Few fairs offer the opportunity to see a Roman marble across the aisle from a Dutch Golden Age or Italian Old Master work, alongside contemporary design, jewelry, Chinese antiques and African and Oceanic artifacts—all steps apart. But every year in Maastricht, TEFAF stages a wonderland where centuries collapse and the MECC becomes a haven for aesthetes, from the most seasoned connoisseur to the curious newcomer. Picture the Met, but with dealers stationed throughout each section of its encyclopedic collection, eager to guide you through the cultural history of human civilization. As you walk through the aisles, you can trace the trade exchanges, provenances and geopolitics, along with shifting centers of power across time. Every item tells a story.
The fair opened to VIPs on March 12 before opening to the public on Saturday, March 14. Running through March 19, TEFAF’s mesmerizing, encyclopedic selection offers an experience so rich that a few days are not just necessary but essential to fully immerse yourself in its treasures, unfolding booth by booth, conversation by conversation. We’ve selected the must-see highlights from this year’s edition—all of which are reminders of the beauty of human creativity and its extraordinary inventiveness.
A 1st-2nd century Helmeted Athena at Galerie Chenel
Known for its exceptional antiques, the Parisian Galerie Chenel has brought a magnificent 1st-2nd century Roman Helmeted Athena bust with a €1.8 million price tag. Notably, she retains a complete nose—a feature rare in marble antiquities of that age and earlier. Standing 77 cm high, with a width of 21.5 cm and a depth of 29 cm, the bust includes 18th-century restorations, notably the helmet crest, the bust itself and the pedestal. The work was first part of a European collection in the 17th or 18th Century, as suggested by restoration techniques that can reliably help trace its provenance to the period in which it was owned and restored. It was later acquired by the French painter Albert Zavaro, who was fascinated by antiquity and often drew inspiration from ancient works in his paintings, and it subsequently passed through his estate before being acquired again in the 1970s or 1980s. Fierce yet seductive, she embodies the enduring power of wisdom transformed into beauty, intelligence and strength.
A Pair of rare golden lacquer birdcage vases at Vanderven Gallery
Also not to be missed is a striking pair of 1700 Japanese Arita porcelain birdcage vases presented by Vanderven Gallery, a multi-generational, family-run Dutch gallery renowned for its expertise in Chinese art and ceramics and founding participant at TEFAF. The vases, priced at €750,000, are each decorated in blue underglaze with floral motifs, but the most striking element is the large gold wire cage complete with two porcelain pheasants—one black with white and the other white with light brown.
The vases are elaborately designed with four upright lappet-shaped panels that were left unglazed during firing and later embellished with striking gold urushi lacquer applied on a papier-mâché underlayer surrounded by a black border. Two panels feature a swastika lattice pattern in relief, while the other two are raised with a granulated surface. On these granulated panels, porcelain handles in the shape of elephant heads have been added.
These vases were originally imported into Europe by the Dutch East India Company in the early 18th Century, reflecting the high demand for luxurious Oriental wares in Europe at the time. Augustus II the Strong, Elector of Saxony and King of Poland, purchased 20 for display in his Japanese Palais in Dresden, where they were housed alongside his vast collection of Oriental porcelain. Due to the fragility of the lacquer and the material’s susceptibility to wear, many surviving examples have lost some or all of their original lacquer, with some also missing elements such as the porcelain birds or handles.
This pair, however, is remarkably well preserved and such pieces rarely come to market. Only 23 birdcage vases are known worldwide, with nine held in the Royal Porcelain Collection in Dresden, three in the Château de Pau confiscated during the revolution from the Princes de Condé, two in the Rijksmuseum in Amsterdam, one in the Ashmolean Museum in Oxford, one in the Peabody Essex Museum in Salem and a slightly smaller example in a Japanese private collection exhibited at the Kyushu Museum in Arita.
