TEFAF Maastricht 2020 Catalogue

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In request The Ambassador of Argentina

MS. M.J. ALONSO JIMÉNEZ The Ambassador of Spain

MS. DR. H. GÜRER The Ambassador of Austria

MS. A.L. MARKOVIC The Ambassador of the Kingdom of Sweden

MR. D. ACHTEN The Ambassador of Belgium MS. L. HELFAND The Ambassador of Canada MR. J.-O. HORSLUND The Ambassador of the Kingdom of Denmark MR. L. VASSY The Ambassador of France MR. D. BRENGELMANN The Ambassador of the Federal Republic of Germany MR. VENU RAJAMONY The Ambassador of the Republic of India MR. A. PERUGINI The Ambassador of Italy MR. H. HORINOUCHI The Ambassador of Japan

MR. H.E. WALKER Ambassador of Switzerland MR. P.M.A. WILSON The Ambassador of the United Kingdom MS. L. DUPUY LASSERRE The Ambassador of the Eastern Republic of Uruguay MR. H. JAMAR The Governor of the Province of Liège (Belgium) MR. H. REYNDERS The Governor of the Province of Limburg (Belgium) MS. A. HENK-HOLLSTEIN The Chair of the Landschaftsverband Rheinland (BRD) MS. G. WALSKEN The Governor of Cologne

MR. Y. JEONG The Ambassador of the Republic of Korea

MR. O. PAASCH The Prime Minister of the German-speaking Community of Belgium

In request The Ambassador of Monaco

MRS. J.M. PENN-TE STRAKE The Mayor of Maastricht

MR. M. SØRBY The Ambassador of the Kingdom of Norway

MR. TH.J.F.M. BOVENS The King’s Commissioner (Governor) of the Province of Limburg (The Netherlands)

MR. DR. HONG XU The Ambassador of the People’s Republic of China MS. R. BATORÉU The Ambassador of Portugal







GEORG LAUE Chairman Antiquairs











NANNE DEKKING Chairman TEFAF Board of Trustees

NINA HARTMANN Chief Marketing Officer

PATRICK VAN MARIS VAN DIJK Chief Executive Officer

LEANNE JAGTIANI Business Director

SOFIE SCHEERLINCK Managing Director TEFAF New York

FLOORTJE JANSSEN Vetting Associate

ALISON ABELS Head of Sponsorship, The Americas

INGRID LABADIE Global Head of Sponsorships

WILMA VAN ALTENA Finance & Purchasing

LIZA LAN Museum, Sponsor & VIP Relationship Manager

ELISA AMADOR Finance & Purchasing

CHARLOTTE VAN LEERDAM Chief Financial Officer

LIZ ANDERSON Operations Manager


TWAN VAN ASSELDONK Finance & Purchasing

LINDA LEES, PHD Director of Cultural Programming & Special Projects

COCO BANNENBERG Art Editor & Content Coordinator PAUL VAN DEN BIESEN Global Relationships Director MELISSA DAHL Office Manager Hospitality & VIP Relationship Coordinator YVONNE VAN DEN EERENBEEMT Printing & Design Manager ROSANNE ENGEL Corporate Strategy CHRIS ETCHEVERRY IT Manager CÉCILE FENTENER VAN VLISSINGEN Global Head Vetting

SARAH LU Content Manager KARINE MANDEL Executive Assistant to the CEO and Board LUCIANO DE MARSILLAC Head of Fair Tours ERIN MAZUERA Global Head of Product Technology FRÉDÉRIQUE VAN OORSCHOT Head of Fair Operations TEFAF Maastricht FREDERIEKE OUWERKERK Museum, Hospitality & VIP Manager TARA THEUNE DAVIS Marketing Production Manager

NIELS GLANDORFF Global Head of Build, Logistics & Security

JAN PETER VERHAGEN Marketing & Communications Manager

FREDERIQUE HANSSEN PR & Marketing Coordinator

TYLER WOODALL Operations Associate




So much has happened since the last time you visited our fair. The New York editions of our fair have solidified our reputation as the most prominent art fair in the world. As a Dutchman living in New York since 1996, I can tell you that not many of my New York friends understood what I was talking about when I was heading to TEFAF in The Netherlands every March. Those days are over. Not only do most New York collectors– and many collectors from all over the US–visit our New York fairs in the magnificent Park Avenue Armory, but many of them now plan on visiting the much bigger mother fair in Maastricht each year. It is my belief that this global reach is the biggest achievement of the TEFAF community: TEFAF is globally recognized as a brand of preeminence, regardless of the location. What tremendously contributed to this success is the united and incredibly devoted TEFAF team. Although they operate from two offices on different sides of the ocean, they are joined under the common goal of excellence and diligence within the art market. I continue to be proud to call myself a part of this diverse and multinational team, which has led us into 2020 with a fair, a brand, and a community of extreme significance in the art world. At TEFAF, we continue to ensure our clients that we are the most trusted sales platform within the international marketplace. With meticulous vetting procedures carried out by a range of international and independent specialists, TEFAF continues to keep integrity at the forefront of our operation. By demonstrating our proficiency in the art market, we uphold and lead the international standard. We are known to collectors as a foundation that can be trusted when buying in today’s markets. Moreover, our relationships with curators and specialists from museums worldwide are at the core of the foundation’s success. One of the projects we undertook in order to support the international art community is the TEFAF Museum Restoration Fund. Two internationally prestigious museums have received our assistance so far in securing important artworks for future generations. We continue to support the restoration of The Kaufmann Office (1935 – 1937) by Frank Lloyd Wright at the Victoria & Albert Museum, UK, and the restoration of Pietá (c.1710 – 20) by Melchor Pérez Holguín (c.1660 – c.1732) at the Los Angeles County Museum (LACMA), USA. Additionally, TEFAF has partnered with the Prince Claus Fund for over a decade to protect and preserve those pieces of cultural heritage that are being threatened by man-made or natural disasters. This year we will work in tandem with the National Archives of Suriname, which brings together 20 of the country’s heritage institutions to develop emergency management and disaster preparedness plans. Art Patronage in the 21st century is the theme of TEFAF’s 2020 Art Market Report. Written by Anders Petterson of ArtTactic


we present this forward-thinking report on philanthropic giving to the visual arts, with a focus on recent innovations and trends in art patronage. Our community is growing and continuously in movement. With 25 new exhibitors, over all our sections, and from 12 countries, we are proud to present the most international and diverse group of exhibitors to date. We would like to welcome the new and returning galleries to our fair, including galleries such as Carpenters Workshop Gallery (UK), Lisson Gallery (UK), BHAGAT (India), the returning Wildenstein & Co (USA) and two 2019 Showcase participants, ArtAncient (UK) and Mathieu Néouze (France). We welcome five new exhibitors to the TEFAF Showcase, our initiative to give recently established galleries the opportunity to participate in TEFAF Maastricht: Caretto & Occhinegro (Italy), Galerie Fabienne Fiacre (France), Plektron Fine Art (Switzerland), Runjeet Singh (UK) and TAFETA (UK). We would also like to honor Evert Douwes, one of the founding fathers of The European Fine Art Foundation, who passed away last year. As a member of the Douwes dynasty and the 6th generation owner of the esteemed Douwes Fine Art Galleries, he was praised for his profound knowledge of art and the art world. We will remember his enormous energy and sophistication. He was a driving force in the establishment of TEFAF Maastricht as an internationally respected and successful art fair. Furthermore, I would like to extend my gratitude to our Lead Sponsor AXA for their continued support and trust in TEFAF Maastricht. We have a long-standing, strong relationship and together we hope to deliver the best services possible to our wonderful community. Finally, it is with regret that I have to inform you that Patrick van Maris van Dijk has decided to leave his position as CEO of TEFAF effective end May 2020. Since his appointment in May 2015, Patrick has successfully implemented an ambitious forwardthinking strategy for TEFAF maintaining its exclusive position in an ever-changing landscape. During his five year tenure two very successful editions to the fair were added to our Maastricht fair at the Park Avenue Armory in the world’s most buoyant art market, New York City, turning TEFAF into a transatlantic meeting ground for our global community of dealers, collectors, curators, interior designers and art-and-antiques enthusiasts. We are grateful for Patrick’s achievements at TEFAF, in creating and building a global brand led by a global team, and wish him all the best for the future. On behalf of the TEFAF team, I want to end by welcoming you to TEFAF Maastricht 2020. Yours Sincerely, Nanne Dekking 9



AXA XL is delighted to continue our collaboration with TEFAF and to welcome exhibitors and attendees to the 2020 edition of the world’s premier art fair. For those of us who have been attending for years if not decades, TEFAF remains a highlight on the annual calendar. This big, sprawling exhibition always reinforces our passion for art while also enabling us to refresh long-standing relationships and forge new ones. TEFAF also reminds us of the breadth and depth of the art, artifacts and collectibles offered by a wide variety of galleries and sought by diverse collectors from around the world. At the same time, TEFAF is more than a showcase; it’s also an opportunity to connect with the people who make up this eclectic community of people united by a shared passion for art. TEFAF is even more meaningful this year for what is now AXA XL. With greater breadth and depth in expertise, resources and specialist capabilities, we’re better equipped to provide knowledgeable and demanding clients with the most innovative and up-to-date solutions for protecting valued objects. And we’re even more capable of tailoring our solutions and services to individual needs and circumstances. On behalf of all of us at AXA XL, I hope your time at TEFAF 2020 is inspiring, stimulating and rewarding. Yours sincerely Graham Hawkins Chief Underwriter Officer Art, Species and Bloodstock AXA XL, a division of AXA



From April to July 2020, the National Gallery will mount the first major solo museum exhibition of Artemisia Gentileschi’s now famous Baroque paintings. Not only does this show reflect resurging interest in her work, it also heralds our expanding knowledge of and appreciation for the relatively few successful female artists throughout Western art history. IN THE FOOTSTEPS OF CARAVAGGIO It’s fitting that this exhibition will be held at The National Gallery. In 1638, Artemisia was invited by King Charles I to join her father, Orazio Gentileschi, in London. (Orazio previously was close friends with Caravaggio, and his influence rubbed off on Artemisia as well.) It was during her four years there that Artemisia most likely created Self-Portrait as the Allegory of Painting (La Pittura). In this Self Portrait, Artemisia depicted Painting (La Pittura) in a manner consistent with the description in the standard emblematic handbook of the period, the Iconologia of Cesare Ripa. At the same time, the painting is a self-portrait: a woman artist holding a brush in one hand and a palette in the other. When Charles I bought it, Artemisia’s Self-Portrait became the first painting by a female artist in the Royal Collection. Critics have noted that Artemisia’s perhaps most well-known painting, Judith Beheading Holofernes, can also be seen as a self-portrait. (Two nearly identical renditions by her survive; one is in the Uffizi in Florence, and one is in the Capodimonte in Naples.) Here, Artemisia painted Judith holding down Holofernes’ head with her left hand while slitting his throat with a gleaming dagger in her right hand. A common interpretation is that Holofernes was a stand-in for Agostino Tassi, an Italian painter Orazio hired to tutor Artemisia; he later was convicted of raping her following a brutal trial during which Artemisia was tortured to test her veracity.


DISCOVERING AND RESTORING THE INVISIBLE Like Gentileschi, the handful of women who achieved commercial success during the Baroque and later eras tended to be daughters of established painters and thus able to learn the craft by hanging around their fathers’ workshops. Plautilla Nelli’s story is different. She was born in Florence in 1524 and entered a Dominican convent when she was fourteen. Her convent was a centre for self-taught nun artists, amongst whom Nelli soon stood out. In fact, Nelli is one of the few female painters included in Giorgio Vasari’s seminal work, Lives of the Most Excellent Painters, Sculptors and Architects. Nelli and her crew were soon receiving commissions from wealthy Florentines as well as from churches throughout Tuscany and elsewhere. Vasari noted that ‘there were so many of her paintings in the houses of gentlemen in Florence, it would be tedious to mention them all’. History, however, mostly overlooked her contributions to the canon and in 2006, only three paintings were attributed to her; today, there are seventeen. These include, most notably, her rendition of The Last Supper. Nelli’s 7 × 2 meter painting was created in the 1560s and hung in Santa Caterina until the 19th century when the convent was suppressed. The painting eventually ended up in storage at a nearby monastery. In 2004, Nelli was rediscovered by an American woman, Jane Fortune, who noted a reference to the artist in a book found in a market stall. Intrigued, she set out to find works by Nelli and other long-forgotten female artists. And, like archaeologists exploring a lost city, Fortune and others did find such works: in archives, museum storage and the far reaches of old churches. Most were in appalling condition. This prompted Fortune to start a Florencebased non-profit organization, Advancing Women Artists (AWA), that ‘is committed to identifying and restoring artworks by women in Tuscany’s museums, churches and storage facilities’.

To date, AWA’s team of all-female restorers have cleaned and restored more than 50 works by women artists from the Renaissance to the 20th century, including Nelli’s The Last Supper as well as a version of David and Bathsheba by Gentileschi originally owned by the Grand Duke of Tuscany. (Nelli’s Last Supper is now on permanent display in Florence’s Santa Maria Novella Museum.) THE GLASS CEILING: SHATTERED OR RAISED? Sofonisba Anguissola, Lavinia Fontana, Angelica Kauffman, Élisabeth Vigée Le Brun, Rosa Bonheur, Berthe Morisot, Mary Cassatt, Elizabeth Thompson (Lady Butler), Hilma af Klint, Georgia O’Keeffe, Frida Kahlo, Louise Bourgeois, Lee Krasner, Joan Mitchell, Helen Frankenthaler, Judy Chicago, Jenny Holzer, Jenny Saville: These are just some of the accomplished female artists who, like Artemisia Gentileschi and Plautilla Nelli, had to surmount cultural and institutional barriers to achieve some level of recognition and success. However, as art historians probe more deeply into overlooked corners, more works by female artists are ‘emerging from the shadows’, leading to the re-attribution of pieces previously credited to male artists as well as to the rediscovery of forgotten creations like Nelli’s Last Supper. The National Gallery, for instance, recently acquired a ‘newly uncovered masterpiece’ by Gentileschi titled Self-Portrait as Saint Catherine of Alexandria. Owned for centuries by a French family, the painting’s authorship had been forgotten. In 2017, The National Gallery paid £3.6 million for it, a record for her work. In an influential essay penned almost 50 years ago, Linda Nochlin posed the provocative question Why Have There Been No Great Women Artists? In it, she probed such issues as ‘the nature of human abilities in general and of human excellence in particular’ as well as ‘the role that the social order plays in all of this’. The Canadian author Malcolm Gladwell explored some of these themes in his 2008 book Outliers: The Story of Success. One of his main premises is that the very few unusually accomplished people who appear periodically throughout history ‘are invariably the beneficiaries of hidden

advantages and extraordinary opportunities and cultural legacies that allow them to learn and work hard and make sense of the world in ways others cannot’. The fact that these advantages, opportunities and legacies historically accrued only to men offers one answer to Nochlin’s provocative question. However, does the growing appreciation for female artists, coupled with broader societal trends, signal a possible paradigm shift wherein women begin to access some of these ‘hidden advantages and extraordinary opportunities’, as well as a more enlightened set of ‘cultural legacies’? Are we watching a glass ceiling being shattered, or is it just moving higher up? Although women today still trail men in many corners of the art world, there are signs of positive change. For instance, of the twelve individual Turner Prizes awarded since 2010, eight went to women and four to men. And about twothirds of the creative art and design students in the UK and US today are women. Does this cohort include skilled and talented female artists as well as a few who, over time, will achieve the same stature as, say, de Kooning, Picasso or Delacroix? Insurance actuaries would almost certainly answer yes. While the pendulum swings slowly, growing evidence shows it is moving in a direction whereby today’s generation of emerging women artists may begin to access some of the ‘hidden advantages and extraordinary opportunities’ previously available only to men, and where artistic greatness lies.

PLAUTILLA NELLI 08 Nelli’s Last Supper Restored Copyrights: Rabatti&Domingie




‘When TEFAF Showcase was first launched in 2008, I don’t think we had any idea how successful it might be,’ says BenJanssens, who has chaired the selection committee from the outset. ‘It is very gratifying to see how many Showcase exhibitors have graduated to becoming fully-fledged participants at the fair. As the reputation for TEFAF Showcase has grown, so have the number of high-quality applications to take part in this section as many younger dealerships realise what a strong platform it provides to try out TEFAF Maastricht and give exposure to a highly sophisticated audience of international collectors. Equally, from TEFAF’s perspective it gives an excellent opportunity to view new talent. Collectors love it too – so everybody wins!’ TEFAF Showcase was created to provide newer galleries the opportunity to experience a major international art fair and is held in an area of the fair within TEFAF Antiques. 2020 participants are Caretto&Occhinegro, Galerie Fabienne Fiacre, Plektron Fine Arts, Runjeet Singh and Tafeta.

as collectors. Selections are made based on specific characteristics, by establishing a close relationship with those who choose to approach the gallery. Our participation to TEFAF showcase represents the opportunity of a new way of thinking and practice ‘ancient art’. We believe in the necessity of a general readjustment of the public taste, a fundamental change to trigger a systematic renewal of the way of looking at and thinking about historical art. The challenge is to participate to the generation of a new, younger, collector, more eclectic and trasversal, but mainly educated collectorship. The knowledge and quality of the artwork make the collector the one who must be at the center of attentions. For these reasons, we conceive our booths as a space that must impress the visitors with ‘quality more than quantity’, elegance and feelings before any other aspects. GALERIE FABIENNE FIACRE


FABIENNE FIACRE HIPPOLYTE FLANDRIN (LYON 1809 –  ROME 1864) Portrait of Adèle Anthoine-Prélart at the age of eighteen (Madame Auguste Cottin (1829 – 1903)) Oil on an oval shaped canvas 66 × 54 cm (26 × 21.3 in.) Signed on the right and dated ‘1847’

Founded in 2014 and focused on flemish, dutch and german old master painting, Caretto&Occhinegro is the answer to the requirement of evolution that the market is expecting today from the international galleries. Its strategy is focused on the concept of ‘discoveries’ in terms of style, author and content. Unknown works, of private origin, requiring new studies. The deep knowledge of art market dynamics blends with the ability to value a work through a network of direct contacts with major museums of the world and with the most important international art historians. Such choices are dictated by the decision to place the customers at the center of our operations and to discover their requirements

Galerie Fabienne Fiacre feels very honored to have been selected to participate at Maastricht Showcase 2020. It will give her gallery a new audience in the world of an international crowd of collectors and museum curators. She will be presenting arresting portraits, including an important rediscovery, the Portrait of Adèle Anthoine-Prélart at the age of eighteen by Hippolyte FLANDRIN (1809 – 1864). Fabienne Fiacre particular expertise is in the first half of the 19th century and her desire is to show her personal taste for portraits in general, and more specifically for those emphasizing line over color (Ingres versus Delacroix). Along with the young Madame Cottin, other portraits, paintings and drawings will reflect the influence of Ingres.

CARETTO& OCCHINEGRO FRANS FRANCKEN II The preaching of Jesus on the shores of the Sea of Galilee Oil on canvas Signed and dated 1631


The business premises of the gallery in Paris are set in a XVIIth century hotel particulier in Saint-Germain-des-Prés since 2011. Occasionally, Fabienne Fiacre makes incursions in the Old Masters world and into the 20th century. At TEFAF, a bronze from 1911 by Antoine Bourdelle (1861–1929) will synthesize her inclination for powerful sculpture looking back at the Antique. PLEKTRON FINE ARTS Founded in 2016, Plektron Fine Arts is located near Paradeplatz in the heart of Zurich, Switzerland. With nearly twenty years of experience in the cultural sector and international art world, Ludovic Marock started his career i.a. at Unesco World Heritage Center, Sotheby’s and Christie’s. From 2009 – 2015, he represented Christie’s premier offices in Zurich as an Antiquities specialist in charge of all consignments for worldwide sales from Continental Europe. During that time, he built up a reputation for his discerning eye and professional knowledge, earning the trust of both private and institutional collectors throughout Europe and beyond. As an archaeologist, Ludovic Marock has also participated hands-on at archaeological excavations on the Cycladic island Delos in Greece together with the French School of Athens and with the Archaeological Institute of the University of Zurich on Monte Iato near Palermo in Sicily. At Plektron Fine Arts, Mr Marock now uses the experience and expertise gained from his time working in the world’s major auction houses, to showcase ancient works of art from the Mediterranean region with a particular emphasis on the Greek and Roman periods. With its broad range of objects, Plektron Fine Arts not only successfully focuses on keeping ancient art relevant and pertinent, but also adheres to the highest standard of ethical trading, being aware of the importance of impeccable provenance and standards. Plektron Fine Arts is a young, dynamic gallery making a significant and exciting impact on the international art scene.

PLEKTRON An early black-figure Tyrrhenian Amphora Terracotta Greek-Attic, 565 – 560 BC

RUNJEET SINGH Runjeet Singh entered the art world as a collector of Asian arms and armour at the age of 20 in 1999. After many years as a collector, he dabbled as an amateur dealer for a few years before taking the plunge, leaving his full-time job as a civil servant and becoming a professional dealer in 2014.


RUNJEET SINGH Horse-head dagger Jade Overall length 38 cm India, Mughal Dominions, 17th century

TAFETA BABAJIDE OLATUNJI (B.1989) Tribal Marks Series III #52 Charcoal and pastel on paper 106 × 152 cm (41.7 × 59.9 in.) 2019

Born in England, and of Indian (Sikh) heritage, he feels his background does give him a personal connection to the material he deals in, though he states it is not an interest or passion you cannot develop or appreciate coming from other backgrounds. Runjeet has a special passion for Indian, Islamic, Tibetan and Chinese material from the 15th – 19th centuries and deals by appointment from his home in Warwickshire, though he regularly commutes to London. He likes to use his time hunting for rare, unusual, and fine objects with good provenance, and holds tri-annual public exhibitions to showcase his discoveries in London, Paris and New York. Runjeet has worked tirelessly to assemble a group of show-stopping items, highlights of which include: a 17th century bluegrey jade horse-head dagger, made at the height of the Mughal empire in India under the rule of Shah Jahan (1592 – 1666), who most famously commissioned the Taj Mahal which entombs his wife Mumtaz Mahal. In his study of the Windsor Padshah-nama, Stuart Cary Welch observes that in a darbar scene by Balchand, Dara-Shikoh (eldest son of Shah Jahan) is portrayed wearing a horsehilted dagger and comments that during the reign of Shah Jahan the wearing of animal-hilted daggers was exceedingly rare.

TAFETA Tafeta is a London-based gallery specializing in 20th-century and contemporary African art. Established in 2013, TAFETA is located in Fitzrovia, London, with a project space in Lagos, Nigeria. The Gallery remains one of the leading purveyors of some of the most important 20th century artists of African descent, and its contemporary program actively seeks to discover and represent emerging to mid-career artists in Africa and its diaspora. With a background in financial services, founder, Ayo Adeyinka has, over time, gained recognition as a leading specialist in contemporary African arts. A seasoned cultural entrepreneur, Adeyinka has being involved in a number of notable contemporary African art projects over the years. The presentation by TAFETA features multi-media artworks by two young Nigerian artists, Babajide Olatunji (b. 1989) and Niyi Olagunju (b.1981). In the case of these two artists their practise speaks to contemporary issues, but yet draws inspiration from artistic lineages rooted in traditional African art. The prospect of showing at Maastricht represents an unparallel opportunity for the artists to connect with a broad base of international collectors, including public collections and institutions.



The TEFAF Art Report: Art Patronage in the 21st Century is a forward-looking report on philanthropic giving to the visual arts, focusing on recent innovations and trends in art patronage, with a particular emphasis on next generational issues. Private philanthropy constitutes an increasingly important part of the charitable funding landscape. In 2018, philanthropic giving in the U.S., amounted to an annual $428 billion1. An estimated $292 billion off this, was donated by individuals, up 21% from 2008. One of the sectors that has benefited from the increase in private support change in is arts and culture, which received an estimated $19.5 billion in 2018. The Arts Council in the UK recently published a report, which found that 91% of arts and culture organisations received some form of private investment in the 2017/18 financial year, with individual giving accounting for 43% of private investment in arts and culture.

Eduardo Costantini in front of

The increase in private support for the arts comes on the back of an increasingly challenging funding situation for the arts and cultural sector. Large and small arts organizations in Europe and the U.S. have been continuing to face cuts in public funding. In other regional art markets around the world, the absence of public funding, makes these art and cultural eco-systems almost entirely dependent on private philanthropy, either through corporate or private giving and support. However, whilst European and American art sectors have a well-developed and longestablished sector for private art patronage, many of the new art markets in Asia, Africa, Middle-East and Latin America have just started to see new eco-systems emerging around art patronage, each region adapting different models from public-private partnerships, private foundations to corporate patronage and artist-led initiatives. Through interviews and case-studies, the report presents a series of innovative art philanthropic 18

DIEGO RIVERA (1886 – 1957) Dance in Tehuantepec (Baile in Tehuantepec) 1928 Oil on canvas 200.7 × 163.8 cm

initiatives, such as the Arab Fund for Art and Culture (AFAC) in Beuirut and the Museum of Art and Photography (MAP) in Bangalore, India, as new models for art patronage in these regions. The report is also looking at how several African artists are setting up their own art patronage programmes to help the next generation of artists, such as The Guest Artists Space (G.A.S.) Foundation set up by Yinka Shonibare, an artist residency programme in Lagos, Nigeria. In South Asia, we will take a closer look at how corporate patronage and CSR is playing a role in supporting art and culture, such as Tata Trust’s Art & Culture programme,

Opening of Kubatana at Vestfossen, Norway Courtesy of Serge Tiroche, Africa First

and we will explore how private patronage is providing fundamental support for many of the important public art events, such as the Dhaka Art Summit in Bangladesh. For Latin America, the report will take a closer look at the role of private art museums, including an in-depth interview with Eduardo Costantini, the founder of Museo de Arte Latinoamericano de Buenos Aires (MALBA). The majority of the research is based on unique primary research, which includes a mix of indepth interviews with pioneering art patrons around the world, as well as a global art patronage survey conducted by ArtTactic in December 2019. The survey has set out to explore how individuals of all ages are currently supporting museums, not-for-profit art organisations, arts charities, art education and artists themselves. It also looks at motivations for why people are supporting the arts, and explores differences among generations and age groups in the sample.

Image courtesy of Filippo Alfero

reinventing what it means to be an art patron. While many in their parents’ generation were drawn to the ‘feel good’ factor of giving, as well as social status and access to the right social circles, there are signs that the new generation of philanthropists are looking for a deeper sense of ‘purpose’, and are more concerned about the social impact of their philanthropic activities. Simply, they want more than just their name on the museum wall; they want to see real impact and measurable results and they want to be more pro-active and involved with their donations.

NextGen behaviour and motivations play an important role in this research. We are standing at a tipping point between art patronage as practiced by the older generation (baby boomers) and new models put forward by the next generation (millennials and GenZ). Art philanthropy has long been the domain of the wealthy baby boomer generation, but the profile of today’s philanthropists is changing. Increasingly, Millennials (and Gen Z’ers) are 19

Through a series of interviews with art patrons and their children, we explore how they think about legacy issues and patronage, what plans are in place for the next generation and what models they are looking at to either re-invent or continue the work and efforts that have gone into building the current legacy. At the core of this discussion is sustainability, and how art patronage models have changed over the last decades to adapt to the 21st Century. Technology is another factor that is accelerating change in our society, and is also likely to drive change in the way we support the arts. Through the survey findings we explore what role technology plays in art patronage and support for the arts today, and in particular how it might disrupt or change the way we support the arts in the future. The advent of micro-payments and crowdfunding, and the evolution of blockchain and growth of social media, could all significantly alter giving patterns and create new areas promoting more open and democratic forms of art patronage. Some of these new innovations will be presented and discussed in more details in the report.


Fondazione Sandretto Re Rebaudengo, Torino

At Alon Segev Gallery, 2018 Exhibition, Africa First Residency in Israel with Wycliffe Mungopa, Grisham Tapiwa Myaude and Helen Keede. In collaboration with First Floor Gallery Harare. Photo Elad Sarig

The research also explores ethical issues of art patronage and how this is currently changing, in light of recent social movements, such as P.A.I.N. (Prescription Addiction Intervention Now) – a movement formed by Nan Goldin to increase pressure on museums that have benefited from the Sacklers’ philanthropy. The wider impact of this could be significant and raises questions about whether existing patron models are fit for purpose, and if not, how arts organisations adapt to this new environment. With the art sector having become increasingly reliant on megadonors, this may signal a shift towards new forms of art patronage.

We hope that this report provides new ideas and inspiration for ALL art supporters, and instils a feeling that patronage is not about the amount of money you give, but the purpose and reasons for why you do so.

MIRJAM DEVRIENDT Aletheia, on-vergeten 2019 Wax, wood, epoxy, and salt, installation view Courtesy Fondazione Sandretto Re Rebaudengo

MALBA Buenos Aires, Argentina


Giving USA 2019: The Annual Report on Philanthropy for the Year 2018. Researched and written by Indiana University Lilly Family School of Philanthropy. Sponsored by Giving USA Foundation, a public service initiative of The Giving Institute.



2020 marks the ninth year of TEFAF Museum Restoration Fund which, alongside TEFAF’s support of the Prince Claus Fund, seeks to conserve and preserve important cultural heritage around the world. Each year, the fund awards €50,000 between two museums anywhere in the world, that have visited TEFAF Maastricht the previous year. This money is made available specifically for the restoration of a chosen work or works within the museum’s collection. TEFAF Maastricht has welcomed countless international museums and institutions over the last 32 years, and the Museum Restoration fund was created out of a desire to give something back to these institutions. The fund aims to support complex and challenging projects as well as the sharing of conservation and restoration knowledge. The projects are decided by an independent panel of experts – the 2020 panel consists of Rachel Kaminsky, a private art dealer from New York who was formerly head of the Old Master paintings department at Christie’s; David Bull, a painting conservator and former Chairman of Painting Conservation at the National Gallery of Art, Washington D.C.; Dr Kenson Kwok, the former founding director of the Asian Civilisations Museum and the Peranakan Museum in Singapore; and Carol Pottasch, senior conservator and restorer at the Mauritshuis, The Hague; and Ashok Roy, a museum scientist and a leading international expert in the materials and techniques of European Old Master Paintings. Presentations about each project will be displayed at TEFAF Maastricht 2020. 22

The recipients of TEFAF Museum Restoration Fund 2020 are the Victoria and Albert Museum, UK, and the Los Angeles County Museum of Art (LACMA), US. The two projects focus on distinct and complex restoration activities: in the UK, the fund will help conserve The Kaufmann Office (1935 – 1937), by Frank Lloyd Wright (1867 – 1959), is one of the most important 20th-century objects in the V&A’s collection and is the only complete Wright interior outside of the United States. Alongside this, in the US, the fund will contribute towards the restoration of a Pietá (c.1710 – 20), by the 18th-century Bolivian artist Melchor Pérez Holguín (c.1660 – c.1732). It is the first painting from Bolivia to enter LACMA’s collection of Spanish colonial art. THE VICTORIA AND ALBERT MUSEUM, UK. The V&A, established in 1852, is the world’s leading museum of art, design and performance with collections unrivalled in their scope and diversity, spanning 5,000 years of human ingenuity. The collections include over 2.7 million works of artistic excellence, craft design and innovation. The Kaufmann Office, by Frank Lloyd Wright (1867 – 1959), is one of the highlights of the V&A’s collection and is regularly enquired about by visitors. Given its importance, it is that the work is restored and preserved for future generations to enjoy. The office is unique in that it retains all of its original woodwork, furniture, carpets

FRANK LLOYD WRIGHT (1867 – 1959) Edgar J. Kaufmann Office 1935 – 1937 Panelled room, with panels of swamp cypress plywood Victoria and Albert Museum, London © ARS, NY and DACS, London 2018

and upholstery textiles. It was designed by Wright for his most distinguished patron, department store owner Edgar J. Kaufmann (1885–1955), for whom Wright simultaneously designed his most famous house, Fallingwater, in southwestern Pennsylvania. The office was constructed largely of modest materials – swamp cypress plywood and cypress-veneered blockboard – and its most unusual feature is the elaborate plywood relief mural, which covers the entire wall above Kaufmann’s desk. It is a fine example of Wright’s decorative tendencies. The Kaufmann Office enhances the V&A collections as well as our understanding of furniture and fabrics designed by Wright. The office was given to the V&A by Kaufmann’s son, curator Edgar Kaufmann, Jr (1910 – 1989), who was responsible for bringing his father and Wright together.


The grant from TEFAF will support the cleaning and restoration of the entire office, ensuring the stability of its structure. Through the restoration process, the V&A will gain insight into how the office was constructed, and this information will be of interest to expert conservators around the world. Once the restoration is complete, the office will be installed at the V&A’s new Collection and Research Centre, one of two new public venues currently under construction in London’s Queen Elizabeth Olympic Park as part of the V&A East project. Opening in 2023, the centre, designed by award-winning architects Diller Scofidio + Renfro, will comprehensively reinvent the museum store as a visitor experience, transforming how the V&A’s extensive collection can be accessed and explored.

LOS ANGELES COUNTY MUSEUM OF ART, US. The largest museum in the western United States, the Los Angeles County Museum of Art (LACMA) was founded in 1910 as part of the Museum of History, Science, and Art and established itself as an independent institution in 1961. Today, LACMA has a collection of 142,000 objects that encompasses 6,000 years of artistic expression across the globe. Pietá (c.1710 – 20), by the 18thcentury Bolivian artist Melchor Pérez Holguín (c.1660 – c.1732), is the first painting from Bolivia to enter LACMA’s collection of Spanish colonial art. With the TEFAF Museum Restoration Fund, LACMA will scientifically analyse and restore the painting. Pietá, with its lavish application of gold (brocateado) – a technique generally associated with the Cuzco School but also used throughout the Hispanic world – reveals how Holguín skillfully absorbed various artistic traditions, representing a confluence of European and local styles, to create his own version of this canonical subject. Considering its age, the work is in good condition, but it requires a careful restoration, which is in progress under Joseph Fronek, Head of Paintings Conservation. LACMA’s Conservation Center has begun a complete analysis to document the painting’s materials, techniques and its condition. Various scientific means, including macro XRF scanning (MA-XRF) that will result in elemental mapping of pigment application, will help to determine how the artist intended the paint to appear. Following restoration, the Pietá will be much closer in appearance to what it was originally. The rich darkness of the background will be dramatic against the glowing gold decorations and the painting should delight and inform visitors to LACMA for years to come. Pietá will make its debut in LACMA’s upcoming exhibition The Eye of the Imagination: LACMA’s Collection of Spanish Colonial Art, curated by Ilona Katzew and scheduled to open in 2021. The accompanying catalogue will include an in-depth scholarly analysis of the painting.

