A. AARDEWERK DUTCH SILVER AND ANTIQUE JEWELRY DIDIER AARON, INC. AGNEWS A LA VIEILLE RUSSIE, INC KUNSTGALERIJ ALBRICHT ÅMELLS ANCIENT ART OF THE NEW WORLD, INC. APTER-FREDERICKS LTD ARIADNE GALLERIES ARONSON ANTIQUAIRS GREGG BAKER ASIAN ART VÉRONIQUE BAMPS JEAN-LUC BARONI LTD. MICHELE BEINY BENAPPI BLUMKA GALLERY JULIUS BÖHLER BOWMAN SCULPTURE BURZIO CAHN INTERNATIONAL AG ALBERTO DI CASTRO ALESSANDRA DI CASTRO WALLACE CHAN GALERIE CHENEL GALERIE DIDIER CLAES GALERIE ERIC COATALEM COLNAGHI DANIEL CROUCH RARE BOOKS DICKINSON CHARLES EDE LTD JAIME EGUIGUREN, ARTE Y ANTIGÜEDADES EGUIGUREN ARTE DE HISPANOAMÉRICA LES ENLUMINURES RICHARD L. FEIGEN & CO PETER FINER SAM FOGG ANTIQUARIAAT FORUM BV FRENCH & COMPANY, LLC GALERIE JACQUES GERMAIN BERNARD GOLDBERG FINE ARTS, LLC RICHARD GREEN DR. JÖRN GÜNTHER RARE BOOKS AG HABOLDT · PICTURA HEMMERLE HIRSCHL & ADLER GALLERIES OTTO JAKOB BEN JANSSENS ORIENTAL ART LTD DE JONCKHEERE DANIEL KATZ LTD GALERIE KEVORKIAN JACK KILGORE & CO., INC. KOOPMAN RARE ART KUNSTKAMMER GEORG LAUE LOWELL LIBSON LTD LITTLETON & HENNESSY ASIAN ART LTD MACCONNAL-MASON GALLERY MAISON GERARD S. MEHRINGER MENCONI + SCHOELKOPF GALERIE MEYER - OCEANIC ART MORETTI MIREILLE MOSLER LTD LILLIAN NASSAU LLC OTTO NAUMANN LTD. CARLO ORSI - TRINITY FINE ART GALERIE PERRIN RONALD PHILLIPS LTD PHOENIX ANCIENT ART PRIMAVERA GALLERY CHRISTOPHE DE QUÉNETAIN REZA RÖBBIG MÜNCHEN ROBILANT + VOENA SAFANI GALLERY INC GALERIE SANCT LUCAS GALERIE G. SARTI SHAPERO RARE BOOKS S.J. SHRUBSOLE, CORP. ELLE SHUSHAN SIEGELSON ROB SMEETS OLD MASTER PAINTINGS TAYLOR | GRAHAM ANTIQUARIAT BIBERMÜHLE AG HERIBERT TENSCHERT CAROLLE THIBAUT-POMERANTZ ERIK THOMSEN GALLERY TOMASSO BROTHERS FINE ART VANDERVEN ORIENTAL ART AXEL VERVOORDT GALLERIA CARLO VIRGILIO & CO RUPERT WACE ANCIENT ART LTD WARTSKI JORGE WELSH WORKS OF ART JOAN WIJERMARS ADAM WILLIAMS FINE ART LTD
TEFAF.COM
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YOUR ART COMMUNITY
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TEFAF NEW YORK FALL 22–26 OCTOBER 2016
PARK AVENUE ARMORY 643 PARK AVENUE NEW YORK, NY
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CONTENTS
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TEFAF NEW YORK BOARD AND MANAGEMENT CHAIRMAN’S FOREWORD 08 TEFAF NEW YORK BOARD LETTER 10 ARMORY RESTORATION PROJECT 12 THE SOCIETY OF MEMORIAL SLOAN KETTERING 14 RIJKSMUSEUM EXHIBITION 18 VETTING GUIDELINES & VETTING MEMBERS 26 EXHIBITORS 122 ADVERTISERS 130 EXHIBITOR LIST 06
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TEFAF NEW YORK ADVISORY BOARD
COLIN BAILEY FRANCES BEATTY, PHD JAMES DRAKE MARINA KELLEN FRENCH ALEXA HAMPTON J. TOMILSON HILL MAX HOLLEIN RACHEL KAMINSKY RONALD S. LAUDER ERIC M. LEE, PHD THOMAS J. LOUGHMAN, PHD HEIDI MCWILLIAMS EMILY RAFFERTY DENISE SAUL BRUCE E. TOLL IAN WARDROPPER, PHD SUSAN WEBER, PHD MICHEL COX WITMER
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TEFAF NEW YORK BOARD AND MANAGEMENT
TEFAF NEW YORK BOARD
TEFAF FOUNDERS
KONRAD BERNHEIMER NIELS GLANDORFF PATRICK VAN MARIS VAN DIJK MICHAEL PLUMMER JEFF RABIN
JAN EN JOSEPHINE DIRVEN-DUYNDAM EVERT DOUWES SR. JOHNNY VAN HAEFTEN DAVID KOETSER EUGÈNE STENDER † JACOB STODEL † CLEMENS VAN DER VEN †
TEFAF OFFICES HELVOIRT
LONDON
PATRICK VAN MARIS VAN DIJK CEO TEFAF
KARINE MANDEL Executive Assistant to CEO
NIELS GLANDORFF Head of Finance
TARA HEFFLER Operations Manager TEFAF New York
MANON VAN DEN BEUKEN Head of Fair Operations MADELON STRIJBOS Head of Marketing & Communication GEMMA LEIJEN Office Manager CÉCILE FENTENER VAN VLISSINGEN, PHD Vetting & Special Projects YVONNE VAN DEN EERENBEEMT Printing & Design Manager EVELINE VAN NIEKERK Hospitality Specialist CLAIRE VAN BEUZENKOM Content Manager TWAN VAN ASSELDONK Administrator PIETER VERSTIJNEN Project Assistant
NEW YORK MICHAEL PLUMMER Managing Director TEFAF New York JEFF RABIN Managing Director TEFAF New York ANYA BEMIS Head of Operations TEFAF New York LINDA LEES, PHD Head of Programming TEFAF New York ALISON ROBERTS Digital Communications Associate TEFAF New York CAROLYNE HILARIO VIP Coordinator
INGRID LABADIE Sponsorship
† = deceased 5
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FOREWORD WILLEM VAN ROIJEN CHAIRMAN TEFAF
It is a matter of some pride that an important chapter in the history of the Netherlands includes the founding of this great city of New York and with that, it left an imprint on what has become the dynamic culture of art and commerce that still animates this metropolis today. Seen in that light, TEFAF’s arrival in New York might appear to have an air of destiny about it. The art landscape looks nothing like it did 30 years ago when TEFAF was founded; we have grown and evolved to address many changes including the full globalization of the art world and we will continue to do so. At the same time, New York has become the most active and vibrant sector of the world’s art market; its cultural institutions are second to none. As TEFAF has a long tradition of bringing the best art discoveries, across the millennia, to the greatest museums and collectors in the world, it seemed only fitting that our first venture outside of Europe would be here. Our exhibitors have committed fully and unsparingly to bring the TEFAF standard of rarity and quality to our two new Fairs in New York. And since announcing our new American venture in February, we have been overwhelmed and honored by the depth of excitement and anticipation that has been building up to the Fair’s opening. We believe that this energy and attention will help to renew interest in categories of historical art that have not received the attention they deserve as the foundation, if you will, of all the art of the Modern Era. We want to do our part to educate and inspire the next generation of collectors about this glorious art. For me it is an extremely exciting time to be Chairman of an institution that originated with a small group of ambitious art dealers who set out to change the way business was done in the art trade some 30 years ago. Since that time we have established standards of vetting, presentation, quality of art and visitor experience that continue to lead the industry today. To that end we have selected as our new home in New York one of the City’s most historic and beloved cultural venues; one that has been a home to many important art fairs for decades. But as is consistent with the TEFAF way, through the use of the Period Rooms and the first and second floors, we are transforming the art fair experience in the Park Avenue Armory in a unique and unprecedented way, and we believe, creating a new cultural landmark in this wonderfully rich and diverse city. WILLEM VAN ROIJEN Chairman TEFAF
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TEFAF NEW YORK BOARD LETTER
