{"id":82333,"date":"2016-10-15T10:05:39","date_gmt":"2016-10-15T14:05:39","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=82333"},"modified":"2021-12-15T01:01:37","modified_gmt":"2021-12-15T06:01:37","slug":"tefaf-new-york-fall-2016","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/tefaf-new-york-fall-2016\/","title":{"rendered":"9 Must-See Pieces at TEFAF New York"},"content":{"rendered":"\n
Photo by Aveline & Quenetain, courtesy of TEFAF<\/h5>\n

The European Fine Art Fair, or TEFAF, takes place in March in the Dutch city of Maastricht every year, and it has long been considered the most important art and antiques fair in the world. Now, an offshoot is coming to New York. From October 22 to 26, TEFAF New York Fall<\/a> will take over the Park Avenue Armory, with 65 dealers in fine and decorative arts created prior to 1920. (In May, a second show at the Armory, TEFAF New York Spring, will have post-1920 modern and contemporary art and design.)<\/span><\/p>\n

It\u2019s a bold but a well-considered move. While Americans make up a tiny fraction of the 70,000 visitors to Maastricht, that portion accounts for a significant number of the most important sales. By bringing a smaller version of TEFAF to the United States, organizers hope to attract more American collectors and increase sales. Dutch firm Tom Postma Design<\/a>, which has much experience with designing blue-chip fairs and gallery spaces, created the overall scheme of the booths.<\/span><\/p>\n

Many TEFAF dealers, naturally, are promoting works created by Americans for the American audience. Here, we take a look at some of the most compelling offerings from across the continents and centuries.<\/span><\/p>\n

Herter Brothers Collector\u2019s Cabinet, ca. 1879<\/h2>\n\"fapg-20809d-006\"\n

Hirschl & Adler Galleries<\/a> of New York will show a splendid Aesthetic Movement<\/a> collector\u2019s cabinet made circa 1879 by the Herter Brothers<\/a>, renowned German cabinetmakers who emigrated to New York. Made of rosewood with marquetry and intricate inlays of gold, silver, pewter, brass and mother-of-pearl, this cabinet has all the bells and whistles, including four Tiffany<\/a> panels in mixed metal.<\/span><\/p>\n

\u201cWe sold it once in the 1980s, and it was in the Herter Brothers show at the Met in 1994,\u201d recalls Liz Feld, director of the gallery. \u201cNow we have it back. We think it was originally commissioned by Mary Jane Morgan, a famous collector of the Aesthetic Movement in New York.\u201d<\/span><\/p>\n

John Sloan, Orchard, Coming Storm<\/em>, 1907\u20138<\/h2>\n\"ashcan\"\n

Bernard Goldberg<\/a>, a private dealer in New York, is devoting his booth to first- and second-generation artists of the Ashcan School<\/a>, with paintings by early 20th-century adherents like John Sloan<\/a>, William Glackens<\/a>, Guy P\u00e8ne Du Bois<\/a> and Edward Hopper<\/a>. One oil looks like it was inspired by Hurricane Matthew: Sloan\u2019s Orchard, Coming Storm<\/em>, from 1907 or \u201908, depicts a tree battered by wind beneath furiously stormy skies. It was painted out-of-doors with thick, animated brushstrokes \u2014 mostly in silvery grays and greens \u2014 and looks very modern.<\/p>\n

Japanese Cherry Blossom Screens, Momoyama Period<\/h2>\n\"t-3694-lr\"\n

Completely different is the refined brushwork of a pair of Japanese screens that New York dealer Erik Thomsen<\/a> will show. Painted during the Momoyama period (1568\u20131615), the pair of six-panel folding screens depict cherry trees in full blossom in the countryside south of Kyoto. The snow-white flowers are given dimension by thick application of a pigment made from crushed seashells. Stylized golden clouds float across green mountain slopes. The inlaid metal mounts on the lacquered wood frames, like the paintings themselves, are in mint condition. Each screen is more than 5 feet tall and 12 feet wide. \u201cBecause of their size, I think they were commissioned for a temple,\u201d Thomsen says. \u201cThey are extremely rare. In fact, they may be the earliest known depictions of this classic subject \u2014 the symbol of early spring.\u201d<\/span><\/p>\n

Hinton House Elephant Table, ca. 1735<\/a><\/h2>\n\"26-a-the-hinton-house-elephant-table-copy\"\n

Ronald Phillips<\/a> of London has a showstopper: a famous elephant console with lion-paw feet, circa 1735. It is from Hinton House in Somerset, a medieval hall house from 1500 with alterations that various Lords Pouletts commissioned by Sir John Soane and James Wyatt. <\/span><\/p>\n

The compact George II console has an Egyptian porphyry top to match the simulated porphyry base. A golden lion skin frames the black elephant head. It curls its trunk around a gilded garland. Ann Getty has the matching stools in San Francisco. \u201cThis console is the best of the best and unique,\u201d says Simon Phillips, the owner of Ronald Phillips. \u201cIt\u2019s out of this world.\u201d<\/span><\/p>\n