Rare bronze Kore and Memnon amphorae at Plektron Fine Art
Celebrating its 10th anniversary this year with a prime spot in the antique section, Plektron Fine Art is showcasing an extraordinary and extremely rare bronze Kore more than 2,500 years old that has remained in pristine condition after being held for more than 70 years in a prestigious Swiss private collection. The statue, like other Kore figures, was inspired by those dedicated in Greek sanctuaries such as the Athenian Acropolis and the Temple of Aphaea on Aegina. The frontal stance, with one hand outstretched and the other gathering the garment, closely mirrors works like the Antenor Kore and other Acropolis figures. At the same time, the treatment of the garments, arms and hairstyle shares clear affinities with the Aphaia figures, placing the Kore within the Late Archaic period (500-480 BC). Its rich archaic style, however, shows a freshness that anticipates the Severe Style, something absent in Etruscan sculpture. Likely produced in Etruscan territory, the piece exemplifies Greek ideals realized through Etruscan craftsmanship, offering a fascinating example of cross-cultural artistic production in which Greek aesthetic ideals were realized with Etruscan resources.
Another standout in Plektron Fine Art’s booth, sold in the early hours for €200,000, is a Memnon amphora from the Archaic period (530-520 BC) depicting the combat between Memnon and Achilles over Antilochos. Measuring 33.5 cm., it is the only example of the Memnon Group known to bear a named inscription in the Ionic alphabet. Belonging to the Pseudo-Chalcidian style of black-figure vase painting, the amphora draws on Chalcidian, Attic and Corinthian styles. Mythological scenes are rare within this group, making this depiction of Memnon and Achilles particularly significant. “Greek antiquities are steadily growing beyond trends,” founder Ludovic Marock, an archaeologist by training, told Observer.
A 2,400-year-old Greek Stele of Medeia at David Aron
This rare Greek stele from the historic Attic region, dated circa 375-350 BC was presented by London dealer David Aaron with a listed price of £450,000. “We had a strong start to the fair with the sale of the Stele of Medeia to a major American museum,” Salomon Aaron, director of David Aaron, told Observer, noting that the rarity of the subject matter is part of what made the piece so desirable. It is believed to be one of the very few surviving examples dedicated to a Parthenos, a young Athenian woman of marriageable age who has not yet wed and is depicted at the peak of her youthful, untamed beauty. A single line of inscription in the architrave identifies the subject of the piece as a young girl named Medea.
According to a study by Swiss classical archaeologist Christoph W. Clairmont, Parthenos steles from Attic tombs account for only 4 percent of the funerary reliefs examined. Adding to this stele’s importance is its remarkable provenance. First recorded in the collection of Athenian art dealer Theodoros A. Zoumpoulakis, it was acquired in 1923 by renowned gallerist Joseph Brummer and remained with the Brummer family for more than half a century. Led by three Hungarian brothers, Joseph, Imre and Ernest, the Brummer gallery was established in 1910 and became a leading dealer of ancient and medieval art in Paris and New York throughout the 20th Century. Upon Joseph’s passing, the Metropolitan Museum of Art acquired a significant portion of his private holdings, but the Stele of Medeia was passed down to his brother Ernest and then to Ernest’s wife, Ella Laszlo Baché Brummer, the founder of the cosmetics company Ella Baché, which still operates today.
A recently rediscovered Lavinia Fontana at Colnaghi
Lavinia Fontana, showing Isabella Ruini Angelelli with a lady-in-waiting. Isabella is depicted holding a piece of jewelry, while her attendant helps her with a necklace, both set against a rich red curtain background. The figures are dressed in elaborate, intricately detailed clothing with lace and pearls, and the jewelry is meticulously painted, emphasizing Fontana’s exceptional skill in rendering textiles and materials.” width=”970″ height=”933″ data-caption=’Lavinia Fontana, <em>Portrait of Isabella Ruini with a Lady-in-Waiting</em>, c. 1592. Oil on canvas, laid down on wood. <span class=”lazyload media-credit”>© Foto Giusti Claudio Firenze info@fotogiusti.com www.fotogiusti.com Lastra a Signa (FI) Italia – tel. +39 3355965310</span>’>
Lavinia Fontana, a pioneering figure in European art, has increasingly gained recognition for both her known works and the reattribution of previously unidentified pieces. Despite being born into a non-noble family, she moved in noble circles in Bologna and eventually became an influential figure in the city’s artistic life, growing close to many of its noblewomen. Her newly rediscovered signed portrait of Isabella Ruini Angelelli (one of the artist’s lifelong patrons) is a testament to Fontana’s extraordinary ability to blend intimacy, material splendor and social meaning, capturing Isabella’s evolution from a young bride to an established matron in Bologna’s elite society. The artist painted her multiple times, depicting her not only in formal portraits but also in mythological allegories, including one portraying her as Venus, transforming her likeness into sophisticated images of both feminine identity and social status.