Translating a much beloved, 100,000 square foot fair from a small city in the Netherlands to space-challenged Manhattan has not been an easy or forgiving undertaking. Transporting 40 container trucks of building materials into a convention center in Maastricht is one thing; moving them into a historical landmark on the upper East Side of Manhattan is completely another. And let us not even begin to describe a construction window of 72 hours and a venue with historic rooms and materials that needed to be protected and preserved with the utmost care. Yet in the end, as we hope many visitors will agree, it has been a challenge very much worth taking. For years, many art world insiders have asked why does New York not have a world-class fair like TEFAF Maastricht or Art Basel? The short answer was opportunity and logistics; the long answer was courage, vision and the right partnership. Courage was required to translate the high quality Maastricht build into a comparable visitor experience in the Park Avenue Armory. A clear vision was needed to transform a 19th-century Landmark into a bright 21st-century venue appropriate for the display of important works of art. And the right partnerships were essential to make such an ambitious undertaking possible in the first place. Thus we have Harry van der Hoorn and his team at Stabilo to thank for having the courage and ingenuity to make innovations in stand construction to take on a build of this magnitude and complexity in such a short time frame. We have Tom Postma Design and his team to thank for a unified vision
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and a transformative design that brings the Armory into the Contemporary era while still preserving the majesty of its historic landmark status. And lastly we have Rebecca Robertson, Peter Gee and the Board of the Armory to thank for being partners with like-minded goals, capable of bringing to the Armory an art fair of an entirely new and challenging dimension. In creating this Fair, the Park Avenue Armory, reimagined in 2006 through the formation of the Park Avenue Armory Conservancy, seemed the most fitting venue – a gem of contemporary art at the time of its creation, and a cultural center for contemporary and performing art today – as it simultaneously merges the present with the past, the living with the historical. TEFAF New York innovations at the Armory do not end with a new design. An important responsibility of any art fair is to educate, train and develop the interests and enthusiasm of new generations of collectors. To that end, TEFAF is launching TEFAF COFFEE TALKS, a series of panels covering emerging and controversial issues in the arts. TEFAF New York Fall is the first of many fairs to come. We invite you to come back to see us again in May for the launch of TEFAF New York Spring and if you are new to TEFAF, we really must insist you join us in Maastricht in March to experience the source of it all. THE BOARD OF DIRECTORS TEFAF New York New York September 2016
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RESTORATION OF THE PARK AVENUE ARMORY As part of the ongoing $210-million transformation of its historic building into a cutting-edge cultural institution, last March, Park Avenue Armory re-opened its restored Veterans Room, the most significant remaining intact interior in the world by Louis C. Tiffany and Co., Associated Artists. A monument of late 19th-century decorative arts, the Veterans Room is being reanimated through interventions by the Pritzker-prize winning team of Herzog & de Meuron with Platt Byard Dovell White Architects. The room is now the home to the Artists Studio series curated by jazz pianist, composer, and MacArthur Fellow Jason Moran in a program that features innovative artists and eclectic artistic pairings that harken back to the imaginative collaborations of the young designers who originally conceived the room. ‘We are thrilled to have reopened the Veterans Room, which is among the most significant surviving 19th C. interiors in the country,’ said Armory President and Executive Producer Rebecca Robertson. ‘Our revitalization responds to the original exuberant vision for the room’s design, bringing into dialogue some of the most talented designers of the 19th and 21st centuries - Associated Artists and Herzog & de Meuron with a team of world-renowned artisans and experts in Tiffany glass, fine woodworking, and decorative arts.’ The Veterans Rooms was an important civic commission awarded in 1879 to Louis Comfort Tiffany, Associated Artists, a newly formed collective that included two of the
most significant American designers of the 19th century, at early stages of their very distinguished careers: Louis Comfort Tiffany and Stanford White. According to an 1881 issue of Scribner’s, the responsibilities for the room were divided as follows: Tiffany was responsible for the general character and scope, as well as the windows, the glass and plaster mural, and the glass tiles in the fireplace; a young White was responsible for architectural arrangements including all woodwork; Samuel Colman, a well–known painter and Orientalist, was responsible for orientalist details and color harmonies; Candace Wheeler was responsible for the draperies; and Francis Millet and George Yewell, were responsible for the frieze that depicted scenes of war through the centuries. The design of the room by these artists was exotic, eclectic, and full of experimentation, described by Decorator and Furnisher as follows: ‘the prepondering styles appear to be the Greek, Moresque and Celtic, with a dash of Egyptian, the Persian and the Japanese in the appropriate places.’ The Veterans Room opened in 1881 to acclaim and its reputation did not diminish with time. When it was designated as an interior landmark by the New York City Landmarks Commission in 1992, the Landmarks Report stated the Veterans Room and the adjacent smaller Library were ‘widely considered to be among the most significant and beautiful interiors of the American Aesthetic Movement.’
Images of Restored Veterans Room Fireplace Photo: James Ewing/Courtesy of Park Avenue Armory 11
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THE SOCIETY OF MEMORIAL SLOAN KETTERING
The Society of Memorial Sloan Kettering is grateful to be the beneficiary of The Opening Night of TEFAF New York Fall. The Society of MSK, founded in 1946, is a volunteer-led organization within MSK dedicated to promoting the well-being of patients, supporting cancer research, and providing public education on the early prevention, detection, and treatment of cancer. As the world’s oldest and largest private cancer center, MSK has devoted more than a century to advancing the prevention, diagnosis and treatment of cancer. With a passionate commitment to exceptional patient care, cutting-edge research, and superb educational programs, MSK has earned the distinction as one of the premier cancer centers worldwide. Funds raised from the Opening Night will benefit The Society’s patient care, cancer research and educational programs at Memorial Sloan Kettering.
