Previous Posts: March 2024
TEFAF 2024
March 11 2024
Picture: Instagram via RichardGreenGallery
Posted by Adam Busiakiewicz:
I had the great joy of visiting TEFAF Maastrict last Saturday, the first day the fair was opened to the public. Bearing in mind how many press articles like to explain to us that there isn't as much interest in the likes of Old Masters anymore, I could not believe the sheer numbers of people who were in attendance. Although the fair has cut down the numbers of days from 10 to 7, it seems that the excitement and mood within hadn't dropped at all.
As ever, it was certainly worth the wait and queueing. The vast array of top-quality works of art never ceases to amaze, as does the sheer attention to detail that the world's top dealers put into their stands. The presentation at these fairs represents a considerable investment of both money and time, which really shows.
It seems clear that works by female artists are taking an ever increasing centre stage at the fair. Rob Smeet's Lavinia Fontana of Antonietta Gonzales (pictured below) was one of the stand-outs (for obvious reasons) alongside Gersina Ter Borch's Portrait of Moses Ter Borch which had just been purchased by the Rijksmuseum from Zebregs & Röell Fine Art and Antiques's stand. Many galleries, such as Dickinson's placement of their splendid Angelica Kauffman Portrait of Jemima Ord, had placed key works in the most advantageous positions on their stands. Sander Bijl's front and centre display entitled 'Wall of Ladies' too shows how important showcasing such works has become. My own personal favourite of the three still lifes by Anne Vallyer-Coster on display at the fair was the following one on Richard Green's stand (pictured below).
Picture: Lavinia Fontana, Rob Smeets Gallery / Anna Vallyer-Coster, Richard Green Gallery.
One of the other great opportunities is getting to see the many various sleepers which dealers tend to reveal especially for the fair. From an auction house point of view, it's also incredible exciting to see the reappearance of previously un-restored works from the sale rooms that have been expertly cleaned and conserved, ready for presentation.
Some readers might remember the following portrait which was shared on this blog back in 2022, which has been presented on Salomon Lilian's stand as Swabian School, c. 1482 as a portrait possibly depicting Eitel Friedrich II von Hohenzollern. The gallery's extended catalogue note draws similarities of the painting to works by Dieric Bouts.
Picture: AB via Salomon Lilian
It seems that some press reports, such as the following article from The New York Times, have drawn attention to the fact that it is museum buyers that are the becoming the most active and growing participants at fairs such as TEFAF. However, the enormous attendance numbers that I saw (and regularly see here on AHN with the large number of exhibitions that are constantly put on around the world) shows that the interest in art from the old world does exist. Unlocking this potential, and converting the casual day-trip art fair visitor into a buyer and collector (at all price points) is perhaps the more difficult and important task. As many readers will hopefully agree, Old Masters (of all qualities and values) are not just for the museum - but can be lived with and enjoyed in the home too.
Picture: AB via Colnaghi Elliott Master Drawings
All comments / thoughts are welcome as always!
Apologies...
March 8 2024
Posted by Adam Busiakiewicz:
Apologies for the radio silence this week, it has been a rather busy time juggling various lecturing and cataloguing projects. Equally, I'm off to Maastricht this weekend for the TEFAF (The European Fine Art Foundation) art fair which opened the other day. There's lots of news on social media regarding lots of the exciting discoveries unveiled there, which I'm very much looking forward to seeing for myself. Equally, there's already been some news of museum acquisitions too - which is rather impressive! I might post some impressions from the fair next week, when I'm back posting as usual.
Wishing readers a very good weekend ahead.
Final Print Edition of the British Art Journal
March 1 2024
Picture: britishartjournal.co.uk
Posted by Adam Busiakiewicz:
The final print edition of the British Art Journal has been made freely available online. Thankfully, the journal's website explains that a future online-only series entitled The British Art Journal: Postscript is in the works, which is a relief! More news as it arrives...
Upcoming: Mary Beale Exhibition at Philip Mould & Company
March 1 2024
Picture: philipmould.com
Posted by Adam Busiakiewicz:
Exciting news that the London dealers Philip Mould & Company will be opening an exhibition dedicated to Mary Beale in April. The show will feature 25 works by the artist, including pictures from public and private collections many of which have never been exhibited before.
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It's quite amazing that visitors to London in May and June will have an unrivalled opportunity to plunge into the subject of Women artists working in Britain. This of course includes exhibitions at Tate, The Royal Academy and now Philip Mould & Co. Are there any others I might be missing out?
Geniale Frauen in Basel
March 1 2024
Picture: kunstmuseum basel
Posted by Adam Busiakiewicz:
The latest leg of the Ingenious Women exhibition opens in Basel tomorrow. Hosted by the Kunstmuseum Basel, the show brings together 100 works by some of the leading female artists between the sixteenth and eighteenth centuries. The exhibition will run until 30th June 2024.
Memling on CODART Canon
March 1 2024
Diptych of Maarten van Nieuwenhove by Hans Memling with Anna Koopstra (CODART Canon) from CODART on Vimeo.
Video: CODART
Posted by Adam Busiakiewicz:
CODART (the international network of curators of Dutch and Flemish art)have recently published the following video on Hans Memling's Diptych of Maarten van Nieuwenhove in the Museum Sint-Janshospitaal, Bruges. The video is part of their CODART Canon series.
Women Artists' Paint Boxes
March 1 2024
Picture: journal18.org
Posted by Adam Busiakiewicz:
Journal18 have published two very interesting articles recently on the subject of paint boxes. Firstly, an article by Damiët Schneeweisz on Charlotte Daniel Martner’s (1803-1821) surviving Paint Box, a woman artist who painted miniatures in Martinique (pictured). Secondly, a piece by David Pullins on Marie Victoire Lemoine's Paint Box at the MET. Included within are many interesting details regarding these rare surviving items, alongside various social economic interpretations etc.