James I Silver-Gilt Tankard, 1620<\/a><\/h2>\n\"jamestankard-2_portrait\"\n

S.J. Shrubsole<\/a>, the New York specialist in antique silver, has a real find: a handsome James I gilded tankard with stone decoration. \u201cIt\u2019s the only fully marked James I object that exists,\u201d says Tim Martin of Shrubsole. \u201cIt is embellished with a small-veined Sussex marble that was mined in the 16th century, a serpentine green stone inflected with red. It\u2019s very rare.\u201d<\/span><\/p>\n

Blue-and-White Porcelain Cistern, ca. 1740<\/a><\/h2>\n\"pronk-archer-cistern\"\n

The Dutch dealer Vanderven & Vanderven Oriental Art<\/a> is offering a unique discovery: a blue-and-white porcelain water cistern, circa 1740, decorated with the \u201carcher pattern.\u201d In a cartouche on the front, an archer shoots a crossbow. It is attributed to Cornelius Pronk, a draughtsman the Dutch East India Company hired to produce Chinese porcelain designs for the Dutch market. He drew European versions of Chinese scenes (called chinoiserie<\/a>), which were wildly fashionable in the 18<\/span>th<\/span> century. This was a commission made to order in China for a Western dining room.<\/span><\/p>\n

\u201cThere are only three other pieces known with that design and this is the only one that is on a cistern,\u201d says the gallery\u2019s Nykke van der Ven.<\/span><\/p>\n

Merry-Joseph Blondel, Sappho Recalled to Life by the Charm of Music<\/em>, 1828<\/a><\/strong><\/h2>\n\"blondel-sapphorevivedbymusic-framed\"\n

Sappho\u2019s ill-fated love affair inspired paintings by Baron Gros (1801) and Jacques-Louis David (1809) before this one. Here, we see the influence of Blondel\u2019s friend and mentor, Jean-Auguste-Dominique Ingres, in monumental, highly finished composition, the classicizing style and the theatrical effect of light and gesture. \u201cBlondel had a successful career as official painter and received prestigious commissions for palaces, museum and churches,\u201d says Tom Davis, gallery director of Daniel Katz<\/a>. \u201cHe painted several ceilings in the Louvre and decorated the Galerie de Diane at Ch\u00e2teau de Fontainebleau.\u201d<\/span><\/p>\n

Davis admires Blondel\u2019s mastery: \u201cThe marble floor in chiaroscuro, the smoke from the incense burner, the light from the background sky \u2014 with this painting the meaning is incidental. It\u2019s all about the sensuality of the scene.\u201d<\/span><\/p>\n

Neo-Gothic Center Table, ca. 1867<\/h2>\n\"tbl-187\"\n

Maison Gerard<\/a> will share its TEFAF booth with Paris wallpaper specialist Carolle Thibaut-Pomerantz<\/a>. \u201cBecause she is bringing a beautiful embossed-leather wall covering of imperial provenance, I thought it would be natural to showcase a table of royal provenance,\u201d says the gallery\u2019s managing partner, Benoist Drut. \u201cSo I\u2019m bringing a center table that was specifically commissioned for Schloss Marienburg, a neo-Gothic castle built in 1867 by George V, the last king of Hanover, for his wife\u2019s birthday. I love the country look of this table, which is beautifully studded with little brass balls.\u201d<\/span><\/p>\n

Gustave Courbet, La Liberte\u0301<\/em>, 1875<\/a><\/h2>\n\"courbet-liberte-recto-20806-emailsized\"\n

Richard L. Feigen<\/a> is showing a large, proud bronze bust of the figure Liberty created by Gustave Courbet, the painter who led the Realist movement in 19<\/span>th<\/span>-century French painting. It was cast in Paris after Courbet had exiled himself to Switzerland. (He was briefly imprisoned for participating in the destruction of the Napoleonic Vend\u00f4me Column during the Paris Commune in 1871).<\/span><\/p>\n

Courbet was so happy in Switzerland that he wanted to donate a sculpture of Helvetia, the female personification of the republic, to his town, but the residents objected to her Phrygian cap, a symbol of the French Revolution. So he agreed to rename her Liberty. That version, cast in iron, remains in the town. The bronze Liberty ended up in the collection of the Baron of Bastard, a member of one of France\u2019s oldest noble families. \u201cIt\u2019s in the original black wooden box, with the baron\u2019s title and Freemasonry symbols,\u201d explains Frances Beatty, president of Feigen. \u201cHe must have been a Freemason, even though in 1875, it was not so acceptable for an aristocrat to be a Freemason.\u201d<\/span><\/p>\n

Courbet died in 1877, at age 58, right before he was due to pay the first of 33 yearly installments of 10,000 French francs for the restoration of the Vendome Column. He died just in time. \u201cThis is the only Liberty in bronze, and it has a wonderful patina,\u201d Beatty points out. \u201cJeff Koons<\/a> would love it.\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Photo by Aveline & Quenetain, courtesy of TEFAF The European Fine Art Fair, or TEFAF, takes place in March in the Dutch city of Maastricht every year, and it has long been considered the most important art and antiques fair in the world. Now, an offshoot is coming to New York. From October 22 to 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