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The Society wishes to thank ELLE DECOR for their generous sponsorship of The Opening Night of TEFAF New York Fall
The Society wishes to thank FENDI for their generous sponsorship of The Opening Night of TEFAF New York Fall
ROMA
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RIJKSMUSEUM EXHIBITION HERCULES SEGERS (1589/90–1640)
Landscape with a plateau and a river in the distance Etching on dark blue prepared paper, heightened in yellow 14.4 × 10.6 cm Circa 1615–1630 14
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Valley with fenced fields Etching and dry point on paper, printed in blue ink and colored in pink and blue 22.5 × 48.9 cm Circa 1615-1630
TEFAF New York’s first edition hosts a special presentation by the Rijksmuseum in Amsterdam on Hercules Segers and Rembrandt. At the same time the Rijksmuseum in Amsterdam presents the first full retrospective of the work of Hercules Segers, one of the most mysterious and experimental artists of the Dutch Golden Age. His strange and wonderful mountain landscapes and endless vistas bear witness to an unbounded imagination. Segers was a truly pioneering etcher, developing wholly individual, arcane techniques for his colourful etchings. Poets and artists down through the ages have been inspired and fascinated by his poetic and melancholic paintings and prints. Rembrandt owned no fewer than eight of his paintings. BOUNDLESS IMAGINATION Hercules Segers (1589/90–1633/40) was an artist, like Leonardo da Vinci, Albrecht Dürer and Rembrandt van Rijn, who wanted to fathom and reproduce the essence of nature and the world. Foliage, sky and rock could be better conveyed by constructing them from one’s own imagination, rather than trying to copy them exactly. In his paintings and etchings he combined scenes ‘from life’ with imaginary elements, as he did in the view from his own house in Amsterdam, which he placed in a mountain valley. There is no evidence that Segers ever travelled or saw mountains in real life. THE MYSTERY OF HERCULES SEGERS Segers maintained contacts with other artists and art dealers, and must have been a productive painter, but only a very small part of his oeuvre has survived, or has been recognized as such. The largest group of Segers prints in the Rijksmuseum, more than forty, came from the Amsterdam collector Michiel Hinloopen (1619-1708). They probably came originally
from Segers’ workshop estate. New research in the records has now unearthed more information about Segers’ life. One of the unsolved mysteries about Segers is the cause and date of his premature demise. His sudden death could explain why many of his prints found their way to collectors unfinished and still in the experimental phase. AN ARTISTS’ ARTIST Rembrandt was a great admirer of Segers’ work and owned eight of his paintings. He also acquired an etching plate from Segers’ estate and replaced the figures with some of his own, but he left the enchanting landscape untouched and printed it many times. Segers also found followers among Rembrandt’s pupils, such as Philips Koninck (1619-1688). Segers’ wonderfully coloured etchings remained popular with collectors and artists, but it was to be centuries – not until the twentieth century, in fact – before printmakers would experiment as freely again. Segers is consequently regarded as a precursor of modern graphic art and modern art in general.
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River valley Oil on panel 30 × 53.5 cm Circa 1626–1630
NEW DISCOVERIES Since the middle of the last century, most art historians have agreed about the attribution of ten to twelve paintings to Hercules Segers. Thanks to exhaustive art-historical investigations and research into materials and techniques by a team of Rijksmuseum specialists, sixteen paintings and two oil sketches can now be presented as autograph works. The three paintings, Woodland Path, Panoramic Landscape with a Town on a River and Panoramic Landscape with Two Towers, all owned privately, have never been seen before. The Mountain Landscape from Hovingham Hall in England was last shown almost fifty years ago. Alongside the four works by Segers, there are two other paintings from private collections that have long been considered doubtful but may now also be definitively added to Segers’ oeuvre. They are the River Landscape with Figures and Landscape with a Windmill. Two new prints by the artist have also been found.
PRINTED PAINTINGS The research also resulted in a much better insight into Segers’ working methods, use of materials and the dating of the works. He made etchings in his painter’s studio and with painter’s materials, and printed with oil paints on colourful backgrounds and on linen and cotton. Contemporary Samuel van Hoogstraten described Segers’ prints as ‘printed paintings’. By working up his etchings with paint he made every print a unique work of art. There are sometimes as many as eight impressions of the same print in the exhibition, all completely different in character and atmosphere. Later printmakers tried to unravel his experiments with etching techniques, but it is only now, thanks to new scientific research and reconstructions made in the museum, that it has been possible to penetrate the secrets of Segers’ methods. It was discovered, for instance, that he was the first artist in Europe to use paper from the Far East, twenty years before Rembrandt was to print his etchings on Japanese paper.
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COMPLETE OVERVIEW With a total of eighteen paintings and a hundred and ten impressions of fifty-four prints, Hercules Segers is the first exhibition to present a complete overview of the artist’s work. Most come from the Rijksmuseum, which holds the largest group of works of art by Hercules Segers in the world. The show also contains prints and paintings from public and private collections in Europe and the United States. An oeuvre catalogue of all the etchings and paintings accompanies the exhibition.
The exhibition Hercules Segers will be on show in the Rijksmuseum from 7 October 2016 to 8 January 2017. The exhibition then moves to the Metropolitan Museum of Art in New York from February 13 2017 to May 21 2017. Rotslandschap met een plateau Etching 13.5 × 18.8 cm Circa 1615-1630
Landschap met de sparretak Etching 13.3 × 18.9 cm Circa 1615-1630
The Rijksmuseum exhibition Hercules Segers is made possible by the van Marle Fonds/Rijksmuseum Fonds, Ammodo, Turing Foundation, Douwe Egberts, FedEx, FrieslandCampina and Heineken.
Distant View with a Road and Mossy Branches Etching 14.3 × 19.5 cm Circa 1615-1630 17
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VETTING GUIDELINES GEORGE ABRAMS PHD – CHAIRMAN APPEALS COMMITTEE PROF DR HENK VAN OS – PATRON VETTING
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INTRODUCTION The vetting process, one of the main pillars of TEFAF’s success, aims to protect potential buyers and create an atmosphere in which they can buy with confidence. The vetting committees draw their members from art historians, restorers and academics. By the time the Fair opens, they have undertaken a meticulous examination of every piece on show. Neither exhibitors nor their representatives are admitted to their stand and its direct surroundings during the vetting so that committee members may express their opinions freely and complete impartiality is ensured. Exhibits are not accepted for display unless they have been approved by the relevant committee. All exhibitors are bound by the decisions of the committees.
SECTIONS 1 PICTURA For vetting, each exhibit must be clearly described on a list stating the name of the artist with life dates or the dates of the exhibited work. If the artist’s name is unknown, the school and approximate date must be given, e.g. ‘Dutch School, first half 17th century’. Items must be properly attributed and of such a standard and in such condition, taking into account their age and importance, that showing them is not contrary to the best interests of the Fair as a whole. The vetting committee will check that statements concerning attribution and condition are not presented in any way that might be misleading. Paintings and drawings are not acceptable if the items have been so restored as to exclude evidence of serious or extensive damage, unless the conservation records are made available with all restored damage clearly described in the examination, condition and treatment report. Any exhibit with additions, subtractions, later embellishments or any alterations that change its original character
or enhance its value will not be accepted. The exhibitor may only exhibit works that the vetting committee is satisfied are genuine. Ultra violet (UV) barrier varnishes Restoration designed to deceive is not allowed. A conservator should be able to see the extent of restoration/repainting in UV light, magnification and adequate lighting. The varnish must not prevent UV light from penetrating to the paint film. Obviously the vetting committee cannot allow damaged paintings to be obscured with UV barriers, since this hides the extent of previous damage. 2 ANCIENT ART All the antiquities exhibited must be described and dated to the period and attributed according to their culture. The exhibits at TEFAF | New York | Fall must have been checked by the Art Loss Register. If deemed necessary, export permits from the countries where acquired need to be presented. All exhibits covering the cultural heritage (of cultural property and other goods of archaeological, historical, cultural, rare scientific or religious importance) originating from the territory of Iraq or Syria must show a documented evidence of provenance prior to respectively 6 August 1990 and March 2011. Objects from Egypt must have a written proof of provenance prior to 1983. The exhibitor must present the documentation to the vetting committee in any case. If the documentation is judged not sufficient, the piece will be withdrawn from the fair. Provenance must mention one previous owner, if possible by name or initials and/or location (country and/or city), and state that the object was acquired with all the required due diligence. Failure to do so may lead to the withdrawal of the piece from the fair. The condition of the exhibits must be described in a reasonable way. Fillings and restorations of parts, resurfacing, repairs and cleaning must be described. Also for other antiquities a provenance must be shown. Historical restorations and additions dating from the sixteenth to the early twentieth century must be described. If the repairs go beyond