Priced in the $2-4 million range, the painting shows Fontana’s exceptional skill in rendering jewelry, textiles and fine details with minute precision, which set her apart in a city renowned for its textile industry. The refinement and level of detail with which she meticulously represents these accessories and symbols of status also reveal her awareness of the Fontainebleau style, to the point that when this work was sold at auction last year, it was originally attributed to the school of Fontainebleau. Like other female Old Masters, Fontana’s work has recently seen renewed market appreciation driven by growing institutional attention as museums and scholars reassess the importance of women artists in the period. Her most recent record was set by Portrait of Antonietta Gonzales (c. 1595), which sold for €1,550,000 ($1.7 million) in June 2023 in France, well above its original estimate of €80,000-120,000. It is believed that roughly 130 extant paintings can currently be attributed to Fontana, though continued institutional and market interest may lead to further rediscoveries and reattributions.
Next to Fontana’s painting stands an African wood statue by a Fang artist from the 19th-20th Century, presented as a tribute to the representation of feminine beauty across cultures. This is not the only African artifact in the booth. Colnaghi is also showing a 19th-century Lwena mask from Angola used in rituals of mythological storytelling, priced at €150,000. Alongside it is a 19th-century Teke sculpture from the Democratic Republic of Congo priced at €300,000, paired with a Roman Imperial period piece from the mid-2nd century valued at €350,000. The combination offers a compelling cross-cultural exploration of mythology and craftsmanship, transcending time and geography as the gallery expands its presentation from Western Old Masters to embrace a broader global perspective.
A recently rediscovered Artemisia Gentileschi at Robilant & Voena
Artemisia Gentileschi. The work showcases the artist’s characteristic use of light and shadow to evoke deep emotional expression. The figure is rendered in a somber yet intimate atmosphere.” width=”970″ height=”1133″ data-caption=’Artemisia Gentileschi,<em> The Penitent Magdalene</em>, c. 1625/30. Oil on canvas, 81 x 68.5 cm (31 7/8 x 27 in.) <span class=”lazyload media-credit”>Courtesy Robilant +</span>’>
Also recently rediscovered after being purchased at a smaller auction in the U.S. is the superb Penitent Magdalene by Artemisia Gentileschi presented by Robilant & Voena. This oil on canvas, measuring 81 x 68.5 cm and dating from around 1625-1630, was rediscovered in 2022 in a private collection in Florida. Although initially attributed to Gentileschi, the painting had remained heavily soiled and was partially obscured by an oval frame that concealed much of its composition. A beautiful example of one of Artemisia’s favored subjects, the painting has since been revealed through X-ray analysis to have originally been intended as a depiction of Cleopatra with a snake visible where the skull now appears. The transformation from Cleopatra to Magdalene highlights Artemisia’s responsiveness to evolving artistic trends or possibly a request from the commissioner or buyer, while the style and symbolism reveal the influence of contemporary artists such as Regnier, Fetti and Vouet.
This masterpiece is valued at €6 million, aligning with the rising demand for Artemisia Gentileschi’s works. Her market has steadily grown in recent years as collectors and institutions increasingly recognize her importance in the Baroque canon, and the price is consistent with Artemisia’s recent auction results. Her Self-Portrait as Saint Catherine of Alexandria recently sold for $5.69 million at Christie’s New York in February, more than doubling its low estimate. Gentileschi is clearly one of the most coveted names in the reappreciation and rediscovery of the feminine side of the Old Masters as their legacy is being reevaluated and increasingly celebrated.
Another highlight in the booth is an extraordinarily well-preserved gold-covered early Renaissance altarpiece by Neri di Bicci, Tobias and Archangel Raphael with Saints, dated circa 1475 and priced in the €3-4 million range. It is one of the largest and most ambitious works by Neri di Bicci, the leading figure in a 15th-century Florentine dynasty of painters spanning three generations. What makes this piece even more exceptional is that despite its historical significance, it has already obtained an export license, making it not only one of the few works of its kind available on the market but also one of the few not held in a public collection and available for international sale. (A comparable work with the same subject, though of lesser quality can be found in the Detroit Institute of Arts in the U.S.) Remarkably, this piece has never been exhibited publicly in Europe aside from its original function as an altarpiece in the 15th century. The painting also carries an esteemed provenance, having been part of the Chiaramonte Bordonaro Collection in Palermo during the early 20th Century.