MELCHOR PÉREZ HOLGUÍN (circa 1660–circa 1732) Pietà Oil on canvas, 153 × 123 cm (60 × 48.4 in.) Circa 1710–1720 Purchased with funds provided by the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund.



PROTECTING AND SAVING SURINAME’S DIVERSE HERITAGE Suriname has a diverse and dynamic culture, a multi-ethnic mix of indigenous groups with African, Asian and European influences, but the elements of its cultural history are largely unprotected. The center of its capital, Parimaribo, was declared a World Heritage Site by UNESCO in 2002, described as ‘an exceptional example of the gradual fusion of European architecture and construction techniques with indigenous South American materials and crafts to create a new architectural idiom.’ Paramaribo is located at the mouth of the Paramaribo River just a few feet above sea level. Now, with climate change, the country’s capital suffers from frequent flooding. Most buildings are constructed of wood, so fire is a constant 24

concern, and apart from Old Town, there are many other cultural heritage sites and artefacts both in and outside of the capital that are at risk in various ways. As a foundation with fine and decorative arts Fairs that range from contemporary back 7,000 years to antiquity, TEFAF sees the protection and preservation of heritage as essential to what we do. We also know how crucial it is to have the proper expertise available when decisions are being made about safeguarding heritage or restoring art and artefacts that have been damaged. The will can be strong, intentions the best, but if capacity is lacking, much can be lost. The Prince Claus Fund, our trusted partner for over a decade, came to us with a proposal from the National Archives of Suriname to bring together twenty of the country’s heritage institutions to develop emergency management and disaster preparedness plans. Such plans are essential to prevent damage or loss of cultural heritage when disaster strikes. We joined in gladly to help protect Suriname’s heritage.

Fort Zeelandia-Office Suriname Built Heritage Foundation A heritage site that’s vulnerable to fire: the wooden home of a colonial officer forms part of the Suriname Museum in Fort Zeelandia

Planning is essential to avoid the kind of water damage that leached the ink through these fragile pages.

The institutions involved include some of the most important archives, libraries, museums and sites in the country, like the Surinaams Museum, the NAKS Documentation Centre of Afro-Surinamese culture, the Roman Catholic Bishopric Archive and the Tembe Art Museum of Maroon Art, to name just a few. Collectively their heritage represents most of the different ethnic groups living in Suriname. They comprise official documents, artefacts produced by the indigenous and maroon people, rare book collections, paintings, audio-visual collections and more. All together they represent the national memory, history and heritage of Suriname. It is important for local communities as well as for researchers to understand the diversity that forms Surinamese culture and is central to the country’s national identity. In these institutions there is a wealth of specific expertise, but a lack of capacity for emergency preparedness or response. There are virtually no plans for how to anticipate or respond to natural disasters.

‘Heritage in smaller countries is often neglected from a lack of resources, and yet their cultural heritage is just as important as that in better endowed places. We are very pleased that TEFAF is joining us to help Suriname preserve its cultural history. This project will significantly expand local capacity to anticipate disasters and deal with them. Local capacity is the key to making heritage protection sustainable.’ Joumana El Zein Khoury, Director Prince Claus Fund

The project TEFAF is supporting with the Prince Claus Fund is in good hands. It will be run by the director of the National Archives of Suriname, Rita Tijen Fooh, who has considerable experience in the field of disaster preparedness and response. Previously, as director of CARBICA, the Caribbean Regional Branch of the International Council on Archives, she was responsible for theimplementation of training following the hurricane in Sint Maarten in 2017, and she is involved in the recent setting up of the Caribbean Heritage Emergency Network (CHEN). The first step in the project is to bring stakeholders of the 20 institutions together with representatives of the government, Civil Protection Service and the Red Cross to identify their needs and priorities for training. A five-day training will then be organised for 40-45 participants that will include risk assessment, salvage and recovery techniques and will culminate with the development of disaster management and mitigation plans for each institution. Provision will be made for follow-up monitoring and activities. These organisations often work in relative isolation. Bringing their representatives together is designed to strengthen Suriname’s heritage network. Working together in the training will make it easier to share information, to work collectively and assist each other in the future. Linking them to government, emergency and humanitarian representatives ensures better coordination when disaster strikes. Moreover, by creating capacity at these more established institutions, it prepares their staff to offer support when other, smaller institutions come under threat. At TEFAF we are delighted that this project, jointly supported with the Prince Claus Fund, will be a significant step in safeguarding Suriname’s cultural heritage for generations to come. 25



I INTRODUCTION The vetting process, one of the main pillars of TEFAF Maastricht’s success, aims to create an atmosphere in which exhibitors can sell and buyers can buy works of art with confidence. The voting members of vetting committees will be academics, curators, conservators, conservation scientists and independent scholars. By the time the fair opens, they have undertaken a meticulous examination of every piece on show. During vetting, members of the vetting committees are admitted to the exhibition hall to ensure complete impartiality and confidentiality. Exhibits are not accepted for display unless they have been approved by the relevant committee. Observations made by the vetting committees are shared with the selection committees as requested.

II DUE DILIGENCE To ensure the highest quality standards are maintained and in the interests of transparency, all exhibitors (participants to the fair organized by TEFAF) are expected to conduct their own due diligence investigations to establish the provenance and title of their exhibits prior to putting them up for sale at the fair. The following requirements therefore apply to exhibits on display at TEFAF: – All objects must be labelled – All labels must contain correct and complete information – All objects must be listed, and these typed lists must be available on the stand – Provenance: maximum possible provenance verification and reporting must be available – Art Loss Register (ALR): every object on display must be checked against the Art Loss Register database - which includes the Interpol database. – ICOM Red Lists: every object on display will be checked against the ICOM Red Lists – TEFAF and its exhibitors will follow the CITES rules

Art Loss Register (ALR) In addition to being vetted for authenticity, attribution and condition, exhibits at TEFAF are checked against the Art Loss Register (ALR) database of 500,000 items subject to a claim. The ALR includes items reported as lost or stolen, subject to a dispute or loan, or with other issues. Any object found to be subject to a claim is removed from the fair immediately. The ALR is the world’s largest privately managed database of stolen, missing and looted works of art and antiques. The ALR helps resolve art-related ownership disputes and operates as a central checkpoint for due-diligence searches and provenance research. It also assists the art trade in protecting itself against trading in stolen, looted, illegally excavated or exported property to safeguard its financial security, reputation and clients. CITES CITES stands for Convention on International Trade in Endangered Species of Wild Fauna and Flora. CITES regulates the international trade in protected animals, plants and parts and derivatives thereof. In the Netherlands the CITES agency is part of the Ministry of Agriculture, Nature and Food Quality. CITES permits are issued by the Netherlands Enterprise Agency. Each exhibitor is responsible for his/her own CITES application. CITES permits may be required both for export from the country of origin and import into The Netherlands. Original CITES documents must accompany any shipment that contains products which qualify for CITES regulation at all times. As a general rule every activity relating to the import and/or export of products qualifying for the CITES regulation requires an export, import and if applicable a (re-) export and (re-) import license. Responsibility of Exhibitors and Responsibility of Vetting Committee Members Exhibitors: Exhibitors are responsible,

among other things, for providing clear and complete labels. Moreover, exhibitors are generally responsible for the exhibits offered and as such have to observe the necessary due diligence: Exhibits need to be acquired with all the necessary due diligence. Vetting Experts: The vetting committees are responsible for deciding whether exhibitors have provided enough evidence to substantiate what is stated on labels. Sources of evidence include provenance verification and reporting, research, documentation and obviously the object itself. Attributions: TEFAF vetting committees do not make attributions. TEFAF accepts or rejects attributions based on the evidence presented by exhibitors.

III SCIENTIFIC RESEARCH & SUPPORT TEAM The TEFAF Vetting Committees include a Scientific Research Team (SRT). During the vetting process the SRT provides expertise on different analytical methods to investigate the material integrity of an artwork. The team will investigate individual objects at the request of the Vetting Committees, which hold overall responsibility for the entire vetting process. The analytical methods at the team’s availability range from various forms of microscopy to elemental identification through X-ray fluorescence spectrometry. The SRT’s approach is entirely nondestructive, strictly excluding the removal and analysis of samples from an artwork. In addition, the SRT is limited to portable instrumentation that can be employed quickly, directly and in situ at TEFAF. In view of these limitations in time and technology, the SRT provides indicative analytical support. The SRT’s work does not present an in-depth material investigation of a specialised art technological laboratory. The SRT may refer the Vetting Committee, dealers or buyers to such laboratories. Furthermore, the SRT will also proactively advise vetting committees. 27

V SECTIONS 1 ANCIENT ART All the antiquities exhibited must be described and dated to the period and attributed according to their culture. The exhibits at TEFAF Maastricht must have been checked by the Art Loss Register. All exhibits covering the cultural heritage (of cultural property and other goods of archaeological, historical, cultural, rare scientific or religious importance) originating from the territory of Iraq or Syria must show a documented evidence of provenance prior to respectively 6 August 1990 and March 2011. Objects from Egypt must have written proof of provenance prior to 1983. The exhibitor must present the documentation to the vetting committee in any case. If the documentation is considered not sufficient, the piece will be withdrawn from the fair. Provenance must mention previous owners, if possible, by name or initials and/or location (country and/ or city), and state that the object was acquired with all the required due diligence. The condition of the exhibits must be described in a reasonable way. Documents concerning the pedigree of the object have to be shown to the vetting committee. The committee will check whether or not the object was, at some point in its history, obtained contrary to national or international law. The object will not be accepted if the provenance is not sufficiently proved. Fillings and conservation of parts, resurfacing, repairs and cleaning must be described. Also, for other antiquities a provenance must be shown. Historical conservation and additions dating from the 16th to the early 20th century must be described. If the repairs go beyond the nature, character and identity of the original, the vetting committee may refuse the object as being not in the interests of the Fair. The same applies to provenance, quality or excessive 28

repairs. Reproductions and copies after the antique, even from the 19th century, are not admitted to the fair if they were intentionally made to appear to be genuine antiquities. All antiquities exhibitors must comply with the standards set by the International Association of Dealers in Ancient Art IADAA. 2

APPLIED ARTS AND DESIGN FROM THE LATE 19TH CENTURY TO THE PRESENT DAY This period embraces a multitude of different styles starting with the Aesthetic Movement in the 1860s and ending with Contemporary Decorative Arts and Design. The category includes the Arts and Crafts Movement, Art Nouveau, the Secessionists in their various countries, De Stijl and the Bauhaus, Art Deco, Modernism, the 1950s and the various styles that have come and gone in the last thirty years up to the present day. Unique pieces, limited series production pieces and some rare mass-produced pieces that have made design history may all be exhibited. An important massproduced object such as an original Breuer Wassily chair or a Lalique car mascot is judged and evaluated using similar criteria to those used in fine art. The 20th- and 21st-century decorative arts and design category covers sculpture, furniture, ceramics, glass, metalwork, textiles and jewellery. Vetting criteria are similar for most objects that come into the categories referred to above: no reproductions, copies or unauthorized editions are allowed in any category. 3 ARMS AND ARMOUR In the case of firearms, only percussion systems or earlier are permissible. Modernizations of earlier systems should not have been changed back to the original system. Guns on which the barrels were shortened in about 1750 to accommodate stronger gunpowder and have then had their original barrel length restored are not acceptable. In the case of edged

weapons, the blade and hilt must be homogeneous. Composite armour is acceptable; different parts do not necessarily have to be homogeneous, but they should give the appearance of being so and should be roughly coeval, i.e. within 15 years. 4 ASIAN ART As a general rule, all Chinese, Japanese and other Asian works of art should date from before 1900, unless an individual item is of particular merit, interest or exceptional scholarly or documentary value. Chinese ceramics and works of art from the 19th century or later will only be accepted if of particularly high quality. Pastiches, copies and imitations of earlier periods will not be accepted. Pottery and Porcelain It is strongly recommended that a certificate of thermoluminescence testing issued by an internationally acknowledged laboratory or institution is provided for early pottery pieces. However, it should be noted that a positive thermoluminescence certificate does not guarantee unqualified admission of the object. Experience has shown that thermoluminescence tests for late Ming and Qing dynasty porcelain pieces cannot always be relied upon for authentication without additional evidence, and they are therefore no longer automatically accepted as proof of authenticity. Chinese ceramics of later periods with distinct patterns should be of those periods and not later pieces in that style. Bronzes and Metalwork All metalwork should be of good quality. Early Chinese bronzes should not be extensively restored or repatinated. A thermoluminescence certificate should be provided where a pottery core is in evidence. It is advisable to have early bronzes X-rayed. Sculpture Sculpture in stone, wood or metal must be of good quality and not extensively restored. Later sculpture in earlier styles is not permitted. ‘Marriages’, for instance a torso and head from the same period but originally from different sculptures, are not permissible.

Later works of art All Chinese, Japanese, Korean and other Asian works of art of later periods, including objects in precious and semi-precious stones, lacquer and other natural materials, such as bamboo, ivory, rhinoceros horn carving, gold, silver, glass and other materials, should be of good quality and not have been extensively restored. Objects recovered from shipwrecks Chinese ceramics and porcelain recovered from shipwrecks are only acceptable in exceptional cases, where the items are of high quality, rarity, scholarly interest or documentary value. 5

BOOKS, MANUSCRIPTS AND MAPS As a general rule, printed books should be complete in text and illustrations with their contemporary binding, and in good condition. Incomplete books are only allowed when a bibliographic description proves the importance of the item. For manuscripts descriptions giving an account of the condition, mentioning any incompleteness and any defects or conservation, are required. Books, manuscripts and maps may not be later than 1850. The only post-1850 items permissible are those of sufficient antiquarian or artistic merit. Facsimile editions and reference works are not permitted. Decorative prints in frames that affect the original character and purpose of the prints are not allowed. Items about which there are any doubts as to authenticity or sufficient quality may not be accepted if the vetting committee considers their inclusion not to be in the best interests of the Fair. 6 CHINESE FURNITURE Ming style furniture should be of Ming date. Copies of an earlier style, no matter how old, will not be admitted. Conservation should be no more extensive than 30%. Pieces with replacements of structural members, for example legs and major decorative elements, will not be admitted unless the importance of the piece can be demonstrated such as to warrant acceptance of the imperfections. Seat form changes will not be accepted,

for example, hard board seats changed to soft mat seats and vice versa. No reconstructed piece will be admitted, e.g. square tables reduced to side tables; canopy or couch beds to daybeds. 7

CLOCKS, WATCHES AND HOROLOGICAL INSTRUMENTS All these pieces should contain their original movements and the cases must be complete. Objects that have lost their original character, for instance cases with marquetry added in a later period, are not acceptable. Items reproducing styles of earlier periods are not acceptable. All conservation work must be in a style consistent with the original piece; it must have been responsibly executed and be limited in proportion. In particular, conservation of paintwork is acceptable provided it is professionally and tastefully done and is based on an original example. The extent of conservation work on pre-1700 clocks is less critical, but it should not predominate. There may be no doubt as to the originality of marks and signatures. Re-gilding is acceptable to a limited extent. Worn parts and hands may be replaced, provided they match the piece for which they are made. For rules on the acceptability of conservation work on cases see 11. Furniture. Wrist watches and Remontoire pocket watches (of exceptional mechanical or historical importance) are only permitted if made before 1985. 8 COINS AND MEDALS Characteristics and technical information regarding each coin exhibited during the fair must include its origin, the minting date, monetary authority including the reign dates if possible, denomination, metal and weight in grams and a succinct description of the recto and verso. Information on coins must also be backed up by references giving the specific page or plate number and reference number. Each coin must also be accompanied by a report on its condition. Alterations and other defects must be included in the description, for example pronounced minting defects such as broken dies, double struck,

off center or struck with rusty dies. Conservation traces and marks such as tooling, and traces of mechanical cleaning must also be mentioned. Defects brought about by the coin’s circulation such as nicks, scratches, graffiti, hammering and those caused by chemical reactions such as metal crystallization, reticulation or corrosion must be stated. 9

ETHNIC ART FROM SUBSAHARAN AFRICA, OCEANIA, AMERICAS, SOUTHEAST ASIA AND THE ARCTIC REGION Only objects of great artistic refinement, mainly sculptures, body ornaments, weapons and ornamented utensils of quality, will be accepted. They must be of sufficient age and have been used in their country of origin in a ceremonial context or have been made for particular and important occasions. Early trade items or items commissioned from respected craftsmen can be accepted if they are of historic and artistic importance. Any addition or conservation that is not visible needs to be declared as such. 10 EUROPEAN CERAMICS, GLASS AND CRYSTAL There may be no confusion; the object must be what it appears to be. Objects that were decorated/ painted in a later period are not acceptable. Objects with a degree of alteration or conservation so great as to have materially changed their original nature or function are not acceptable. Repairs/conservation must be stated. 19th or 20th-century ceramics which simply reproduce earlier examples are not allowed. Pieces with post-1850 bronze mounts are not acceptable. A thermoluminescence test result must be provided in the case of Italian Della Robbia. Mirrored glass is often an important component of furniture and can have a significant effect on its aesthetic and financial value, the state of the mirrors should be accurately described by indicating on the accompanying labels one of the following three alternatives: 29

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original glass and “silvering” original glass, “re-silvered” replacement glass.

11 FRAMES (PAINTINGS, WORKS ON PAPER, PHOTOGRAPHS) VETTING GUIDELINES Applicable to TEFAF exhibitors labelling a frame as a period frame. – Old Master Paintings and Picture Frames – Antique Frames – Restoration of Period Frames Original to the Artwork – Replica Frames Old Master Paintings and Picture Frames: – The label and other documentation for framed works of art should include specific information given on the frame separate from, and in addition to, the artworks they house. At a minimum, information should indicate if a frame is ‘period’ or ‘replica’ – The terms ‘modern’ or ‘contemporary’ should be avoided as they can be confused with Modern and Contemporary periods of art history, or as contemporary to the artwork – Frame terminology broken down into these two basic categories can assist a buyer’s assessment of value. A period frame is defined as a frame created from before the middle of the 20th century. There may be some special exceptions regarding frames from the late 20th century on certain early contemporary period artworks Antique Frames: – An artwork properly fitted with an antique frame adds value to the union. The value increases if the period frame selected for the artwork is historically and aesthetically appropriate to the work and increases again if the frame is aesthetically appropriate and original to the artwork – The latter requires documentation, which must be made available for vetting. This should be labelled ‘period frame, original to the artwork’ rather than ‘original period frame’ to lessen confusion regarding the frame simply being antique 30

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rather than original to the artwork Restoration of period frames Original to the artwork If the frame is original to an artwork, restoration must be done that maintains the appearance and character of the original surface Replacement of minor ornaments is permissible in so far as it does not detract from the overall aesthetic In-gilding of naturally worn areas, such as the soot edge of a gilded cove moulding, is permitted Wholesale re-gilding is only permitted in those rare cases where the object is highly important or unique The label or condition report must clearly state which part of the gilding has been restored Acceptance of an original period frame that has been fully re-gilded is entirely at the discretion of the vetting committee. Additionally, if the frame is period but not original to the artwork, the following guidelines should still be followed but to a slightly diminished degree

The technical integrity of the object must be respected: – Restoration may not modify original construction – There may be no major addition of modern veneer, plywood or any – inappropriate material to strengthen or modify original construction – Finish must be consistent with the age of the object. The aged appearance and aesthetic of an antique object must be respected – Minimal cleaning of gilding and minimal in-gilding – Patination of restored areas must be sympathetic to an object’s original surface The historical integrity of the object must be respected: – Documented alterations should be preserved if possible – Restorations or reconstructions should be fully photodocumented in a condition – report and this material made

available for vetting and to buyers. Buyers must be protected from inappropriately restored objects: A conservative approach to restoration must be taken to avoid the removal of historically significant surfaces; an unrestored but stabilized original period frame with aesthetically acceptable wear is preferable and acceptable, whereas an overly restored version of the same frame is not Replica frames: – All replica frames for paintings, works on paper, and photographs should be the highest quality, made-to-order, closed corner handmade frames. No factorymade lengths, chop moulding or stocked pre-made frames should be used; – Historically appropriate replica frames add value to an artwork. Historically appropriate replica frames should state the period style or school they are intended to reference. For example, ‘English Arts & Crafts Replica Frame’ or ‘American Impressionist Replica Frame’. Additional language such as ‘In the style of Boston, MA maker Carrig-Rohane’ or material information such as ‘Carved basswood, 23k gold leaf, water-gilded’ etc. can be useful indicators of quality and craftsmanship. 12 FURNITURE Furniture conservation must be done such that the appearance and character of the piece is preserved. Table and chair legs may not have been replaced. Only minor conservation is acceptable. Re-veneering is not permitted. Replacement of small missing parts of veneer or lacquer is only permitted if the repair has been done professionally. Re-gilding is only permitted in those rare cases when the object is highly important and unique of its kind. The label must clearly state which part of the gilding has been restored. Acceptance or refusal of an object with re-gilding (or mounts with re-gilding) is entirely at the discretion of the vetting committee.

Furniture with marquetry of a later date is not acceptable (for example, a Dutch burr walnut cabinet with floral marquetry decoration). Seat furniture is not acceptable if its original nature has been materially altered, e.g. a chair that was originally cane-seated and is now upholstered, or a fauteuil that has been transformed into a bergère. Seat furniture with covered rails cannot be vetted and will be rejected. However, covered sitting rails are allowed. Mirrors with frames that are not original are not acceptable. Old frames may contain new mirror plates. Style copies are not permitted. Original designs by famous cabinetmakers, such as Lincke or Sormani, are permitted only if these items are of good quality. Embellished furniture may not be shown. Regarding conservation: The technical integrity of the object must be respected: – conservation may not modify the original construction – there may be no major addition of modern veneer, plywood or any alien material to strengthen or modify the original construction – finish/varnish must be in keeping with the age of the object, for example, varnish inside drawers that were not originally varnished will be questioned. The aged appearance and aesthetic of an antique object must be respected: – minimal cleaning of gilding – marquetry may not be scraped to revive colours – marquetry may not be scraped to flatten it. The historical integrity of the object must be respected: – documented alterations should be preserved if possible – conservation or reconstructions should be fully documented with photographic documentation for visitors to examine. Inappropriately restored objects: Synthetic varnish, glue and any product that is not easily reversible

or is unstable over time may not be used.

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Mirrored glass is often an important component of furniture and can have a significant effect on its aesthetic and financial value, the state of the mirrors should be accurately described by indicating on the accompanying labels one of the following three alternatives: – original glass and “silvering” – original glass, “re-silvered” – replacement glass. 13 ICONS Icons must be of undisputed authenticity, which includes age, importance and artistic merit. As a general rule Greek and Balkan icons must date from before 1900 and Russian icons must date from before the 1917 Revolution. Icons of the later 19th and 20th centuries are only admitted in exceptional cases if they have artistic or cultural merit. Icons covered with a metal oklad or riza must be completely painted under the metal. The amount of conservation accepted will be related to the age and importance of the object. Metal icons are not included in the vetting process. 14 JEWELLERY (APART FROM ANCIENT JEWELLERY) Antique Jewellery Historical pieces should be of indisputable authenticity and unambiguously of the period. Materials should be described in clear terms avoiding ambiguous terms such as crystal or metal. All restoration must be mentioned on label. The following are acceptable: – Repairs or sizing to the shanks of rings, as long as they have not changed drastically the character of the ring. – Limited replacement of stones, if properly labelled and consistent with the period and character of the object. – Changes or additions to securing mechanisms such as earring studs or clips. The following are not acceptable: – ‘marriages’, e.g. composed necklaces – pieces that have been too drastically restored

complete or substantial re-enameling pieces in which the original function has been altered, e.g. cufflinks altered into earrings renovations that have destroyed the original character of the object loose stones, minerals or cultured pearls which are treated and not of exceptional quality style copies made with the intent to deceive or that can be perceived as original and not bearing any maker’s mark or hallmarks that could identify it as a style copy

All mounted diamonds and precious colored stones (rubies, sapphires and emeralds) over 2.00 carats, and natural pearls larger than 30 grains must be submitted to an internationally recognised qualified Lab for verification against their accompanying reports such as American Gemological Laboratories (AGL) in New York. A certificate is not necessary for other types of gemstones. This does not apply to exhibitors in the section ‘La Haute Joaillerie du Monde’. La Haute Joaillerie du Monde Will be vetted and should be of indisputable authenticity. Contemporary jewelry should represent the pinnacle of the field. The work must be creative in its design, innovative in its use of materials, and impeccable in its craftsmanship. Loose stones, minerals or pearls are not acceptable. All mounted diamonds and precious colored stones (rubies, sapphires and emeralds) over 2.00 carats, and natural pearls larger than 30 grains must be submitted to an internationally recognised qualified Lab for verification against their accompanying reports such as American Gemological Laboratories (AGL) in New York. 15 METAL WARE All objects must date from before 1870, with the exception of 31

Jugendstil, Art Nouveau and Art Deco. Conservation must be stated on the label. Replacements and alterations of handles, lids and other important parts are not allowed. Objects that are signed must have the marks of the period. Engravings and decorations on the objects must be from the period. Compositions/ marriages are not allowed, even if the separate parts could be of the same period. 16 MODERN AND CONTEMPORARY ART All the main movements in modern and contemporary art may be included in this section but works that are derivative or lacking in originality may be rejected by the vetting committee. All modern works (where relevant) lacking clear WWII era provenance must be checked by the Art Loss Register. The ALR clearance must be available. Conservation documentation should be fully available (e.g. examination, condition and treatment reports illustrating all previous damages and reintegrations/repairs). References to published catalogues raisonnés or certificates/authentications from the accepted authorities on each artist must be provided. To this end fact sheets, exhibition catalogues, certificates, articles and in some cases catalogues raisonnés should be available to prospective buyers. Materials and techniques, particularly in the case of contemporary art, must be fully detailed. Paintings and drawings are not acceptable if the items have been so restored as to exclude evidence of serious or extensive damage, unless the conservation records are made available with all restored damage clearly described in the examination, condition and treatment report. Russian 20th-century avant-garde artworks The vetting committee will generally only consider Russian 20th-century avant-garde artworks for acceptance if they have verifiable provenance or exhibition history.


Objects direct from the artist’s studio The information about objects direct from a studio must include the tombstone information and a provenance of ‘from the artist’s studio’ or similar.

Any exhibit with additions, subtractions, later embellishments or any alterations that change its original character or enhance its value will not be accepted. The exhibitor may only exhibit works that the vetting committee is satisfied are genuine.

Secondary market work The information about each secondary market work must include the full ownership history (including any galleries and/or auction houses which sold the work) with dates, as well as any exhibition and/or publication history.

Ultra violet (UV) barrier varnishes Conservation designed to deceive is not allowed. A conservator should be able to see the extent of conservation/repainting in UV light, magnification and adequate lighting. The varnish must not prevent UV light from penetrating to the paint film.

17 PAINTINGS For vetting, each exhibit must be clearly described on a list stating the name of the artist with life dates or the dates of the exhibited work. If the artist’s name is unknown, the school and approximate date must be given, e.g. ‘Dutch School, first half 17th century’. Items must be properly attributed and of such a standard and in such condition, considering their age and importance, that showing them is not contrary to the best interests of the Fair as a whole.

18 PHOTOGRAPHY This category includes photographs of all periods that are valued for their aesthetic and/or historical importance.

The vetting committee will check that statements concerning attribution and condition are not presented in any way that might be misleading. Conservation documentation should be fully available (e.g. examination, condition and treatment reports illustrating all previous damages and reintegrations/repairs). References to published catalogues raisonnés or certificates/authentications from the accepted authorities on each artist must be provided. To this end fact sheets, exhibition catalogues, certificates, articles and in some cases catalogues raisonnés should be available to prospective buyers. Materials and techniques, particularly in the case of contemporary art, must be fully detailed. Paintings and drawings are not acceptable if the items have been so restored as to exclude evidence of serious or extensive damage, unless the conservation records are made available with all restored damage clearly described in the examination, condition and treatment report.

Exhibitors should show predominantly ‘vintage prints’, i.e. photographs printed at the same time or within a few years of the creation of the negative. On rare occasions photographs printed later may be considered and accepted if they are, in the opinion of the vetting committee, of sufficient importance in the context of the artist’s oeuvre. Any non-vintage prints must be submitted to the vetting committee (in electronic form or as paper facsimiles) not later than two months before the stand building for the Fair. All photographs, including those in numbered editions, must have been printed during the artist’s lifetime either by or under the instruction or direction of the artist. Posthumous or estate prints will not be accepted. The exhibitor may only exhibit photographs of undisputed and proven authenticity that the vetting committee is satisfied are genuine. Items about which there are any doubts as to authenticity will not be accepted if the committee considers their inclusion not to be in the best interests of the Fair. Documentary information, publication and exhibition histories that support attributions should be available to prospective buyers. If a photograph has undergone conservation, the conservation history must be available to the vetting committee and prospective buyers.

Photographs that have been restored or altered in a way that changes their original character, for example prints that have been chemically intensified, are not acceptable. Where information essential to establishing the authenticity of the work is concealed by the frame, such photographs must either be accompanied by good quality copies of this information or be easily removable from their frames for inspection by the vetting committee and prospective buyers. If the value of a photograph is such that an export licence was required at the time of export from the country where the photograph was acquired by the dealer, a photocopy or the original document must accompany the object list. 19 PRE-COLUMBIAN ART All items must originate from before European contact, that is to say from before 1500—with some variations depending on the area of provenance—unless the object in question, although later, is of great cultural quality or interest. In case of doubt a thermoluminescence test is strongly recommended for fired pottery. Gold, silver and bronze objects of great value must have a metallurgical certificate from an accredited expert or laboratory and must be of good quality. Important wood and stone objects must be accompanied by a certificate from an accredited expert or laboratory. Conservation may under no circumstances account for more than 10% of the whole, and only minor corrections to essential parts of the head, face or attributes are allowed. Normal retouching of decoration on repaired fractured surfaces is allowed; painting and repainting are not. ‘Ensaladas’— sculptures made up of parts from different origins—are not allowed. Textiles must originate from the period indicated. Heavily restored pieces, fragments and snippets are not allowed, with the exception of items of great cultural or scientific interest.

20 SCULPTURE FROM 1830 TO THE PRESENT All works must be in original condition, of the highest quality in which they are to be found, and in principle produced during the artist’s lifetime. Alterations, embellishments or incorrect/added signatures are not acceptable. The overall integrity of each work will be considered not just in terms of its quality but also its importance in the artist’s oeuvre. For 19th-century editions This was a period of unlimited editions in bronze, marble, terracotta etc. and only lifetime examples produced by the sculptor, his studio or under his control are accepted. For works that come from an entirely posthumous edition by the copyright holders; this edition must be limited and have been started less than 25 years after the death of the artist, initiated by direct descendants or copyright holders. For 20th- and 21st-century editions editions All works should be from lifetime editions. The following exceptions are accepted, but must be clearly labelled as such: – Works that extend an edition begun by the artist or his editor; these must have been cast less than 25 years after the artist’s death – Works that come from an entirely posthumous edition by the copyright holders; this edition must be limited and have been started less than 25 years after the death of the artist, initiated by direct descendants or copyright holders. – Both the above categories are subject to review by the vetting committee as to the overall integrity of each work, not just in terms of its quality but also its importance in the artist’s oeuvre Maquettes, working models, unsigned works All documents proving an association with an artist, a school or a period must be provided. The position of the exhibit in the creative process leading to a finished work must be included in the description

whatever their material of manufacture, for example original clay/wax/plaster model, artist’s plaster, foundry plaster, édition plaster, lifetime bronze or posthumous bronze. 21 SILVER, GOLD AND PLATINUM Pieces must be from the stated period. No copies of earlier periods are admitted under any circumstances, regardless of date or quality. Pieces that have been so extensively restored or altered such as to change or disguise their original nature or function are not acceptable. Any re-gilding or replating, where appropriate, or any necessary repairs must be clearly stated on the exhibition label. Any coats-of-arms or other blazons must be contemporaneous with the objects and may not have been added at a later date. Exceptions may be made at the discretion of the committee but in such instances any discrepancies between the date of the object and the arms or blazons must be clearly stated on the exhibition label. 22 TEXTILES All oriental carpets must have been woven before 1800 and be of sufficient artistic merit. Poor quality antique carpets are not acceptable by virtue of their age alone. Exceptions are made in the case of genuine tribal and village rugs and other weaves of sufficient merit, which may date from the 19th or early 20th century. However, as a general rule, such rugs should not contain synthetic dyes. Factory carpets from the 19th and 20th centuries are not acceptable. The same general rule applies to European carpets, tapestries and textiles. Exceptions are made in the case of weaving that illustrates major European 19th- and 20thcentury artistic movements such as Jugendstil, Art Nouveau, Arts and Crafts, the Aesthetic Movement, Bauhaus, Art Deco etc. 23 TRADITIONAL INDIAN FOLK JEWELLERY Folk, ethnographic and tribal jewels and objects must be of indisputable authenticity and unambiguously of sufficient age. Please refer to the criteria of Traditional Arts 33

Sections. Only genuine, high quality pieces used in traditional life are acceptable. They must be unaltered and in their original shape. If an object/jewel has been refinished or restored, this must be stated. Mughal jewels and objects may date from no later than 1858. Jewels and objects of the British Period may date from no later than 1947. Textiles and objects made of terracotta, bronze, iron, wood, gold, stucco and stone dating from before 1500 must be accompanied by a laboratory report confirming the period by thermoluminescence, radiocarbon dating, microscope or X-ray examination.