the nature, character and identity of the original, the vetting committee may refuse the object as being not in the interests of the Fair. The same applies to provenance, quality or excessive repairs. Reproductions and copies after the antique, even from the nineteenth century, are not admitted to the Fair if they were intentionally made to appear to be genuine antiquities. All antiquities exhibitors, irrelevant of membership, must comply with the standards set by the International Association of Dealers in Ancient Art (IADAA). 3 ASIAN ART As a general rule, all Chinese, Japanese and other Asian works of art should date from before 1900, unless an individual item is of particular merit, interest or exceptional scholarly or documentary value. Chinese ceramics and works of art from the nineteenth century or later will only be accepted if of particularly high quality. Pastiches, copies and imitations of earlier periods will not be accepted. Pottery and Porcelain It is strongly recommended that a certificate of thermoluminescence testing issued by an internationally acknowledged laboratory or institution is provided for early pottery pieces. However, it should be noted that a positive thermoluminescence certificate does not guarantee unqualified admission of the object. Experience has shown that thermoluminescence tests for late Ming and Qing dynasty porcelain pieces cannot always be relied upon for authentication without additional evidence, and they are therefore no longer automatically accepted as proof of authenticity. Chinese ceramics of later periods with distinct patterns should be of those periods and not later pieces in that style. Bronzes and Metalwork All metalwork should be of good quality. Early Chinese bronzes should not be extensively restored or re-patinated. A thermoluminescence certificate should be provided where a pottery 19
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core is in evidence. It is advisable to have early bronzes X-rayed. Sculpture Sculpture in stone, wood or metal must be of good quality and not extensively restored. Later sculpture in earlier styles is not permitted. ‘Marriages’, for instance a torso and head from the same period but originally from different sculptures, are not permissible. Later works of art All Chinese, Japanese, Korean and other Asian works of art of later periods, including objects in precious and semi-precious stones, lacquer and other natural materials, such as bamboo, gold, silver, glass and other materials, should be of good quality and not have been extensively restored. Objects recovered from shipwrecks Chinese ceramics and porcelain recovered from shipwrecks are only acceptable in exceptional cases, where the items are of high quality, rarity, scholarly interest or documentary value. 4 TEXTILES All oriental carpets must have been woven before 1800 and be of sufficient artistic merit. Poor quality antique carpets are not acceptable by virtue of their age alone. Exceptions are made in the case of genuine tribal and village rugs and other weaves of sufficient merit, which may date from the nineteenth or early twentieth century. However, as a general rule, such rugs should not contain synthetic dyes. Factory carpets from the nineteenth and twentieth centuries are not acceptable. The same general rule applies to European carpets, tapestries and textiles. Exceptions are made in the case of weaving that illustrates major European nineteenth- and twentieth-century artistic movements such as Jugendstil, Art Nouveau, Arts and Crafts, the Aesthetic Movement, Bauhaus, Art Deco etc. 5 ANTIQUE WALLPAPER Pieces must date from approximately the early seventeenth century to the Second World War, in limited editions by recognized artists. Date, edition, manufacturer and
artist must be stated if known. Relevant information must be provided in cases where wall hangings and papers were printed in more than a limited edition and over time were passed on to later and different manufacturers. Few period papers are in perfect condition, unless they were never hung, so restoration is common. Restoration must have been done by professional paper conservators, the extent should be limited and the style must be consistent with the original piece. Acceptable restoration could include cleaning, consolidating and some in-painting retouches. Acceptable supports for these wallpapers are canvas, acid-free cardboard or paper. 6 FURNITURE Furniture restoration must be done such that the appearance and character of the piece is preserved. Table and chair legs may not have been replaced. Only minor restoration is acceptable. Re-veneering is not permitted. Replacement of small missing parts of veneer or lacquer is only permitted if the repair has been done professionally. Re-gilding is only permitted in those rare cases when the object is highly important and unique of its kind. The label must clearly state which part of the gilding has been restored. Acceptance or refusal of an object with re-gilding (or mounts with re-gilding) is entirely at the discretion of the vetting committee. Furniture with marquetry of a later date is not acceptable (for example, a Dutch burr walnut cabinet with floral marquetry decoration). Seat furniture is not acceptable if its original nature has been materially altered, e.g. a chair that was originally cane-seated and is now upholstered, or a fauteuil that has been transformed into a bergère. Seat furniture with covered rails cannot be vetted and will be rejected. However, covered sitting rails are allowed. Mirrors with frames that are not original are not acceptable. Old frames may contain new mirror plates. Style copies are not
permitted. Original designs by famous cabinetmakers, such as Lincke or Sormani, are permitted only if these items are of good quality. Embellished furniture may not be shown. Regarding restoration: The technical integrity of the object must be respected: – restoration may not modify the original construction – there may be no major addition of modern veneer, plywood or any alien material to strengthen or modify the original construction – finish/varnish must be in keeping with the age of the object, for example, varnish inside drawers that were not originally varnished will be questioned. The aged appearance and aesthetic of an antique object must be respected: – minimal cleaning of gilding – marquetry may not be scraped to revive colours – marquetry may not be scraped to flatten it. The historical integrity of the object must be respected: – documented alterations should be preserved if possible – restorations or reconstructions should be fully documented with photographic documentation for visitors to examine. Buyers must be protected from badly restored objects: – synthetic varnish, glue and any product that is not easily reversible or is unstable over time may not be used. 7 CHINESE FURNITURE Ming style furniture should be of Ming date. Copies of an earlier style, no matter how old, will not be admitted. Restorations should be no more extensive than 30%. Pieces with replacements of structural members, for example legs and major decorative elements, will not be admitted unless the importance of the piece can be demonstrated such as to warrant acceptance of the imperfections. Seat form changes will not be accepted, for example, hard board seats changed to soft mat seats and vice versa. No reconstructed piece will
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be admitted, e.g. square tables reduced to side tables; canopy or couch beds to daybeds. 8 ARMS AND ARMOUR In the case of firearms, only percussion systems or earlier are permissible. Modernizations of earlier systems should not have been changed back to the original system. Guns on which the barrels were shortened in about 1750 to accommodate stronger gunpowder and have then had their original barrel length restored are not acceptable. In the case of edged weapons, the blade and hilt must be homogeneous. Composite armour is acceptable; different parts do not necessarily have to be homogeneous but they should give the appearance of being so and should be roughly coeval, i.e. within 15 years. 9 TRADITIONAL ARTS FROM SUB-SAHARAN AFRICA AND OCEANIA Only ritual and prestige objects, mainly sculptures, body ornaments, weapons and ornamented utensils of quality, will be accepted. They must have been used in their country of origin in a religious context or have been made for particular and important occasions. They must be of sufficient age when collected and of high artistic merit to be allowed in the Fair. 10 PRE-COLUMBIAN ART All items must originate from before European contact, that is to say from before 1500—with some variations depending on the area of provenance—unless the object in question, although later, is of great cultural quality or interest. In case of doubt a thermoluminescence test is strongly recommended for fired pottery. Gold, silver and bronze objects of great value must have a metallurgical certificate from an accredited expert or laboratory and must be of good quality. Important wood and stone objects must be accompanied by a certificate from an accredited expert or laboratory. Restoration may under no circumstances account for more than 10% of the whole, and only minor corrections to essential parts of the head, face or attributes are allowed. Normal retouching of decoration on repaired
