Suzanne Lovell Inc

Fine Art

TEFAF at the Armory in Review

October 29, 2016

When asked to host the inaugural TEFAF at the Manhattan Armory last week, we jumped. This fair was greatly anticipated by museum curators and collectors alike as the best dealers worldwide brought treasures that hadn’t been shown before to the American audience. This fair featured antiquities, Old Master paintings and so on through 1920, and the exclusive opening brought out the VIPs. We arrived early to the food-heavy opening with roving oyster shuckers and floating flowers to view the dealer offerings. Enjoy some of our favorites!

VICTOR PROUVÉ (Nancy 1858-1943 Sétif), The Violinist: L’ami Hekking, 1886, 33″ X 41″ courtesy of Jean-Luc Baroni at TEFAF Fall 2016.

All images courtesy of Suzanne Lovell Inc. except where noted.

When the critic Emile Hinzelin saw this painting at the Salon of 1888 he commented in the Nancy journal, La Lorraine-Artiste (10 June) ‘This musician artist, in expectation of inspiration, adjusts his bow with his sensitive fingers, entirely accomplished. Nature, the clement benefactress, has granted all his wishes: she has even managed, by unusual caprice, to match his beard and hair to the wood of his instrument”.

Francisco Noletti (Valletta, Malta c. 1611 – 1654 Rome), A Carpet Still Life,oil on canvas, unlined, 39”X  53” at French & Co., TEFAF. This piece is expensive, but this is the artist’s masterpiece painted like no other.

The Andean Condor and Vulture c. 1930 by Willem van den Berg (1886-1970) are Dutch works of monumental proportions, and “fiercely majestic”. They come from a Dutch collection with examples of work not replicated or well-known in America. At Mireille Mosler, TEFAF. 

The painting by Giovanni Boldini [The Audience at the Opera Garnier] c. 1886 is wonderful in its cropped view and honest in a portrayal of upper society in the heyday of the Moulin Rouge. The experimental application of paint is seductive.

Here, the women are a whirlwind of silk, feathers, long arms in opera gloves, and lit faces, their gestures perfectly expressing a mood of anticipation, expectation. The scale of the painting, over three times the size of his usual works on panel and with a strikingly elongated shape, emphasizes the experimental nature of the work. [Courtesy of Jean Luc Baroni, TEFAF]

The pair of Spanish bronze cannons c. 1747 have a fantastic patina, and offer the perfect height with fascinating markings and provenance. They are 73 inches high on their mounts and each of the bases are 20 inches wide, at Peter Finer, TEFAF.

One of two paintings by Melchior De Hondecoeter (Utrecht 1636 – 1695 Amsterdam), each engross the viewer with large scale presentations (49” X 63”).  At Galerie Sanct Lucas, Vienna / Zurich – TEFAF.

The Vanitas as memento mori would have been commissioned by an estatesman and cultural connoisseur as a reminder of the fleeting nature of one’s life and successes. This Vanitas is a sculpture in marble c. 1730 of the Italian school, a fantastic find from Colnaghi, a gallery established in London c. 1760.

Reports from media outlets (artnet, artnews) are positive around Fall 2016’s TEFAF in Manhattan, and we are waiting with bated breath for the next installment of TEFAF in Spring 2017 that will feature our favorite in Modern and Contemporary art & design.

This booth was a preview of the modern iteration of TEFAF, with chairs by Wendell Castle, co-mingling with Old Masters paintings mounted on colorful velvet. Anton Raffael Mengs (Aussig, Bohemia 1728-1779 Rome), Portrait of Mariana de Silva y Sarmiento Duquesa de Huescar (1740-1784), unfinished, was reportedly purchased by Anderson Cooper on opening night at Otto Naumann, Ltd.