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– 24 WALLPAPER Pieces must date from approximately the early 17th century to the end of the 20th century. Date, edition, manufacturer and artist must be stated if known. Relevant information must be provided in cases where wall hangings and papers were printed in more than a limited edition and over time were passed on to later and different manufacturers. Few period papers are in perfect condition, unless they were never hung, so conservation is common. Conservation must have been done by professional paper conservators, the extent should be limited, and the style must be consistent with the original piece. Acceptable conservation could include cleaning, consolidating and some in-painting retouches. Acceptable supports for these wallpapers are canvas, acidfree cardboard or paper. 25 WORKS OF ART AND OLD MASTER SCULPTURE This category is to include only sculptures of undisputed and proven authenticity. – Labels must include the artist, country and period of the sculpture, and must state fully the material and technique of the object described – Attributions must be supported by documentary information and must be available to the prospective buyer – The vetting committee will accept sculptures with a reasonable degree of 34

conservation, later gilding and re-lacquering if removal proved impossible. Any alterations must be evident and clearly described The vetting committee will not accept sculpture with conservation that by its extent changes the original character of the object Sculptures with recarved faces, hands or folds, or with wholesale modern polychromy, will not be accepted Later engraving, patination or re-gilding, and sculpture comprising marriages (even of parts from the same period) will not be accepted. Terracotta sculptures without a thermoluminescence test are not accepted. Terracotta sculptures dating from the eighteenth century do not require a thermoluminescence test because not all such tests are of reliable scientific quality and results are sometimes misleading

Bronzes The following must always be stated: – artist or studio – in the circle of… or after… – country of origin and period. The following are unacceptable: – treatments such as polishing, later engravings, later patination, re-gilding – marriages, even if the parts are from the same period. These Vetting Guidelines are provisional and may therefore be subject to changes. The final Vetting Guidelines will be disclosed within a reasonable time prior to the fair.


TEFAF MAASTRICHT 2020 VETTING COMMITTEES GLOBAL CHAIRMAN VETTING COMMITTEES – Wim Pijbes, former general director Rijksmuseum ASSISTANT – Carol Pottasch, senior restorer/conservator Mauritshuis, The Hague ANCIENT ART – Dr Andre Wiese, head curator collections and exhibitions, member of the board, Antikenmuseum Basel – Agnes Benoit, general curator emeritus Near East, Musée du Louvre, Paris – Leslie Gat, president and principle conservator, Art Conservation Group, New York – Jasper Gaunt, curator Ancient Art, The Al Thani Collection, London – Dr Sidney Goldstein, former associated director and curator ancient Islamic art, Saint Louis Art Museum – Ariel Herrmann, independent scholar, New York – Prof. Dr Detlev Kreikenbom, University Mainz – Olivier Perdu, Egyptologist, Collège de France, Paris – John Twilley, art conservation scientist, Hawthorne, New York - Prof. Dr Rainer Vollkommer, director Liechtensteinisches Landesmuseum, Vaduz APPLIED ARTS AND DESIGN FROM THE LATE 19TH CENTURY TO THE PRESENT DAY – Lieven Daenens, honorary director Design museum Gent – Marianne Lamonaca, associate gallery director and chief curator, Bard Graduate Center New York – Prof. Dr Tobias Natter, director emeritus Leopold Museum, Vienna – Miguel Saco, furniture conservator, New York – Non-voting vetting expert: François Laffanour, proprietor Laffanour gallery Downtown, Paris


ARMS AND ARMOUR – David Edge, FSA, armourer emeritus, Wallace Collection, London – Dr Stefan Krause, director, Imperial Armoury Kunsthistorisches Museum, Vienna ASIAN EXPORT ART – Ron Fuchs II, curator Reeves Collection of Ceramics, Washington and Lee University – Eline van den Berg, curator Asian ceramics, Princessehof National Museum of Ceramics, Leeuwarden – Prof. Dr Christian Jörg, University Leiden – Prof. Dr Monika Kopplin, director emeritus Museum für Lackkunst, Muenster – Sebastiaan Ostkamp, archeologist, The Netherlands – Dr Maria Antónia Pinto de Matos, director Museu Nacional do Azulejo, Lisbon – Dr Eva Ströber, former curator Asian Ceramics Porcelain Collection Dresden and Princessehof Museum, Leeuwarden – Dr Daniel Suebsman, conservator East Asian ceramics, Hetjens-Deutsches Keramikmuseum, Düsseldorf – Non-voting vetting expert: Jorge Welsh, proprietor Jorge Welsh Works of Art, London/Lisbon BOOKS, MANUSCRIPTS AND MAPS – Roger Wieck, Melvin R. Seiden curator and department head, medieval and renaissance manuscripts, Morgan Library and Museum, New York – Dr Anne Korteweg, curator emerita medieval manuscripts, The Royal Library, The Hague – Professor Francesca Manzari, PhD, history of Medieval Art, University “La Sapienza”, Rome – Dr Dominique Vanwijnsberghe, senior researcher, Royal Institute for Cultural Heritage, Brussels CLOCKS AND WATCHES – Dr Helmut Crott, expert, Luxemburg – Jean Genbrugge, watchmaker and watch design-engineer, master enameller, wristwatch

expert, conservator, Antwerp Mikhail Guryev, head clocks and musical machine restoration laboratory, State Hermitage Museum, St-Petersburg Michael van Gompen, expert antique clocks, watchmaker and restorer, Brussels

EARLY ASIAN WORKS OF ART – Dr Ching-Ling Wang, curator Chinese Art, Rijksmuseum Amsterdam – Prof. Dr Monika Kopplin, director emeritus Museum für Lackkunst, Muenster – Dr Adele Schlombs, director Museum of East Asian Art, Cologne – Prof. Dr. Willibald Veit, former director Museum fur Asiatische Kunst, Staatliche Museum zu Berlin – Non-voting vetting expert: Ben Janssens, proprietor Ben Janssens Oriental Art, London ETHNIC ART FROM SUB-SAHARAN AFRICA, OCEANIA, AMERICAS, SOUTHEAST ASIA AND THE ARCTIC REGION – Valentin Boissonnas, conservator, senior lecturer conservation, Haute Ecole Arc, Neuchatel – Frank Herreman, director emeritus Etnographic Museum, Antwerp, director emeritus exhibitions and publications, Museum for African Art, New York, lecturer African and Oceanic art history Antwerp – Dr Philippe Peltier, honorary senior curator, former curator Pacific and south east Asian islands, musée du quai BranlyJacques-Chirac, Paris EUROPEAN CERAMICS – Antoinette Hallé, general conservator and honorary director national ceramics museum, Sèvres – Dr. Barbara BeaucampMarkowsky, art historian, expert, Frankfurt am Main – Erwan le Bideau, ceramics restorer, Paris – Maria Antonia Casanovas, honorary chief curator museum of ceramics Barcelona, responsible ceramics collection Fondación La

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Fontana, Rupit/Barcelona Marino Marini, curator ceramics collection, Bargello National Museum & Palazzo Davanzati Museum, Florence Guilaum Séret, art historian, Paris Professor Andrew Shortland FSA FGS, director Cranfield Forensic Institute, Cranfield University, Shrivenham UK

GLASS – Dr Dedo von KerssenbrockKrosigk, head Glasmuseum Hentrich, Kunstpalast, Düsseldorf – Reino Liefkes, senior curator and head ceramics & glass, Victoria and Albert Museum, London ICONS – Drs Désirée Krikhaar, expert, The Hague – Drs Léon van Liebergen, art historian, former director Museum for Religious Art Uden & provisor religious cultural heritage, The Netherlands ISLAMIC, INDIAN AND SOUTH EAST ASIAN ART – Jan van Alphen, honorary curator, expert Indian & Himalayan art, director emeritus Rubin Museum of Art, New York and Ethnographic Museum, Antwerp – Gilles Béguin, honorary conservator and director emeritus Museum Cernuschi for Asian Art, Paris – Dr Luit Mols, owner Sabiel Research in Islamic Art, The Hague – Non-voting vetting expert: Marcel Nies, proprietor Marcel Nies Oriental Art, Antwerp JAPANESE ART – Menno Fitski, head Asian Art, Rijksmuseum, Amsterdam – Dr Alexander Hofmann, curator Arts of Japan, Staatliche Museen zu Berlin, Museum für Asiatische Kunst – Cora Würmell, curator East Asian Porcelain Porzelansammlung, Staatsliche

Kunstsammlungen, Dresden JEWELLERY (APART FROM ANCIENT JEWELLERY) – Dr Emily Stoehrer, Rita J. Kaplan and Susan B. Kaplan curator of Jewelry, Museum of Fine Arts MFA, Boston – Dr Tonny Beentjes, jewelry conservator University Amsterdam – Drs Suzanne van Leeuwen, jr curator and conservator of jewellery, Rijksmuseum Amsterdam – Raymond Sancroft-Baker FGA jewellery specialist, London – Joanna Whalley, FGA DGA, senior metals conservator and gemmologist Victoria & Albert Museum London – Dr Hanco Zwaan researcher and head Netherlands Gemmological Laboratory, Naturalis Biodiversity Center, Leiden MODERN AND CONTEMPORARY PAINTINGS (FROM 1900 ONWARDS) AND SCULPTURAL INSTALLATIONS (FROM 1960 ONWARDS) – Dr Carol S Eliel, curator modern art, Los Angeles County Museum of Art – Norman Kleeblatt, independent curator and critic, co-president AICA-USA, New York – Dr Konstantin Akinsha, founding director Russian avant-garde research project, UK, visiting curator Kröller-Müller Museum Otterlo, the Netherlands, visiting fellow Max Weber Kolleg, Erfurt, Germany – Dr Lydia Beerkens, conservator and scientific expert Modern and Contemporary Art, SRAL, the Conservation Institute Maastricht – Ludo van Halem, curator of 20th century art, Rijksmuseum Amsterdam – Dr Frauke V. Josenhans, associate curator Moody Center for the Arts, Rice University, Houston – Teresa Krasny, independent curator, London 19TH-CENTURY PAINTINGS – Dr Helga Kessler Aurisch, Curator of European Art, Museum of Fine Arts, Houston – Dr Emily Beeny, associate curator J. Paul Getty Museum Los Angeles – Drs Richard Bionda, former lecturer art history Vrije

Universiteit, Amsterdam Dr Leah Lehmbeck, curator and department head European paintings and sculpture, Los Angeles County Museum of Art Dr Mary Morton, curator French paintings, National Gallery of Art, Washington, (non-voting advisor) Drs John Sillevis, former chief curator Gemeentemuseum, The Hague Benno Tempel, director Kunstmuseum Den Haag, The Hague

OLD MASTER PAINTINGS: DUTCH, FLEMISH AND GERMAN – Prof. Dr Christopher Brown, professor Netherlandish Art, University Oxford and director emeritus Ashmolean Museum – Gwendolyne Boevé – Jones, director Redivivus Studio for conservation and technical research of paintings, The Hague – Till Holger Borchert, director Museums Brugge – Drs Frits Duparc, director emeritus Mauritshuis, The Hague – Prof. Dr Ivan Gaskell, professor of cultural history and museum studies, The Bard Graduate Centre, New York – Wouter Kloek, former curator Rijksmuseum, Amsterdam – Dr Micha Leeflang, curator, Museum Catharijneconvent, Utrecht – Prof. Dr Bernd Lindemann, director emeritus Gemälde Galery und Sculpturen Kollektion Staatliche Museen, Berlin – Dr Fred Meijer, independent art historian, former senior curator RKD, The Hague – Dr Mirjam Neumeister, curator Flemish Baroque paintings, Bayerische Staatsgemäldesammlungen Alte Pinakothek, Munich – Dr Larry Nichols, William Hutton senior curator European and American paintings and sculpture before 1900, Toledo Museum of Art – Petria Noble, head paintings conservation, Rijksmuseum, Amsterdam – Dr Tico Seifert, senior curator Northern European art, National


Dr Peter Sutton, director emeritus, Bruce Museum, Greenwich, Connecticut Prof Dr. Gregor Weber, head department of fine & decorative arts Rijksmuseum, Amsterdam Prof Arthur Wheelock jr, former curator Northern Baroque paintings, National Gallery of Art, Washington DC

OLD MASTER PAINTINGS: FRENCH, ITALIAN, SPANISH AND BRITISH – Dr Edgar Peters Bowron, former Audrey Jones Beck curator of European Art, The Museum of Fine Arts, Houston – Prof. Dr Francesca Baldassari, University of Rome, La Sapienza – Dr Machtelt Brüggen Israëls, lecturer art history University of Amsterdam – Simon Howell, managing director Shepherd Conservation Ltd, London – Ian Kennedy, independent scholar, Chapel Hill, North Carolina – Peter Kerber, curator, Dulwich Picture Gallery, London – Prof. Dr Riccardo Lattuada, prof history of art of the modern age, Università degli Studi della Campania ‘Luigi Vanvitelli’ Santa Maria Capua Vetere (CE), Italy – Patrice Marandel, curator emeritus of European art, Los Angeles County Museum of Art – Prof. Dr Mauro Natale, University of Geneva – Dr Austin Nevin, Courtauld Institute, Consiglio Nazionale di Recerche, Milan – Dr Martin Postle, Deputy Director, The Paul Mellon Centre for Studies in British Art, London – Nicole Ryder, freelance paintings conservator, London – Dr Salvador Salort-Pons, director, The Detroit Institute of Arts – Dr Scott Schaefer, senior curator emeritus, J. Paul Getty Museum, Los Angeles – Dr Carl Strehlke, curator emeritus, Philadelphia Museum of Art – Dr Gudrun Swoboda, curator of later Italian, Spanish and French paintings Kunsthistorisches Museum, Vienna – Aidan Weston-Lewis, chief curator, Scottish National Galleries, Edinburgh


PERIOD PICTURE FRAMES – Gerry Alabone, senior conservator (furniture & frames), National Trust, Conservation Studio, Knole, Sevenoaks, Kent PHOTOGRAPHY – Martin Jürgens, photograph conservator Rijksmuseum, Amsterdam – Martin Barnes, senior curator photographs, Victoria and Albert Museum, London – Hans Rooseboom, photograph curator Rijksmuseum, Amsterdam PRECOLUMBIAN ART – Prof. Jacques Blazy, Pre-Columbian expert and curator, Paris – Alexandre Bernand, expert, Paris – David Joralemon, PreColumbian scholar and private curator, New York – Marie Mauzé, senior researcher (antropologist) CNRS, France RUSSIAN WORKS OF ART, GOLD BOXES, OBJECTS DE VERTU AND KUNSTKAMMER OBJECTS – Prof. Dr Géza von Habsburg, author and independent scholar, New York – Ellen van Bork, metal conservator, Rijksmuseum, Amsterdam – Alexander von Solodkoff, independent scholar Hemmelmark, Germany SILVER – Drs Dirk Jan Biemond, gold & curator silver Rijksmuseum, Amsterdam – David Cawte, F.I.P.G. silver and goldsmith, member Antique Plate Committee Goldsmith’s Company, London – Dr Kirsten Kennedy, curator Victoria & Albert Museum, London – Dr Wim Nys, curator head collections and research DIVA, Antwerp – Dr Jet Pijzel - Dommisse, former curator decorative arts, Kunstmuseum Den Haag, The Hague – Dr Timothy Schroder, chairman Antique Plate Committee, Goldsmith’s Company, London – Dr Karin Tebbe, curator decorative arts Kurpfälzisches Museum, Heidelberg

TEXTILES AND WALLPAPERS – Elisabeth Floret, European carpets and textiles, Paris – Prof and chair Koenraad Brosens, art history and tapestry, University Leuven – Prof Dr Birgitt Borkopp-Restle, chair department history of textiles arts, Institute of Art History, University Bern and president CIETA – Geert Wisse, expert historical antique wall paper, Ogy Belgium – Helen Wyld, senior curator of historic textiles, National Museums Scotland, Edinburgh WESTERN FURNITURE AND WORKS OF ART UPTO 1600 – Dr Paul Rem, curator furniture Paleis Het Loo, Apeldoorn – Dr Hans Piena, conservator and curator – expert tool traces - The Netherlands Open Air Museum, Arnhem – Dr Monika Piera, head Estudi del Moble, consultant Design & Decorative Arts Museum Barcelona – Dr Megan Wheeler, assistant furniture curator, The National Trust, London WESTERN FURNITURE AND WORKS OF ART FROM 1600 ONWARDS – Prof. Dr Reinier Baarsen, senior curator furniture, Rijksmuseum, Amsterdam – Dr Achim Stiegel, curator furniture, Kunstgewerbemuseum Staatliche Museen, Berlin – Yannick Chastang, conservator, Faversham (Kent) – Paul van Duin, head furniture conservation Rijksmuseum, Amsterdam – Dr Sybe Wartena, curator furniture, Bayrisches Nationalmuseum, Munich WESTERN SCULPTURES UP TO 1830 – Prof. Dr Frits Scholten, senior curator of sculpture, Rijksmuseum, Amsterdam – Dr Jens Burk, sculpture and painting curator and deputy director general, head European sculpture and paintings 1550-1800, Bayerisches Nationalmuseum Munich

Prof Laura Cavazzini, art history of the Middle Ages, University of Trento Henri Defoer, director emeritus Museum Catherijneconvent, Utrecht Dr Claudia Kryza - Gersch, curator Skulpturensammlung Dresden Dr Robert van Langh, head conservation and scientific research Rijksmuseum, Amsterdam Dr Holly Trusted, honorary senior research fellow, Victoria and Albert Museum, London Dr Jeremy Warren FSA, sculpture research curator, The National Trust, honorary curator of sculpture, Ashmolean Museum, Oxford Drs Guido de Werd, director emeritus Museum Kurhaus Kleve

WESTERN SCULPTURE FROM 1830 TO THE PRESENT – Dr Arie Hartog, director Gerhard-Marcks-Haus, Bremen – Alexandra Czarnecki, conservator, National Gallery Berlin – Dr Patrick Elliott, chief curator Scottish National Galleries of Modern Art, Edinburgh – Dr Sharon Hecker, art historian and curator, expert 19th & 20st century Italian sculpture, Milan and Los Angeles – Dr Elisabeth Lebon, independent researcher 19th & 20st century European art bronze foundries, marks, history and processes, Elancourt, France – Prof. Dr Jan Teeuwisse, director Museum Beelden aan Zee, Scheveningen WORKS ON PAPER UPTO 1850 – Dr Ger Luijten, director Fondation Custodia, Paris – Dr George Abrams, expert, Boston – Dr Meg Grasselli, visiting scholar drawings, Harvard Art Museums, Cambridge – Prof. Dr Fritz Koreny, former curator prints and drawings, Albertina, Vienna – Nico Lingbeek, paper conservator, Haarlem

Thomas Rassieur, John E. Andrus III curator prints and drawings head department of Prints and drawings, Minneapolis Institute of Arts Martin Royalton-Kisch MR FSA, former senior curator prints and drawings, British Museum, London Peter Schatborn, former head department prints and drawings, Rijksmuseum, Amsterdam Drs Carel van Tuyll van Serooskerken, research curator Teylers Museum, Haarlem

WORKS ON PAPER FROM 1850 ONWARDS – Cynthia Burlingham, Director, Grunwald Center, Hammer Museum, Los Angeles – Stephen Coppel, Curator of the Modern Collection, Department of Prints and Drawings, British Museum London – Dr Christian Rümelin, head of department prints and drawings Musées d’art et d’histoire, Cabinet d’arts graphique, Geneva

X-Radiography techniques ApplusRtd Rotterdam – Ed Zonneveld Hirox Microscope Europe – Emilien Leonhadt Portable XRF – Arie Pappot MA, PhD candidate conservation science, Rijksmuseum, Amsterdam –

Dr Guus Verhaar, postdoctoral researcher, Rijksmuseum, Amsterdam; University of Texas, Dallas, Corning Museum of Glass, Corning New York

UV en IR reflectography – Rik Klein Gotink

SCIENTIFIC RESEARCH AND SUPPORT TEAM Advisors: – Dr. Robert van Langh, Head of Conservation & Scientific Research, Rijksmuseum, Amsterdam – Prof. Dr. Joris Dik, Antoni van Leeuwenhoek Chair, Materials in Art and Archaeology, Dept. Of materials Science and Engineering, Delft University of Technology – Prof. Dr. Arie Wallert, Rijksmuseum, Amsterdam – Prof. Marc Walton, codirector for Scientific Studies in the Arts, Northwestern University, Evanston Imaging and Data Science – Prof. dr. Rob Erdmann, Senior Scientist, Rijksmuseum – Professor of Conservation Science, Department of Conservation and Restoration and Institute of Physics University of Amsterdam




Gallery 19C

Rob Smeets Gallery

Didier Aaron

Stair Sainty Gallery


Stoppenbach & Delestre

Kunstgalerij Albricht

Talabardon & Gautier

Åmells Fine Art

Galerie Galer ie Terrades Terrades

Antonacci Lapiccirella Fine Art

Tomasso Brothers Fine Art


Trinity Fine Art

Jean-Luc Baroni Ltd

Rafael Valls Limited

Charles Beddington Ltd

Galleria Carlo Virgilio & Co.

Benappi Fine Art

The Weiss Gallery

Berko Fine Paintings

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Bijl-Van Urk BV Kunsthandel Ku nsthandel P. de Boer BV Bottegantica Bot tegantica Galerie Canesso Canesso Caylus Gallery Galerie Eric Coatalem Colnaghi Nicolás Cortés Daxer Da xer & Marsc Marschall hall Kunsthandel Galerie Mich Michel el Descours Sam Fogg Fogg Fondantico di Tiziana Sassoli Giacometti Old Master Paintings Richard Rich ard Green Haboldt & Co. Fergus Fer gus Hall Nicholas Nich olas Hall Heim Hei m Jean-François Jean-François De Jonckheere Jonckheere Jack Kilgo Kilgore re Koetser Koe tser Galler Galleryy Lampronti Lampro nti Gallery Lowell Libson & Jonny Yarker Ltd Salomon Lilian Lilian Lullo • Pampoulides Pampoulides The Maas Gallery Galler y MacConnal-Mason MacConna l-Mason Gallery Galler y Piacent Pia centii Porcini Porci ni Robilant+Voena Robila nt+Voena Salamon Galerie G. Sarti 41

GALLERY 19C LOS ANGELES  GUSTAVE COURBET (Ornans 1819 – 1877 La Tour-de-Peilz) The Wave (La Vague) Oil on canvas 64.5 × 81.5 cm (25.3 × 32 in.) Signed lower left 'G. Courbet' France



Provenance Henri Hecht, Paris, until 1882; M.L. Guillaumet, May 1882; Mrs. M.L. Guillaumet, Sale: Palais Galliéra, Paris, March 30, 1965, lot 241; Private collection, USA, 1979; Stoppenbach & Delestre, London Salander-O'Reilly Galleries, New York; Acquired from the above by the present owner in 1989

DIDIER AARON PARIS JEAN-MARC NATTIER (1685 – Paris – 1766) Portrait of an Elegant Lady Oil on canvas 55 × 46 cm (21.6 × 18.1 in.) Signed 'Nattier P. 174(0) ?' Circa 1740

Provenance Ernest Cronier Collection; his sale, Galerie Georges Petit, 4 December 1905, no.18, as “Portrait de Mme Tocqué”; (…); Private collection, France



AGNEWS LONDON JACOB ISAACSZ. VAN RUISDAEL (1628 – 1682) View of the Hekelveld, Amsterdam, in Winter, looking south to the Nieuwezijdsvoorburgwal on the left and the Nieuwezijdsachterburgwal on the right, with the Tower of the City Hall and the Spire of the Nieuwe Kerk beyond Oil on canvas 49.5 × 65 cm (19.5 × 25.6 in.) Signed ‘JvRuisdael’ (JVR linked, the last three letters faint)



KUNSTGALERIJ ALBRICHT OOSTERBEEK-LONDON KEES VAN DONGEN (Rotterdam 1877 – 1968 Monte Carlo) L'Acrobat Oil on board laid down on cradled panel 78.4 × 51.3 cm (30.8 × 20.2 in.) Signed lower right 'Van Dongen' Paris, 1907 – 1909

Provenance Private collection, acquired by 1967; Collection Ellen Melas Kyriazi, Switzerland; Sale: Habsburg, Samy Chalom, Paris; Feldman, New York, May 8, 1989, lot 31; Gallery Sakai, Japan; Private collection, Asia, acquired circa 2000; Sale: Sotheby's New York, 6 November 2015, lot 356 ill.; Private collection, The Netherlands



ÅMELLS FINE ART STOCKHOLM PEDER MØNSTED (1859 – Denmark – 1941) A sunny winter Day at Skogli-Lillehammer Oil on canvas 128 × 201 cm (50.4 × 79.1 in.) Signed and dated 'P. Mønsted-1923' 1923




Provenance Marga Sevilla Collection, Rome; Private collection, New York

Mattina sul mare (A Morning at the Seaside) Oil on canvas 91 × 202 cm (35.8 × 79.5 in.) Signed lower left 'G. A. Sartorio Fregene MCMXXVII’ 1927



ARNOLDI-LIVIE MUNICH HENDRICK VAN BALEN (1575 – Antwerp – 1632) The Wedding Feast of Peleus and Tetis Oil on copper 29.5 × 41.3 cm (11.6 × 16.3 in.) Signed lower left 'V BAL' Circa 1608



Provenance Private collection, UK; Collection Johannes Ruppert, Fribourg; Galerie Edel, London-Cologne, 1996; Private collection, Germany

JEAN-LUC BARONI LTD LONDON RODERIC O'CONOR (Co. Roscommon 1860 – 1940 Nueil sur Layon) Breton Boy in Profile Oil on board 38.1 × 44.5 cm (15 × 17.5 in.) Signed upper left 1893

Provenance Hôtel Drouot, Paris, Vente O’Conor, 7 February 1956; Roland, Browse & Delbanco, London; Drue Heinz, purchased April 1957



CHARLES BEDDINGTON LTD LONDON FRANCESCO GUARDI (Venice 1712 – 1793 Cannaregio) Venice: The Grand Canal with the Rialto Bridge and the Palazzo dei Camerlenghi Oil on canvas 86.4 × 106.8 cm (34 × 42 in.) Venice, circa 1758



Provenance Jacques Goudstikker, Kalverstraat 73, Amsterdam, before 1927; Paul Siegfried Daniel May (1869 – 1940) and Rosine Mariane May-Fuld (1871 – 1940), Amsterdam; Their sale, Mensing & Zoon (Frederik Muller & Co.), Amsterdam, 14 Oct. 1941, lot 2, as 'Canaletto'; Rosenberg & Stiebel, New York, May – Oct. 1963, as Marieschi; Galleria Lorenzelli, Bergamo (Michele Marieschi, Sept. – Oct. 1966, no. 4, ill., as Michele Marieschi); Private collection, Milan


Provenance Private collection, Italy

Still life of Skulls Oil on canvas 38.5 × 78 cm (15.2 × 30.7 in.) Circa 1650



BERKO FINE PAINTINGS KNOKKE-HEIST EUGÈNE VERBOECKHOVEN (Warneton 1798 – 1881 Schaerbeek (Brussels)) Horses attacked by Lions Oil on panel 76 × 64 cm (29.9 × 25.2 in.) Signed and dated lower left ‘1853’, certified, situated ‘Schaerbeek lez Bruxelles’, and dated on the reverse ‘1853’



Provenance Private collection, Belgium

KUNSTHANDEL A.H. BIES EINDHOVEN JACOBUS HENDRICUS (‘JACOB’) MARIS (The Hague 1837 – 1899 Karlsbad) A view of Amsterdam with the Koepelkerk Oil on canvas 72.8 × 87.8 cm (28.6 × 34.6 in.) Signed lower left ‘J. Maris’

Provenance Collection Dr. W.J. Leijds, Brussels; Collection Mr. Anton Jurgens Verbrugge, 1901; Knoedler Galleries, New York; C. and S. Keck, New York; Kunsthandel Pieter Scheen, The Hague



BIJL-VAN URK B.V. ALKMAAR JACOB VAN WALSCAPELLE (1644 – Dordrecht – 1727) A Still Life of Fruit on a Stone Ledge Oil on canvas 46.5 × 61 cm (18.3 × 24 in.) Signed 'Jacob Walscapel fecit' 1675 – 1680



Provenance Private collection, The Netherlands

KUNSTHANDEL P. DE BOER B.V. AMSTERDAM JAN ABRAHAMSZ BEERSTRAATEN (1622 –  Amsterdam–1666) Winter landscape with a castle and skating figures Oil on canvas 93 × 129.7 cm (36.6 × 51 in.) Signed and dated 'J. Beerstraaten An 1661' Amsterdam, 1961

Provenance In the collection of the Groeninx van Zoelen family since at least two hundred years



BOTTEGANTICA MILAN  MASSIMO CAMPIGLI (Berlin 1895 – 1971 Saint-Tropéz) Omaggio a Seurat (Homage to Seurat) Oil on canvas 81 × 105 cm (31.9 × 41.3 in.) Signed, dated and dedicated lower right 'A Seurat / Campigli 54' 1954



GALERIE CANESSO PARIS LAVINIA FONTANA (Bologna 1552 – 1614 Rome) Portrait of a Lady Oil on wood panel (box cover) Diameter 14 cm (5.5 in.) Diameter incl. border 17 cm (6.7 in.)



CAYLUS GALLERY MADRID MATEO CEREZO (Burgos 1637 – 1666 Madrid) Penitent Magdalene Oil on canvas 111 × 89 cm (43.7 × 35 in.) Circa 1664 – 1666




Provenance Extensive provenance available

The Makeup Oil on canvas 57 × 46 cm (22.4 × 18.1 in.)



COLNAGHI LONDON-MADRID-NEW YORK LOUIS-LÉOPOLD BOILLY (La Bassée 1761 – 1845 Paris) Portrait of a young boy wearing the Décoration du Lys Oil on canvas, unlined, with original stretcher, in original frame 21.5 × 17 cm (8.5 × 6.7 in.)



NICOLÁS CORTÉS MADRID ANTHONIS MOR (Utrecht 1519 – 1577 Antwerp)

Provenance Private collection, Madrid

Wings of an Altarpiece: Male donor with Saint Jerome and Female donor with Saint Clare. (Exterior: vanitas scenes) Oil on panel Each panel 208.5 × 77.5 cm (82 × 30.5 in.)



DAXER & MARSCHALL KUNSTHANDEL MUNICH LOVIS CORINTH (Tapiau 1858 – 1925 Zandvoort) Red Roses Oil on canvas 59 × 44 cm (23.2 × 17.3 in.) Signed and dated center right 'Lovis Corinth 1925' 1925



Provenance Dr. Arthur Rosin (1879 – 1972), Berlin and New York (acquired from the artist); Karen Gutmann, (1905 – 2000), daughter of Rosin, Berlin and New York; London, Sotheby’s, auction sale, October 10, 2001, lot 24; Bernd Schultz, Galerie Pels-Leusden, Berlin, 2001 – 2; Private collection, Switzerland; Berlin, Villa Grisebach, auction sale, November 28, 2008, lot 23; Private collection, Germany


Provenance Private collection, Lyon

The Battle of the Amazons Oil on copper 52 × 88.5 cm (20.5 × 34.6 in.) An old annotation on the reverse 'originale del Der[...]'



SAM FOGG LONDON THE MASTER OF SAINT NICHOLAS (active circa 1465 – 1490) The Virgin and Child with a tonsured donor, presented by a bishop Oil on panel 32 × 27.7 cm (12.6 × 10.9 in.) Circa 1480 – 90



Provenance Private collection, Italy


Provenance The Princely Collections, Liechtenstein

Saint Paul and the Burning of Heretical Books at Ephesus Oil on canvas 193 × 277.5 cm (75.9 × 109.3 in.) Florence, 1612



GIACOMETTI OLD MASTER PAINTINGS ROME LUCA FERRARI, CALLED LUCA DA REGGIO (Reggio Emilia 1605 – 1654 Padua) Arria and Caecina Paetus Oil on canvas 143 × 120 cm (56.3 × 47.2 in.) Circa 1645



Provenance Dondi Dall'Orologio collection, Padua, 1750 (according to the inventory); Cittadella collection, Villa Bolzonella, Cittadella (Padua), 19th century; Giusti del Giardino collection, Villa Bolzonella, Cittadella (Padua), 20th century

RICHARD GREEN LONDON ABRAHAM MIGNON (Frankfurt 1640 – 1679 Utrecht) Still life of Poppies, Roses, a Peony, Tulips, an Iris, Morning Glory and other Flowers in a glass Vase on a stone Ledge, with an Emperor Moth (Saturnia pavonia) and a Snail Oil on canvas 73.7 × 59.7 cm (29 × 23.5 in .) Signed lower right 'A. Mignon fec.' Circa 1670

Provenance Count Joachim Godske Moltke (1746 – 1818), Bregentved, Zealand; by descent to his grandson Frederik Christian Moltke (1854 – 1936), Bregentved, Zealand; his sale, Winkel & Magnussen, Copenhagen, 2nd June 1931, lot 87 (size given as 93 × 70 cm) Mrs Lilian von Kaufman, Skolskor; Christie’s London, 14th May 1965, lot 132, illus. (size given as 35 × 26.5 in.; 4,500 gns. to Terry-Engell); Terry-Engell-Gallery, London; from whom acquired by Herman Shickman



HABOLDT & CO. AMSTERDAM-PARIS-NEW YORK JOHANNES LINGELBACH (Frankfurt 1622 – 1674 Amsterdam) A Street Scene with a Man Singing and Playing the Guitar Oil on canvas 52.5 × 43 cm (20.6 × 16.9 in.) Signed lower right 'LINGEL BACH'



Provenance Sale W. Lormier, The Hague, 4 July 1763, lot 154; Sale Capello, Amsterdam, 6 May 1767, lot 42; Sale J. Viet, Amsterdam, 12 October 1774, lot 344; Sale, Amsterdam, 13 September 1797, lot 96; Sale Paillet and Coclers, Paris, Jean-Baptiste-Pierre Lebrun, 26 – 27 August 1801, lot 33; Collection Petrus Cornelis baron Nahuijs (1803 – 1882); Sale Nahuijs e.a., Amsterdam, 14 November 1883, lot 90; D.A. Hoogendijk & Co., Amsterdam; Private collection, France, until 2019

FERGUS HALL LONDON WILLEM VAN DE VELDE THE YOUNGER (Leiden 1633 – 1707 London) HMS Defiance and other Men-of-War Coming to Anchor Oil on canvas 63 × 75.3 cm (24.7 × 29.6 in.) Signed on the spar 'W. V. V. J ', and ‘W. V. Velde J’ on the reverse Circa 1678

Provenance Admiral of the Fleet Edward Russell, 1st Earl of Orford (1653 – 1727) and commander of HMS Defiance; Thence by descent until 2018



NICHOLAS HALL NEW YORK MONOGRAMMIST I.S. (Active 1632 – 1658) A Scholar Holding a Book Oil on panel 49 × 37.4 cm (12.3 × 14.7 in.) Indistinctly dated ‘.632’ and inscribed with inventory numbers lower left ‘2802’ and lower right ‘574’




Provenance Private collection, France

Plums, Peaches and Pears on a Plate, with Cherries on a Table Oil on panel 26 × 35 cm (10.2 × 13.7 in.) Circa 1630 – 1640



DE JONCKHEERE GENEVA AMBROSIUS BOSSCHAERT THE ELDER (Antwerp 1573 – 1621 The Hague) Bouquet of Flowers in a Römer Glass placed on a Table with a Landscape in the background Oil on panel 29.2 × 19.4 cm (11.5 × 7.6 in.) Monogrammed lower left ‘AB’



Provenance Acquired in the 1890's by Monsieur Marc, Hôtel Drouot (as ‘Velvet’ Brueghel); In his family with Maître André Benoist (d. 1969); Then by inheritance, Madame Michel Binoche


Provenance Private collection, Italy, purchased directly from the artist

The Young Painter Oil on canvas 93 × 67.5 cm (36.6 × 26.6 in.) Signed 'V. Irolli' Circa 1900



KOETSER GALLERY ZÜRICH WILLEM VAN DE VELDE THE YOUNGER (Leiden 1633 – 1707 London) Fishing Pinks on the Beach at Scheveningen Oil on panel 36.5 × 47.5 cm (14.3 × 18.7 in.) Signed lower right 'WVV'



Provenance Private collection, France; Sale AderNordmann, Paris, 22 June 2018, lot 34, ill.