fractured surfaces is allowed; painting and repainting are not. ‘Ensaladas’— sculptures made up of parts from different origins—are not allowed. Textiles must originate from the period indicated. Heavily restored pieces, fragments and snippets are not allowed, with the exception of items of great cultural or scientific interest. 11 CLOCKS, WATCHES AND HOROLOGICAL INSTRUMENTS All these pieces should contain their original movements and the cases must be complete. Objects that have lost their original character, for instance cases with marquetry added in a later period, are not acceptable. Items reproducing styles of earlier periods are not acceptable. All restoration work must be in a style consistent with the original piece; it must have been responsibly executed and be limited in proportion. In professionally and tastefully done and is based on an original example. The extent of restoration work on pre-1700 clocks is less critical, but it should not predominate. There may be no doubt as to the originality of marks and signatures. Re-gilding is acceptable to a limited extent. Worn parts and hands may be replaced, provided they match the piece for which they are made. For rules on the acceptability of restoration work on cases see 6. Furniture. Wrist watches are only permitted if made before 1960 and of exceptional mechanical or historical importance. Remontoire pocket watches are only permitted if made before 1920 and of exceptional mechanical or historical importance. 12 EUROPEAN CERAMICS, GLASS AND CRYSTAL There may be no confusion; the object must be what it appears to be. Objects that were decorated/ painted in a later period are not acceptable. Objects with a degree of alteration or restoration so great as to have materially changed their original nature or function are not acceptable. Repairs/restorations must be stated. Nineteenth-century ceramics are allowed if they predate 1850 and if they are typically nineteenth century in appearance,
i.e. they cannot be mistaken for earlier pieces. Pieces with post-1850 bronze mounts are not acceptable. A thermoluminescence test result must be provided in the case of Italian Della Robbia. 13 SILVER, GOLD AND PLATINUM Pieces must be from the stated period. No copies of earlier periods are admitted under any circumstances, regardless of date or quality. Pieces that have been so extensively restored or altered such as to change or disguise their original nature or function are not acceptable. Any re-gilding or replating, where appropriate, or any necessary repairs must be clearly stated on the exhibition label. Any coats-of-arms or other blazons must be contemporaneous with the objects and may not have been added at a later date. Exceptions may be made at the discretion of the committee but in such instances any discrepancies between the date of the object and the arms or blazons must be clearly stated on the exhibition label. 14 JEWELRY Historical pieces should be of indisputable authenticity and unambiguously of the period. The following are not acceptable: – ‘marriages’, e.g. composed necklaces – pieces that have been too drastically restored – pieces in which the original function has been altered, e.g. cufflinks altered into earrings – renovations that have destroyed the original character of the object – loose stones, minerals or pearls – style copies. This does not apply to ‘La Haute Joaillerie du Monde’. 15 TRADITIONAL INDIAN FOLK JEWELRY Folk, ethnographic and tribal jewels and objects must be of indisputable authenticity and unambiguously of sufficient age. Please refer to the criteria of Traditional Arts Sections. Only genuine, high quality pieces used in traditional life are acceptable. They must be unaltered 21
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and in their original shape. If an object/jewel has been refinished or restored, this must be stated. Mughal jewels and objects may date from no later than 1858. Jewels and objects of the British Period may date from no later than 1947. Textiles and objects made of terracotta, bronze, iron, wood, gold, stucco and stone dating from before 1500 must be accompanied by a laboratory report confirming the period by thermoluminescence, radiocarbon dating, microscope or X-ray examination. Works that meet one or more of the following criteria require certificates: – the work is considered of great importance – the work is of extremely high value – the work is open to possible dispute regarding authenticity. 16 ICONS Icons must be of undisputed authenticity, which includes age, importance and artistic merit. As a general rule Greek and Balkan icons must date from before 1900 and Russian icons must date from before the 1917 Revolution. Icons of the later nineteenth and twentieth centuries are only admitted in exceptional cases if they have artistic or cultural merit. Icons covered with a metal oklad or riza must be completely painted under the metal. The amount of restoration accepted will be related to the age and importance of the object. Metal icons are not included in the vetting process. 17 BOOKS, MANUSCRIPTS AND MAPS As a general rule, books should be complete in text and illustrations with their contemporary binding, and in good condition. Incomplete books are only allowed when a bibliographic description proves the importance of the item. Minor restorations are allowed as long as they do not affect the artistic or antiquarian value. Books, manuscripts and maps may not be later than 1850. The only post-1850 items permissible are those of sufficient antiquarian or artistic merit. Facsimile editions and reference works are not
permitted. Decorative prints in frames that affect the original character and purpose of the prints are not allowed. A description giving an account of the condition, mentioning any incompleteness and any defects or restorations, must be available to the purchaser on request. Items about which there are any doubts as to authenticity or sufficient quality may not be accepted if the vetting committee considers their inclusion not to be in the best interests of the Fair. 18 COINS AND MEDALS Characteristics and technical information regarding each coin exhibited during the Fair must include its origin, the minting date, monetary authority including the reign dates if possible, denomination, metal and weight in grams and a succinct description of the recto and verso. Information on coins must also be backed up by references giving the specific page or plate number and reference number. Each coin must also be accompanied by a report on its condition. Alterations and other defects must be included in the description, for example pronounced minting defects such as broken dies, double struck, off centre or struck with rusty dies. Restoration traces and marks such as tooling and traces of mechanical cleaning must also be mentioned. Defects brought about by the coin’s circulation such as nicks, scratches, graffiti, hammering and those caused by chemical reactions such as metal crystallization, reticulation or corrosion must be stated. 19 METAL WARE All objects must date from before 1870, with the exception of Jugendstil, Art Nouveau and Art Deco. Restorations must be stated on the label. Replacements and alterations of handles, lids and other important parts are not allowed. Objects that are signed must have the marks of the period. Engravings and decorations on the objects must be from the period. Compositions/ marriages are not allowed, even if the separate parts could be of the same period.
20 WORKS OF ART AND OLD MASTER SCULPTURE This category is to include only sculptures of undisputed and provenauthenticity. – Labels must include the artist, country and period of the sculpture, and must state fully the material and technique of the object described – Attributions must be supported by documentary information and must be available to the prospective buyer – Exhibitors must note that literature references and the expertise of third parties, including authorities outside the vetting committee, are not binding on the committee – The vetting committee will accept sculptures with a reasonable degree of restoration, later gilding and re-lacquering if removal proved impossible – Any alterations must be evident and clearly described. – The vetting committee will not accept sculpture with restoration that by its extent changes the original character of the object – Sculptures with recarved faces, hands or folds, or with wholesale modern polychromy, will be refused – Later engraving, patination or re-gilding, and sculpture comprising marriages (even of parts from the same period) will not be accepted – Terracotta sculptures without a thermoluminescence test are not accepted. Terracotta sculptures dating from the eighteenth century do not require a thermoluminescence test because not all such tests are of reliable scientific quality and results are sometimes misleading. 21 SCULPTURE FROM 1830 TO 1950 All works must be in original condition, of the highest quality in which they are to be found, and in principle produced during the artist’s lifetime. Alterations, embellishments or incorrect/added signatures are not acceptable. Sympathetic restoration is allowed but may only be used to bring the object back to its original condition. The overall integrity of each work will be considered not just in terms
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of its quality but also its importance in the artist’s oeuvre. If these requirements are not met, the vetting committee may insist that the labels be reprinted or the works withdrawn. For nineteenth-century editions This was a period of unlimited editions in bronze, marble, terracotta etc. and only lifetime examples produced by the sculptor, his studio or under his control are accepted. Where no lifetime edition exists, examples from the first posthumous edition are also accepted providing they meet the above conditions. For twentieth century editions All works should be from lifetime editions.
22 APPLIED ARTS AND DESIGN FROM THE LATE NINETEENTH CENTURY TO 1950 This period embraces a multitude of different styles starting with the Aesthetic Movement in the 1860s and ending in 1950. The category includes the Arts and Crafts Movement, Art Nouveau the Secessionists in their various countries, De Stijl and the Bauhaus, Art Deco, Modernism and the 1950s. Unique pieces, limited series production pieces and some rare mass-produced pieces that have made design history may all be exhibited. An important mass produced object such as an original Breuer Wassily chair or a Lalique car mascot is judged and evaluated using similar criteria to those used in fine art.
The following exceptions are accepted, but must be clearly labelled as such: – works that extend an edition begun by the artist or his editor; these must have been cast less than 25 years after the artist’s death – works that come from an entirely posthumous edition by the copyright holders; this edition must be limited and have been started less than 25 years after the death of the artist, initiated by direct descendants or copyright holders.
