brass, mother-ofpearl,

and silk velvet; 64 1/4 in. high x 51 1/4 in. wide

x 18 1/2 in. deep

New York, 1879-80

This elaborate display cabinet showcases the Herter

Brothers’ unique ability to seamlessly blend different

aesthetics, influences, and exotic materials to achieve a

work of consummate quality and ultimate sophistication.

Displaying simultaneous interest in Oriental, Classical

and Continental forms and motifs, this cabinet is a visual

feast of delicately wrought detail. Inlays of mother-of-pearl and brass in complex and

mellifluous festoons, baskets of flowers, scrolls, and more, are layered over a program of

carved elements, adding to the sparkle of the decorative scheme, which is enlivened yet further

by four mixed metal Anglo-Japanesque plaques made for Herter by Tiffany & Co.

The cabinet being showcased at TEFAF New York Fall is particularly interesting as the Herter

Brothers originally designed the Park Avenue Armory’s Board of Officers Room, one of the

most historic rooms in America. The room, recently renovated with contemporary elements,

was likened to a “royal apartment” when it first opened to the public in 1880.

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Exhibitor: Siegelson, New York

Cartier, Art Deco “Le Ciel” Mystery Clock by Cartier,

Paris, 1928

A clock with a transparent blue night sky dial embellished

with rose-cut diamond comet hands and mother-of-pearl

and enamel hour markers in the form of stars and Roman

numerals, enclosed in a frame of black onyx and coral

resting on two antique carved jade fish enhanced by black

onyx detail, coral fins and tails, and cabochon moonstones;

set upon a carved rock crystal fountain against a black

obsidian base; concealing a divided axel movement with 13

jewel platform escapement; with French assay marks.

Signed on the base Cartier Paris Londres New York nos.

0763, 1387 and 3266, the movement no. 3266

Height: 81⁄2 inches

Cartier has created some of the most innovative and enduring designs of the twentieth century.

Combining daring design and superb craftsmanship, the mystery clock is to Cartier what the

gem-set enamel egg is to Fabergé. The secret of how the hands operated was a closely

guarded at the time. On seeing a clock in 1925, a reviewer for La Gazette du Bon Ton

described them as, “Marvels of the clockmaker’s art, unreal and seemingly woven from moon

beans, they veil the mystery of time.”

Created in 1928, Le Ciel was probably inspired by the Pons-Winnecke comet, which came

within 3.5 million miles of Earth on June 27, 1927. Diamond-set hands designed to resemble

shooting stars move across the face that depicts a night sky of scattered diamond stars. The

clock rests on the tails of two carved jade and coral carp and a rock crystal fountain flows atop

the timepiece’s obsidian base. This clock is a remarkable example of the small series produced

between 1922 and 1931 that incorporated re-mounted carvings from eighteenth- and

nineteenth-century China. Prior to the recent discovery of this piece, only twelve were known.

Le Ciel, with two carp supporting the dial with their tails, is the thirteenth clock. Le Ciel is an

exceptional example of Cartier’s mystery clocks and is a magnificent piece from the height of

Cartier’s clock making.

Exhibitor: Cahn International, Switzerland

An Applique in the Form of Victory.

Bronze, H 16.5 cm Roman, 2nd half of 1st-2nd cent.

A.D.

The goddess of victory with large wings is represented

hastening to right. The impression of dynamic movement

is heightened by the angle of her head and the fluttering

drapery. She wears a belted peplos fastened at her

shoulders with round clasp. The powerful wings are finely

incised. The iconography of this magnificent applique

suggests that it comes from a military context.

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Exhibitor: Röbbig München

St. John Nepomucene (St. John of Nepomuk)

Model by Gottlieb Kirchner (Merseburg 1706–1768

Dresden), 1731

Manufacture and decoration, Meissen, c. 1734

Crossed swords mark in cobalt blue on the unglazed

plinth. Height: 54 cm (21. in.)

This porcelain statue modelled by Kirchner was most

likely based on a sandstone sculpture in a church in

Prague, the city in which this saint was most widely

venerated. It was there that John Nepomucene died as a

martyr on March 23, 1339. After his death, he was

subsequently regarded as the “Bridge Saint” throughout

the Habsburg Empire and southern Germany. This

naturally led to innumerable depictions of the saint in art,

not only in paintings but also in the form of sculptures and

porcelain figures.