The gallery often pairs Old Master gems with the best of postwar Italian and modern art, and the booth also has a remarkable selection of works by Lucio Fontana spanning various moments of his career. Among these is a very early glazed terracotta Donna allo specchio (1950-1951), created shortly after the artist’s return to Italy from Argentina during the years when he was experimenting with the boundaries of figuration and developing his Spatialist language. A rare example of this subject in Fontana’s ceramic works, with only two other known examples dating from 1948, it demonstrates his dynamic manipulation of clay, a medium he used throughout his career while exploring the relationship between matter, energy and space that would ultimately lead to the development of his Spatialism theory.
Füssli’s Solitude Twilight at Didier Aaron & Cie
Henry Fuseli, depicting a reclining figure in a deep, dreamlike state. The figure, draped in dark clothing, rests against a shadowy form, with a pale foot extended forward. A faint crescent moon illuminates the sky above, adding to the surreal atmosphere of the piece. The composition captures the intense emotion and psychological depth typical of Fuseli’s work, with bold contrasts of light and shadow. The golden ornate frame contrasts sharply with the somber tone of the painting, enhancing its haunting presence.” width=”970″ height=”1142″ data-caption=’Henry Füssli,<em> Solitude. Twilight</em>, 1794-1795 circa. Oil on canvas, 111 x 87.5 cm (44 x 34 ½ inches). <span class=”lazyload media-credit”>Studio SEBERT</span>’>
The growing fascination with the surreal and the more mystical or spiritual dimensions of art is leading to renewed attention and appreciation for singular artistic visionaries who, during moments of historical fracture and seismic change, created luminous or ominous images grappling with timeless archetypes and profound reflections on the human condition long before the Surrealist movement. Swiss-born 18th-century painter Henry Füssli is one of these figures. His nightmarish and fantastical imagery explores dreams, the supernatural and psychological states, occupying a vivid and distinctive space between Romanticism and early Symbolism. Parisian gallery Didier Aaron is presenting a superb example of his work depicting a reclining figure in a deep dreamlike state draped in dark clothing as she rests against a shadowy form. The bold contrasts of light and shadow capture the intense emotion and psychological depth typical of Fuseli’s work. It is extremely rare to see a painting of this size and quality come to market since Fuseli produced a limited number of canvases, many of which now reside in museum collections. Coming from a private collection in Switzerland, the painting is priced in the high six-figure range.
Perrin’s presentation evokes the full aesthetic of the fin de siècle, a period that resonates strangely, and perhaps fittingly, with our own. The age of Art Nouveau and Symbolism, with its seemingly nature-inspired decorative yet symbolically charged creations, was not simply about beauty transcending time. It was already calling for a break from the old order and for a sense of beauty more attuned to nature. Why does this period feel so relevant today? Founder Philippe Perrin confirmed that the late 19th-century Symbolist period is experiencing a revival despite having long been overlooked by the market, and this year the fair has more than eight works by Redon alone. Many revolutionary figures preceded the €234 million Klimts, with the Secessionists expanding the idea of a modern image beyond academic anatomical precision and the celebration of historical subjects.
The booth also has a beautiful peacock Liberty vase from the 1890 Expo Universelle in Brussels that is priced similarly to many contemporary works, though perhaps more justifiably, especially considering that the Victoria and Albert Museum recently acquired a comparable example. There’s a striking, symbolically charged painting by von Stuck priced at €500,000, Prometheus, dark, monumental and enigmatic, much like the movement the artist himself helped found with the Munich Secession. Then there’s a similarly emblematic drawing by von Stuck, The Philosopher, a storm of emotion captured in just a few expressive strokes and priced at $150,000, created before the artist received his noble title and began signing his name with “von.”