The twentieth century decorative arts and design category covers sculpture, furniture, ceramics, glass, metalwork, textiles andjewelry. Vetting criteria are similar for most objects that come into the categories referred to above: no reproductions, copies or unauthorized editions are allowed in any category. Vetting criteria include: – aesthetic/artistic value – authenticity – condition – extent of restoration – date of creation or manufacture.
Both the above categories are subject to review by the vetting committee as to the overall integrity of each work, not just in terms of its quality but also its importance in the artist’s oeuvre.
23 MODERN ART All the main movements in modern art may be included in this section, but works that are derivative or lacking in originality may be rejected by the vetting committee.
Maquettes, working models, unsignedworks: All documents proving an association with an artist, a school or a period must be provided. The position of the exhibit in the creative process leading to a finished work must be included in the description whatever their material of manufacture, for example original clay wax/plaster model, artist’s plaster, foundry plaster, édition plaster, lifetime bronze or posthumous bronze.
The vetting guidelines for the Pictura section apply here. Conservation restoration documentation should be fully available (e.g. examination, condition and treatment reports illustrating all previous damages and reintegrations repairs). References to published catalogues raisonnés or certificates authentications from the accepted authorities on each artist must be provided. To this end fact sheets, exhibition catalogues, certificates, articles and in some cases catalogues raisonnés should be available to prospective buyers. The vetting committee will generally only consider Russian twentieth-
century avant-garde artworks for acceptance if they have verifiable provenance or exhibition history. 24 PHOTOGRAPHY This category includes photographs of all periods that are valued for their aesthetic and/or historical importance. Exhibitors should show predominantly ‘vintage prints’, i.e. photographs printed at the same time or within a few years of the creation of the negative. On rare occasions photographs printed later may be considered and accepted if they are, in the opinion of the vetting committee, of sufficient importance in the context of the artist’s oeuvre. Any non-vintage prints must be submitted to the vetting committee (in electronic form or as paper facsimiles) not later than two months before the stand building for the Fair. All photographs, including those in numbered editions, must have been printed during the artist’s lifetime either by or under the instruction or direction of the artist. Posthumous or estate prints will not be accepted. The exhibitor may only exhibit photographs of undisputed and proven authenticity that the vetting committee is satisfied are genuine. Items about which there are any doubts as to authenticity will not be accepted if the committee considers their inclusion not to be in the best interests of the Fair. Documentary information, publication and exhibition histories that support attributions should be available to prospective buyers. If a photograph has undergone restoration, the conservation history must be available to the vetting committee and prospective buyers. Photographs that have been restored or altered in a way that changes their original character, for example prints that have been chemically intensified, are not acceptable. Where information essential to establishing the authenticity of the work is concealed by the frame, such photographs must either be accompanied by good quality copies of this information or be easily removable from their frames for inspection by the vetting committee and prospective buyers. 23
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During the vetting period each photograph, including those not intended for display on the walls, must be clearly described on a list. If exhibited they must also have a wall label.
VETTING MEMBERS
If the value of a photograph is such that an export licence was required at the time of export from the country where the photograph was acquired by the dealer, a photocopy or the original document must accompany the list.
AMERICAN ART Christine Ritok, Curator, Deerfield William H. Gerdts, Professor Emeritus of Art History, The Graduate Center, City University of New York
GEORGE ABRAMS PHD Chairman Appeals Committee PROF DR HENK VAN OS Patron Vetting
ANCIENT ART Dr John Herrmann, Curator of Classical Art Emeritus, Museum of Fine Art, Boston Tom Hardwick, Egyptologist, The Atkinson, Southport, UK Ariel Herrmann, Independent Scholar, New York ARMS & ARMOUR Dirk Breiding, J. J. Medveckis Associate Curator of Arms and Armour, Philadelphia Museum of Art ARTS OF AFRICA, OCEANIA AND THE AMERICAS. Heinrich Schweizer, President, Schweizer Premodern, New York Leslie Gat, Conservator, Art Conservation Group, New York Harmer Johnson, expert, New York David Joralemon, Pre-Columbian Scholar, New York John Twilley, Art Conservation Scientist (independent), Hawthorne, New York BOOKS, MANUSCRIPTS & MAPS Roger Wieck, Melvin R. Seiden Curator and Department Head Medieval and Renaissance Manuscripts, Morgan Library & Museum, New York Dr Consuelo W. Dutschke, Curator, Medieval and Renaissance Collections, Rare Book and Manuscript Library, Columbia University, New York Dr Gregory Clark, Professor of Art History, University of the South, Tennessee Dr Christine Sciacca, Assistant Curator of Manuscripts, J. Paul Getty Museum, Los Angeles CHINESE WORKS OF ART Ron Fuchs II, Curator of the Reeves Collection, Reeves Centre, Washington and Lee University Robert D. Mowry, Alan J. Dworsky
Curator of Chinese Art Emeritus, Harvard Art Museums, Cambridge France Pepper, Appraiser, Curator, Advisor and Director of China Insider, New York EUROPEAN CERAMICS, PORCELAIN AND GLASS Meredith Chilton, Chief Curator, Gardiner Museum, Toronto Leslie B. Grigsby, Senior Curator of Ceramics and Glass, Winterthur, Wilmington Melissa J. Bennie, Independent Scholar Dr Jutta-Annette Page, Senior Curator of Glass and Decorative Arts, Toledo Museum of Art EUROPEAN WORKS OF ART AND SCULPTURE Dr Alan P. Darr, Walter B. Ford II Family Curator of European Sculpture and Decorative Arts, Detroit Institute of Arts Jane Bassett, Conservator of Decorative Arts and Sculpture, J. Paul Getty Museum, Los Angeles Dr C.D. Dickerson III, Curator and Head of Sculpture Department at National Gallery of Art, Washington Dr Robert van Langh, Head of Conservation and Scientific Research, Rijksmuseum, Amsterdam Jennifer L. Mass Ph.D., Senior Consulting Scientist Rijksmuseum, Amsterdam FURNITURE & DECORATIVE ARTS Arlen Heginbotham MA, CAS, Conservator Decorative Arts and Sculpture, The J. Paul Getty Museum, Los Angeles Gregory Herringshaw, Assistant Curator Wall coverings, CooperHewitt Museum, New York Barbara Deisroth, Advisor, New York Stephen Harrison, Curator of Decorative Art and Design, Cleveland Museum of Art Jennifer Garland Ross, Art Peritus, New York JAPANESE ART & INDIAN AND SOUTH EAST ASIAN ART Martin Lerner, former Senior Curator Indian and Southeast Asian Art, The Metropolitan Museum of Art, New York Sachiko Hori, Japanese Art appraiser, New York Martha Blackwelder, Principal Martha Blackwelder + Associates, Appraiser and Faculty member of New York University, New York
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JEWELRY, RUSSIAN WORKS OF ART, GOLD BOXES & OBJECTS DE VERTU Dr Gèza von Habsburg, Independent Curator, New York Dr Emily Stoehrer, Rita J. Kaplan and Susan B. Kaplan Curator of Jewelry, Museum of Fine Arts, Boston Ed Lewand Jr, Appraiser ASA AAA GG Janet Zapata, Writer, Jewelry and Silver Historian, New York NINETEENTH AND TWENTIETH CENTURY PAINTINGS Dr Helga Kessler Aurisch, Curator of European Art, Museum of Fine Arts, Houston Patrick Noon, Chair of Paintings, The Minneapolis Institute of Arts Dr Carol J. Eliel, Curator Modern Art, Los Angeles County Museum of Art Mary Morton, Curator of French Paintings, National Gallery of Art, Washington D.C. Laura Rivers, Associate Conservator of Paintings, J. Paul Getty Museum, Los Angeles
