Just opened in those days the 31th edition of TEFAF Maastricht 2018, largely recognized as one of the most important trade show for Fine Art and Antiquity with only a very high-end offer of true masterpieces from every ages and everywhere in the world, from antiquities until the most contemporary artist of last centuries and modern design.

However TEFAF primarily is historically the greatest show for all top antiquity, old masters and jewelry dealers

TEFAF Antiques,in particular, is the largest and most comprehensive section of the fair , including more than 90 galleries and showing only very top-level masterpieces, often entering for their first time in the market and with very exceptional rediscoveries. In fact, Contemporary art dealers aren’t the only ones who make new (and very lucrative ) discoveries, but also old masters experts are working in this way in a very competitive market, by scouring archives, visiting private apartments, townhouses and châteaux and examining objects with increasingly sophisticated technology. The stakes are high: often, new research and attribution can boost the price of an object considerably.

At this edition of TEFAF there are  a number of works that have benefited from this kind of art-historical sleuthing are on view at a variety of price points. Among it we can mention the curios affair of the Antonio Canova’s Self Portrait of Giorgione (1792) presented by the italian Galleria Antonacci Lapiccirella Fine Art: This painting, which has never been offered before and is believed to be the only Canova painting currently on the market, started out as a practical joke. In fact, the celebrated sculptor wanted to prove his mettle as a painter, more specifically, he wanted to see if he could fool his peers into believing that one of his paintings was actually the work of the high Renaissance master Giorgione. Though the story of this self-portrait is included in many accounts of Canova’s life, the location of the work was unknown until recently. Lapiccirella bought it from the same family that had owned it for 150 years. “The seller didn’t know it was a Canova—we bought it as anonymous,” Lapiccirella told artnet News. He suspected the work might be the fabled self-portrait because the panel was from the 16th century, but the materials were Neoclassical.

But there are so many other interesting pieces and stories behind them in this section, so we’d like to report you some of them always with a rich gallery of picture. Enjoy!


Pietre Dure Tabletop for Medici family ( Duke of Tuscany) , designed by Giorgio Vasari around 1568/1577 – exceptional rare piece presented by Robert Voena Gallery London


Court Turbo-snail cup made for Francesco De Medici, around 1560- Kunstkammer George Lauer Munich


Artemisia Gentileschi, Allegory of Astrology , 1640/1650 – presented by G. Sarti Gallery


Antonio Giovani Lanzarotti, Hymenée de l’Amour et Psyche,1876 – presented by Ralph Gierhards


Kollenburg Antiquaries
Kollenburg Antiquaries


Boldini Giovanni, Nudo di Donna, 1890 – very unique piece with an high erotic sensation expressed in the sinuous lines and mostly abstract  quick brush stroke sensible to impressions and emotions –  presented by Antonacci Lapicirella Fine Art


Giovanni Aristide Sartorio, one of the 3 pannels rediscovered , originally conceived Frieze for the Lazio Room, Esposizione Internazionale del Sempione, Milan 1906 – The three panels presented by Antonacci Lapicirella Fine Art  are a  sensational rediscovery of parts of a large decorative frieze produced by Giulio Aristide Sartorio for the Esposizione Internazionale del Sempione of 19061. Thee frieze was designed to decorate the Lazio Room, and it was  painted in oil on canvas “en grisaille”, consisted in a set of panels in which the artist set out to illustrate “Italy’s driving energy in history, ferrying the classical ideal into the modern world”2 and was devised “by spiritual association…like the bas-relief in Athena’s greatest temple.” Reflecting the Esposizione’s own object of celebration, the dazzling modern achievement that was the Simplon tunnel, the topic addressed in the frieze was intended to be an apotheosis of man’s achievements. To translate this goal into images, the artist identi ed a series of key turning points in the history of mankind, the central one of which was the Renaissance inasmuch as it was considered the age of the rediscovery of humanist and civic values. So, the series began with an illustration of the period stretching From the Fall of the Roman Empire and the Barbarian Invasions to the Renaissance, continued with the era stretching From the Great Discoveries, through the Gloomy Ages, to the Living Revival of the Race and From the Fable of Pegasus to the New Achievements of the Liberal Arts, and ended with the period stretching From the Myth of Brute Forces Tamed to the Most Recent Achievements of Science. Anna Maria Damigella has perceptively pointed out that the “frieze painted in monochrome for the Lazio Room… is the first work in which Sartorio proposes a potential pathway for modern decoration in a programmatic sense“. Definitely an impressive masterpiece. 

Adolfo Wildt, Uomo antico, 1911/1914 – Joan Wijermars


Loris Cecchini vs antique vases


Cartier, Tiffany, Van Cleef& Arpels – Jewelry section


TEFAF Maastricht 2018