LAMPRONTI GALLERY LONDON ANTONIO JOLI (Modena 1700 – 1777 Naples) Rome, a view of the Colosseum and the Arch of Constantine Oil on canvas 38.8 × 72.2 cm (15.2 × 28.4 in.)

Provenance Arturo Grassi, New York, 1950 (as Gaspare Vanvitelli); Private collection, New York; Bequeathed to the Marangoni family, New York; Richard Green, London; Private collection, UK



LOWELL LIBSON & JONNY YARKER LTD LONDON THOMAS GAINSBOROUGH (Sudbury 1727 – 1788 London) A Mountainous Landscape with a Herdsman and his Cattle Black and white chalks and stump on white wove paper 28 × 36.8 cm (11 × 14.5 in.) Inscribed verso in the hand of William Esdaile ‘1817 WE. Lamberts coll P45 N54/Gainsborough’ London, mid to late 1770's



Provenance Charles Lambert (L.589) 1817; William Esdaile (L.2617); Christie’s, London, 16 March 1838, lot 822 (£1/2/- to Cavendish); William Cavendish, 7th Duke of Devonshire, and by descent at Holker Hall, 1994; Cavendish sale, Christie’s, London, 8 November 1994, lot 10; Leger Galleries, London, 1995; Private collection, UK, acquired from the above; Lowell Libson Ltd, 2003; Private collection, USA, 2017

SALOMON LILIAN GENEVA EDWAERT COLLIER (Breda 1642 – 1708 London) A Vanitas Still Life with a Flag, Candlestick, Musical Instruments, Books, Writing Gear, Globes and an Hourglass Oil on canvas 98 × 129.7 cm (38.6 × 51 in.) Signed and dated 'Edwaerdt/Collier/1662'



LULLO • PAMPOULIDES LONDON LUCA GIORDANO (1634 – Naples – 1705) Christ among the Doctors Portable fresco; on a wicker support Diameter 110 cm (43.3 in.) Circa 1685



Provenance Recorded in the 1689 inventory of the Quadreria Del Rosso, Florence


Provenance The Fine Art Society, 1975; Alan Fortunoff, USA

Golden Eyes Oil on canvas 99 × 51 cm (39 × 20 in.) Signed Glasgow, 1917



MACCONNAL-MASON GALLERY LONDON ALEXEI A. HARLAMOFF (1840 – 1925) The Gypsy Girl Oil on canvas 46 × 34 cm (18 × 13.7 in.) Signed 'Harlamoff', further signed and dated in Cyrillic '1887'



Provenance A descendant of King Christian IX (1818 – 1906) and Queen Louise of Denmark (1817 – 1898), probably acquired directly from the artist; Private collection, Denmark

PIACENTI LONDON LUCA GIORDANO (1632 – Naples – 1705) The Battle of the Lapiths and Centaurs Oil on copper 79 × 92 cm (31 × 36.3 in.) Inscribed in paint on the verso ‘no. 22 Giordanz / No. 480’

Provenance Private collection, UK (‘A Deceased Estate’); their sale, Sotheby’s, London, April 21, 1993, lot 44, as Luca Giordano; Private collection, New York, 1993 – 2019



PORCINI NAPLES BARTOLOMEO MENDOZZI CALLED BARTOLOMEO DELLA LEONESSA (Leonessa, Rieti 1600 – ? Rome) Judith beheading Holofernes Oil on canvas 120 × 170 cm (47.2 × 66.9 in.)



Provenance Private collection, Naples

ROBILANT+VOENA LONDON MACRINO D'ALBA (circa 1460 – circa 1520) Portrait of Philip II, Duke of Savoy (1438 – 1497), bust-length, in armour Oil on panel 33.6 × 32.2 cm (13.2 × 12.7 in.) Inscribed around the portrait ‘PHILIPPVS DVX SABAVDIA MAR · IN ITALIA’

Provenance (Probably) commissioned by the sitter thence by descent; Private collection, UK, since 2019



SALAMON MILAN LORENZO DI BICCI (1360 – Florence – circa 1410) Madonna and Child Tempera on panel, gold ground 83 × 49.8 cm (32.7 × 19.6 in.) Circa 1375



Provenance Principe Fabrizio Massimo collection, Rome, up to 1932; Christie’s, 18 June 2002, lot 696; Alana collection, New York

GALERIE G. SARTI PARIS SCOLAIO DI GIOVANNI (Master of Borgo alla Collina) (1369 – Florence – 1434) Virgin and Child with Saint Francis of Assisi, Saint Julian and two angels Tempera on panel 93 × 52 cm (36.6 × 20.5 in.) Circa 1405 – 1410



ROB SMEETS GALLERY GENEVA FRANCESCO LUPICINI (Florence 1590 – 1656 Zaragoza) Cavaliere (self-portrait?) Oil on canvas 53.5 × 42 cm



STAIR SAINTY GALLERY LONDON BARON FRANÇOIS GÉRARD (Rome 1770 – 1837 Paris) King Charles × in Coronation Robes Oil on canvas in its original frame 260 × 182 cm (102.3 × 71.6 in.) Paris, 1825

Provenance Offered by King Charles × to Charles Maurice de Talleyrand-Périgord, Prince de Talleyrand, to commemorate his coronation at Rheims, 1825; thence by inheritance to Napoléon-Louis 3rd Duc de Talleyrand); sale Paris, Galerie Georges Petit, 1899, no, 3 (ill.); Boni and Anna de Castellane, née Gould; to her daughter Hélène-Violette de Talleyrand-Périgord, Duchesse de Sagan; thence by descent



STOPPENBACH & DELESTRE LONDON ANDRÉ DERAIN (Chatou 1880 – 1954 Garches) Le port de Collioure Oil on canvas 33 × 40.6 cm (13 × 16 in.) Signed lower left ‘a.derain’ Collioure, 1905



Provenance Ambroise Vollard; Private collection, France; Helene Caze; Georges de Braux; Sherburn M.Becker; Thence by descent

TALABARDON & GAUTIER PARIS FRANÇOIS-MARIUS GRANET (1775 – Aix en Provence – 1849) Self-Portrait Oil on canvas 55.8 × 46.1 cm (21.9 × 18.1 in.)



GALERIE TERRADES PARIS CLAUDIUS JACQUAND (Lyon 1803 – 1878 Paris) Portrait of the Sculptor Jean-François Legendre-Héral in his Studio Oil on canvas 62 × 48.3 cm (24.4 × 19 in.) Signed and dated lower left ‘C•Jacquand•P• / 1825’ Lyon, 1825



Provenance Given by the artist to the sitter; Louise Pauline Legendre-Héral, daughter of the sitter (1825 –  ?); Charles Wable, his son (1846 – 1908); By inheritance, private collection

TOMASSO BROTHERS FINE ART LONDON GIOVANNI BATTISTA FOGGINI (1652 – 1725) Boreas and Orithyia Bronze, with a dark brown patina 50 × 23 × 27 cm (19.7 × 9 × 10.5 in.) Florence, first quarter 18th century

Provenance Henry Joseph (1864 – 1945) and Elsie Lavinia (d. 1954) Ramsden, Ilford, UK; by descent until 2019



TRINITY FINE ART LONDON JEAN-LÉON GÉRÔME (1824 – 1904) Les deux majestés (The Two Majesties) Oil on canvas 25 × 44 cm (9.8 × 17.3 in.) Signed lower right ‘A ma fille Suzanne / JL Gérôme’



Provenance Suzanne Gérôme given by her father, circa 1900; Gaspard Felix Tournachon, called Nadar, circa 1904; Jules Bourgeois, Tournachon’s assistant, circa 1904 – 1909; Given to his goddaughter, Angèle Saverse, 1910; Thence by descent to Guy Saverse, 1979 and to Christiane Bonafède, 1984; Private collection, South-West France

RAFAEL VALLS LIMITED LONDON KARL GIRARDET (Le Locle 1813 – 1871 Paris) The Duc de Montpensier visiting the Temple of Edfu, 21 July 1845 Oil on canvas 110 × 140 cm (43.3 × 55.2 in.) Signed and inscribed ‘Girardetmonument d'apres Roberts’ 1846

Provenance Collection of Prince Antoine Philippe d'Orleans, Duc de Montpensier (according to the insignia au verso), no 6781; thence by descent to a private collection, Spain for over two generations



GALLERIA CARLO VIRGILIO & CO. ROME-LONDON ANTONIO GUALDI (Guastalla, 1796 – 1865) Portrait of Tommaso Minardi with the Skull Oil on canvas 83 × 62.5 cm (32.6 × 24.6 in.) Signed and dated lower right ‘Antonio Gualdi 1827’ 1827



THE WEISS GALLERY LONDON BARTHOLOMEUS SPRANGER (Antwerp 1546 – 1611 Prague) Venus and Cupid Oil on canvas 140 × 102 cm (55.1 × 40.2 in.) Prague, circa 1600

Provenance From the collection of Rudolf II, Holy Roman Emperor (1552 – 1612), Hradschin Palace, Prague; Further details available



WILDENSTEIN & CO. INC. NEW YORK FRANÇOIS BONVIN (Paris 1817 – 1887 Saint-Germain-en-Laye) The School Boy Oil on panel 35.5 × 26.3 cm (13.9 × 10.3 in.) Signed and dated lower left ‘1874./ F. Bonvin’ 1874



Provenance Galerie Jonas, Paris, as of 1979; Galerie Huguette Bérès, Paris, as of 1998; Private collection, Italy; until sale London, Christie’s, July 6, 2010, lot 48; Private collection, USA

ADAM WILLIAMS FINE ART LTD. NEW YORK JEAN-ANTOINE HOUDON (Versailles 1741 – 1828 Paris) A Bust representing the Comtesse JeanIsaac de Thellusson de Sorcy (1770 – 1845) Marble 57 × 75 cm (22.5 × 29.5 in.) Signed on the back ‘Houdon’ Paris, circa 1791

Provenance Collection MM Jean et Arnold Seligman, 1931 (exported to New-York in 1932); Collection Thomas Ryan; Sale, ParkeBernet Galleries, New-York, 30 – 31 March 1951, lot 235; Sale, Collection Baron Cassel, Paris, 2 décembre 1954, lot 97 bis; where acquired by the formerly Edmond Courty Collection; Thence by descent





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A. AARDEWERK THE HAGUE JOHANNES DU VIGNON III (1660 – The Hague – 1746) The Cornelis Wittert Cup Silver Height 34 cm (13.4 in.) Fully marked The Hague, 1707



Provenance Collection Beeling, Leeuwarden; Collection Leonhardt, Amsterdam

A LA VIEILLE RUSSIE NEW YORK CARL FABERGÉ (Saint Petersburg 1846 – 1920 Lausanne) Spring Pilgrimage of the Tsarina: a pictorial box Gilded silver, en plein enamel and cloisonné enamel 7.6 × 5.1 × 2.5 cm (3 × 2 × 1 in.) Signed with the Imperial Warrant mark, and the maker's mark of workmaster Feodor Rückert Moscow, circa 1910



LUIS ALEGRIA LDA PORTO A seated Tiger Porcelain with famille vert decoration Height 24.5 cm (9.6 in.) China, Kangxi period 1662 – 1722 AD



ALTOMANI & SONS MILAN ANDREA DI LAZZARO CAVALCANTI CALLED IL BUGGIANO (1412 – Florence – 1462) The Virgin and Child Parcel-gilt polychrome stucco relief in a parcel-gilt polychrome carved wood tabernacle frame 126.1 × 72 × 12 cm (49.6 × 28.3 × 4.7 in.) Circa 1435 – 1440

Provenance Ottmar Strauss collection, Cologne, 1931; Hugo Helbing Auction, Frankfurt, November 6 – 8, 1934, lot 29; Franco Semenzato, Florence, 11.06.2003; Private collection, London until 2012; sold on behalf of Ottmar Strauss heirs by Christie’s, London, 2013



ARONSON ANTIQUAIRS AMSTERDAM ADRIANUS KOCX Pair of blue and white Flower Vases Delftware Heights 47 cm (18.5 in.) Signed ‘AK’ Delft, 1687 – 1701



Provenance Private collection, USA

AR-PAB / ÁLVARO ROQUETTE - PEDRO AGUIAR-BRANCO // VOC ANTIGUIDADES LDA. PARIS Indo-Portuguese cabinet depicting Portuguese hunters Teak, ebony, exotic woods and ivory; gilded copper fittings 37.5 × 58 × 35 cm (14.7 × 22.8 × 13.7 in.) India, probably Thane, late 16th century



ANTICHITA BACARELLI - BOTTICELLI ANTICHITÀ FLORENCE ERCOLE FERRATA (Pellio Intelvi 1610 – 1686 Rome) Saint Carlo Borromeo Marble Height 62 cm (24.4 in.) Circa 1650



DE BACKKER ART HOOGSTRATEN Viking axehead Iron with silver and gold inlay 8 × 21.8 cm (3.1 × 8.6 in.) 11th century

Provenance Private collection UK, acquired on the German art market before 2000



GREGG BAKER LONDON Dainichi Nyorai (Vairocana) Wood Height 67.5 cm (26.75 in.) Japan, Heian period, 11th – 12th century



VÉRONIQUE BAMPS MONACO JEAN DESPRÉS (Souvigny 1889 – 1980 Avallon) Modernist bracelet Silver and gold Signed ‘J. Després’ and master mark Circa 1930



MICHELE BEINY NEW YORK JOHANN JOACHIM KAENDLER (1706 – 1775) A monkey teapot Hard-paste porcelain Height 19.5 cm (7.6 in.) Signed with crossed swords in underglaze blue Meissen, circa 1735



H. BLAIRMAN & SONS LTD LONDON Table Oak 73.2 × 180.3 × 95.3 cm (28.8 × 71 × 37.5 in.) Designed by Ernest Gimson (1864 – 1919) Probably made by Sidney Barnsley (1865 – 1926) England (Sapperton), early 1920s

Provenance Professor A.E. Heath, a master at Bedales before 1925, and by descent; Private collection, UK (1970s – 2019)



BLUMKA GALLERY NEW YORK Richly Dressed Lady Boxwood Height 18.1 cm (7.1 in.) Diameter 5 cm (1.9 in.) Germany, early 17th century



Provenance Blumka, New York, 1950; The Ernest Brummer Collection, until 1979; Private collection, USA

KUNSTHANDLUNG JULIUS BÖHLER STARNBERG TILMAN RIEMENSCHNEIDER (Heiligenstadt 1460 – 1531 Würzburg) Christ crucified Fruitwood, carved in the round 24 × 22 cm (9.4 × 8.6 in.) Würzburg, early 16th century

Provenance Collection of Professor Wilhelm von Miller (1848 Munich – 1899); Acquired in 1907 by Julius Böhler from von Miller’s estate; Since then in family ownership



BOWMAN SCULPTURE LONDON AUGUSTE RODIN (Paris 1840 – 1917 Meudon) Le Penseur (The Thinker), Petit Modèle Bronze with green and brown patina 37.7 × 20 × 28 cm (14.8 × 7.9 × 11 in.) Signed ‘A. Rodin’ Inscribed with the foundry mark ‘Alexis RUDIER. Fondeur. PARIS.’ and with raised interior signature ‘A. Rodin’ France, conceived in 1881 – 1882; this example cast by Alexis Rudier between 1920 – 1930



Provenance Private collection, Japan, acquired circa 1970; Comité Rodin certificate available on request

BRIMO DE LAROUSSILHE PARIS Reliquary casket: the Crucifixion and Christ in Majesty Champlevé enamel on copper, engraved, chiseled and gilt 19.5 × 18 × 8.5 cm (7.7 × 7 × 3.3 in.) Limoges, circa 1200

Provenance Marynen collection, Brussels, 1888; Octave Pincot collection, sale, Paris, 1946; Baron de Bonstetten collection, sale, London, 1969



BURZIO. LONDON Two portrait busts of Rousseau and Voltaire Biscuit porcelain Height 24.4 cm (9.6 in.) Signed ‘33’ Orleans, circa 1765



Provenance Private collection, Europe


Provenance Private collection, Italy

A Roman centurion Maple wood Height 180 cm (70.9 in.) Rome, 1660 – 1670



GALERIE JEAN-CHRISTOPHE CHARBONNIER PARIS Daimyô armour of hon-kozane tachi-dô type Armour bearing the crests of the Abe family, daimyô of Sanuki in Kazusa. The whole suit of armour covered in ‘gindame’ (silver lacquer), iron, lacquer, leather, silk 133 × 85 × 60 cm (52.4 × 33.5 × 23.6 in.) Japan, 17th century



Provenance Private collection, France

GISÈLE CROËS BRUSSELS Stone head of Bodhisattva White marble Height 34 cm (13.2 in.) China, Northern Qi Dynasty (550 – 557)

Provenance Private collection, France



DANIEL CROUCH RARE BOOKS LONDON WILLEM AND JOHANNES BLAEU Nouvum ac magnum theatrum urbium Belgicae Two volumes, engraved title-pages with fine contemporary hand-colour and heightened in gilt, 225 double-page sheets with over 300 maps and views all with fine contemporary hand-colour, bookplate of ‘Emo Park Library’ to bound in contemporary full red morocco



with the coat-of-arms, of Thomas Butler, Sixth Earl of Ossory (1634 – 1680) Folio 56.5 × 38 cm (22.2 × 14.9 in.) Amsterdam, 1652 Provenance Kilkenny Castle Library catalogue, 1685


Provenance Collection, Paris; Private collection, the Netherlands, since circa 1970

A pair of Empire covered vases Gilt bronze and marble Height 45 cm each (17.7 in.) France, circa 1810 – 1815



GALERIE DELALANDE PARIS Astrolabe Ivory and brass Height 15 cm (5.9 in.) Diameter 10.1 cm (3.9 in.) Germany, circa 1480



Provenance Private collection, Germany

BERNARD DESCHEEMAEKER - WORKS OF ART ANTWERP MASTER OF THE LAMENTATION GROUP OF PAMPLONA CATHEDRAL (WILLEM ARDS OR HIS INNER CIRCLE) The Swooning of the Virgin Walnut, with largely original polychromy and gilding 61.5 × 41.8 × 14.5 cm (24.2 × 16.4 × 5.7 in.) Brussels, circa 1435 – 1445

Provenance Private collection, Canada; Private collection, Antwerp, 1981; By descent to private collection, Antwerp, 2017



ALBERTO DI CASTRO ROME BIAGIO BARZOTTI (Active in Rome, second half 19th century) The Pope and his entourage leaving Saint Peter’s Square Micromosaic plaque 19 × 35 cm (7.5 × 13.7 in.) Signed lower left ‘B. Barzotti’



ALESSANDRA DI CASTRO ROME Pair of vases ‘Breccia Policroma di San Benone’ marble, fluting on the body, oak leaves and acorns on the lids Height 53 cm (20.9 in.) Diameter 31 cm (12.2 in.) Rome, first half 17th century



GALERIE XAVIER EECKHOUT PARIS GASTON ETIENNE LE BOURGEOIS (Vire 1880 – 1956 Rambouillet) Walking lion Bronze 33 × 60 × 13.5 cm (12.9 × 23.6 × 5.3 in.) Monogrammed ‘GLB’ and numbered ‘4/15’ Paris, circa 1927



Provenance Acquired by François Ducharne, a prominent figure in the world of Haute Couture, for the dining-room of his Hôtel Particulier, located in Auteuil, an exclusive area of Paris

JAIME EGUIGUREN ART & ANTIQUES BUENOS AIRES JAUME SERRA AND PERE SERRA Saint Martin and the Beggar Egg-based tempera over pinewood panel 134 × 145.5 cm (52.7 × 57.3 in.) Barcelona, circa 1375 – 85

Provenance Laurent Horny Collection, France; Heirs of Laurent Horny, France



EGUIGUREN ARTE DE HISPANOAMÉRICA BUENOS AIRES A sideboard dish Silver 53 × 56 cm (20.8 × 22 in.) Weight 1950 gr. Viceroyalty of Peru, 17th century



Provenance Private collection, Spain

DEBORAH ELVIRA OROPESA DEL MAR Pendant with the Dominican cross Gold, enamel, glass 5 × 4 cm Weight 24.90 gr Unreadable goldmark Spain, circa 1700

Provenance Private collection, Spain



JOHN ENDLICH ANTIQUAIRS HAARLEM VARIOUS SILVERSMITHS The Maria van der Hooch toilet service Silver Various dimensions All objects are fully marked Amsterdam, 1713 – 1722



Provenance Maria van der Hooch (1698 – Amsterdam  – 1763); Thence by inheritance in the family until now

LES ENLUMINURES PARIS-NEW YORK-CHICAGO MASTER OF THE CHRONIQUE SCANDALEUSE (active circa 1490 – 1520) Petites Heures of King Charles VIII (use of Paris) In Latin, illuminated manuscript on parchment 7.3 × 4.9 cm (2.9 × 1.9 in.) Paris, circa 1490 – 1493 (before 1494)

Provenance King Charles VIII of France (r. 1483 – 1498); Paris, 4 December 2000 (Etude Laurin, Guilloux, Buffetaud, MM Courvoisier, Laucournet); Private collection, France



EPOQUE FINE JEWELS KORTRIJK CARTIER A bird brooch Depicting a mother parrot with her chick on a branch. The mother parrot set with a large carved emerald in a circular cut ruby surround and ruby eye, the baby parrot with cabochon ruby head and black enamel collar. The bodies set throughout with baguette cut and brilliant cut diamonds, mounted in platinum and 18 karat gold



5.8 × 2,9 cm Signed ‘Cartier, Paris’ and numbered Paris, circa 1964

FD GALLERY NEW YORK A necklace Amethyst, turquoise, diamond and platinum 6.9 × 2.5 × 1.3 cm (2.7 × 1 × 0.5 in.) Signed ‘Cartier’, with makers mark for Henri Picq Paris, 1915

Provenance Previously in the collection of the late Gladys Marie, Dowager Duchess of Marlborough



KUNSTHANDEL JACQUES FIJNAUT B.V. AMSTERDAM JOHANNES CHRISTOFFEL OUWENHAGE Inkstand Silver 21 × 20 × 10.5 cm (8.3 × 7.9 × 4.1 in.) Middelburg, 1773



Provenance Collection Six; Private collection, The Netherlands

PETER FINER LONDON A field Armour Steel and leather 150 × 95 × 60 cm (59 × 37.4 × 23.6 in.) Brunswick, circa 1560

Provenance The Historic Collections of the Dukes of Brunswick successively at Schloss Blankenburg and Schloss Marienburg; Probably Made for Heinrich I Duke of Brunswick



GALERIE FLORE BRUSSELS MASTER I.C., PROBABLY JEAN DE COURT Plate representing the month of July Grisaille enamels on copper, partly gilt Diameter 19.8 cm (7.8 in.) Signed ‘IC’ on the reverse Limoges, circa 1560 – 1570



Provenance Collection of Mme de Polès, Paris, sold galerie Georges Petit, 22 – 24 June 1927, lot 152; Private collection, USA, sold Sotheby’s New York, 22 – 23 Nov. 1988, lot 163; Galerie Alain Moatti, Paris, 1988 – 1989; Collection of Hubert de Givenchy, Paris, 1989 – 1993; Jan Dirven, Antwerp and galerie J. Kugel, Paris, 1993 – 1994; Collection of Yves Saint Laurent and Pierre Bergé, Paris, 1994 – 2009

S FRANSES LONDON PERINO DEL VAGA (Florence 1501 – 1547 Rome)

Provenance Schloss Neidstein, Bavaria

Dido Welcoming Aeneas Coloured wools and silks 343 × 462 cm (135 × 181.9 in.) Mortlake, England, 1643



GALERIE GISMONDI PARIS Pegasus making the Hippocrene Source burst out of the Mount Helicon by a Kick of its Hoof Marble 42 × 56 × 3.8 cm (16.5 × 22 × 1.5 in.) Italy, 16th century



MICHAEL GOEDHUIS LONDON WEI LIGANG (China, 1964) Han Brocade-Green Brown Ink and acrylic on paper 69.5 × 138 cm (27.5 × 54.2 in.) Signed lower right 2019



DR. JÖRN GÜNTHER RARE BOOKS AG STALDEN CIRCLE OF THE BEDFORD/DUNOIS MASTERS Talbot-Beauchamp Book of Hours Illuminated manuscript on vellum 22.1 × 15.5 cm (8.7 × 6.1 in.) Rouen, circa 1430



Provenance Likely made for Sir John Talbot (circa 1384 – 1453), later first Earl of Shrewsbury, or for someone in his household or immediate circle; Henry Hucks Gibbs (1819 – 1907), first Lord Aldenham; Marcel Jeanson (1885 – 1942); his ms. 6, with his bookplate; Private collection, Europe

HANCOCKS LONDON The Anglesey tiara A Victorian tiara/necklace, formed of a graduated row of old European and old mine cut diamonds which detach to form a rivière necklace. This is surmounted by scroll and cluster motifs, interspersed with curved tines and topped with graduated pearshaped diamond-set motifs, gold Length necklace 42 cm (16.5 in.) Circa 1890

Provenance Marjorie Paget, the Marchioness of Anglesey wore it to the Coronation of King George VI in 1937, when she was photographed for Vogue magazine by the renowned royal photographer Cecil Beaton



HAZLITT LONDON GIUSEPPE CESARI, CALLED IL CAVALIER D’ARPINO (Arpino 1568 – 1640 Rome) The Archangel Michael Oil on canvas 270 × 180 cm (106.3 × 70.8 in.) Rome, circa 1627 Provenance Commissioned by either Urban VIII or Cardinal Francesco Barberini (1597 – 1679), documented in the latter’s collection on



24th May 1627 (III.inv.26 – 31); Don Taddeo Barberini (1603 – 1647); Prince Maffeo Barberini (1631 – 1685); Urbano Barberini (1674 – 1722); Cornelia Costanza Barberini, Princess of Palestrina (1716 – 1797); Carlo Barberini-Colonna de Scarria, Prince of Carbognano (1722 – 1853); Carlo-Felice Barberini-Colonna de Scarria, Duke of Castelvecchio (1817 – 1888); Anna Maria BarberiniColonan de Scarria (1840 – 1911) and her husband, Tommaso Corsini; Thence by descent in the Corsini collection

BEN JANSSENS ORIENTAL ART LONDON Blue and white porcelain dish with a dragon Porcelain 21.6 × 3.2 cm (8.5 × 1.25 in.) China, Kangxi period, 1661 – 1722



DANIEL KATZ GALLERY LONDON JEAN-ANTOINE HOUDON (Versailles 1741 – 1828 Paris) Busts of Jean-Jacques Rousseau (1712-1778) and Georges-Louis Leclerc, Comte de Buffon (1707-1788) Marble Heights 26.7 and 29 cm (10.5 and 11.4 in) Signed and dated ‘houdon f. 1788’ and ‘houdon f. 1789’ respectively Paris, 1789 and 1788



Provenance Hôtel Drouot, Paris, Monsieur M. X. Collection, November 16, 1925; Paul Gouvert, Paris (purchased at the above sale); Hon. Irwin. B. Laughlin, Washington, Meridian House (purchased from the above, in Paris, November, 1926); By descent to 2019

KOLLENBURG ANTIQUAIRS OIRSCHOT CLAUDE BERTIN (Paris ? – 1705 Versailles) Two Children sitting on the Ground caressing each other White marble on a ormolu base 30 × 54 × 38.5 cm (11.8 × 21.2 × 15.1 in.) Signed and dated ‘Bertin 1682’

Provenance The artist from 1682 to at least 1697 but probably until 1705; Last surfaced at the Lespinasse d’Arlet auction, Paris, July 11, 1803, lot no. 6; Private collection, Germany



KOOPMAN RARE ART LONDON A James I parcel-gilt beaker Silver Height 15 cm (5.9 in.) Weight 250 gr. With conjoined maker’s mark ‘HB’, possibly for Hugh Blackhurst or Henry Blackmore London, 1618



J. KUGEL PARIS ATTRIBUTED TO CLAUDE-SIMÉON PASSEMANT (1702 – 1769) Louis XV microscope Gilt-bronze, brass, glass, shagreen 60 × 31 × 27 cm (23.6 × 12.2 × 10.6 in.) France, circa 1745 – 1750



ELFRIEDE LANGELOH WEINHEIM Augustus Rex beaker vase Porcelain, painted by Johann Ehrenfried Stadler with ‘contour chinoiseries’ and ‘indianische Blumen’ in ‘famille verte’ style Height 39 cm (15.4 in.) Underglaze blue ‘AR’ mark Meissen, 1725–1727



Provenance Private collection, Germany

KUNSTKAMMER GEORG LAUE MUNICH MASTER OF PERSPECTIVE The Renaissance casket from Newbattle Abbey Mother of pearl, alabaster, engraved bone and ivory, various woods, etched and fire-gilt iron 35 × 53 × 36 cm (13.7 × 20.8 × 14.2 in.) Nuremberg, dated 1565

Provenance Marquesses of Lothian, Scotland, 1720 – 2017; given in 1882 by Henry Schomberg Kerr, 9th Marquess of Lothian, on loan for the Italian Art Loan Exhibition at the Corporation Galleries in Glasgow; listed in the 1901 and 1930 inventories of Newbattle Abbey



GALERIE LÉAGE PARIS A Louis XIV console table Gilt wood and marble red of Rance, with heads of native Americans carved 80 × 130 × 66 cm (31.5 × 51 × 26 in.) Paris, Louis XIV, 18th century



Provenance Private collection, France

STUART LOCHHEAD SCULPTURE LONDON JEAN-JOSEPH CARRIÈS (Lyon 1855 – 1894 Paris) Frog Man-Le Grenouillard Plaster with reddish brown patina 34 × 47 × 43 cm (13.5 × 18.5 × 17 in.) France, 1892

Provenance Collection Léon Tixier, France, circa 1892; Collection Roger Tixier, his son; By descent to his granddaughter, Paris, until 2019



LOPEZ DE ARAGON MADRID GIOVANNI GIORGIO LASCARIS, CALLED PYRGOTELES (1465/75 – 1531) The Virgin and Child, holding a Flower The Dreyfus Marble Madonna Marble 57 × 42 × 13 cm (22.4 × 16.5 × 5.1 in.) Venice, 1500



Provenance Monsieur Gustave Dreyfus, Paris, 1907; Art market, Brussels, 2017


Provenance Private collection, Europe

Drinking bowl (Tcharka) Silver, gilt Length with handle 16 cm (6.25 in.) Height 5.1 cm (2 in.) Diameter 12 cm (4.7 in.) Weight 270 gr. With makers’ mark and the city mark Hamburg, circa 1670



KUNSTHANDEL MEHRINGER MUNICH ISIDRO DE VILLOLDO (Unknown-circa 1556 Sevilla) Tondo of a prophet Pine wood, original polychromy and gilding, incarnate with retouches Diameter 33–34 cm (12.9 – 13.4 in.) Circa 1536–1544



Provenance Private collection, Spain; Private collection, Madrid; IOMR collection, Helmond

MENTINK & ROEST INGEN GEORGE PRIOR (1735 – 1814) A George III organ table clock with automaton Ormolu-mounted tortoiseshell-veneered, quarter-chiming 77 × 34 × 34 cm (30.3 × 13.4 × 13.4 in.) Signed ‘George Prior London’ London, circa 1780



GALERIE MERMOZ PARIS Baby Face Hollow orange-brown terracotta with cream white slip 30 × 30 × 21 cm (11.8 × 11.8 × 8.3 in.) Mexico, Zumpango Del Rio, Guerrero, Olmec, Xochipala, 1500 – 900 BC



Provenance Collection Yvon Collet since 1965

AMIR MOHTASHEMI LTD. LONDON Iznik tile Pottery 31 × 31 cm (12.2 × 12.2 in.) Turkey, 16th century

Provenance Private collection, Europe



SYDNEY L MOSS LTD. LONDON Yakushi Nyorai (Medicine Buddha) Lacquered wood Height with base 196 cm (77.1 in.) Japan, late Heian period




Provenance Private collection, Germany

St. Sebastian Ivory and ebony, the base redcolored horn and mother-of-pearl Height 50.5 cm (19.9 in.) Rome, 1630



MULLANY LONDON Relief with the Adoration of the Magi Alabaster, with original polychrome and gilding 39 × 24.8 cm (15.3 × 9.7 in.) Nottingham, 15th century



Provenance Private collection, Italy

MATHIEU NÉOUZE PARIS GEORGES HOENTSCHEL (1855 – Paris – 1915) Monumental vase Enameled stoneware 94 × 56 × 40 cm (37 × 22 × 15.7 in.) Signed ‘GH’ Paris, 1900



GALERIE NEUSE BREMEN JAN CLAUDIUS DE COCK (Brussels 1667 – 1735 Antwerp) Amor with a mask ‘Amor Simulat’ Marble 86 × 29.5 × 26 cm (33.9 × 11.6 × 10.2 in.) Signed and dated ‘Joan Claud: De Cock inv: fec Antw 1715’ Antwerp, 1715



MARCEL NIES ORIENTAL ART ANTWERP Uma Maheshvara Bronze, with traces of gilding, inlaid with precious stones Height 16.5 cm (6.5 in.) Nepal, Thakuri period, 12th century

Provenance Spink & Son Ltd., London, before 1982; Galerie de Ruimte, the Netherlands, 1982; Collection Mr. Laurent Solomon, Singapore



WALTER PADOVANI MILAN ALESSANDRO ALGARDI (Bologna 1598 – 1654 Rome) Christ Resurrected Terracotta Height 52 cm (20.5 in.)