Dr Salvator Salort-Pons, Director, Detroit Institute of Arts Scott J. Schaefer, Senior Curator Emeritus, J. Paul Getty Museum, Los Angeles Peter Sutton, The Susan E. Lynch Executive Director Bruce Museum, Greenwich, Connecticut SILVER Dr Timothy Schroder, Expert, London Jeanne Sloane, Expert, New York Dr Peter Kaellgren, Curator Emeritus, Department of World Cultures, Royal Ontario Museum, Toronto
TEFAF New York LLC, the vetting committee, and the organizers of TEFAF New York cannot be held responsible for, or warrant the age or genuineness of any article exhibited. However, all articles have been submitted for inspections by a panel of advisors to ensure, as far as possible, that they conform to regulations in effect and that are genuinely of the period they represent. The organizers and/or their agents cannot be held responsible for any items sold at the Show. This is the sole responsibility of the dealer/dealers selling the object/objects. Please also note that because of the early printing deadlines for the catalogue, all illustrations were printed before vetting took place. All rights reserved. No part of this publication may be reproduced, transmitted, or stored electronically, in any form, without the prior permission in writing of the publisher, nor otherwise be circulated in any form other than that in which it is published. Š TEFAF New York LLC
OLD MASTER PAINTINGS AND DRAWINGS Dr Edgar Peters Bowron, formerly The Audrey Jones Beck Curator of European Art, The Museum of Fine Arts, Houston Dr Colin B. Bailey, Director, The Morgan Library & Museum, New York Dr Dawson Carr, Curator European Art, Portland Art Museum Professor Ivan Gaskell, Professor of Cultural History & Museum Studies, The Bard Graduate Center, New York Dr Yuriko Jackell, Assistant Curator French paintings, National Gallery of Art, Washington Laurence Kanter, Chief Curator, Yale University, New Haven Ian Kennedy, Independent Scholar, Chapel Hill NC Peter Kerber, Assistant Curator of Paintings, J. Paul Getty Museum, Los Angeles Laura Rivers, Associate Conservator of Paintings, J. Paul Getty Museum, Los Angeles J. Patrice Marandel, Chief Curator of European Art, Los Angeles County Museum of Art Larry Nichols, Senior Curator European and American Paintings and Sculpture, Toledo Museum of Art Andrew Robison, Andrew W. Mellon Senior Curator of Prints and Drawings, National Gallery of Art, Washington
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EXHIBITORS
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A. AARDEWERK DUTCH SILVER AND ANTIQUE JEWELRY THE HAGUE FRANÇOIS VAN STAPELE
FREDERIK VAN STRANT
The Neukirchen wine cooler Silver 21 x 41 cm (8.3 x 16.1 in.) Weight 3500 gr. Marked on the underside with the assay mark for The Hague, the Dutch lion, the date letter ‘C’ for 1725 and François van Stapele’s maker’s mark The Hague, 1725
A miniature wine cooler Silver 3.1 x 4.7 cm (1.2 x 1.8 in.) Weight 34 gr. Marked on the underside with the assay mark for Amsterdam with the date letter, G’ conjoined for 1741 and Frederik van Strant’s maker’s mark Amsterdam, 1741
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DIDIER AARON, INC. NEW YORK-PARIS-LONDON THOMAS BLANCHET (Paris 1614-1689 Lyon) Pygmalion and Galatea Oil on canvas with original stretchers 74 x 99 cm (29.1 x 38.9 in.) (one of a pair) Circa 1645-50
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AGNEWS LONDON JOHN WILLIAM WATERHOUSE RA (1849-1917) Lamia Oil on canvas (unlined) 91.5 x 57 cm (36 x 22.5 in.) Signed lower right ‘J.W. Waterhouse’ Circa 1909
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A LA VIEILLE RUSSIE NEW YORK CARL FABERGÉ (St. Petersburg 1846-1920 Lausanne) Imperial presentation brooch Aquamarine, rose-cut diamond and gold brooch centering an Imperial crown Workmaster A. Hollming Diameter 2.5 cm (1 in.) St. Petersburg, circa 1913
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KUNSTGALERIJ ALBRICHT BV OOSTERBEEK-LONDON VINCENT W. VAN GOGH (Zundert 1853-1890 Auvers sur Oise) View of the New Church and old houses in The Hague Oil on canvas laid down on panel 35.5 x 26 cm (14 x 10.2 in.) Dated ‘July/September 1883’ The Hague
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ÅMELLS STOCKHOLM VILHELM HAMMERSHÖI (1864-Copenhagen-1916) Sunshine in the living room IV Oil on canvas 58 x 67 cm (22.8 x 26.3 in.) Signed middle right with initials ‘VH’ 1910
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ANCIENT ART OF THE NEW WORLD, INC. NEW YORK Olmec Jade finial 12.4 x 5.7 cm (4.8 x 2.2 in.) Arroyo Pesquero, middle Pre-Classic Period, circa 900-300 BC
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APTER-FREDERICKS LTD. LONDON A George I Japanned cabinet Lacquered wood 258 x 115 x 51 cm (101.5 x 45.5 x 20 in.) England, circa 1720
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ARIADNE GALLERIES NEW YORK-LONDON Statue of Eros Marble Height 151.1 cm (49.5 in.) Roman, 2nd century AD
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ARONSON ANTIQUAIRS AMSTERDAM Pair of polychrome swan tureens and covers Delftware 30.5 x 28 cm (12 x 11 in.) (each swan) Each swan marked ‘GVS’ in blue for Geertruij Verstelle, who was the owner of Het Oude Moriaanshooft (The Old Moor’s Head) Factory from 1761 to 1769 Delft, circa 1765
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GREGG BAKER ASIAN ART LONDON SAKAI HOITSU (1761-1828) A karasu (crow) perched in a kaki (persimmon) tree holding a ripened fruit in its mouth A two-fold paper screen painted in ink and colour on a gold ground 180 x 180 cm (71 x 71 in.) Signed ‘Ōson Hōitsu hitsu’ With seals from ‘Uge’ and ‘Monsen’ Circa 1820
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VERONIQUE BAMPS MONACO CASTELLANI Necklace in archaeological revival style Gold, natural pearls and cabochon cut rubies Rome, circa 1880
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JEAN-LUC BARONI LTD. LONDON GAETANO GANDOLFI (1734-Bologna-1802) A young woman in profile (St. Mary Magdalene) Oil on canvas 48 x 37.5 cm (18.9 x14.7 in.) The late 1780’s
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MICHELE BEINY NEW YORK Pair of vases Boizot à tête de bouc Hard paste porcelain 38.5 x 22 cm (15.2 x 8.6 in.) Marked with interlaced L’s on each vase Sèvres, circa 1776
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BENAPPI TURIN GIOVANNI ANGELO DEL MAINO (active 1496-1536) TIBURZIO DEL MAINO (active circa 1496-1531) Jesus among the Doctors in the Temple Possibly limewood, embossed 52 x 53.5 x 9 cm (20.5 x 20.9 x 3.5 in.) Circa 1495
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BLUMKA GALLERY NEW YORK The head of St. John on a bowl Sandstone Diameter 37.5 cm (14.8 in.) Incised with mason’s mark on the lower rim Germany, Münsterland, late 15th century
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JULIUS BÖHLER STARNBERG CHRISTOPH DANIEL SCHENCK (Konstanz 1633-1691) Saint Joseph with Christ Child Lindenwood 5 x 14 x 5 cm (2 x 5.5 x 2 in.) Konstanz, 17th century
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BOWMAN SCULPTURE LONDON AUGUSTE RODIN (Paris 1840-1917 Meudon) The Kiss Bronze Height 64 cm (25.2 in.) Inscribed with the foundry mark ‘F. Barbedienne Fondeur’ Conceived in 1886; cast during the artist’s lifetime
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BURZIO LONDON PIETRO PIFFETTI (1701-1777) FRANCESCO LADATTE (1706-1787) The Pietro Piffetti personal bombé commode Walnut briar, boxwood and ebony marquetry, ormolu mounts 125 x 57 x 83 cm Turin, circa 1760
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CAHN INTERNATIONAL AG BASEL Rhyton portraying a Nubian Clay Height 21.2 cm (8.3 in.) Attic, circa 410 BC
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ALBERTO DI CASTRO ROME Spiral-twist column White marble with black marble inserts Height 87 cm (11.4 in.) Diameter 29 cm (34.2 in.) Central Italy, 14th century
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ALESSANDRA DI CASTRO ROME ANGELICA KAUFFMANN (Chur 1741-1807 Rome) Portrait of Prince Stanislaus Poniatowski (Warsaw 1754-1833 Florence) Oil on canvas 77 x 54 cm (30.3 x 21.2 in.)