Exhibitor: Carlo Orsi/ Trinity Fine Art

Carlo Dolci (1616-Florence-1687),

Allegory of Patience , Oil on canvas, 71 x 54 cm.

Signed in monogram and dated lower left, on the

rock ‘A(nno) S(alutis) 1677 C(arlo) D(olci). Florence,

1677

It would seem probable that Dolci produced two paintings

of this subject, one of which remains lost. Baldassari

argues that this painting should be numbered amongst

Dolci’s most suggestive images, and that the air of

plaintive melancholy with which the subject is imbued can

be seen as an emblematic reflection of the artist’s own

character, ever inclined to a state of religious suffering.

Provenance: Probably commissioned directly from the

artist by Sir John Finch, Florence; By descent in the

Finch family, at Burley-on-the-Hill, until 1947; Major

James Hanbury, Burley-on-the-Hill, sale, Christie’s,

London, 20th June 1947, lot 20; Private collection, Sweden

Exhibitor: Burzio, Italy

Giovanni Galletti (Venaria Reale 1735 – Turin 1819)

A Unique Italian Neoclassical Marquetry Commode

A Toutes Faces created in 1788 by Giovanni Galletti for

the personal use of King Vittorio Amedeo III in Turin Royal

Palace.

Provenance: King Vittorio Amedeo III in Turin Royal

Palace French Private Collection

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Exhibitor: Alessandra Di Castro, Italy

Nicola (Niccolò) Morelli (Rome, 1779 – 1838)

A carved agate cameo with a right-facing profile portrait

of Napoleon I, Emperor of the French

Height 4.9 cm.

Signed below truncation: “MORELLI”

Rome, 1805–10

Morelli, one of the most illustrious engravers of semiprecious

stones working in Rome in the Neo-Classical era,

was the gemstone engraver of choice for every member of

the Bonaparte family residing in the city. He enjoyed, in

particular, the favor of Napoleon’s mother Letizia Ramolino Bonaparte, of her brother Cardinal

Fesch and of the entire family of the emperor’s brother Luciano Bonaparte.

Exhibitor: Åmells Konstandel, Stockholm and London,

founded in 1922, is one of the world’s leading dealers in

Scandinavian art ranging from 18th century to contemporary.

Shown left is an iconic early work by Carl Larsson

(Stockholm 1853 – Sudborn 1919) Reading lady / Interior

from Lilla Hyttnäs in Sundborn, Oil on panel, 45 x 54 cm,

signed and dated lower right C. Larsson 1885. This work

by Carl Larsson shows the interior of his home called Lilla

Hyttnäs, which was central and recurring, figure in his work.

Exhibitor: Wallace Chan, Hong Kong

Qianlong Period White Jade Dragon Belt Hook

Emerald, Yellow Diamond, Fancy Colored Diamond

Wallace Chan is an artisan jewelry designer who is worldrenowned

for his intricate and inventive gemstone creations.

In 2016, Wallace Chan became the first Chinese jewelry

artist invited to exhibit at TEFAF. He will introduce his work to

the American audience for the first time at TEFAF New York

Fall.

Exhibitor: Aardewerk Dutch Silver and Antique Jewellery,

The Netherlands,

A very rare Pair of Antique Japanese Lacquerware

Cutlery Boxes, with Antique Dutch Silver Cutlery, Boxes,

Japan c. 1750.

Forks and spoons: Amsterdam 1773, Valentijn Caspar

Beumke

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Knives: Utrecht 1797, Johannes de Brieder, and Zwolle 1812, Anthony de Vries

These elegant cutlery boxes, decorated with superb Japanese lacquerwork, are a fine example

of the Oriental style that became all the rage in the seventeenth century and reached its heights

in the eighteenth. The boxes are filled with a beautiful and rare set of twelve large and twelve

small spoons and forks, and the same number of large and small knives.

Exhibitor: Hemmerle, Munich

Hemmerle earrings crafted out of jade, diamonds, bronze

and white gold. 2016. Founded in 1883, Hemmerle is a fourth

generation family run house at the vanguard of jewelry design.

To learn more about TEFAF New York Fall, and to see the full exhibitor list, visit

www.tefaf.com.

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