Provenance Private collection, Italy; Heim Gallery, London; Arthur M. Sackler collection, New York

GALERIE PERRIN PARIS JOHANN VALENTIN SONNENSCHEIN (1749 – 1828) Lucas and Milon Terracotta 56 × 38 × 24 cm (22 × 15 × 9.4 in.) Titled on the tree ‘Lucas et Milon’ Switzerland, circa 1780



S J PHILLIPS LTD LONDON A brooch Diamond tremblant hanging spray of flowers, open set in silver and gold Length overall 21 cm (8.25 in.) Signed ‘VEVER’ and with French assay marks Paris, the House of Vever, circa 1860



PIVA&C MILAN ANDREA BRUSTOLON (ATT.) (1662 – Belluno – 1732) Putto seating on a rock, looking up Boxwood Height 28 cm (11 in.)



POLAK WORKS OF ART AMSTERDAM Standing female Figure leaning on a Stick Wood with various pigments Height 71 cm (28 in.) Melanesia, Western Solomon Islands, Bougainville or Buka Island, late 19th – early 20th century



Provenance Collection Mathias Komor, New York; Collection Kevin Conru, Brussels

BENJAMIN PROUST FINE ART LTD LONDON LUPO DI FRANCESCO (active 1315 – Pisa – 1336) Virgin and Child Marble 43 × 19 × 16 cm (16.9 × 7.5 × 6.3 in.) Pisa, first half 14th century

Provenance Robert von Hirsch (1883 – 1977) collection, Basel, Switwerland; His posthumous sale, Sotheby’s London, 22 June 1978,lot 384; Cyril Humphris, London; Private collection, Paris



CHRISTOPHE DE QUÉNETAIN LONDON-PARIS NICOLAS HEURTAUT (1720 – Paris – 1771) Sofa Carved and gilded beech 108 × 135 × 57 cm (42.5 × 53.1 × 22.4 in.) Stamped ‘N. HEURTAUT’ Paris, circa 1750



Provenance Private collection, Europe


Provenance Cardinal Despuig collection, (1745 – 1813), Palma de Mallorca

The three Graces Bronze, gilt bronze and red porphyry Height 48 cm (19 in.) Diameter 33 cm (13 in.) Circa 1790



RICHARD REDDING ANTIQUES LTD GÜNDISAU PIERRE-CLAUDE RAGUET-LÉPINE (1753 – 1810) A Louis XVI mantel clock Eight day duration representing the Vestal Virgins Carrying the Sacred Fire, gilt and patinated bronze and white marble 64 × 53.5 × 18.5 cm (25.2 × 21 × 7.3 in.) Signed on the white enamel dial ‘Lépine/ Her. Du Roy [later defaced] Place des Victoires’ and signed and numbered on the movement ‘Lépine hger du Roy à Paris/ no 4276’



Case attributed to Pierre-Philippe Thomire Paris, circa 1785 – 90 Provenance Jean Grillon des Chapelles (1732 – 1813); Amador-Jean-Pierre Grillon des Chapelles (1768 – 1853), son of the latter; thence by descent and remaining at Château des Chapelles, Indre until recent years


GILBERT DESRUISSEAUX (1651 – 1703) A harpsichord Walnut, oak, boxwood, spruce, iron, brass, bone 93 × 77 × 208 cm (36.6 × 30.3 × 81.9 in.) Moulins, circa 1665-1669



RÖBBIG MUNICH A pair of hexagonal beaker vases Hardpaste porcelain with polychrome Indian flower decoration most probably by Adam Friedrich von Löwenfinck (1714 – 1754) Height 27.2 cm (10.7 in.) Marked in cobalt blue ‘AR’ monogram and swords mark on the unglazed underside Meissen, circa 1735



ROSSI & ROSSI HONG KONG-LONDON A pair of door bosses Iron with gold, silver and copper Diameter 29 cm (11 in.) Tibet, circa 16th – 17th century

Provenance Nyingjei Lam Collection, acquired 1980s; On loan to the Ashmolean Museum, Oxford, 1996–2005; On loan to the Rubin Museum of Art, New York, 2005–2010



RUDIGIER MUNICH PAUL EGELL (Waibstadt 1691 – 1752 Mannheim) Bozzetto for a statue of David (related to a sketch by Egell, now in the Wallraf-Richartz Museum, Cologne) Lindenwood Height 10.9 cm (4.3 in.) Mannheim, circa 1726 – 27



Provenance Probably from the Egell´s family; Afterwards in the Grand Ducal private collections, Darmstadt; Private collection, Germany

ADRIAN SASSOON LONDON JUNKO MORI (Yokohama, 1974) Silver Poetry; Spring Fever Tanka Forged fine silver 999 Weight 11,400g 22 × 32 × 28 cm (8.6 × 12.6 × 11 in.) 2019



SENGER BAMBERG KUNSTHANDEL BAMBERG CIRCLE OF VALENTIN LENDENSTREICH (circa 1460 – 1506 Saalfeld/Thuringia) Saint George and the Dragon High relief, lime wood, largely original polychromy 95 × 65 × 16 cm (37.4 × 25.6 × 6.3 in.) Thuringia, circa 1490 – 1500



SHAPERO RARE BOOKS LONDON ANDY WARHOL (Pittsburgh 1928 – 1987 New York) Ingrid Bergman: with Hat Silkscreen in colours 96.5 × 96.5 cm (37.9 × 37.9 in.) Signed in pencil and numbered from the edition of 250 Printed in New York and published in Malmo, 1983



SHIBUNKAKU KYOTO MORITA SHIRYU (1912 – Japan – 1998) Yanagi wa midori, hana wa kurenai (Green Willows, Crimson Blossoms: The true nature of things) Aluminum flake pigment in PVA glue medium, lacquer on paper, single four-panel folding screen 107.7 × 214 cm (42.4 × 84.3 in.) 1964



Provenance Private collection, Kyoto

SOMLO LONDON LONDON ROBERT GRINKIN Astronomical verge watch Silver, with single steel hour hand, date indicator and apertures for the day, sunrise and sunset moon phase and lunar calendar 4.8 × 3.9 × 2.3 cm (1.8 × 1.5 × 0.9 in.) London, 1640



MARJAN STERK FINE ART JEWELLERY AMSTERDAM CARTIER Earrings 18 carat yellow gold, platinum and diamonds Height 5.9 cm (2.3 in.) Signed ‘Cartier London’ and numbered Circa 1970



SALOMON STODEL ANTIQUITÉS AMSTERDAM The Flight to Egypt Figures of carved ivory, elements of red coral, the base papier maché, wood and cork, the base rim of tortoiseshell 22 × 30 × 14 cm (8.6 × 11.8 × 5.5 in.) Naples, circa 1700

Provenance Private collection, The Netherlands



SYMBOLIC & CHASE LONDON VAMGARD A contemporary micromosaic bracelet Micromosaic, carbon fibre with bronze, diamonds, gold and silver 18 × 8 cm (7 × 3.1 in.) Signed ‘Vamgard by M. Fioravanti’ 2020



HERIBERT TENSCHERT ANTIQUARIAT BIBERMUEHLE AG BIBERMUEHLE Luxury psalter Illuminated manuscript on vellum with 12 large calendar miniatures, nine full-page miniatures, and nine smaller miniatures, all in bold colour and with extensive gold leaf 13 Ă— 9.5 cm (5.1 Ă— 3.5 in.) Bruges, circa 1270

Provenance The emphasis on Mary Magdalene and St. Margaret suggests that the book was originally made for a woman, perhaps a nun from a wealthy family, while a thusfar undeciphered death record, as well as crossed out Catholic holidays, suggest that the manuscript was in England during the 15th and 16th centuries



CAROLLE THIBAUT-POMERANTZ NEW YORK  –  PARIS Chasses de Compiègne panoramic 1 of 4 scenes ‘the Quarry (La Curée)’ 225 × 283 cm (7.5 × 9.3 in.) Designed by Carle Vernet, wood-block printed by Jacquemart, Paris, 1812 – 1815



TÓTH - IKONEN HUIZEN Deesis Egg tempera on gesso on canvas on wood 40.5 × 88.3 cm Russia, late 17th century

Provenance Private collection, Germany



VANDERVEN ORIENTAL ART 'S-HERTOGENBOSCH Large Lonquan Celadon charger Porcelain Diameter 49.5 cm (19.5 in.) China, Ming dynasty (1368 – 1644), circa 15th century



Provenance Private collection, Belgium, 2019; Kunsthandel Aalderink, 2001; Lempertz auction Cologne 767, lot 21, 1998; Ignazio Vok Collection, Germany, 1998; Dr. Hans Schneider Collection, Meran, 1920–‘s


Provenance Private collection, Japan

Umber-Blue '87-16 Oil on canvas 181.5 × 227 cm (71.4 × 89.3 in.) Signed, titled and dated on the overlap South Korea, 1987



VKD JEWELS LONDON-MILAN ILIAS LALAOUNIS (1920 – Athens – 2013) A hinged choker and bangle 22 carat gold with spherical sodalite terminals Diameter choker 13.8 cm (5.4 in.) Diameter bangle 7.3 cm (2.9 in.) Signed ‘Ilias Lalaounis’ Greece, 1970



WARTSKI LONDON ANTONIO BERINI (1770 – 1861) Pendant ‘Leda and the Swan’ Carved sardonyx, the intertwined figures of Leda and the god Jupiter, in the form of a swan, carved in a white layer of the stone above a mottled grey-brown background 4.5 × 3.6 cm (1.7 × 1.4 in.) Signed ‘BERINI’ Milan, circa 1800



JORGE WELSH WORKS OF ART LONDON-LISBON Pair of figures of a Jewish man and lady Porcelain decorated in overglaze polychrome enamels and gold Male 44 × 26 × 11.5 cm (17.3 × 10.2 × 4.5 in.) Female 42 × 22 × 11.5 cm (16.5 × 8.6 × 4.5 in.) China, Qing dynasty, Qianlong period, 1736 – 1795



Provenance Man: Collection of Mrs. Charles R. Blyth Lady: Collection of W. Martin-Hurst, Esq., no. 553; Collection of Mrs. B. Tarry

JOAN WIJERMARS AMSTERDAM JOSÉ ÁLVAREZ CUBERO (Priego de Córdoba 1768 – 1827 Madrid) Bust of Gioachino Rossini (1792 – 1868) White marble Height 68 cm (26.7 in.) Rome, circa 1819

Provenance Commissioned by the 14th Duke of Alba, Carlos Miguel Fitz-James Stuart and delivered before 1828; Most likely given to Rossini on his visit to Madrid in 1831; Private collection, Germany, acquired in the 1980s



YUFUKU GALLERY TOKYO NOBUYUKI TANAKA (Japan, 1959) FLOW V Dry lacquer on hemp 248 × 34 × 24 cm (97.6 × 13.3 × 9.4 in.) Japan, 2018







ArtAncient Jean-David Cahn AG Galerie Chenel Galerie Cybele Galerie Galer ie Eberwei Eber wein n Charles Ede Galerie David Ghezelbash Kallos Gallery Galerie Kevorkian The Merrin Merrin Gallery, Galler y, Inc. Safani Gallery Inc. Sycomore Ancient Ancient Art Kunsthandel Kunstha ndel Mieke Mieke Zilverber Zilverberg g

1977 19

ARTANCIENT LONDON Fragment of a wall painting Fresco 18 × 12 × 3 cm (7 × 4.7 × 1.2 in.) Roman, 1st century AD



Provenance Private collection, France, acquired late 19th century

JEAN-DAVID CAHN AG BASEL  Torso of a Man Marble Height 82 cm (32.3 in.) Roman, 1st half of 2nd century AD

Provenance Collection Louis Maury, Geneva, acquired 13th February 1982; Thence by descent



GALERIE CHENEL PARIS Torso of a Man Marble 94 × 40 × 28 cm (37 × 15.7 × 11 in.) Roman, 1st-2nd century AD



Provenance Collection of Baron Léon de Somzée (1837 – 1901) since at least 1897; Sale J. Fievez, Collections de Somzée, Brussels, May 24th, 1904, lot 23; Sale J. Fievez, Collection de Mrs. de Somzée, Brussels, May 27th – 29th, 1907, lot 278; Then private collection, 102 rue de la Tour, 16th arrondissement, Paris

GALERIE CYBELE PARIS A seated figure of Hem-Min Polychrome limestone 48.5 × 25.1 cm (19 × 9.9 in.) Egypt, Old Kingdom, 6th Dynasty, 2345-2181 BC

Provenance Todross, Collection Luxor, 1959; Private collection A. B., Brussels; Sotheby’s, London, 10-11 December 1984 no. 180; Heide Van Doren Betz, Charles Pankow collection, 1985; Sotheby’s New-York 8 December 2004, no. 9



GALERIE EBERWEIN PARIS Head of the goddess Sekhmet Granite The goddess is wearing a striated tripartite wig covering her mane, the stylized whiskers and ruff are carved in shallow relief, the high projection behind the head and the sun disk has a channel for the insertion of the uraeus Height 63 cm (24.8 in.) Egypt, probably Karnak, New Kingdom, 18th Dynasty, 1550 – 1292 BC



Provenance Private collection Y. P., France, acquired in the 1970s at Mohamed el-Hassan Mohamed Hassan, Luxor

CHARLES EDE LONDON A statuette of a youthful Pharaoh Wood Height 10.2 cm (4.1 in.) Egypt, Ptolemaic Period, early 3rd century BC

Provenance Dr. Rudolf Schmidt (1900 – 1970), Solothurn, Switzerland; acquired 19th July 1954, thence by descent



GALERIE DAVID GHEZELBASH PARIS Cat statuette of the goddess Bastet Bronze Height 18.5 cm (7.3 in.) Egypt, Saite Period, 26th dynasty, 664 – 525 BC



Provenance Formerly in the collection of William von Horne (1843 – 1915), Montréal; Sotheby’s, New York, Antiquities and Islamic Art, 28 novembre 1990, lot 59; Private collection, USA, acquired in 1991

KALLOS GALLERY LONDON A lidded pyxis Marble Height 15.6 cm (6.1 in.) Greece, Classical Period, circa 440 – 400 BC

Provenance Charles Gillet Collection, 1879 – 1972, Lausanne; Madame Marion Schuster Collection, 1902 – 1982, Lausanne, thence by descent to Mathilde Marion von Goldschmidt-Rothschild, 1927 – 1993; Sotheby’s, London, 8 July 1991, lot 271



GALERIE KEVORKIAN PARIS Acrobat sitting on a ladder Bronze Height 23.5 cm (9.2 in.) Iran, probably Luristan, 2nd millennium BC



Provenance Jean-Paul Barbier collection, prior 1965; Hôtel Drouot, Paris, Collection Jean-Paul Barbier, ‘Bronzes antiques de la Perse,’ 27 May 1970, lot 113; Collection X, London and New York (Inv. no. 1557); Hôtel Drouot, Paris, Collection × (8th sale), ‘Bronzes et Terres cuites’, Louristan–Amlash, 22 September 1982, lot 8; Private collection Dr. and Mrs. F.M., Paris (Inv. no. 38)

THE MERRIN GALLERY, INC. NEW YORK Shawabti of Tchahorpate, son of Tefnout Faience Height 26 cm (10.2 in.) Egypt, Late Period, Dynasty XXX, Reign of Nectanebo II, 360 – 342 BC

Provenance Max de Zogheb Collection, Alexandria; Sold L’Hotel Drouot, 9 May 1912, lot 87; Henry Oppenheimer Collection; Christie’s London, 22 July 1936; Sotheby’s London 13 June 1966, lot 87; John F. Keane Collection, London; Sotheby’s London 9 July 1973, lot 66; Bouché private collection, France; European art market



SAFANI GALLERY INC. NEW YORK Head of Apollo Marble 28 × 23 × 23 cm (11 × 9 × 9 in.) Roman, circa 125 – 150 AD



Provenance Ugo and Aldo Jandolo, Rome, probably late 19th century; The Detroit Institute of Arts Museum, 1936 – 1999; Private collection, UK

SYCOMORE ANCIENT ART GENEVA Small head of a female divinity Hard green stone Height 6 cm (2.4 in.) Ancient Egypt, Late Period, 25th dynasty, circa 750 – 656 BC

Provenance Galerie Reiner-Bacquier, Paris; Galerie du Sycomore, Paris, acquired from the latter in January 1983 (sales invoice); Private collection, France; Private collection, Switzerland



KUNSTHANDEL MIEKE ZILVERBERG AMSTERDAM Sarcophagus lid Polychromed wood, anthropomorphic cover of a coffin decorated with man wearing tripartite striped wig and broad collar with falcon-head terminals, body showing sky goddess NUT with widespread wings at top of vertical band with hieroglyphs reading: ‘…O my mother Nut..., that I may not die…’; Height 182 cm (71.6 in.) Egypt, New Kingdom, 18th Dynastie,reign of pharao Amenhoptep III, father of Echnaton, circa 1386 – 1349 BC



Provenance Private collection E.R., Netherlands, acquired from Royal Athena Galleries, New York 2007; Private collection, Paris, 1950s, thence by descent





Bhagat Wallace Walla ce Chan Cindy Chao The Art Jewel Hemmerle Otto Jakob Van Cleef & Arpels


BHAGAT MUMBAI A ring Sapphire and diamonds set in platinum 3.1 × 2.5 × 1.5 cm (1.2 × 1 × 0.6 in.) Signed on underside ‘BHAGAT’ Mumbai, 2019



WALLACE CHAN HONG KONG Cosmic Destiny Fancy sapphire, diamond, fancy colored diamond, tsavorite garnet, pearl, titanium and the Wallace Chan porcelain 9.8 × 8 × 4.7 cm (3.8 × 3.1 × 1.8 in.) Signed ‘Wallace Chan’ Hong Kong, 2019



CINDY CHAO THE ART JEWEL HONG KONG Black Label Masterpiece I ‘Aurora Butterfly Brooch’ Titanium, aluminium, ‘Pigeon’s Blood’ Burmese rubies, diamonds, yellow diamonds, rubies, sapphires 15 × 13 cm (5.9 × 5.1 in.) 2019



HEMMERLE MUNICH Earrings Conch pearl, Melo pearl, sapphires, bronze, silver and white gold 2018



OTTO JAKOB KARLSRUHE Tettix Yellow gold, tsavorites, yellow and brown diamonds, vitreous enamel, backless plique-Ã -jour enamel, painted gold Length 7.7 cm (3 in.) 2019



VAN CLEEF & ARPELS PARIS Bracelet Platinum, white gold, three square-cut emeralds for 13.20 carats (Colombia), diamonds 18 × 2.5 cm (7 × 1 in.) Signed ‘Van Cleef & Arpels’ New York, 1956





didier Claes Galerie Galer ie Bernard Bernard Dulon Yann Ferrandin Bernard de Grunne Galerie Monbrison Lucas Ratton


DIDIER CLAES BRUSSELS Bambara Crest Wood, vegetal fibers Height 40 cm (15.7 in.) Early 20th century



Provenance De Havenon Collection, USA; Private collection, Belgium

GALERIE BERNARD DULON PARIS Reliquary figure Wood plated with copper, brass and iron Height 56.5 cm (22 in.) Kota people, Obamba group, Gabon, 19th century

Provenance Hubert Goldet collection, Paris; Private collection, New York



YANN FERRANDIN PARIS A Guro ‘gu’ mask Wood, white pigments with fine encrusted multilayered grey brown patina Heigth 36 cm (14.2 in.) Republic of Côte-d’Ivoire, 1880 – 1900 AD



Provenance Collection Mr R.R., Paris; Active collector between the 1920’s and the 1940’s; By descent to the family

BERNARD DE GRUNNE BRUSSELS Banda statue Wood Height 57 cm (22.4 in.) Central African Republic or C.A.R, 1860 – 1900



GALERIE MONBRISON PARIS Attie figure Wood Height 46 cm (18.1 in.) Ivory Coast, circa 1880 – 1930



Provenance Collection Mr René Ajalbert, Paris; Collection Mr Edward Klejman, Paris

LUCAS RATTON PARIS Songye figure Wood, metal, fiber and cloth Height 64 cm (25.2 in.) Democratic Republic of Congo, 19th century

Provenance Collection Pierre Dartevelle’s, Brussels; Collection Jan Lundberg’s, Malmö; Collection Anita Schröder’s, Malmö; Galerie Ratton-Hourdé, Paris





Carpenter Carpent erss Workshop Gallery Galler y Galerie Galer ie Chastel-Marécha Chastel-Maréchall Dansk Dans k Møbelkunst Møbelkunst Demisch De misch Danant Danant Didier Ltd Laffanour - Galerie Downtown Friedman Benda Benda Thomas Fritsch - Artrium Pierre Pierr e Marie Giraud Giraud Oscar Graf Graf Galerie Galer ie Marc Heirem Heiremans ans Jackson Design AB Jason Jacques Gallery Galler y Jousse Entrepr Entreprise ise Galerie Galeri e kreo Galerie Galer ie Jacques Lacoste Galerie Lefebvre Modernity Galerie Eric Philippe Philippe Galerie Galer ie Maria Wettergr Wettergren en


CARPENTERS WORKSHOP GALLERY LONDON INGRID DONAT (Paris, 1957) Cabinet Klimt Bronze 117.5 × 75.5 × 35.5 cm (46.3 × 29.7 × 13.9 in.) France, 2015




Provenance Private collection, Paris, France, acquired from a Parisian gallery circa 1960

A ‘Cailloux Oxydés’ mirror Lumaline, structure in white talosel, beige talosel inlaid with multicolored mirrors Diameter 66 cm (26 in.) Signed on the back ‘Line Vautrin made in France’ Paris, Line Vautrin’s studio, circa 1960



DANSK MØBELKUNST COPENHAGEN VILHELM LAURITZEN (1894 – Denmark – 1984) Bench Solid teak, tubular steel 51 × 109 × 42 cm (20 × 42.9 × 16.5 in.) Copenhagen, circa 1937



Provenance Gladsaxe City Hall, Denmark

DEMISCH DANANT NEW YORK RENÉ-JEAN CAILLETTE (Fay-aux-Loges 1919 – 2005 Paris) Martine Vanity Chromed metal, palisander, mirrors 69 × 180 × 62 cm (27 × 71 × 24.5 in.) Edition Charron France, 1962



DIDIER LTD LONDON DAVID WATKINS (Wolverhampton, 1941) Voyager, Combination neckpiece comprising five large individual grey neoprene-coated steel and wood neckrings with different geometric designs, one with an internal red ring and another with yellow, to create a multidimensional, layered narrative Max. 33 Ă— 29 cm (13 Ă— 11.4 in.) London, 1985



LAFFANOUR - GALERIE DOWNTOWN PARIS CHARLOTTE PERRIAND ‘Nuage’ bookcase Wood, lacquered bent steel and aluminum 163 × 334 × 38 cm (131 × 64.2 × 15 in.) Circa 1958



FRIEDMAN BENDA NEW YORK SHIRO KURAMATA (1934 – Japan – 1991) Set of four dining chairs designed for the Soseikan House, Takarazuka, Hyogo Oak and oak veneered wood 92.1 × 49.5 × 49.5 cm (36.3 × 19.5 × 19.5 in.) Japan, 1975 – 76



Provenance Soseikan Yamaguchi House, Takarazuka, Hyogo, Japan

THOMAS FRITSCH - ARTRIUM PARIS VALENTINE SCHLEGEL (Sète, 1925) Double vase Blue enamelled ceramic 37 × 41 × 22.5 (14.5 × 16.1 × 8.8 in.) Signed ‘V. Schlegel’ 1958

Provenance Galerie Mouvements Modernes, Pierre Staudenmeyer, Paris; Private collection, Levallois-Perret



PIERRE MARIE GIRAUD BRUSSELS JEAN GIREL (Savoy, 1947) Two bassins Porcelain, glazes Various sizes France, 2013



OSCAR GRAF PARIS CHARLES ROBERT ASHBEE (Isleworth 1863 – 1942 Sevenoaks) Ladle Silver, horn, chrysoprase Length 43 cm (16.9 in.) 1900

Provenance Collection of Arthur Currer Briggs, Mayor of Leeds (1903 – 1904) and Alderman of the City of Leeds (1904 – 1906); Thence by direct family descent to the present owner until 2019



GALERIE MARC HEIREMANS ANTWERP  FULVIO BIANCONI (Padua 1915 – 1996 Milan) Con macchie vase Free blown glass with embedded decorations Height 23 cm (9.2 in.) Acid-stamp ‘Venini Murano Italia’ Murano, 1950



Provenance Private collection, Switzerland

JACKSON DESIGN AB STOCKHOLM TURE RYBERG (1888 – Sweden – 1961) Rosewood, inlaid wood marquetry, pewter 76 × 87 × 43 cm (29.9 × 34.3 × 16.9 in.) Sweden, circa 1925



JASON JACQUES GALLERY NEW YORK GARETH MASON (Pembroke, 1965) Where The Duende Wounds Earthenware, stoneware, porcelain, shards, oxides 130.8 × 55.8 × 60.9 cm (51.5 × 22 × 24 in.) Syracuse, NY, 2019



Provenance Directly from the artist

JOUSSE ENTREPRISE PARIS JEAN PROUVÉ (Paris 1901 – 1984 Nancy) Stool Seat in pressed sheet aluminum lacquered ‘blood red’ 42 × 42 cm (16.5 × 16.5 in.) 1951




JAY OSGERBY (Oxford, 1969) ‘Hakone’ coffee table Solid natural oak 45 × 180 × 90 cm (17.7 × 70.9 × 35.4 in.) Limited edition of 8 pieces + 2 A.P. + 2 prototypes, numbered and signed 2018



GALERIE JACQUES LACOSTE PARIS JEAN ROYÈRE (Paris 1902 – 1981 Pennsylvania) ‘Croisillons’ chandelier Red painted metal and paper shades 100 × 140 cm (39.4 × 55.1 in.) Paris, 1956

Provenance Acquired from the family of the first owner Mr. Hierholtzer, one of the directors of the French magazine Maison Française



GALERIE LEFEBVRE PARIS FRANÇOIS XAVIER LALANNE (Agen 1927 – 2008 Ury) Chien Prosaïque Bronze 44 × 55 × 25 cm (17.3 × 21.6 × 9.84 in.) Signed with artist’s monogram ‘F.X.L.’ and foundry mark ‘Bocquel’ France, 1987, cast in 1988



Provenance Formerly in the collection of Madame X, close personal friend of FrancoisXavier and Claude Lalanne

MODERNITY STOCKHOLM KAARE KLINT (Frederiksberg 1888 – 1954 Copenhagen) Three seater sofa Oak burl and Niger leather 73 × 220 × 79 cm (28.7 × 86.6 × 31.1 in.) Manufactured by cabinetmaker N.M. Rasmussen, H. Holbæk Denmark, 1916

Provenance Commissioned by Chamberlain Valdemar Krieger for the Estruplund Estate in Djursland, Denmark (this sofa had never left Krieger’s family)




JACQUES LENOBLE (1902 – 1967) Coffee table Solid oak, ceramic and cement top 45.5 × 88 × 82.5 cm (18 × 34.7 × 32.5 in.) France, late 1940s




Provenance Directly from the artist

Growth Table Solid maple wood, splits in oak 163 × 66 × 76 cm (64.2 × 26 × 29.9 in.) Signed with heat stamp 2017





Emanuel von Baeyer Galerie Galer ie Berès Berès James Butterwick But terwick Enrico Ceci Cor Cornici nici Antich Antiche e Le Claire Kunst Kunst Stéphane Stéphan e Clavreuil Rare Books Day and Faber Eric Gillis Fine Art Patrick Patric k Heide Heide Contemporary Art Galleri K Christopher Kingzett Galerie Antoine Laurentin Maurizio Nobile Nobile Stephen Ongpin Fine Art Galerie de la Présidence Kunsthandlung Kunsth andlung Helmut Helmut H. Rumbler Librairie Camille Camille Sourget Galerie Tanakaya Nicolaas Teeuwisse OHG Omer Tiroche Gallery Galerie Galer ie Utermann Utermann William Weston Gallery W&K-Wienerr W&K-Wien erroither oither & Kohlbacher


EMANUEL VON BAEYER LONDON JOSEPH FISCHER (1769 – V ienna – 1822) Portrait of the Artist with an injured foot looking at a drawing Etching and aquatint in brown 13.2 × 22.8 cm (5.2 × 9 in.) 1798



GALERIE BERÈS PARIS SAM SZAFRAN (Paris 1934 – 2019 Malakoff)

Provenance Private collection, Paris

Untitled Watercolour on paper 74 × 47.7 cm (29.1 × 18.7 in.) Signed lower center, ‘Szafran Malakoff’ 1987



JAMES BUTTERWICK LONDON YAKOV CHERNIKHOV (Pavlograd 1889 – 1951 Moscow) Complicated Bending Forms (Strength and Movement) from the series Fundamentals of Modern Architecture Gouache and ink on paper 30.3 × 24.1 cm (11.9 × 9.5 in.) Mid 1920



Provenance Estate of the artist; Barry Friedman Ltd., New York (stock no. BF3836); accompanied by a certificate of authenticity issued by the artist’s grandson, Andrei Chernikhov, dated 8 April 1990

ENRICO CECI ANTIQUE FRAMES MODENA Frame Carved and gilded wood, painted black tempera enriched with lapis lazuli and mother-of-pearl Inside 30.3 × 24.5 cm (11.9 × 9.6 in.) Outside 77.5 × 53.5 cm (30.5 × 21 in.) Venice, 16th century



LE CLAIRE KUNST HAMBURG ANTOINE-JEAN BARON GROS (Paris 1771 – 1835 Meudon) Portrait of the Marquis Pierre Gaston Henri de Livron, Aide-de-Camp of Maréchal Murat Oil sketch on canvas 21.6 × 19.6 cm (8.5 × 7.7 in.) 1812



Provenance The studio sale of Baron Gros, Paris 23 Nov. 1835, no. 28; Auguste-Joseph Carrier (painter and pupil of Gros); His sale: Hôtel Drouot, Paris, 5 May 1875, no. 175; Family of General de Livron; Germain Seligman, New York, between 1955 – 1959


Provenance From the library of Antoine ‘The Good’ Duke of Lorraine (1489 – 1544)

Vies de Romulus et de Caton d’Utique (Lives of Romulus and Cato the Younger) in the French translation of Simon Bourgoyn Manuscript on vellum, ink, liquid, 54 fullpage miniatures illuminated by the Master of Philippa of Guelders, Jean Coene IV, and an artist from the Pichore circle 35 × 22 cm (13.7 × 8.6 in.) Paris, circa 1508



DAY AND FABER LONDON THOMAS FEARNLEY (Frederikshald 1802 – 1842 Munich) Study of pine trees, Romsdal, Norway Oil on paper laid on panel 210 × 280 mm (8.3 × 11 in.) Signed, inscribed and dated lower centre ‘28 Aug 1836 / TF’



Provenance Private collection, Oslo


Provenance Private collection, Paris

The Hermitage, in Jersey Pen, brown ink on laid paper 19 × 22 cm (7.5 × 8.6 in.) Signed and dated lower right ‘Victor Hugo 1855’ Jersey, 1855



PATRICK HEIDE CONTEMPORARY ART LONDON KÁROLY KESERÜ (Hungary, 1962) Untitled (1901093) - XXth Century Series: Paul Klee: ‘Take a line and a few more for a walk..’ Ink on paper 76 × 57 cm (29.9 × 22.4 in.) 2019



GALLERI K OSLO THOMAS STRUTH (Germany, 1954) ALICE, CERN, Saint Genis-Pouilly Inkjet print 277.1 × 236.4 cm (109 × 93 in.) Signed on the reverse 2019



CHRISTOPHER KINGZETT LONDON HENRY MOORE (Castleford 1898 – 1986 Much Hadham) Three Reclining Figures; Studies for Sculpture Pencil, wax crayon, watercolour and ink 22 × 14.5 cm (8.75 × 5.75 in.) Signed and dated lower right 1940



Provenance Piccadilly Gallery, 1970; Private collection, England


Provenance Collection Pierre Bourut

Composition Gouache on paper 30 × 22.5 cm Signed lower right, stamp on reverse ‘François Kupka’ Circa 1930



MAURIZIO NOBILE BOLOGNA –   PARIS UBALDO GANDOLFI (San Matteo della Decima 1728 – 1781 Ravenna) Portrait of a Young Girl in Profile Portrait of Marta, the Artist’s Nephew (?) Red chalk heightened in white chalk 30.5 × 22 cm (12 × 8.6 in.) Circa 1777



Provenance Private collection, Bologna

STEPHEN ONGPIN FINE ART LONDON CORNELIS VISSCHER (1628 – Haarlem – 1658) Portrait of a Young Man, possibly a Self-Portrait Black chalk on paper 21 × 17.6 cm (8.2 × 6.9 in.)