The Rembrandt self-portrait etchings at Kunsthandlung Helmut H. Rumbler
Rembrandt is one of the most profound and relentless explorers of the self-portrait genre, delving deeply into the psychological complexity of the human condition. His self-portraits are not merely depictions of his outward appearance but intimate and often raw reflections of his inner world. Through these works, created at different moments in his life, Rembrandt captured the aging process, his emotional states and his evolving identity with an intensity few artists have matched. Kunsthandlung Helmut H. Rumbler is presenting four etched self-portraits from 1630, and despite their intimate scale, each carries the same intensity. The etched lines agitate and accumulate across the surface, capturing subtle microexpressions while sharp contrasts of light and shadow heighten the dramatic sense of vexation. The result is a series of remarkable works combining psychological depth with extraordinary technical mastery.
Forma Fantasma at Fridman Benda
Formafantasma, composed of several panels arranged vertically. The panels, made of warm cherry wood, frame a glowing central light source, creating a striking contrast between the soft light and the surrounding darkness. The minimalist design highlights the interplay between materials and light, showcasing the delicate balance between form and function” width=”970″ height=”1293″ data-caption=’Andrea Trimarchi and Simone Farresin, <em>Panel Lamp</em>, 2024. <span class=”lazyload media-credit”>Courtesy of Friedman Benda and formafantasma Photography by Marco Cappelletti</span>’>
Formafantasma, a research-based design studio founded in 2009 by Andrea Trimarchi and Simone Farresin, has become one of the most talked-about names in contemporary design today thanks to its wide-ranging impact across exhibitions, brand collaborations, scholarly research and museum and exhibition design. Known for investigating the ecological, historical, political and social forces that shape design, the duo’s work has been presented in major museum contexts around the world and acquired by institutions such as the Museum of Modern Art, the Metropolitan Museum of Art, the Victoria and Albert Museum, the Centre Pompidou and the Stedelijk Museum. They have also been responsible for the exhibition design of major international shows, including The Milk of Dreams in 2022.
Leading design gallery Friedman Benda is presenting an immersive solo booth conceived by the Italian duo, “Formation,” where form unfolds and becomes space. In this presentation, furnishings, lighting and surfaces operate both as a framework and as a kind of spatial capsule. Drawing on archetypes of everyday furniture and the domestic sphere, the exhibition explores elementary forms and materials beginning with the plank, the most fundamental unit of cabinetmaking. The use of warm organic cherry wood contrasts with more surgically precise lighting elements and grid textiles, creating a restrained aesthetic that resists spectacle in favor of an embodied reflection on the movement of the body, objects and architectural structures within an interrelational space.
At the same time, this multi-part presentation engages in a transhistorical dialogue with different design traditions to arrive at forms that transcend a specific trend, style or period. The work is subtly informed by the duo’s reverence for influential figures such as the Shaker community, Frank Lloyd Wright and George Nakashima, designers and makers whose practices helped shape their own aesthetic and philosophical foundations. As the founders explain, “Formation seeks to transcend the ephemeral in favor of an enduring presence,” echoing the timeless qualities of craftsmanship while remaining attentive to the present moment beyond digital impermanence. Prices for the pieces in the booth and its environment range from $20,000 to $60,000.
One of the first prints of Goya’s Los Caprichos dated 1799, at Emanuel von Baeyer
In the dystopian and unsettling landscape of today’s constant barrage of bad news, works like Goya’s Los Caprichos feel extraordinarily timely. In its masterful blend of dark humor, social commentary and fantastical imagery, Goya’s famous series of 80 aquatint etchings offers a sharp satirical critique of the social, political and cultural environment of late 18th-century Spain—one that resonates deeply in an age when societal contradictions and political strife seem ever more present. London dealer Emanuel von Baeyer is presenting one of the first impressions of this iconic series at TEFAF.
In February 1799, Los Caprichos, a collection of 80 prints on “whimsical matters, invented and etched by D. Francisco Goya,” was put on sale in Madrid for 320 reales. Shortly after its publication, however, fearing the wrath of the Inquisition, Goya withdrew all available copies and surrendered them to the Spanish Crown. Only 27 had been sold, and it remains unknown how many of those survive today. The copy here, priced at £1.5 million, is one of those rare 27: a complete set of 80 etchings in its original binding. Most remarkably, this particular example carries a distinguished provenance, having been purchased during that brief window of availability by the renowned engraver and contemporary of Goya, Blas Amettler y Rotlan (1768-1841).
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