GALERIE DE LA PRÉSIDENCE PARIS SONIA DELAUNAY (Ukraine 1885 – 1979 Paris) Rythme couleur n°F1248 Gouache on paper 58 × 78 cm (22.8 × 30.7 in.) Signed and dated lower right 1965



Provenance Galerie Hybler, Copenhagen; Collection Henry Schmidt, Copenhagen; Private collection, Denmark; Private collection, London


Provenance Cabinet Brentano Birkenstock (Lugt 345)

(Leiden 1606 – 1669 Amsterdam) Adam and Eve Etching 16.3 × 11.7 cm (6.4 × 4.6 in.) Signed and dated in the plate ‘Rembrandt. f. 1638’ 1638



LIBRAIRIE CAMILLE SOURGET PARIS JEAN GUILLAUME WEINMANN Phytanthoza Iconographia... A Baroque herbarium illustrated with 1.025 plates in contemporary colors in its elegant contemporary binding in red morocco. First edition, complete, 4 folio volumes 40 × 24.4 cm (15.7 × 9.6 in.) Ratisbon (Regensburg), Jerome Lenz (vol. 1 – 3); J. G. Neubauer (vol. 4), 1737 – 1745



GALERIE TANAKAYA PARIS ITÔ SHINSUI (1898 – 1972) Mayuzumi (Eyebrow Pencil) Shin-Hanga woodblock print Size ‘Oban yoko-e’, 28.5 × 39.9 cm (11.2 × 15.7 in.) (incl. margins) Signed ‘Shinsui ga’ Tokyo, Showa 3, 1928



NICOLAAS TEEUWISSE OHG BERLIN FRANÇOIS-PHILIPPE CHARPENTIER (1734 – Blois – 1817) Vue du Temple de Salomon et de ses Parvis Lavis etching 47.7 × 66 cm (18.7 × 26 in.) 1766




Provenance Private collection, Europe

Roses et mimosas (Nice et la Côte d’Azur) Gouache, pastel and coloured crayon on paper 76.3 × 56.3 cm (30 × 22 in.) Stamped with the signature lower left ‘Marc Chagall’ 1960



GALERIE UTERMANN DORTMUND MAX BECKMANN (1884 – 1950) Stilleben mit roten Rosen Oil on canvas 93 × 72.5 cm (36.6 × 28.5 in.) Signed and dated lower right ‘Beckmann 14’ 1914



Provenance Collection Henry Bernhard Simms, Hamburg; Collection Gertrud Simms, Berlin; Private collection, South America; Dr. Walter Feilchenfeldt, Zurich; Galerie Hans Fetscherin, Munich; Collection Georg Schäfer, Schweinfurt; W. Schuller Kunsthandel, Wertheim; Private collection, Hessia; Private collection, Northrhine-Westphalia


Provenance With a certificate from the Comité Picasso 18.10.2016.

Le Petit Dessinateur. The Little Artist. Claude Picasso with Paloma & Francoise. Original lithograph in colour 65.5 × 50 cm (25.8 × 19.7 in.) Signed in pencil Dated ‘18 May 1956’



W&K-WIENERROITHER & KOHLBACHER VIENNA-NEW YORK EGON SCHIELE (Tulln an der Donau 1890 – 1918 Vienna) Reclining Male Nude Watercolour and pencil on paper 31 × 43 cm (12.2 × 16.9 in.) Kallir 666 Signed and dated lower right 1910



Provenance Dr. Rüdiger von Engerth, Vienna (acquired in 1946 and 1947);by descent to private collection, Austria, 2005





Galerie 1900-2000

Hidde van Seggelen

Applicat-Prazan Applicat-Pr azan

Sprovier Spr ovierii

Baillyy Gallery Baill

Galeria Sur

Beck & Eggeling International Fine Art

Galerie Thomas

Galerie Galer ie de la Béraud Béraudièr ière e

Leon Tovar Gallery


Galerie Patrice Patrice Trigano

Galerie Boulakia

David Tunick, Inc.

Brame & Lorenceau Ben Brown Fine Arts

Galerie Georges-Philip Georges-Philippe pe & Nathalie Vallois


Vedovi Gallery

Connaught Brown

Galerie von Vertes

Galleria Continua

Waddington Custot

Massimo De Carlo

Van de Weghe


Yares Art

Gana Art

Alon Zakaim Fine Art

Thomas Gibson Fine Art

Galerie Zlotowski

Tornabuoni Arte

Galerie Gale rie Gmurzynska Galerie Karsten Greve AG Galerie Galer ie Haas Hammer Galler Galleries ies Galerie Galer ie Henze Henze & Ketterer Ketterer & Triebold Triebold Galerie Max Hetzler Galerie Hopkins Gallery Hyundai Jaski Gallery Galler y Tina Kim Gallery / Kukje Kukje Gallery Landau Fine Art David Lévy & Associés Lisson Gallery Ludorff Galleria dArte Maggiore G.A.M. Maruani Mercier Mercier Mayoral The Mayor Gallery Mazzoleni Mazzole ni Fergus McCaffrey kamel mennour Mignoni Galerie Le Minotaure ML Fine Art Osborne Samuel Almine Rech Thomas Salis 277

GALERIE 1900-2000 PARIS HANS ARP (Strasbourg 1886 – 1966 Basel) Configuration oppression Wooden relief 27.5 × 21.5 cm (10.8 × 8.5 in.) Signed underside 1951



Provenance Printing company Fequet and Baudier, Paris; Private collection, Paris


Provenance Collection of the Artist; Galerie Sapone, Nice; Private collection, Monaco

Pierres n° 4 Oil on canvas 130 × 97 cm (51.2 × 38.2 in.) Signed and dated lower right 1933



BAILLY GALLERY GENEVA-PARIS MARIA ELENA VIEIRA DA SILVA (Lisbon 1908 – 1992 Paris) La Cuisine (The Kitchen) Tempera on canvas 47 × 35 cm (18.5 × 13.8 in.) Signed and dated lower right ‘vieira da silva 50’ Portugal, 1950



Provenance Private collection, Switzerland

BECK & EGGELING INTERNATIONAL FINE ART DÜSSELDORF GERHARD RICHTER (Dresden, 1932) Fuji Oil on Alucobond 29 × 37 cm (11.4 × 14.5 in.) Signed verso ‘Richter’ No. 42 from an edition of 110 unique pieces (numbered accordingly on verso) 1996

Provenance Galerie Fred Jahn, Munich; Galerie 20.21, Essen; Private collection, North Rhine-Westphalia



GALERIE DE LA BÉRAUDIÈRE BRUSSELS JOAN MIRÓ (Barcelona 1893 – 1983 Palma) Femme et oiseau Bronze 32.5 × 25.5 × 15 cm (12.7 × 10.1 × 5.9 in.) Signed, numbered and stamped ‘Miró, 2/2, Fonderie Parellada Barcelone’ Barcelona, 1968



Provenance Galerie Maeght, Paris; Private collection, Los Angeles, 1969; Private collection, Texas, 2001; Private collection, Belgium, 2018

BORZOGALLERY AMSTERDAM JAN SCHOONHOVEN (1914 – Delft – 1994) Diagonalen (Diagonals) Wood, cardboard, papiermâché and white paint 126 × 86 cm (49.6 × 33.8 in.) Signed, titled and dated on reverse 1967

Provenance Galerie Orez, The Hague; Olivetti Latin American Collection; Irving Stenn Jr. Collection, Chicago



GALERIE BOULAKIA PARIS HANS HARTUNG (Leipzig 1904 – 1989 Antibes) T1989-U40 Acrylic on canvas 195 × 130.5 cm (76.7 × 51.3 in.) 1989



Provenance Timothy Taylor Gallery, London; Private collection, Paris

BRAME & LORENCEAU PARIS HANS HARTUNG (Leipzig 1904 – 1989 Antibes)

Provenance Private collection, France

T1948-22 Oil on canvas 50.5 × 65 cm (19.8 × 25.6 in.) Signed and dated lower left ‘Hartung 48’ 1948



BEN BROWN FINE ARTS LONDON ALIGHIERO BOETTI (Turin 1940 – 1994 Rome) Mappa Embroidery 88.9 × 123.8 cm (35 × 48.7 in.) 1979




Provenance The artist; Private collection, Italy; Cardi Gallery, Milan-London

Untitled Iron sheet, iron shelving and rolled burlap sacks soaked in white kaolin 200 × 360 cm (78.7 × 141.7 in.) Italy, 1999



CONNAUGHT BROWN LONDON PABLO PICASSO (Malaga 1881 – 1973 Mougins) Nus Masculins (Les trois âges de l’homme) Oil on canvas 53.8 × 64.8 × 7 cm (21.2 × 25.5 × 2.8 in.) Signed lower left ‘Picasso’ 1942



Provenance Louis Carré & Co., Paris; Arthur Tooth & Sons, London (October 1952); Marcel Mabille, Brussels (11 March 1953); Private collection, Europe (by descent from the above; Sotheby’s, London, 2 Dec. 1986, lot 72; Galerie Jan Krugier, Geneva; Private collection, Asia; Sotheby’s, New York, 3 Nov. 2008, lot 68; Repurchased by Jan Krugier (personal collection; acquired at the above sale); Thence by descent; Sotheby’s, London, 23 June 2014, lot 6

GALLERIA CONTINUA SAN GIMIGNANO ANTONY GORMLEY (London, 1950) SUM Cast iron 22 × 289 × 476 cm (8.6 × 113.8 × 187.4 in.) 2012



MASSIMO DE CARLO MILAN-LONDON-HONG KONG YAN PEI-MING (Shanghai, 1960) Le dernier repas vert Oil on canvas 46 × 88 × 2.5 cm (18.1 × 34.6 × 1 in.) Signed and dated on the back 2019



Provenance Directly from the artist

DICKINSON LONDON AUGUSTE RODIN (Paris 1840 – 1917 Meudon) Petite Eve Bronze with green black patina 75.2 × 24.2 × 30 cm (29.6 × 9.5 × 11.8 in.) Inscribed on the upper left of the base ‘A. Rodin’, inscribed to interior of bronze ‘A. Rodin’ Conceived in 1883 and cast in 1917

Provenance Émile Chouanard, Paris; Anon. sale; Baron Ribeyre & Associés, Paris, 17 June 2009, lot 134; Private collection, UK



GANA ART SEOUL CHOI JONG-TAE (Korea, 1932) Face Bronze 85.2 × 52 × 29 cm (33.5 × 20.5 × 11.4 in.) Signed and dated on the top right of its own stand Seoul, 2015



Provenance Directly from the artist

THOMAS GIBSON FINE ART LONDON PABLO PICASSO (Malaga 1881 – 1973 Mougins) Femme au tablier Oil over lithograph on paper 65.5 × 50 cm (25.8 × 19.8 in.) Dated upper left ‘28.3.49’ 1949

Provenance Estate of the artist; Thomas Gibson Fine Art, London; Private collection, Switzerland, 1983; Sale: Sothebys, London, 19 June 2019, lot 20; Private collection, UK



GALERIE GMURZYNSKA ZURICH THEO VAN DOESBURG (Utrecht 1883 – 1931 Davos) Color design for ceiling and three walls for the Café de l’Aubette Ciné-dancing wallpainting in Strasburg Gouache on paperboard 43 × 74.5 cm (16.9 × 29.3 in.) 1926 – 1927



Provenance Madame Bloemena, The Netherlands

GALERIE KARSTEN GREVE AG ST. MORITZ-COLOGNE-PARIS PIERO MANZONI (Soncino 1933 – 1963 Milan) Achrome Pebbles and kaolin on canvas 74 × 56 cm (29 × 22 in.) 1962

Provenance Forchino Collection, Turin; Galleria Notizie, Turin; Private collection, Milan; Private collection Alberto Salvati, Milan, (acquired from the above in the early 70s)



GALERIE HAAS ZÜRICH ERNST WILHELM NAY (Berlin 1902 – 1968 Cologne) Einklang Oil on canvas 100 × 120 cm (39.4 × 47.2 in.) Signed and dated lower right, signed, titled and dated on the stretcher Cologne, 1953



Provenance Gallery Günther Francke, Munich (1953); Private collection, Northern Germany; Private collection, Germany

HAMMER GALLERIES NEW YORK CLAUDE MONET (Paris 1840 – 1926 Giverny) Coup de vent Oil on canvas 81.4 × 65.5 cm (32.1 × 25.6 in.) Signed and dated lower right ‘81 Claude Monet’ Normandy, late Augustearly September 1881



GALERIE HENZE & KETTERER & TRIEBOLD RIEHEN/BASEL GEORG TAPPERT (1880 – Berlin – 1957) Mädchen am Tisch (Betty mit Fächer) (Girl at the Table (Betty with Fan) Oil on canvas 109.5 × 91.5 cm (43.1 × 36 in.) Signed upper left Berlin, 1913



Provenance Estate of the artist; Leonard Hutton Galleries, New York; Christie’s London, 09.10.96, no. 135; Private collection Austria; Galerie Henze & Ketterer & Triebold, 2016


Provenance The artist

kleine prosa, I 23 porcelain tiles (one with gilding) with embossed, handwritten text and one marble block in a free-standing vitrine with plexiglass glazing, aluminium frame finished in white, and a plexiglass plinth Vitrine 43 × 58 × 22 cm (16.9 × 22.9 × 8.6 in.) Plinth 107 × 64 × 28 cm (42.1 × 25.1 × 11 in.) 2019



GALERIE HOPKINS PARIS JEAN DUBUFFET (Le Havre 1901 – 1985 Paris) La chasse au biscorne Gouache on paper and collages 57.7 × 75.2 cm (22.7 × 29.6 in.) Signed and dated lower left ‘J.Dubuffet, 63’ 1963



Provenance Robert Elkon Gallery, New York; Collection Thomas C. Adler, Cincinnati, Ohio (acquired from the above circa 1964 – 5); Dr. David Adler, USA (by descent)

GALLERY HYUNDAI SEOUL SHIN SUNG HY (Ansan 1948  –  2009 Seoul)

Provenance Estate of the artist

Solution de Continuité Acrylic and oil on canvas 150 × 150 cm (59 × 59 in.) Signed lower right and on top on verso 1998



JASKI GALLERY AMSTERDAM KAREL APPEL (Amsterdam 1921 – 2006 Zurich) Flying People Oil on canvas 130 × 195 cm (51.2 × 76.7 in.) Signed and dated lower right ‘appel 75’ 1975



Provenance Galerie Nova Spectra, The Hague; Acquired from the above by the previous owner in 1981

TINA KIM GALLERY / KUKJE GALLERY NEW YORK LEE UFAN (Korea, 1936) From Line No. 800152 Oil and mineral pigment on canvas 129.5 × 162.2 cm (50.9 × 63.8 in.) Signed and dated lower right ‘L. UFAN 80’, and signed and titled on the reverse ‘From line No. 800152. Lee Ufan’ 1980



LANDAU FINE ART MONTREAL PABLO PICASSO (Malaga 1881 – 1973 Mougins) Femme dans une fauteuil (Françoise) Oil on canvas 100.3 × 81.3 cm (39.5 × 32 in.) 1948 – 49



Provenance Galerie Louise Leiris (Daniel-Henry Kahnweiler), Paris, acquired from the artist 1949; Schoneman Galleries, New York, 1956; A.B. Martin, Glenhead, New York, 1957; Phyllis B. Lambert, Montreal, 1959 – 1964; Sári Heller Gallery Ltd., Beverly Hills, 1972; Burt Kleiner, California

DAVID LÉVY & ASSOCIÉS BRUSSELS-PARIS JOAN MITCHELL (Chicago 1926 – 1992 Neuilly-sur-Seine)

Provenance Galerie Jean Fournier; Madame Hennesy Del Porto, 1994; Private collection, Paris

Untitled n. 17 Pastel on paper 78 × 58 cm (31.2 × 22.8 in.) 1977



LISSON GALLERY LONDON LEE UFAN (Korea, 1936) Relatum Stage Two steel panels, two stones, concrete base 220 × 400 × 450 cm (86.6 × 157.5 × 177.1 in) Installation view at Serpentine Gallery, 2018



Provenance Directly from the artist


Provenance The artist’s studio; Collection Dr. René Theler, Basel; Private collection Paris

Gris et rouge Oil on canvas 162 × 130 cm (63.8 × 51.3 in.) Signed 1964



GALLERIA DARTE MAGGIORE G.A.M. BOLOGNA-MILAN-PARIS GIORGIO MORANDI (1890 – Bologna – 1964) Natura Morta (Still Life) Oil on canvas 47.6 × 23 cm (18.7 × 9 in.) Signed upper centre ‘Morandi’ Bologna, 1957



MARUANI MERCIER BRUSSELS-KNOKKE-ZAVENTEM RON GORCHOV (Chicago, 1930) Promenade Oil on linen 204.5 × 174.5 × 25 cm (80.5 × 68.7 × 9.8 in.) 1985

Provenance Thomas Brambilla, Italy; Denver Art Museum, Denver; Private collection, New York; Artist studio



MAYORAL BARCELONA EDUARDO CHILLIDA (1924 – San Sebastián – 2002) Mural G-103 Fired clay with oxide copper 329 × 329 × 6 cm (129.5 × 129.5 × 2.4 in.) 1985



Provenance Private collection, Spain


Provenance The artist; the Mayor Gallery, London; Private collection, England

Old Lady II Fabric, thread, wood, stuffing, leather and rocking chair 101.6 × 50.8 cm (40 × 20 in.) England, 1967



MAZZOLENI LONDON-TURIN GIACOMO BALLA (Turin 1871 – 1958 Rome) Linee Forze di Mare-Rosa Oil on canvas 65 × 100 cm (25.6 × 39.4 in.) Signed lower left ‘FUTUR BALLA, signed and titled on the reverse ‘LINEE FORZE DI MARE / BALLA’ Circa 1919



FERGUS MCCAFFREY NEW YORK KAZUO SHIRAGA (1924 – Amagasaki – 2008) Untitled Oil on canvas 97 × 130.3 cm (38.3 × 51.3 in.) Signed lower right 1964



KAMEL MENNOUR PARIS-LONDON UGO RONDINONE (Brunnen, 1964) the jasmine Resin, earth, dried jasmine 305 × 240 × 235 cm (120 × 94.5 × 92.5 in.) 2016



MIGNONI NEW YORK KENNETH NOLAND (Ashville 1924 – 2010 Port Clyde)

Provenance The artist; Leslie Feely, New York; Private collection, New York

Shade Acrylic on canvas 40.6 × 288.3 cm (16 × 113.5 in.) Signed and dated on reverse ‘Shade Kenneth Noland 1969’ 1969



GALERIE LE MINOTAURE PARIS ROBERT DELAUNAY (Paris 1885 – 1941 Montpellier) La Flèche de Notre-Dame (The Spire of Notre-Dame de Paris) Watercolor on paper 63.5 × 44.5 cm (25 × 17.5 in.) Signed and dated lower left 1909



Provenance Robert Delaunay Estate

ML FINE ART LONDON FAUSTO MELOTTI (Rovereto 1901 – 1986 Milan)

Provenance Private collection, Germany (gift of the artist)

Rondò Brass 152 × 102 × 73 cm (59.8 × 40.1 × 28.7 in). Diameter 88 cm (34.6 in). 1978



OSBORNE SAMUEL LONDON HENRY MOORE (Castleford 1898 – 1986 Much Hadham) Maquette for Reclining Figure No 2 Bronze 9.8 × 24.8 × 8.6 cm (3.7 × 9.7 × 3.5 in.) Edition of 11 plus one artist’s cast Conceived and cast by Gaskin Foundry, 1952



Provenance Galerie Uterman, Dortmund; Private collection,1993; Sotheby’s London, 2005; Private collection, London

ALMINE RECH PARIS-BRUSSELS-LONDON-NEW YORK-SHANGHAI HA CHONG-HYUN (Sancheong,1935) Conjunction 18-17 Oil on hemp cloth 130 × 97 cm (51.2 × 38.3 in.) 2018



THOMAS SALIS SALZBURG MAX LIEBERMANN (1847 – Berlin – 1935) Die grosse Seestrasse in Wannsee mit Spaziergängern Oil on canvas 60.4 × 72.5 cm (23.8 × 28.5 in.) Signed lower left ‘M Liebermann’ Circa 1920



Provenance (possibly) Bruno Cassirer, Berlin (acquired circa 1933); Private collection, Switzerland; Galerie Benador, Bern; Metzger, Bern (acquired before 1934); Private collection, Rheinland; Private collection, Nordrhein-Westfalen; Sale: Lempertz, Cologne, 5.12.2009 (lot 958); Galerie Ludorff, Berlin; Private collection, Germany

HIDDE VAN SEGGELEN HAMBURG PERE LLOBERA Rococo Oil on linen 120 × 150 × 4 cm (47.2 × 59 × 1.6 in.) Signed on reverse Barcelona, 2018



SPROVIERI LONDON JANNIS KOUNELLIS (Piraeus 1936 – 2017 Rome) Untitled Lead, cast Murano glass, iron wire, coats on steel panel 200 × 180 cm (78.7 × 70.9 in.) 2008



Provenance Directly from the artist

GALERIA SUR LA BARRA, PUNTA DEL ESTE – M ONTEVIDEO JOAQUÍN TORRES GARCÍA (1874 – Montevideo – 1949) Edificio universal Oil on canvas 72 × 65 cm (28.5 × 24.5 in.) Signed upper left ‘J. TorresGARCIA’, dated upper right ‘31’ Paris, 1931

Provenance Estate of the artist; Manolita Piña de Torres-García, Montevideo; Galería Sur, Punta del Este, Uruguay; Private collection, Montevideo



GALERIE THOMAS MUNICH CHAIM SOUTINE (Smilovichi (near Minsk) 1893 – 1943 Paris) Landscape at Cagnes Oil on canvas 60 × 73 cm (23.6 × 28.7 in.) Signed lower right 1923 – 24



Provenance Jacob Goldschmidt, New York, until 1951; Perls Galleries, New York, 1951; Edward A Bragaline, New York, 1951 until 1953; Jacques Lindon, New York, until June 15, 1961; Private collection, Toronto/Paris, June 15, 1961 until 2002; Private collection by descent until 2006; Private collection, Geneva until 2007; Private collection, USA


Provenance Private collection, Switzerland

Mimetico Military camouflage canvas 68 × 132 cm (26.7 × 52 in.) 1981



LEON TOVAR GALLERY NEW YORK MARCELO BONEVARDI (Buenos Aires 1929 – 1994 Córdoba) Head Limestone 23.5 × 17 × 13.5 cm (9.3 × 6.8 × 5.3 in.) Stamped ‘B.’ and dated ‘68’ on the underside 1968



Provenance The estate of the artist

GALERIE PATRICE TRIGANO PARIS CÉSAR BALDACCINI (Marseille 1921 – 1998 Paris) Pouce Polished bronze 350 × 197 × 142 cm (137.7 × 77.5 × 55.6 in.) Signed and numbered ‘1/8’ Bocquel Foundry Conceived in 1980, cast in 2019

Provenance This copy was cast in 2019, with the agreement of Stéphanie Busuttil, copyright holder, in accordance with the edition contract from 17/12/1980 between César and Patrice Trigano



DAVID TUNICK, INC. NEW YORK ODILON REDON (Bordeaux 1840 – 1916 Paris) Bouquet de Fleurs Pastel on board 70 × 53.5 cm (27.5 × 21 in.) Signed lower left ‘Odilon Redon’ Circa 1900



Provenance Marcus Sieff, Baron Sieff of Brimpton (1913 – 2011), UK; probably Matthiesen Gallery, London, 1959; Private collection, Canada; Thence by descent


Provenance Artist studio, USA

Lone Star Oil on canvas 198 × 198 cm (78 × 78 in.) 1991



VEDOVI GALLERY BRUSSELS JOSEF ALBERS (Bottrop 1888 – 1976 New Haven) Study for homage to the square ‘Allegro’ Oil on masonite 40 × 40 cm (15.7 × 15.7 in.) Signed with initials and dated ‘61’ lower right; signed, titled, dated ‘1961’ and variously inscribed on the reverse 1961



Provenance Galerie Bischofberger, Zurich; Private collection, Europe

GALERIE VON VERTES ZURICH ROY LICHTENSTEIN (1923 – New York – 1997) Imperfect Painting Oil and magna on canvas 85.7 × 61 cm (33.7 × 24 in.) Verso signed and dated 1987

Provenance Estate of the artist, inv. no. RL 1156; Mitchell-Innes & Nasch, New York; Private collection, Germany, acquired from the above in 2003



WADDINGTON CUSTOT LONDON BARRY FLANAGAN (Prestatyn 1941 – 2009 Ibiza) Hare and Bell Bronze 124.5 × 94 × 22.9 cm (49 × 37 × 22 in.) 1981



Provenance Plubronze Limited

VAN DE WEGHE NEW YORK ANDY WARHOL (Pittsburgh 1928 – 1987 New York City) Bald Eagle Acrylic and silkscreen ink on canvas 152.5 × 152.5 cm (60 × 60 in.) Signed and dated on the overlap; stamped with the artist’s initials on the stretcher New York, 1983

Provenance Alexander Iolas (acquired directly from the artist); Private collection, Greece; Private collection, New York



YARES ART NEW YORK MORRIS LOUIS (1912 – 1962) Mira Acrylic on canvas 209.6 × 83.8 cm (82.5 × 33 in.) 1962



Provenance Estate of the artist; André Emmerich Gallery, New York; Private collection, Chicago; Yares Art, New York, Santa Fe

ALON ZAKAIM FINE ART LONDON MARC CHAGALL (Liozna 1887 – 1985 Saint Paul de Vence) Le village au soleil India ink wash, gouache, pastel and India ink on paper 65 × 45 cm (25.6 × 17.8 in.) Signed lower right ‘Marc Chagall’, dated lower centre ‘1957 – 9 ’ 1957 – 59

Provenance The Estate of Marc Chagall; David McNeil; Neue Galerie Richard, Zurich; Galerie Gmurzynska, Cologne; Greer Gallery, New York; Private collection, Japan (acquired from the above in 1989)



GALERIE ZLOTOWSKI PARIS SOPHIE TAEUBER-ARP (Davos 1889 – 1943 Höngg, Zurich) Sans titre Gouache and pencil on paper 25.9 × 35 cm (10.2 × 13.7 in.) 1927



Provenance Mme Ruth Tillard-Arp, Paris






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Houvast bieden. Dat is de kunst. We willen vooruit uit.. Naar een duurzame duur zame economie. economie. Een wereld die we kunnen doorgeven. En weten wat dit betekent voor hoe we werken en leven. Maar de veranderingen gaan razendsnel. nel. Dat is niet alti altijd jd makkelijk. Het leidt tot grote en ingewikkelde vragen vragen.. Hoe houdbaar is mijn pensioen? Wat is de waarde van privacy in een digitale wereld? En hoe vergroten organisaties hun relevantie op de lange termijn? jn? In die nieuwe wereld, onze nieuwe wereld, moeten we de handen ineenslaan om antwoorden te vinden op de grote vragen van onze tijd. In die wereld kunnen we alleen succesvol zijn als we verbinden, met onszelf, elkaar, onze klanten en de maatschappij. Dat is PwC. Als accountants en adviseurs bieden n we door te verbinden, houvast in de wereld van morgen.

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DE BACKKER ART Hoogstraten T +32 3 314 9034 M +32 474 226 024 E debackker@skynet.be I www.debackker.be Pre-Roman and early Medieval art Stand 233 p. 107 EMANUEL VON BAEYER London T +44 20 7372 1668 E art@evbaeyer.com I www.evbaeyer.com Works on paper Stand 711 p. 252 BAILLY GALLERY Geneva-Paris T +41 22 827 2424 M + 41 79 410 9176 E info@baillygallery.com I www.baillygallery.com Impressionism, modern and Post-War art Stand 387 p. 280 GREGG BAKER London T +44 207 221 3533 M +44 7961 119 067 E info@japanesescreens.com I www.japanesescreens.com Japanese art specialising in folding screens, Buddhist art as well as PostWar abstract painting and sculpture Stand 260 p. 108 VÉRONIQUE BAMPS Monaco T +377 9797 3757 E info@veroniquebamps.com I www.veroniquebamps.com Jewelry, Russian works of art, gold boxes, and vertu Stand 274 p. 109 JEAN-LUC BARONI LTD London T +44 207 930 5347 E jwatson@jlbaroni.com I www.jlbaroni.com Old master paintings Stand 308 p. 49 GALERIE JACQUES BARRÈRE Paris T +33 1 43 26 57 61 E contact@barreresa.com I www.artasie.com Far-Eastern art Stand 122

BECK & EGGELING INTERNATIONAL FINE ART Düsseldorf T +49 211 491 5890 E info@beck-eggeling.de I www.beck-eggeling.de Expressionism, classical modern, Post-War art, ZERO, contemporary art Stand 525 p. 281 CHARLES BEDDINGTON LTD London T +44 207 439 4959 M +44 777 427 1820 E info@charlesbeddington.com I www.charlesbeddington.com Old masters particularly view paintings Stand 373 p. 50 MICHELE BEINY New York T +1 212 794 9357 M +1 917 317 7102 E michele@michelebeiny.com I www.michelbeiny.com European porcelain and faience, Renaissance jewelry, gold boxes and vertu, contemporary ceramics and glass Stand 272 p. 110 BENAPPI FINE ART London T +44 203 865 2953 E london@benappi.com I www.benappi.com Italian and European old master paintings and sculptures Stand 310 p. 51 GALERIE DE LA BÉRAUDIÈRE Brussels T +32 2 646 9215 M +32 478 823 013 E galerie@delaberaudiere.com I www.delaberaudiere.com European paintings, drawings and sculpture from 1870 onwards, modern and contemporary art Stand 506 p. 282 GALERIE BERÈS Paris T +33 1 42 61 27 91 M +33 6 07 01 50 41 E beres@galerieberes.com I www.galerieberes.com European paintings, drawings and sculpture from 1870 onwards Stand 705 p. 253

BERKO FINE PAINTINGS Knokke-Heist T +32 50 60 5790 M +32 475 85 0061 E information@ berkofinepaintings.com I www.berkofinepaintings.com 19th-early 20th-century paintings Stand 361 p. 52 BHAGAT Mumbai T +9 1222 364 0809 E info@bhagat-mumbai.com Creating and manufacturing one-of-a-kind high end jewellery with an emphasis on design and craftsmanship Stand 142 p. 214 KUNSTHANDEL A.H. BIES Eindhoven T +31 40 243 1377 M +31 6 53 23 77 14 E info@biesgallery.com I www.biesgallery.com Paintings from the 19th and early 20th century Stand 331 p. 53 BIJL-VAN URK BV Alkmaar M +31 6 53 42 54 32 E sander@bijlvanurk.com I www.bijlvanurk.com Dutch and Flemish old masters Stand 366 p. 54 H. BLAIRMAN & SONS LTD London T +44 2074930444 E blairman@blairman.co.uk I blairman.co.uk 19th- and early 20thcentury design Stand 183 p. 111 BLUMKA GALLERY New York T +1 212 734 3222 M +1 917 412 3303 E info@blumkagallery.com I www.blumkagallery.com European ceramics, porcelain, and glass, European works of art and sculpture Stand 212 p. 112


KUNSTHANDEL P. DE BOER BV Amsterdam T +31 20 623 6849 M +31 6 21 52 00 44 E info@kunsthandelpdeboer.com I www.kunsthandelpdeboer.com Dutch and Flemish old master paintings from the 17th and 16th century Stand 343 p. 55 JULIUS BÖHLER KUNSTHANDLUNG Starnberg T +49 81 5155 9253 M +49 171 756 2953 E info@boehler-art.com I www.boehler-art.com European sculpture and works of art from the early Middle Ages up to the 18th century Stand 212 p. 113 BORZOGALLERY Amsterdam T +31 206263303 E info@borzo.com I www.borzo.com Modern art Stand 448 p. 283 BOTTEGANTICA Milan T +39 02 6269 5489 M + 39 34 6417 9755 E info@bottegantica.com I www.bottegantica.com 19th- and 20th-century art Stand 362 p. 56 BOTTICELLI ANTICHITÀ Florence T +39 055 230 2095 M +39 333 210 7361 E botticelliantichita@ botticelliantichita.com I www.botticelliantichita.com Italians Medieval Renaissance and Baroque sculptures and works of art Stand 154 p. 106 GALERIE BOULAKIA Paris-London T +44 20 7629 1555 M +44 75 5753 4491 E daniel@boulakia.gallery I www.boulakia.gallery Modern and contemporary art Stand 420 p. 284


BOWMAN SCULPTURE London T +44 207 930 0277 M +44 774 049 3748 E mica@bowmansculpture.com I bowmansculpture.com Sculpture from the 19th, 20th and 21st century Stand 120 p. 114 BRAME & LORENCEAU Paris T +33 1 45 22 16 89 E contact@bramelorenceau.com I www.bramelorenceau.com Impressionnist, modern and contemporary art Stand 518 p. 285 BRIMO DE LAROUSSILHE Paris T +33 1 42 60 74 76 M +33 6 75 05 35 02 E galerie@brimodl.com I www.brimodelaroussilhe.com Medieval and Renaissance art Stand 114 p. 115 BEN BROWN FINE ARTS London T +44 207 734 8888 E info@benbrownfinearts.com I www.benbrownfinearts.com Modern and contemporary art Stand 511 p. 286 BURZIO. London T +44 75 0257 1587 M +39 3 3529 6745 E info@lucaburzio.com I www.lucaburzio.com European ceramics, porcelain, and glass, European works of art and sculpture, furniture and decorative arts Stand 167 p. 116 JAMES BUTTERWICK London T +44 77 6836 1905 E james@jamesbutterwick.com I www.jamesbutterwick.com Russian and Ukrainian art 1900-1930 Stand 725 p. 254

C JEAN-DAVID CAHN AG Basel T +41 61 271 6755 E mail@cahn.ch I www.cahn.ch Ancient art Stand 422 p. 199 GALERIE CANESSO Paris T +33 1 40 22 61 71 E contact@canesso.com I www.canesso.art Italian old master paintings Stand 378 p. 57 CARDI Milan-London T +39 02 4547 8189 T +44 20 3409 9633 E mail@cardigallery.com I www.cardigallery.com Italian modern and Post-War contemporary art Stand 450 p. 287 CARPENTERS WORKSHOP GALLERY London-Paris-New York-San Francisco T +44 20 3051 5939 E gallery@ carpentersworkshopgallery.com I www.carpentersworkshopgallery. com Modern and contemporary design Stand 609 p. 230 CAYLUS GALLERY Madrid T +34 91 578 3098 M +34 60 777 8874 E info@galeriacaylus.com I www.galeriacaylus.com European works of art and sculpture, old master paintings Stand 374 p. 58 ENRICO CECI CORNICI ANTICHE Modena T +39 33 531 5307 E enricoceci@enricoceci.com I www.enricoceci.com 15th-20th-century frames Stand 709 p. 255

ALESSANDRO CESATI MILAN T +39 02 8646 0928 M +39 333 652 5576 E info@cesatiecesati.com I www.cesatiecesati.com European sculpture and works of art Stand 155 p. 117 WALLACE CHAN Hong Kong T +852 25 232 788 E info@wallace-chan.com I www.wallace-chan.com Contemporary jewellery and works of art Stand 145 p. 215 CINDY CHAO THE ART JEWEL Hong Kong T +852 25 618 298 E info@cindychao.com I www.cindychao.com Art jewel Stand 139 p. 216 GALERIE JEAN-CHRISTOPHE CHARBONNIER PARIS T +33 1 42 60 42 63 M +33 6 99 29 76 81 E contact@artdujapon.com I www.galeriejccharbonnier.com Arms, armours and Japanese works of art Stand 184 p. 118 GALERIE CHASTEL-MARÉCHAL Paris T +33 1 40 46 82 61 E contact@chastel-marechal.com I www.chastel-marechal.com 20th-century decorative arts Stand 628 p. 231 GALERIE CHENEL Paris T +33 1 42 97 44 09 M +33 6 07 36 43 84 E galeriechenel@aol.com I www.galeriechenel.com Ancient art Stand 431 p. 200 DIDIER CLAES Brussels T +32 2 414 1929 E contact@didierclaes.com I www.didierclaes.art African classical arts Stand 601 p. 222

LE CLAIRE KUNST Hamburg T +49 40 881 0646 M +49 170 387 1039 E leclaire@leclaire-kunst.de I www.leclaire-kunst.de 17th- to 20th-century works on paper Stand 702 p. 256 STÉPHANE CLAVREUIL RARE BOOKS London T +44 79 8325 2200 E stephane@clavreuil.co.uk First editions, incunabula, manuscripts, medicine, natural history, Renaissance, travel, philosophy, history of ideas, science, geographical discoveries Stand 721 p. 257 GALERIE ERIC COATALEM Paris T +33 1 42 66 17 17 M +33 6 09 16 64 24 E coatalem@coatalem.com I www.coatalem.com old master paintings and drawings Stand 347 p. 59 COLNAGHI London-New York-Madrid T +44 207 491 7408 M +44 744 793 4008 E info@colnaghi.com I www.colnaghi.com Ancient art, European works of art and sculpture, old master paintings and antiquities Stand 306 p. 60 CONNAUGHT BROWN London T +44 207 408 0362 M +44 779 860 0380 E art@connaughtbrown.co.uk I www.connaughtbrown.co.uk Impressionist, Post-Impressionist and modern master paintings, drawings and sculpture Stand 446 p. 288 GALLERIA CONTINUA San Gimignano-BeijingBoissy-le-Châtel-La Habana T +39 05 7794 3134 M +41 78 740 85 17 E sangimignano@ galleriacontinua.com I www.galleriacontinua.com Modern and contemporary art from 1930 to present day Stand 502 p. 289

NICOLÁS CORTÉS Madrid T +34 913 100 582 E info@nicolascortes.com I www.nicolascortes.com Italian and Spanish old masters Stand 369 p. 61 GISÈLE CROËS Brussels T +32 2 511 8216 E art@giselecroes.com I wwww.giselecroes.com Chinese art Stand 180 p. 119 DANIEL CROUCH RARE BOOKS London T +44 207 042 0240 M +44 776 675 1391 E info@crouchrarebooks.com I crouchrarebooks.com Books, maps and manuscripts Stand 264 p. 120 GALLERY CYBELE Paris T +33 1 43 54 16 26 M +33 6 03 03 29 45 E cybele5@wanadoo.fr I www.galeriecybele.com Ancient art Stand 435 p. 201

D DAATSELAAR FINE ART & ANTIQUES Zaltbommel T +31 418 712 300 M +31 6 54 39 41 08 M +31 6 22 97 67 59 E info@daatselaar.com I www.daatselaar.com Fine art and antiques Stand 164 p. 121 DANSK MØBELKUNST Copenhagen-Paris T +45 33323837 M +45 20 83 35 36 E info@dmk.dk I www.dmk.dk Nordic furniture and decorative arts from 1900 onwards Stand 625 p. 232


DAXER & MARSCHALL KUNSTHANDEL Munich T +49 89 280 640 M +49 172 890 8640 E info@daxermarschall.com I www.daxermarschall.com 19th- and 20th-century paintings, old master paintings and sculpture Stand 332 p. 62

GALERIE MICHEL DESCOURS Paris-Lyon T +33 1 87 44 71 01 T +33 4 78 37 34 54 M +33 6 80 06 52 03 E contact@galerie-descours.com I www.peintures-descours.fr Old master and 19th-20th-century paintings, drawings and sculptures Stand 365 p. 63

DAY AND FABER London T +44 207 629 2991 M +44 78 5030 8489 E jf@dayfaber.com I www.dayfaber.com Old master and 19th-century drawings, 19th-century oil sketches and 20th-century master drawings Stand 701 p. 258

ALBERTO DI CASTRO Rome T +39 66 79 2269 M +39 33 542 0880 E info@dicastro.com I dicastro.com European works of art and sculpture, furniture and decorative arts, old master paintings Stand 181 p. 124

MASSIMO DE CARLO Milan-London-Hong Kong T +39 02 7000 3987 E milano@massimodecarlo.com I www.massimodecarlo.com European paintings, drawings and sculpture, American paintings, and photography from 1870 onwards Stand 527 p. 290

ALESSANDRA DI CASTRO Rome T +39 66 992 3127 E info@alessandradicastro.com I www.alessandradicastro.com European works of art and sculpture, old master paintings Stand 108 p. 125

GALERIE DELALANDE Paris T +33 1 42 60 19 35 M +33 6 60 90 21 59 E domdelalande@hotmail.com I www.delalande-antiques.com European works of art and sculpture Stand 138 p. 122 DEMISCH DANANT New York-Paris T +1 212 989 5750 E info@demischdanant.com I www.demischdanant.com 20th-century French design, sculpture and works of art with an emphasis on the late 1950s through the 1970s,modern and contemporary design, furniture, Decorative arts, sculpture & works of art from 1870 onwards Stand 606 p. 233 BERNARD DESCHEEMAEKER WORKS OF ART Antwerp T +32 3 225 1556 M +32 476 325 577 E info@worksofart.be I www.worksofart.be Medieval and renaissance sculpture, works of art, drawings and paintings Stand 270 p. 123 364

DICKINSON London-New York T +44 207 493 0340 E john@simondickinson.com I www.simondickinson.com Old master, Impressionist, modern, Post-War and contemporary Stand 402 p. 291 DIDIER LTD London T +44 7973800415 E info@didierltd.com I www.didierltd.com Modern and contemporary design, sculpture and works of art (including jewelry, textiles, arms and armor, clocks, ceramics, glass and silver) from 1870 onwards Stand 611 p. 234 LAFFANOUR-GALERIE DOWNTOWN Paris T +33 1 46 33 82 41 E contact@galeriedowntown.com I www.galeriedowntown.com Modern and contemporary design Stand 612 p. 235

GALERIE BERNARD DULON Paris T +33 1 43 25 25 00 M +33 6 07 69 91 22 E info@dulonbernard.fr I www.dulonbernard.fr Ethnographic art Stand 615 p. 223

E GALERIE EBERWEIN Paris M +33 6 72 90 40 70 E antonia.eberwein@egypt-art.com I www.egypt-art.com Egyptian antiquities Stand 428 p. 202 CHARLES EDE London T +44 207 493 4944 E info@charlesede.com I www.charlesede.com Ancient art Stand 426 p. 203 GALERIE XAVIER EECKHOUT Paris T +33 148000211 M +33 609188908 E xavier@xaviereeckhout.com I www.xaviereeckhout.com Animal sculpture since 1900 until 1950 Stand 170 p. 126 JAIME EGUIGUREN ART & ANTIQUES Buenos Aires T +54 114 816 2787 E jaimeeguiguren@ jaimeeguiguren.com European works of art and sculpture, furniture and decorative arts, 19th- and 20th-century paintings, old master paintings, European silver, Spanish Colonial silver and decorative arts Stand 140 p. 127 EGUIGUREN ARTE DE HISPANOAMÉRICA Buenos Aires T +54 114 806 7554 E info@eguiguren.com I www.eguiguren.com.ar/main.htm Latin-American paintings and work of arts, 16th - early 20th-century Spanish and Portuguese colonial silver, River Plate’s equestrian silver Stand 153 p. 128

DEBORAH ELVIRA Oropesa del Mar T +34 96 431 3450 M +34 62 964 7279 E info@deborahelvira.com I www.deborahelvira.com Historic jewellery and ironwork Stand 151 p. 129 JOHN ENDLICH ANTIQUAIRS Haarlem M +31 6 48 27 89 63 E info@johnendlich.nl I www.johnendlich.nl Antique silver and gold Stand 235 p. 130 LES ENLUMINURES Paris-New York-Chicago T +33 1 42 60 15 58 M +33 6 69 50 63 32 E info@lesenluminures.com I www.lesenluminures.com Illuminated manuscripts, miniatures, medieval works of art, including rings Stand 276 p. 131 EPOQUE FINE JEWELS Kortrijk M +32 475 616 831 E info@epoquefinejewels.com I www.epoquefinejewels.com 19th and 20th century jewellery with emphasis on the art Nouveau and art Deco periods Stand 186 p. 132

F FD GALLERY New York T +1 212 772 2440 E info@FD-Gallery.com I www.FD-Gallery.com Jewelry Stand 146 p. 133 YANN FERRANDIN Paris T +33 1 43 26 08 37 M +33 6 85 43 75 84 E yann.ferrandin@gmail.com I www.yannferrandin.com Tribal arts from Africa, Oceania, South-East Asia and North America Stand 605 p. 224

KUNSTHANDEL JACQUES FIJNAUT BV Amsterdam T +31 20 625 6374 E office@kunsthandelfijnaut.nl I www.kunsthandelfijnaut.nl silver, works of art, old master, 19th century and Post Impressionist paintings, sculpture, Chinese ceramics and works of art, furniture Stand 176 p. 134 PETER FINER London T +44 207 839 5666 E gallery@peterfiner.com I www.peterfiner.com Arms and armour and related objects Stand 216 p. 135 GALERIE FLORE Brussels T +32 473 34 45 43 E flore@flore.cc I www.galerieflore.com French furniture Stand 137 p. 136 SAM FOGG London T +44 207 534 2100 E info@samfogg.com I www.samfogg.com The arts of the Middle Ages Stand 312 p. 64 FONDANTICO DI TIZIANA SASSOLI Bologna T +39 05 126 5980 M +39 33 5545 1153 E info@fondantico.it I www.fondantico.it Emilian/Italian old master paintings Stand 372 p. 65 S FRANSES London T +44 207 976 1234 E gallery@franses.com I www.franses.com Historic tapestries, carpets and textile art from medieval to inter war modernism Stand 261 p. 137 FRIEDMAN BENDA New York T +1 212 239 8700 E gallery@friedmanbenda.com I www.friedmanbenda.com Contemporary design Stand 627 p. 236

THOMAS FRITSCH-ARTRIUM Paris T +33 6 03 91 40 11 E contact@thomasfritsch.fr I www.thomasfritsch.fr French 20th-century decorative arts, especially French ceramics from 1945 to 1970 Stand 620 p. 237

G GANA ART Seoul T +82 23 217 1093 E info@ganaart.com I www.ganaart.com Contemporary, modern and impressionist art Stand 520 p. 292 GALERIE DAVID GHEZELBASH Paris M +33 6 88 23 39 11 E contact@galerieghezelbash.com I www.davidghezelbash.com Ancient art Stand 425 p. 204 GIACOMETTI OLD MASTER PAINTINGS Rome T +39 320 3720 492 M +39 349 834 8326 E info@giacomettiomp.com I www.giacomettiomp.com Old master paintings, 19th- and 20th-century paintings, European works of art and sculpture from 1830 Stand 376 p. 66 THOMAS GIBSON FINE ART London T +44 207 499 8572 M +44 7817 451 109 E info@tgfineart.com I www.thomasgibsonfineart.com European paintings, sculpture and works on paper and International Post-War and contemporary art Stand 449 p. 293 ERIC GILLIS FINE ART Brussels T +32 2 503 1464 E info@eg-fineart.com I www.eg-fineart.com 19th century works on paper, paintings and sculpture Stand 716 p. 259


PIERRE MARIE GIRAUD Brussels T +32 2 503 0351 E info@pierremariegiraud.com I www.pierremariegiraud.com Modern and contemporary ceramic, glass and decorative arts and ceramic, glass, bamboo weawing and lacquer by Japanese artists Stand 621 p. 238 GALERIE GISMONDI Paris M +33 6 85 11 38 78 E gismondi@wanadoo.fr I www.galeriegismondi.com F rench and Italian furniture and decorative arts dating from the 15th to 19th century Stand 246 p. 138 GALERIE GMURZYNSKA New York-Zurich-Zug T +41 44 226 70 70 M +41 792087669 E galerie@gmurzynska.com I www.gmurzynska.com European paintings, drawings and sculpture from 1900 onwards Stand 404 p. 294 MICHAEL GOEDHUIS London T +44 207 823 1395 M +44 776 062 5375 E london@michaelgoedhuis.com I www.michaelgoedhuis.com Asian art Stand 248 p. 139 OSCAR GRAF London-Paris T + 33 1 82 09 14 84 M +33 6 71 43 19 90 E info@oscar-graf.com I www.oscar-graf.com Furniture and decorative arts from 1870-1914 Stand 622 p. 239 RICHARD GREEN London T +44 207 493 3939 M +44 750 848 4003 E paintings@richardgreen.com I www.richardgreen.com 19th- and 20th-century paintings, old master paintings Stand 302 p. 67


GALERIE KARSTEN GREVE AG St. Moritz-Paris-Cologne T +41 81 834 90 34 M +41 79 834 90 34 E info@galerie-karsten-greve.ch I www.galerie-karsten-greve.com International Avant-Garde Stand 414 p. 295

NICHOLAS HALL New York T +1 212 772 9100 E info@nicholashjhall.com I www.nicholashjhall.com Old master and 19th-century paintings and sculpture Stand 342 p. 70

BERNARD DE GRUNNE Brussels T +32 2 502 3171 M +32 478 504 548 E info@degrunne.com I www.bernarddegrunne.com Tribal arts of Africa, Oceania and Indonesia Stand 619 p. 225

HAMMER GALLERIES New York T +1 212 644 4400 E info@hammergalleries.com I www.hammergalleries.com 19th- and 20th-century European and American masters Stand 406 p. 297

DR. JÖRN GÜNTHER RARE BOOKS AG Stalden T +41 61 275 7575 E info@guenther-rarebooks.com I www.guenther-rarebooks.com Books, maps and manuscripts Stand 109 p. 140

H GALERIE HAAS Zürich T +41 43 497 2026 E contact@galeriehaasag.ch I www.galeriehaasag.ch Paintings and sculptures by Modernist artists, art after 1945 and contemporary art Stand 452 p. 296 HABOLDT & CO. Amsterdam-Paris-New York T +33 1 42 66 44 54 E oldmasters@haboldt.com Old master paintings and drawings Stand 351 p. 68 FERGUS HALL London T +44 20 7493 4220 E fergus@hallmasterpaintings.com I www.hallmasterpaintings.com Dutch, Flemish, Italian, British, Spanish and French paintings predominantly 17th century, with a special interest in works by Van Dyck and Rubens Stand 364 p. 69

HANCOCKS London T +44 207 493 8904 M +44 785 055 5555 E info@hancockslondon.com I www.hancockslondon.com Fine and collectable jewellery and old cut diamond jewellery Stand 243 p. 141 HAZLITT London T +44 207 930 6422 E hazlitt@hazlitt.co.uk I www.hazlittco.uk Old master and English paintings and drawings as well as French 19th century art Stand 121 p. 142 PATRICK HEIDE CONTEMPORARY ART London T +44 207 724 5548 E info@patrickheide.com I www.patrickheide.com Works on paper and contemporary art Stand 714 p. 260 HEIM JEAN-FRANÇOIS Basel T +41 61 681 3535 E jean.f.heim@galerieheim.ch I www.galerieheim.ch Old master to 19th- century paintings and drawings Stand 370 p. 71

GALERIE MARC HEIREMANS Antwerp T +32 3 281 6794 M 32 478 28 03 08 E info@marcheiremans.com I www.marcheiremans.com 20th-century European glass with a focus on Murano glass and studio ceramics Stand 603 p. 240 HEMMERLE Munich T +49 89 242 2600 E info@hemmerle.com I www.hemmerle.com Haute Joaillerie, contemporary jewelry Stand 141 p. 217 GALERIE HENZE & KETTERER & TRIEBOLD Riehen/Basel-Wichtrach/Bern T +41 61 641 77 77 M +41 79 508 69 61 E m.triebold@henze-ketterer.com I www.henze-ketterer.ch Expressionism since 1905 and the 20th century, Emigration to Italy since 1933, Abstraction, a world language, since 1945, New Figurative and contemporary art since 1960, representant of the estate of Ernst Ludwig Kirchner Stand 534 p. 298 GALERIE MAX HETZLER Berlin-Paris-London T +49 30 34 649 7850 E info@maxhetzler.com I www.maxhetzler.com Contemporary art Stand 529 p. 299 GALERIE HOPKINS Paris T +33 1 42 25 32 32 E hopkins@galeriehopkins.com I galeriehopkins.com Impressionist, modern art Stand 408 p. 300 GALLERY HYUNDAI Seoul T +82 222 873 500 E mail@galleryhyundai.com I www.galleryhyundai.com Korean modern and contemporary art Stand 418 p. 301

J JACKSON DESIGN AB Stockholm T +46 70 545 4541 E info@jacksons.se I www.jacksons.se Design Stand 617 p. 241 JASON JACQUES GALLERY New York T +1 212 535 7500 E info@jasonjacques.com I jasonjacques.com art nouveau pottery, Art Nouveau pottery, European Japonisme and contemporary design and ceramic Stand 613 p. 242 OTTO JAKOB Karlsruhe T +49 721 85 59 11 E tefaf@ottojakob.com I www.ottojakob.com Contemporary jewelry Stand 147 p. 218 BEN JANSSENS ORIENTAL ART London T +44 207 976 1888 M +44 77 7047 6122 E info@benjanssens.com I www.benjanssens.com Early Chinese sculpture, bronzes and ceramics, later Chinese and Japanese works of art Stand 202 p. 143 JASKI GALLERY Amsterdam T +31 20 620 3939 M +31 6 50 24 44 26 E info@jaski.nl I www.jaski.nl CoBrA and contemporary art Stand 524 p. 302 DE JONCKHEERE Geneva T +41 22 310 8080 E geneve@ dejonckheere-gallery.com I www.dejonckheere-gallery.com Old master paintings Stand 340 p. 72

JOUSSE ENTREPRISE Paris T +33 1 53 82 13 60 E infos@jousse-entreprise.com I www.jousse-entreprise.com French architecture, furniture, and design from the mid-20th century Stand 626 p. 243

K GALLERI K Oslo T +47 22 553 588 E gallerik@online.no I www.gallerik.com Modern art such as Edvard Munch, Pablo Picasso, Auguste Rodin among others, and contemporary art such as Becher School and German artists Stand 718 p. 261 KALLOS GALLERY London T +44 207 493 0806 M +44 7809 907 539 E info@kallosgallery.com I kallosgallery.com Antiquities, including ancient Greek, Roman, Egyptian, Western Asiatic and European masterpieces Stand 434 p. 205 DANIEL KATZ GALLERY London T +44 207 493 0688 M +44 78 7625 2115 E info@katz.art I www.katz.art Fine art, from antiquity to the 20th century Stand 100 p. 144 GALERIE KEVORKIAN Paris T +33 1 42 60 72 91 E contact@galeriekevorkian.com I www.galeriekevorkian.com Ancient art from the Near East, Central Asia and Eastern Mediterranea, arts of the Islamic and Indian worlds Stand 432 p. 206


JACK KILGORE New York T +1 212 650 1149 M +1 646 431 6773 E info@kilgoregallery.com I www.kilgoregallery.com 15th-20th-century European paintings of unusual character, Academic, Symbolist, and Expressionist works and old masters Stand 336 p. 73

GALERIE KREO Paris T +33 1 53 10 23 00 E info@galeriekreo.com I www.galeriekreo.com Modern and contemporary design Stand 610 p. 244 J. KUGEL Paris T +33 1 42 60 86 23 E galerie@galeriekugel.com I www.galeriekugel.com European works of art and sculpture, furniture and decorative arts, silver Stand 200 p. 147

KUNSTKAMMER GEORG LAUE Munich T +49 89 2781 8555 M +49 172 873 0961 E kunstkammer@kunstkammer.com I www.kunstkammer.com European works of art and sculpture, furniture and decorative arts, silver, cabinet of curiosity Stand 204 p. 149


GALERIE ANTOINE LAURENTIN Paris-Brussels T +33 1 42 97 43 42 M +33 6 07 94 26 56 E contact@galerie-laurentin.com I www.galerie-laurentin.com Modern art, 20th-century paintings, drawings and sculptures Stand 720 p. 263

CHRISTOPHER KINGZETT London M +44 777 178 3918 E christopher@ christopherkingzettfineart.com I www.christopher kingzettfineart.com 20th-century British art Stand 701 p. 262

GALERIE JACQUES LACOSTE Paris T +33 1 42 89 11 11 E contact@jacqueslacoste.com I jacqueslacoste.com 20th-century decorative arts and design from 1900 to 1960 Stand 614 p. 245

GALERIE LÉAGE Paris T +33 1 45 63 43 46 E contact@francoisleage.com I www.francoisleage.com 18th-century French furniture and objects of art Stand 135 p. 150

KOETSER GALLERY Zurich T +41 44 211 5240 E info@koetsergallery.com I www.koetsergallery.com Old master paintings Stand 338 p. 74

LAMPRONTI GALLERY London T +39 06 321 8624 M +44 77 9636 3494 E info@cesarelampronti.co.uk I www.cesarelampronti.com Old master paintings Stand 377 p. 75

GALERIE LEFEBVRE Paris T +33 1 45 48 18 13 M +33 6 98 02 18 13 E gallerylefebvre@gmail.com I www.galerielefebvre.com French art Deco furniture, painting, sculpture and photography Stand 600 p. 246

LANDAU FINE ART Montreal-Meggen T +1 514 849 3311 M +41 79 777 4789 E landau@landaufineart.ca I www.landaufineart.ca Modern masters from the first half 20th century Stand 416 p. 304

DAVID LÉVY & ASSOCIÉS Brussels M +32 475 661 225 E info@levydavid.com I www.davidlevy.art Modern and Post-War art Stand 503 p. 305

TINA KIM GALLERY/ KUKJE GALLERY New York T +1 212 716 1100 E info@tinakimgallery.com I tinakimgallery.com Modern and contemporary art Stand 512 p. 303

KOLLENBURG ANTIQUAIRS Oirschot M +31 6 55 82 22 18 E info@kollenburgantiquairs.com I www.kollenburgantiquairs.com General dealer in 17th-and 18thcentury applied arts Stand 182 p. 145 KOOPMAN RARE ART London T +44 207 242 7624 M +44 777 088 2831 E info@koopman.art I www.koopman.art Silver, objects of vertu, gold boxes, jewellery Stand 156 p. 146


ELFRIEDE LANGELOH Weinheim T +49 6201 67335 E info@langeloh-porcelain.de I www.langeloh-porcelain.de 18th-century porcelain and faience Stand 149 p. 148

LOWELL LIBSON & JONNY YARKER LTD London T +44 207 734 8686 M +44 785 005 8567 E lowell@libson-yarker.com I www.libson-yarker.com European works of art and sculpture, old master paintings Stand 456 p. 76

SALOMON LILIAN Geneva-Amsterdam T +41 22 310 5688 T +31 20 620 6307 M +31 6 27 81 26 29 E salomonlilian@aol.com I www.salomonlilian.com Old master paintings Stand 309 p. 77 LISSON GALLERY London-New York-Shanghai T +44 207 724 2739 E contact@lissongallery.com I www.lissongallery.com European paintings, drawings and sculpture from 1870 onwards, American paintings from 1870 onwards and modern and contemporary art Stand 441 p. 306 STUART LOCHHEAD SCULPTURE London T +44 203 950 2377 M +44 777 036 4099 E stuart@stuartlochhead.art I www.stuartlochhead.art European sculpture and works of art ranging from Medieval sculpture, Renaissance bronzes and fine 17th18th-century terracottas to a diverse range of rare and important works from the 19th century Stand 121 p. 151 LÓPEZ DE ARAGÓN Madrid T +34 62 922 9872 E diego@lopezdearagon.com I www.lopezdearagon.com 17th-19th-century South European old master paintings, sculptures and works of art Stand 175 p. 152 LUDORFF Düsseldorf T +49 211 326 566 M +49 173 282 7227 E mail@ludorff.com I www.ludorff.com Modern and contemporary art Stand 515 p. 307 LULLO • PAMPOULIDES London T +44 207 494 2551 M +44 79 3170 9359 E info@lullopampoulides.com I www.lullopampoulides.com Master paintings and sculpture Stand 368 p. 78

M THE MAAS GALLERY London T +44 207 734 2302 M +44 77 8617 6514 E mail@maasgallery.com I www.maasgallery.com Pre-Raphaelite, Victorian, Romantic and modern British paintings, drawings and watercolours Stand 335 p. 79 MACCONNAL-MASON GALLERY London T +44 207 839 7693 E fineart@macconnal-mason.com I www.macconnal-mason.com 19th- and 20th-century paintings, sculpture from 1830 Stand 330 p. 80 GALLERIA DARTE MAGGIORE G.A.M. Bologna T +39 05 123 5843 M +39 33 8533 7770 E info@maggioregam.com I www.maggioregam.com Modern and contemporary art Stand 536 p. 308 MARUANI MERCIER Brussels-Knokke-Zaventem T +32 2 512 5010 M +32 475 25 1675 E desk@maruanimercier.com I maruanimercier.com American artists from the '80s Stand 513 p. 309 HELGA MATZKE Grünwald T +49 89 649 3692 M +49 172 890 4600 E art@helga-matzke.de I www.helga-matzke.com 16th- to early 19th-century silver tableware of courtly provenance and silver collector's objects Stand 165 p. 153 MAYORAL Barcelona-Paris T +34 93 488 0283 T +33 1 42 99 61 79 E info@galeriamayoral.com I www.galeriamayoral.com European paintings, drawings and sculpture from 1870 onwards, Spanish Post-War art Stand 445 p. 310

THE MAYOR GALLERY London T +44 207 734 3558 M +44 780 156 5404 E info@mayorgallery.com I www.mayorgallery.com Modern art Stand 451 p. 311 MAZZOLENI London T +44 20 7495 8805 M +39 33 3390 0395 E london@mazzoleniart.com I www.mazzoleniart.com Post-War Italian Stand 443 p. 312 FERGUS MCCAFFREY New York-Tokyo-St. Barth T +1 212 988 2200 E info@fergusmccaffrey.com I www.fergusmccaffrey.com Modern and contemporary art, Asian art Stand 440 p. 313 KUNSTHANDEL MEHRINGER Munich M +49 1714924263 E sascha.mehringer@web.de I www.saschamehringer.com European works of art and sculpture, old master paintings Stand 218 p. 154 KAMEL MENNOUR Paris T +33 1 56 24 03 63 E mariesophie@kamelmennour.com I www.kamelmennour.com Contemporary art Stand 531 p. 314 MENTINK & ROEST Ingen T +31 344 603 606 M +31 6 29 04 85 15 E info@mentinkenroest.com I www.mentinkenroest.com Antique clocks and scientific instruments Stand 172 p. 155 GALERIE MERMOZ Paris T +33 1 42 25 84 80 M +33 6 09 93 69 63 E info@galerie-mermoz.com I www.galerie-mermoz.com Archaeology and Precolumbian art Stand 134 p. 156


THE MERRIN GALLERY, INC. New York T +1 212 757 2884 M +1 917 838 8707 E info@merringallery.com I www.merringallery.com Precolumbian art, ancient art and photography Stand 430 p. 207

GALERIE MONBRISON Paris T +33 1 46 34 05 20 M +33 6 07 37 61 53 E contact@monbrison.com I www.monbrison.com African and Oceanic tribal art, antiquities Stand 618 p. 226

MIGNONI New York T +1 212 744 8200 E info@mignoniart.com I www.mignoniart.com Post-War American and European art, with a focus on Minimalism and its influences Stand 505 p. 315

SYDNEY L MOSS LTD. London T +44 207 629 4670 E pasi@slmoss.com I www.slmoss.com Japanese sagemono and Chinese classical paintings Stand 268 p. 158

GALERIE LE MINOTAURE Paris T +33 1 43 54 62 93 M +33 6 09 40 30 07 E sapiro.benoit@wanadoo.fr I www.galerieleminotaure.net/fr 1st and 2nd École de Paris, Avantgarde art of Central and Eastern Europe from the 1910s to the 1960s. Dada, Constructivism, AbstractionCréation, Suprematism, Geometric abstraction, Cubism, Expressionism, Futurism, Cubo-futurism Stand 523 p. 316 ML FINE ART London T +44 207 493 1971 E info@mlfineart.com I www.mlfineart.com Modern art Stand 514 p. 317 MODERNITY Stockholm-London T +46 8 20 8025 M +46 708 39 3431 E info@modernity.se I www.modernity.se Modern design Stand 604 p. 247 AMIR MOHTASHEMI LTD. London T +44 207 937 4422 M +44 788 913 1699 E info@amirmohtashemi.com I www.amirmohtashemi.com Indian, Islamic and Cross-Cultural works of art Stand 239 p. 157


KUNSTHANDEL PETER MÜHLBAUER Pocking T +49 85 31 1815 M +49 171 620 3220 E petermuehlbauer@t-online.de I www.kunsthandelmuehlbauer.com European furniture, works of art and paintings from 16th to 19th century Stand 271 p. 159 MULLANY London M +44 779 630 3081 E info@mullanyfineart.com I www.mullanyfineart.com Haute Epoque fine art Stand 157 p. 160

N MATHIEU NÉOUZE Paris T +33 1 53 34 84 89 E mathieu.neouze@gmail.com I www.mathieu-neouze.com Paintings, drawings and sculpture from 1880 to 1940 Stand 266 p. 161

GALERIE NEUSE Bremen T +49 421 32 5642 E contact@galerieneuse.com I www.galerieneuse.com Goldwork, silverware and Kunstkammer objects dating back to the 16th and 17th century, sculptures from the Middle Ages to the Classicist period, old master paintings, works of art, furniture art by German and French ébénistes. Tapestries woven by the most important European workshops of the 15-18th centuries. Stand 112 p. 162 MARCEL NIES ORIENTAL ART Antwerp T +32 3 226 74 55 M +32 475 651 085 E marcelnies@skynet.be I www.marcelnies.com Oriental art Stand 148 p. 163 MAURIZIO NOBILE Bologna-Paris M +33 6 225 45 189 M +39 335 417 781 E info@maurizionobile.com I www.maurizionobile.com Late 15th-to early 20th-century Italian old masters drawings, paintings and sculpture Stand 715 p. 264

O STEPHEN ONGPIN FINE ART London T +44 207 930 8813 E info@stephenongpinfineart.com I www.stephenongpin.com 16th- 20th-century drawings and watercolours Stand 724 p. 265 OSBORNE SAMUEL London T +44 207 493 7939 M +44 794 687 3192 E info@osbornesamuel.com I osbornesamuel.com Post-War modern British art and European and international modern and contemporary masters Stand 446 p. 318

P WALTER PADOVANI Milan T +39 02 76318907 M +39 33 560 34652 E galleria@walterpadovani.it I www.walterpadovani.it European sculpture, painting and works of art from the Renaissance to the 19th century Stand 234 p. 164 GALERIE PERRIN Paris T +33 1 42 65 01 38 M +33 6 07 48 70 41 E contact@galerieperrin.com I www.galerieperrin.com 18th-century furniture, works of art, sculptures and paintings Stand 102 p. 165 S J PHILLIPS LTD London T +44 207 629 6261 E shop@sjphillips.com I www.sjphillips.com Antique jewellery, gold boxes and antique silver Stand 118 p. 166 GALERIE ERIC PHILIPPE Paris T +33 1 42 33 28 26 M +33 6 07 27 84 03 E ericphil@wanadoo.fr I www.ericphilippe.com 20th-century historical European and American design Stand 608 p. 248 PIACENTI London T +44 203 696 5286 M +44 751 679 4579 E info@piacentiart.com I piacentiart.it Old master paintings and sculptures Stand 367 p. 81 PIVA&C Milan T +39 27 600 0678 M +39 348 781 6789 E info@pivaec.it I www.pivaec.it 18th-century Italian sculpture, furniture, ceramics, paintings and works of art Stand 179 p. 167

POLAK WORKS OF ART Amsterdam T +31 20 627 9009 M +31 6 53 26 21 53 E info@polakworksofart.com I www.polakworksofart.com One of the last generalists Stand 158 p. 168 PORCINI Naples T +39 81 764 3550 E info@porcinigallery.com I www.porcinigallery.com Old master paintings and sculpture Stand 345 p. 82 GALERIE DE LA PRÉSIDENCE Paris T +33 1 42 65 49 60 M +33 6 03 90 58 31 E contact@presidence.fr I www.presidence.fr Late 19th- to 20th-century French paintings and drawings Stand 710 p. 266 BENJAMIN PROUST FINE ART LTD London M +44 750 080 4504 E info@benjaminproust.com I www.benjaminproust.com European works of art and sculpture Stand 152 p. 169

Q CHRISTOPHE DE QUÉNETAIN London T +44 793 486 2211 M +33 6 19 02 32 80 E info@christophedequenetain.com I christophedequenetain.com Furniture and decorative arts, European works of art and sculpture, European ceramics, porcelain and glass Stand 107 p. 170

R ARTUR RAMON ART Barcelona T +34 30 25 970 M +34 62 636 4367 E art@arturamon.com I www.arturamon.com Paintings, drawings and works of art Stand 160 p. 171 LUCAS RATTON Paris T +33 1 46 33 06 24 M +34 6 26 36 43 67 E contact@lucasratton.com I www.lucasratton.com Tribal art Stand 623 p. 227 ALMINE RECH Brussels T +32 2 648 56 84 E contact.brussels@alminerech.com I www.alminerech.com European paintings, drawings and sculpture from 1870 onwards, American paintings from 1870 onwards Stand 501 p. 319 RICHARD REDDING ANTIQUES LTD Gündisau T +41 44 212 00 14 M +41 79 333 40 19 E redding@reddingantiques.ch I www.richardreddingantiques.com French antique clocks, bronzes, furniture and decorative objects Stand 168 p. 172 JEAN MICHEL RENARD Bellenaves M +33 6 64 91 33 06 E renard.musique@wanadoo.fr I renard-music.com Old, rare and unusual musical Instruments Stand 246 p. 173 ROBILANT+VOENA London-Milan-St. Moritz T +44 207 409 1540 M +44 7825 924 551 E art@robilantvoena.com I www.robilantvoena.com European works of art and sculpture, 19th- and 20th-century paintings, old master paintings Stand 380 p. 83


RÖBBIG MÜNCHEN Munich T +49 89 299 758 M +49 171 650 0456 E info@roebbig.de I www.roebbig.de European ceramics, porcelain, and glass, European works of art and sculpture, furniture and decorative arts Stand 116 p. 174 ROSSI & ROSSI Hong Kong-London T +44 207 629 6888 E info@rossirossi.com I www.rossirossi.com Asian art, sculpture and works of art Stand 162 p. 175 RUDIGIER Munich T +49 89 59 5432 M +49 162 254 7357 E info@rudigier.org Sculpture and works of art from the Middle Ages to the early 19th century, old master and early 19th-century painting Stand 238 p. 176 KUNSTHANDLUNG HELMUT H. RUMBLER Frankfurt am Main T +49 69 29 1142 M +49 175 522 9110 E drweis@beham35.de I www.helmutrumbler.com Old master prints Stand 726 p. 267

S SAFANI GALLERY INC. New York T +1 212 570 6360 M +1 917 748 9656 E asafani@gmail.com I www.safani.com Ancient art Stand 433 p. 208 SALAMON Milan T +39 02 7602 4638 M +39 33 5660 1022 E info@salamongallery.com I www.salamongallery.com Old master paintings and drawings Stand 375 p. 84


THOMAS SALIS Salzburg T +43 62 284 4523 M +43 664 4310 285 E mail@thomassalis.com I www.thomassalis.com 19th- and 20th-century paintings and works on paper, sculptures from 1870 Stand 447 p. 320 GALERIE G. SARTI Paris T +33 1 42 89 33 66 M +33 6 12 30 42 41 E giovanni.sarti@wanadoo.fr I www.sarti-gallery.com Old master paintings Stand 349 p. 85 ADRIAN SASSOON London T +44 207 581 9888 M +44 7825 611 888 E email@adriansassoon.com I www.adriansassoon.com Contemporary works of art, ceramics, glass, gold, silver, lacquer, hardstone and wood Stand 269 p. 177 HIDDE VAN SEGGELEN Hamburg T +44 447 9527 83853 M +49 172 836 6893 E mail@hiddevanseggelen.com I www.hiddevanseggelen.com Contemporary art Stand 516 p. 321 SENGER BAMBERG KUNSTHANDEL Bamberg T +49 9515 4030 M +49 17 2860 2007 E senger-bamberg@t-online.de I www.senger-bamberg.de Gothic and Renaissance sculptures, paintings and medieval art Stand 267 p. 178 SHAPERO RARE BOOKS London T +44 207 493 0876 M +44 77 8511 4942 E rarebooks@shapero.com I www.shapero.com Books, maps, manuscripts, prints and original works on paper Stand 231 p. 179

SHIBUNKAKU Kyoto T +81 75 531 0001 E artfair@shibunkaku.co.jp I www.shibunkaku.co.jp Japanese fine art Stand 166 p. 180 ROB SMEETS GALLERY Geneva M +41 79 285 92 62 E info@robsmeets.com I www.robsmeets.com Old master paintings Stand 350 p. 86 SOMLO London T +44 207 499 6526 E mail@somlo.com I www.somlo.com Antique pocket watches and vintage wristwatches Stand 241 p. 181 LIBRAIRIE CAMILLE SOURGET Paris T +33 1 42 84 16 68 M +33 6 13 04 40 72 E contact@camillesourget.com I www.camillesourget.com Incunabula, voyages and travels, first editions, science, manuscripts, fine illustrated books, literature Stand 703 p. 268 SPROVIERI London T +44 20 7734 2066 E info@sprovieri.com I www.sprovieri.com Contemporary art and Italian Post-War art Stand 528 p. 322 STAIR SAINTY GALLERY London T +44 2074934542 M +44 78 4675 5287 E info@stairsainty.com I www.stairsainty.com 16th- to early 20th-century fine art Stand 344 p. 87 MARJAN STERK FINE ART JEWELLERY Amsterdam T +31 20 624 8703 M +31 6 53 21 44 45 E info@marjansterk.nl I www.marjansterk.nl Jewellery Stand 178 p. 182

SALOMON STODEL ANTIQUITÉS Amsterdam M +31 6 53 93 15 19 E stodel@wxs.nl I www.salomonstodel.com General antiques dealer Stand 136 p. 183 STOPPENBACH & DELESTRE London T +44 207 930 9304 M +44 78 1252 5078 E contact@artfrancais.com I www.artfrancais.com 19th- and 20th-century paintings Stand 333 p. 88 GALERIA SUR La Barra, Punta del Este T +598 271 02504 M +598 9968 4099 E sur@montevideo.com.uy I www.galeriasur.com.uy Latin American historical Avant-Gardes and modern and contemporary art Stand 526 p. 323 SYCOMORE ANCIENT ART Geneva T +41 22 310 4380 M +41 78 658 9200 E info@sycomoreancientart.com I www.sycomoreancientart.com Ancient art, especially Egyptian, Greek and Roman artworks Stand 438 p. 209 SYMBOLIC & CHASE London T +44 207 499 9902 E enquiries@s-c.com I www.s-c.com Exceptional jewellery and objets d'art Stand 247 p. 184

T TALABARDON & GAUTIER Paris T +33 1 43 59 13 57 M +33 6 13 26 21 66 E talabardon.gautier@wanadoo.fr European works of art and sculpture, 19th- and 20th-century paintings, old master paintings, sculpture from 1830 Stand 316 p. 89

GALERIE TANAKAYA Paris T +33 1 43 25 72 91 M +33 6 78 54 55 59 E tanakaya@orange.fr I www.tanakaya.fr Japanese fine prints and works of art, 17th to 20th century Stand 727 p. 269 NICOLAAS TEEUWISSE OHG Berlin M +49 171 483 0486 E nicolaas@teeuwisse.de I www.teeuwisse.de Old master and modern prints and drawings Stand 723 p. 270 HERIBERT TENSCHERT ANTIQUARIAT BIBERMÜHLE AG Ramsen T +41 527 42 0575 M +49 177 347 21 60 E mail@antiquariat-bibermuehle.ch I www.antiquariat-bibermuehle.com Books, maps and manuscripts Stand 214 p. 185 GALERIE TERRADES Paris T +33 1 40 20 90 51 M +33 6 08 97 33 58 E contact@galerieterrades.com I www.galerieterrades.com 16th-20th-century Italian, Spanish and French paintings and sculpture Stand 337 p. 90 CAROLLE THIBAUT-POMERANTZ New York T +1 212 759 6048 M +33 6 09 05 35 98 E carolle@ctpdecorativearts.com I antique-wallpaper.com 18th-20th-century vintage wallpaper decor Stand 273 p. 186 GALERIE THOMAS Munich T +49 89 290 0080 E info@galerie-thomas.de I www.galerie-thomas.de Classical modern, German Expressionism, modern and Post-War Stand 444 p. 324

OMER TIROCHE GALLERY London T +44 207 499 5143 E info@tiroche.com I www.omertiroche.com Modern, Post-War, and contemporary art Stand 706 p. 271 TOMASSO BROTHERS FINE ART London T +44 207 839 9394 M +44 77 9888 8988 E info@tomassobrothers.co.uk I www.tomassobrothers.co.uk Ancient art, European works of art and sculpture, furniture and decorative arts, 19th- and 20thcentury paintings, old master paintings, sculpture from 1830 Stand 304 p. 91 TORNABUONI ARTE Florence T +39 05 568 12697 M +33 7 85 51 36 42 E info@tornabuoniarte.it I www.tornabuoniarte.it Post-War Italian art Stand 410 p. 325 TÓTH-IKONEN Huizen M +31 6 53 46 82 36 E info@tothikonen.com I www.tothikonen.com Antique Russian icons Stand 244 p. 187 LEON TOVAR GALLERY New York T +1 212 585 2400 M +1 917 388 3366 E info@leontovargallery.com I www.leontovargallery.com Modern Latin American art Stand 532 p. 326 GALERIE PATRICE TRIGANO Paris T +33 1 46 34 15 01 M +33 6 08 80 85 87 E contact@galerietrigano.com I www.galerietrigano.com Modern and contemporary art Stand 522 p. 327


TRINITY FINE ART London T +44 207 493 4916 E info@trinityfineart.com I www.trinityfineart.com European old master and 19thcentury paintings, 15th-19th-century sculpture and works of art Stand 379 p. 92 DAVID TUNICK, INC. New York T +1 212 570 0090 M +1 203 921 7348 E info@tunickart.com I www.tunickart.com Works of art on paper dating from the 15th century to classic 20th century Stand 386 p. 328

U GALERIE UTERMANN Dortmund T +49 231 4764 3737 E kunst@galerieutermann.de I www.galerieutermann.de Classical Modernism and Post-War art with a main focus on German expressionists Stand 712 p. 272

V RAFAEL VALLS LIMITED London T +44 207 930 1144 E toby@rafaelvalls.co.uk I www.rafaelvalls.co.uk Old masters and fine European paintings Stand 341 p. 93 GALERIE GEORGES-PHILIPPE & NATHALIE VALLOIS Paris T +33 1 46 34 61 07 M +33 6 83 19 87 04 E info@galerie-vallois.com I www.galerie-vallois.com European Avant-Gardes from the 1960s Stand 538 p. 329


VAN CLEEF & ARPELS Paris T +33 1 70 70 02 63 E client.relations.europe@ vancleefarpels.com I www.vancleefarpels.com Jewelry, high jewelry and timepieces Stand 144 p. 219 VANDERVEN ORIENTAL ART 's-Hertogenbosch T +31 73 614 6251 M +31 6 53 17 85 21 E info@vanderven.com I www.vanderven.com Chinese ceramics, pottery from the Han and Tang periods and porcelain from the 16th, 17th and 18th centuries Stand 104 p. 188 VEDOVI GALLERY Brussels T +32 2 513 3838 E contact@vedovigallery.com I www.vedovigallery.com Modern and contemporary art Stand 530 p. 330 GALERIE VON VERTES Zurich T +41 44 211 1213 M +41 76 261 6683 E info@vonvertes.com I www.vonvertes.com German Expressionism, Surrealism, École de Paris, Pop art and contemporary art Stand 607 p. 331 AXEL VERVOORDT Antwerp-Hong Kong T +32 3 355 33 00 E info@axel-vervoordt.com I www.axel-vervoordt.com Ancient art, furniture and decorative arts, contemporary art, 20th-century design Stand 424 p. 189 GALLERIA CARLO VIRGILIO & CO. Rome-London T +39 06 687 1093 M +39 33 8242 7650 E info@carlovirgilio.it I www.carlovirgilio.it 18th-20th-century European painting, drawing and sculpture and old master works of art Stand 363 p. 94

VKD JEWELS London-Milan M +44 759 524 5819 M +39 33 5626 2252 E info@vkdjewels.com I www.vkdjewels.com Fine jewellery and objets de vertu Stand 245 p. 190

W WADDINGTON CUSTOT London T +44 207 851 2200 E mail@waddingtoncustot.com I www.waddingtoncustot.com Modern and contemporary art Stand 510 p. 332 WARTSKI London M +44 781 706 3203 E wartski@wartski.com I www.wartski.com Jewelry, works of art by Carl Fabergé, antique silver, objets de vertu Stand 242 p. 191 VAN DE WEGHE New York T +1 212 744 1900 M +1 917 602 8515 E info@vdwny.com I www.vdwny.com Modern and contemporary masters Stand 509 p. 333 THE WEISS GALLERY London T +44 207 409 0035 M +44 77 7069 4696 E info@weissgallery.com I www.weissgallery.com Tudor, Stuart and North European old master portraiture Stand 348 p. 95 JORGE WELSH WORKS OF ART London-Lisbon T +44 207 229 2140 M +44 783 118 6224 E uk@jorgewelsh.com I www.jorgewelsh.com Arts of Africa and India, Chinese, Japanese and South East Asian works of art Stand 210 p. 192

WILLIAM WESTON GALLERY London T +44 207 493 0722 E ww@williamweston.co.uk I www.williamweston.co.uk 20th century European and British works on paper and threedimensional multiples/sculptures Stand 713 p. 273 GALERIE MARIA WETTERGREN Paris T +33 1 43 29 19 60 E info@mariawettergren.com I www.mariawettergren.com Contemporary Scandinavian design and art by Nordic designers, artists and architects Stand 624 p. 249 W&K-WIENERROITHER & KOHLBACHER Vienna-New York T +43 1 533 9977 M +43 699 1301 7899 E office@w-k.art I www.w-k.art Vienna 1900, German Expressionism, Vienna Actionism Stand 722 p. 274 JOAN WIJERMARS Amsterdam M +31 6 51 32 17 17 E info@wijermars.com I www.wijermars.com 19th- and early 20th-century sculpture Stand 150 p. 193 WILDENSTEIN & CO. INC. New York T +1 212 879 0500 M +1 917 816 8223 E info@wildenstein.com I www.wildenstein.com European works of art and sculpture, 19th- and 20th-century paintings, old master paintings Stand 382 p. 96 ADAM WILLIAMS FINE ART LTD. New York T +1 212 249 4987 M +1 917 495 9490 E adammwilliams@msn.com I www.adam-williams.com Old master paintings Stand 454 p. 97



YARES ART New York T +1 212 256 0969 E info@yaresart.com I www.yaresart.com Abstract Expressionism and Color Field painting Stand 540 p. 334

CARETTO & OCCHINEGRO Turin E info@carettoeocchinegro.com I www.carettoeocchinegro.com Flemish, Dutch and German paintings from 16th to 17th century Stand 5

YUFUKU GALLERY Tokyo T +81 35 411 2900 E gallery@yufuku.net I www.yufuku.net Contemporary Japanese sculptures and paintings, modern and contemporary sculpture and works of art from 1945 onwards Stand 237 p. 194

Z ALON ZAKAIM FINE ART London T +44 207 287 7750 E gallery@alonzakaim.com I www.alonzakaim.com European paintings, sculpture and works on paper and International Post-War and contemporary art Stand 504 p. 335 KUNSTHANDEL MIEKE ZILVERBERG Amsterdam T +31 20 625 9518 M +31 6 53 83 26 01 E info@miekezilverberg.com I www.miekezilverberg.com Classical antiquities and ancient coins Stand 437 p. 210

GALERIE FABIENNE FIACRE Paris E fabienne.fiacre@gmail.com I www.fabiennefiacre.com French 19th- and 20th-century paintings, drawings and sculptures Stand 2 PLEKTRON FINE ARTS Zurich E info@plektronfinearts.com I www.plektronfinearts.com Ancient art Stand 4 RUNJEET SINGH Warwickshire E info@runjeetsingh.com I www.runjeetsingh.com Antique arms and armour from Asia, especially India, Himalaya and China Stand 1 TAFETA London E ayo@tafeta.com I www.tafeta.com 20th-century and contemporary African art Stand 3

GALERIE ZLOTOWSKI Paris T +33 1 43 26 93 94 E info@galeriezlotowski.fr I www.galeriezlotowski.fr Modern art and Post-War Art Stand 521 p. 336


BUSINESS STANDS AON Rotterdam T +31 10 448 8911 E info@aon.nl I www.aon.nl The international leader in art and collectables insurance Stand 804 APOLLO London T +44 207 961 01 05 E nigel@apollomag.com I www.apollo-magazine.com The international art magazine Stand 801 THE ART LOSS REGISTER London T +44 20 7841 5780 E info@artloss.com I www.artloss.com Database of art and antiques reported as stolen, lost or subject to a claim, now including 700,000 items Stand 730 AXA XL, A DIVISION OF AXA T +49 221 148 24769 M + 49 173 217 6047 E kundenservice@axaxl.com I www.axaxl.com The leading insurance specialist for art Stand 800 BRAND VAN EGMOND Naarden T +31 35 692 1259 E info@brandvanegmond.com I www.brandvanegmond.com A lighting design brand and an international trendsetter in exclusive handcrafted decorative lighting Stand 824 CHAPEAU / MAASTRICHT REGION Maastricht T +31 43 321 6226 E info@chapeaumagazine.com I www.chapeaumagazine.com Glossy magazine Stand 707 FINANCIAL TIMES T +44 20 7873 3000 E help@ft.com I www.ft.com News, analysis and comment from the Financial Times, the world’s leading global business publication, plus international economic and political insight Stand 733


ING / RIJKSMUSEUM Amsterdam I www.ingartcollection.com Stand 808 RKD - NETHERLANDS INSTITUTE FOR ART HISTORY The Hague T +31 70 333 9777 E info@rkd.nl I www.rkd.nl The global knowledge and documentation centre for the visual arts of the Netherlands Stand 728 SCRIPTUM ART BOOKS Schiedam T +31 10 427 10 22 M + 31 6 54 28 25 38 E art@scriptumartbooks.nl I www.scriptumartbooks.nl Art books Stand 802 TASCHEN Cologne M +32 489 076 688 E cdc@taschen.com I www.taschen.com Publisher of exclusive books Stand 823 VERENIGING REMBRANDT The Hague T +31 70 427 1720 E bureau@verenigingrembrandt.nl I www.verenigingrembrandt.nl An association with over 16.000 artlovers who contribute to the enrichment of the public art collection in the Netherlands Stand 729 VERBUNT VERLINDEN Tilburg T +31 13 549 84 00 E info@verbuntverlinden.nl I www.verbuntverlinden.nl Wine sales Stand 704 VLASSAK-VERHULST 's Gravenwezel T +32 3 685 0700 E info@vlassakverhulst.com I www.vlassakverhulst.com Exclusive architecture Stand 806 WELTKUNST T +49 40 5555 7868 I www.weltkunst.de German magazine for art and antiques Stand 732

TEFAF AMSTERDAM – THE NETHERLANDS Barbara Strozzilaan 201 1083 HN Amsterdam The Netherlands T +31 20 303 6400 I www.tefaf.com E info@tefaf.com NEW YORK – USA 1 Rockefeller Plaza, 11th Floor New York, NY 10020 USA T +1 212 202 59 50 E info@tefafny.com

PARTICIPATION Applications for participation in 2021 Fair can only be done through www.tefaf.com. Acceptance is solely at the discretion of TEFAF. The organisers reserve the right to refuse admission to the Fair without giving any reason and to remove any person whose conduct, in the opinion of the organisers, renders such action desirable. Canvassing orders by any unauthorised person is strictly prohibited and, should this occur, the right of expulsion will at once be exercised. The distribution or display of printed or other material, except by exhibitors at their stands, is also prohibited. Please also note that because of the early printing deadlines for the catalogue, it cannot be guaranteed that objects shown in the catalogue will pass TEFAF vetting.

CONTRACTORS FAIR ARCHITECT Tom Postma Design Amsterdam-The Netherlands T +31 20 622 85 69 E tpd@tompostma.nl I www.tompostma.nl CATERING Maison van den Boer Veghel-The Netherlands T +31 413 31 83 18 E info@maisonvandenboer.com I www.maisonvandenboer.com FLOWER DECORATIONS Ten Kate Flowers & Decorations Deventer-The Netherlands T +31 570 61 22 73 E info@tenkate-deventer.nl I www.tenkate-deventer.nl STAND BUILDER Stabilo International bv Eindhoven-The Netherlands T +31 40 234 89 00 E info@stabiloworld.com I www.stabiloworld.com VENUE MECC, Maastricht Exhibition and Congress Centre Maastricht-The Netherlands T +31 43 383 83 83 E info@mecc.nl I www.mecc.nl

All rights reserved. No part of this publication may be reproduced, transmitted or stored electronically, in any form, without the prior permission in writing of the publisher, nor otherwise be circulated in any form other than in which it is published.

© TEFAF DESIGN Wiedemann Lampe, London, UK PRINTING Graphius-DeckersSnoeck, Ghent, Belgium EDITING Coco Bannenberg PRODUCTION Yvonne van den Eerenbeemt





In these Conditions for Visitors, the following terms are defined as set forth below: an article of the Conditions for Visitors. these TEFAF General Terms & Conditions for Visitors. Executive Committee: the executive committee of TEFAF. Fair: a fair organized by TEFAF in the respective Hall. References to “the Fair” are deemed to be references to any applicable Fair. Hall: the premises where the Fair takes place, namely the Park Avenue Armory, located at 643 Park Avenue, New York, NY or MECC Maastricht, the Netherlands, or any other such place where the Fair may take place from time to time. Management: the CEO of TEFAF and his/her staff. Participant: an art gallery or other entity renting a stand from TEFAF at the Fair. TEFAF: The European Fine Art Foundation, with registered seat in Maastricht, The Netherlands or TEFAF NEW YORK, LLC, a limited liability company, with an address at 1 Rockefeller Plaza, 11th Floor, New York, NY 10020. TEFAF Information Media: any media by which TEFAF publicly distributes information in respect of the Fair, including the online catalogue, a smartphone app, the TEFAF website, printed material and social media regarding the Fair. Vetting Committee: the committee that decides on the admission of works of art to the Fair. The Vetting Committee is composed of international art specialists, who are selected on the basis of their integrity, independence and art expertise. Visitor: a natural person or legal entity visiting the Fair in the Hall, unless such person or entity is present at the Fair as a Participant or contractor of TEFAF and only while acting in that capacity.

The Conditions for Visitors apply to all legal relationships between TEFAF and the Visitor to the Fair, and to all actions related to that relationship. By purchasing a ticket, or accepting an invitation, and then visiting the Fair, the Visitor is deemed to have accepted the Conditions for Visitors.

Article: Conditions for Visitors:


2. 3.

4. 5.








1. In organizing a Fair, TEFAF’s purpose is to serve as a platform and facilitator, and to create favorable conditions for Visitors and Participants at the Fair for viewing, exhibiting, buying and selling works of art. TEFAF does not have any ownership interest in works of art exhibited at the Fair, and has no interest as either a seller or purchaser of works of art exhibited at the Fair. Moreover, TEFAF is not involved in any way in the process of buying and selling works of art during the Fair. Similarly, TEFAF does not provide transport services and is not responsible for transport of the works of art to and from the Fair. In aiming to achieve the objectives described in paragraph 1 of this Article, TEFAF, through the Vetting Committee, facilitates the selection of the Participants permitted to exhibit art at the Fair, and uses reasonable efforts to contribute to the selection of the works of art permitted to be exhibited at the Fair. However, responsibility for the entire process of selection, exhibiting, buying and selling works of art remains with the Participant selling and the Visitor buying any given object offered at the Fair. Visitors are urged to exercise care and to make appropriate enquiries to perform appropriate diligence and consult their own professional advisors. TEFAF shall not be liable in any way for any act or omission attributable to a Participant and/or with respect to the works of art exhibited at the Fair.

TEFAF is not liable for any mistakes or errors made by third parties in offers, communications or other information regarding the contents, duration, and organization of the Fair, or for mistakes of third parties in providing information about ticket prices, presale of tickets and/or other incorrect or unclear information pertaining to any of the subject matter of this paragraph 1. TEFAF is not liable for any unauthorized access, use, loss or disclosure of information provided in connection with any ticket sales. Tickets to the Fair are non-refundable. TEFAF does not permit the sale or resale of entrance tickets other than by TEFAF directly or by a TEFAF designated seller or distributor of entrance tickets. Visitors may be denied access to the Fair if entrance tickets were obtained through channels other than those referred to in paragraph 3 of this Article. All tickets to the Fair are personal (including invitations and VIP cards). Visitors may be asked to show valid proof of identity.

TEFAF may cancel the Fair, postpone it or adapt its operation (including but not limited to reducing the duration of the Fair or changing its venue), if TEFAF, in its sole discretion determines such action to be necessary. Such actions could result, for example, from force majeure (including but not limited to war, political unrest, strike, flood, fire, robbery, breakdown of transportation facilities or unavailability of the Hall or a major part thereof), an order by governmental authorities or any other event not attributable to TEFAF that prevents or hinders TEFAF in organizing or operating the Fair in the normal course. If the Fair is cancelled, postponed or changed for any reason, TEFAF shall be released from its duty to perform the affected obligations, and Visitors shall have no claim against TEFAF for performance or termination of contract or for compensation for any loss or damages whatsoever, other than refund of the ticket price.



By attending the Fair, Visitors accept and subject themselves to TEFAF’s rules and safety regulations. Visitors shall comply with instructions given by security and other officials of TEFAF or parties engaged by TEFAF. Visitors acting in a manner contrary to applicable law and regulations, TEFAF’s rules and regulations referred to in paragraph 1 of this Article, any other section of these Conditions for Visitors, and/or Visitors whose behavior at the Fair or otherwise gives rise to good faith complaints from other Visitors, Participants, the Executive Committee or the Management, may be removed immediately from the Fair by TEFAF, and may be denied further and/or future access to any Fair, without being entitled to refund of the entrance fee or other costs, and may be held liable by TEFAF for any loss or damage incurred. TEFAF is entitled to remove a Visitor from the Fair and/or deny further access to any Fair, if a Visitor, while visiting the Fair or otherwise, violates one or more applicable regulations, or if TEFAF has a good faith reason to anticipate such violation, it being TEFAF’s right in all circumstances to protect the reputation of the Fair, TEFAF or any of the Participants. TEFAF may issue a press statement, or otherwise express itself in publicity, at any time as TEFAF sees fit, in order to maintain the orderly conduct of the Fair. TEFAF is not liable for any loss or damage sustained by Visitors as a result of actions taken by TEFAF consistent with the foregoing.





6. 7.

The general purpose of the Fair is to allow Visitors to view and purchase art objects as displayed by Participants in a legitimate manner, and, in that context, to foster business relations between Visitors and Participants to the fair. Visitors are not permitted to enter the Fair for any other purpose, in which case paragraph 2 of this Article applies in full. Among other things Visitors are not permitted to: a. offer goods for sale or distribute goods free of charge to third parties at the Fair; b. bring pets or other animals into the Fair, with the exception of service animals for Visitors with disabilities, but only with permission from TEFAF; c. bring food and/or beverages into the Fair; d. bring bags larger than 12 inches × 16 inches (or 30 × 40 centimeters), backpacks or umbrellas into the Fair; e. bring jewelry in bags or cases into the Fair without reporting the jewelry before entering the Fair; f. bring art or antiques into the Fair, for example for valuation, selling or offering for sale; g. organize or attend unofficial guided tours; h. bring objects or substances into the Fair that are, in the opinion of a TEFAF official, hazardous or may cause a nuisance to Visitors and other persons; i. smoke in the Fair outside the designated smoking areas; or j. bring professional recording equipment (photo/audio/ video) to the Fair or use such equipment at the Fair. As long as the relevant Participant does not object, Visitors are permitted to take photos at the Fair for personal use only and in connection with a potential acquisition of art, and consistent with the purpose of the Fair. The Management may decide that the use of recording equipment (photo / audio/video) is permitted by TEFAF only if certain conditions are met, for example if the Visitor is escorted by a TEFAF employee or representative. No flashes, extendable camera devices or video recordings are permitted. TEFAF officials are authorized to demand that Visitors place any recording equipment in storage during their visit to the Fair if recording equipment is used in violation of these regulations. Visitors refusing to cooperate may be denied further and/or future access to the Fair without being entitled to refund of the entrance fee or any other costs. TEFAF is not liable for loss or damage relating to any stored recording equipment. a. TEFAF or third parties may make or commission video, photographic and/or sound recordings (“Recordings”) of the Fair, including Recordings of Visitors attending the Fair, for many purposes, including but not limited to reporting, advertising and documentation. By attending the Fair, each Visitor consents to his or her image being captured and used, and each Visitor hereby grants to TEFAF and its licenses (and any assignees) a worldwide, irrevocable, royalty-free license and permission to reproduce and display his or her image, name, likeness, and voice in any and all media for any purpose associated with the Fair, TEFAF, and TEFAF’s other events, if any. Images, names, likenesses, and voices may be edited or otherwise modified. b. TEFAF or third parties may make or commission video, photographic and/or sound recordings of the Fair. Article 6.a. only applies to Visitors of the Fair in New York. Article 6.b. only applies to Visitors of the Fair in the Netherlands.





3. 4.



Any information in TEFAF Information Media - in particular, but not limited to, information relating to the description, quality, authenticity, attribution, provenance, title, condition, authorship, origin, date, age and condition of a work of art - is provided on behalf of, and is the sole responsibility of, the applicable Participant. Accordingly, TEFAF does not warrant the correctness of such information provided in the TEFAF Information Media. TEFAF recommends that Visitors seek independent advice regarding the subject matter referred to above in this paragraph 1 from their own professional art advisors before making a purchase from a Participant. Additionally, TEFAF shall have no liability for incorrect, incomplete or missing entries or entries in TEFAF Information Media infringing third party rights.

The relationship between the Visitor and TEFAF and all disputes arising therefrom shall be governed by the laws of the State of New York. Disputes that cannot be settled amicably between the parties shall be submitted to the exclusive jurisdiction of the courts of New York County, New York, and the parties irrevocably consent to the jurisdiction of such courts, and waive any claims of inconvenient forum, in connection with all such disputes.




Consistent with Article 2 above, and in addition to the limitation of liability as set out in Articles 2.3, 4.1, 6.2, 6.3, 6.5 and 8.2, TEFAF, its employees and representatives, including, without limitation, the members of the Vetting Committee shall not be liable in any way for claims, actions, proceedings, losses, liabilities, damages, expenses and costs in relation to the description, quality, authenticity, attribution, provenance, title, condition and/or entitlement of any work of art that was brought to the Hall and/or proposed at the Fair and/or exhibited by a Participant at the Fair and/or vetted by the Vetting Committee. This responsibility and liability remains solely with the Participant and with the Visitor buying a work of art/an object. As noted above, TEFAF recommends that Visitors seek independent advice about these matters from their own professional advisors before making an art purchase. Visitors attend the Fair at their own risk. TEFAF is not liable for physical or other loss or damage caused by force majeure or third parties, whether or not these third parties are contracted by TEFAF, including but not limited to stand builders, caterers, editors/ authors of TEFAF Information Media, security personnel, Participants, other Visitors and the Vetting Committee or its members. Under no circumstances shall TEFAF or any of its employees or agents be liable for consequential damages for any reason whatsoever. In any event, liability by TEFAF or any of its employees or agents is limited to the damages for which TEFAF is insured and up to the insured amount.


ARTICLE 7 – SAFETY AND SECURITY REGULATIONS The Management may demand that Visitors show valid proof of identity and/or that bags and cases carried by Visitors be searched. Visitors may be asked to submit to a body search by specially trained staff. Visitors refusing to cooperate may be denied further access to the Fair without being entitled to a refund of the price of admission tickets or other costs.

A claim by a Visitor will only be considered by TEFAF if received in writing by the Management no later than four (4) weeks after occurrence of the event on which the claim is based. Complaints or claims received by the Management after this period will not be accepted by TEFAF. Complaints and circumstances relating to acts or omissions of third parties or beyond the control of TEFAF shall not result in claims or in any obligation of TEFAF to pay compensation. Complaints regarding third parties should be addressed directly to the third party or parties concerned. TEFAF will supply the relevant name and address information of a Participant to a Visitor upon request.

The relationship between the Visitor and TEFAF and all disputes arising therefrom are governed exclusively by the laws of The Netherlands. Parties will try to solve any dispute that may arise between TEFAF and a Visitor in connection with the present legal relationship, or further relationships or contracts resulting therefrom, through mediation in accordance with the rules of the Dutch Mediation Federation (Mediation Federatie Nederland) based in Rotterdam. Until mediation has ended, neither party shall submit the dispute to a court, with the exception of claims or requests with regard to precautionary measures of protection of rights. If it is established that a dispute cannot be resolved through mediation, the dispute shall be settled exclusively by the competent court in Amsterdam in the Netherlands.



All issues not expressly provided for in these Conditions for Visitors are to be decided by TEFAF alone, subject to applicable law. Invalidity of one or more of the provisions set out in these Conditions for Visitors will not render any other provision hereof invalid. To the extent that any restriction hereunder is too broad to permit enforcement of such restriction to its fullest extent, such restriction shall be enforced to the maximum extent permitted by law. The headings in these Conditions for Visitors have been included for easy reference only and are not intended for interpretation purposes of any clause of these Conditions for Visitors.



Courtesy of Beck & Eggeling International Fine Art, Düsseldorf