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WALLACE CHAN CHINA A Tale of Two Dragons (Brooches) Qianlong period (1736-1795) white jade belt hook, emerald, ruby, sapphire, pink sapphire, fancy colored diamond Signed ‘Wallace Chan’ China, 2016
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GALERIE CHENEL PARIS Aphrodite head Marble and brown patina 35 x 17 x 24.5 cm Hellenistic, 1st century.BC-1st century AD
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GALERIE DIDIER CLAES BRUSSELS BAULE figure Wood, fabrics, glass beads Height 57 cm (22.4 in.) Ivory coast
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GALERIE ERIC COATALEM PARIS JEAN SIMÉON CHARDIN (1699-Paris-1779) Peach tray with jar Oil on canvas 68 x 57.5 cm (26.7 x 22.6 in.) Signed lower center ‘Chardin’
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COLNAGHI MADRID-LONDON GIACOMO CERUTI (1698-Milan-1755) A Kitchen Still Life Oil on canvas, unlined 84 x 118 cm (33 x 46.5 in.) one of a pair
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DANIEL CROUCH RARE BOOKS LONDON-NEW YORK VISCONTE MAGGIOLO (circa 1476-circa 1551) Planisphere (detail) Pen and ink with lapis lazuli, heightened in silver and gold, on six sheets of vellum, joined 93.5 x 205.5 cm (36.8 x 80.9 in.) Signed and dated ‘November 8, 1531’ Genoa, 1531
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DICKINSON LONDON-NEW YORK GUSTAVE CAILLEBOTTE (Paris 1848-1894 Petit Gennevilliers) Voiliers sur la Seine à Argenteuil Oil on canvas 65 x 54 cm (25.5 x 21.25 in.) Signed and dated lower left ‘G. Caillebotte/1886’
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CHARLES EDE LTD LONDON Portrait head of Senenmut Quartzite Height 21 cm (8.3 in.) Egypt, New Kingdom, 18th Dynasty, circa 1500-1450 BC
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JAIME EGUIGUREN, ARTE Y ANTIGÜEDADES BUENOS AIRES JUAN DE VILLEGAS (Puebla, New Spain, active first quarter 18th century) Virgin of Guadalupe Oil on canvas 210 x 138 cm (82.7 x 54.3 in.) Signed ‘Jua de Villegas f’ Puebla, 1700-1710
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EGUIGUREN ARTE DE HISPANOAMÉRICA BUENOS AIRES Pair of candle lamps Silver Height 32.7 cm (12.9 in.) Weight 480 gr. and 488 gr. South America, Highlands, probably Potosi, early 17th century
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LES ENLUMINURES PARIS-NEW YORK-CHICAGO Book of Hours (Use of Rome) In Latin, illuminated manuscript on parchment 4 full-page miniatures and 10 historiated initials 10.9 x 8.6 cm (4.3 x 3.4 in.) Central Italy, Umbria, Perugia, circa 1450
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RICHARD L. FEIGEN & CO. NEW YORK GUSTAV COURBET (Ornans 1819-1877 La Tour-de-Peilz) La Liberte Bronze with dark brown patina, unique 87 x 62 x 52.1 cm (34.3 x 24.4 x 20.5 in.) 29.8 x 15.5 x 29.8 cm (marble base) (11.7 x 6.1 x 11.7 in.) Signed on the left shoulder ‘L. Martin/Fondeur Paris’ and on the right shoulder ‘Courbet/Sculp’ Carved on the front of the marble base ‘LIBERTE’, on the back ‘M DORET’ and on the bottom ‘COURBET 1875’
Inscribed on the original black wooden box ‘Baron de Bastard’ Cast at the Fonderie Louis Martin, Paris, 1875
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PETER FINER LONDON A pair of cannons Bronze Length 105.5 cm (41.5 in.) Cast by Mathias Solano Seville, Royal Gun foundry, 1747
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SAM FOGG LONDON Isfandiyar slays the dragon, from Firdausi’s Shahnameh Opaque watercolour and gold on paper Folio 42.5 x 26.7 cm (16.7 x 10.5 in.) Painting 30.5 x 23 cm (12 x 9 in.) Iran, Shiraz, circa 1580-1585
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ANTIQUARIAAT FORUM BV ‘T GOY-HOUTEN AGOSTINO GIUSTINIANI (ed). (1470-1536) Psalterium, Hebraeum, Graecum, Arabicum, & Chaldaeum, cum tribus Latinis interpretationibus & glossis First polyglot edition of any part of the Bible, and the first significant polyglot work ever published. It is the second book printed in Arabic from movable type and the earliest Arabic printing of any portion of the Bible. Giustiniani’s commentary provides
the first substantial biographical reference to Columbus, making it an important Americanum. Folio 33.5 x 25 cm (13.2 x 9.8 in.) Genoa, 1516
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FRENCH & COMPANY LLC NEW YORK JAN TOOROP (Java 1858-1928 The Hague) A Man from Zeeland Charcoal and colored chalk on hand-made paper 41.2 x 37.5 cm (16.2 x 14.7 in.) Signed and dated ‘JToorop 1904’
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GALERIE JACQUES GERMAIN MONTREAL Waaga funerary post Eroded wood Height 213 cm (83 in.) Ethiopia, Southern region, Konso, late 19th-early 20th century
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BERNARD GOLDBERG FINE ARTS LLC NEW YORK JOHN SLOAN Yolande Singing Oil and tempera on canvas 81.3 x 66 cm (32 x 26 in.) Signed upper right ‘John Sloan’ Inscription on strecher ‘Yolande Singing John Sloan’ 1909
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RICHARD GREEN LONDON PIERRE-AUGUSTE RENOIR (Limoges 1841-1919 Cagnes) Paysage du Midi Oil on canvas 37.8 x 54.9 cm (14.8 x 21.6 in.) Signed lower right ‘Renoir’ Circa 1905
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DR. JÖRN GÜNTHER RARE BOOKS AG BASEL-STALDEN THE MASTERS OF RAPHAEL DE MERCATELLIS Composite codex made for Abbot Raphael de Mercatellis Manuscript on vellum, 137 leaves (apparently complete), written in French and Latin in 3 sections, with added miniatures 36.3 x 26.7 cm (14.3 x 10.5 in.) Ghent-Bruges, 1484
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HABOLDT • PICTURA AMSTERDAM-PARIS-NEW YORK MAX SLEVOGT (Landshut 1868-1932 Neukastel) A Self-Portrait in the Garden at Godramstein (Selbstbildnis im Garten) Oil on canvas 101 x 80 cm (39.7 x 31.5 in.) Signed and dated lower right ‘Slevogt 10’ 1910
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HEMMERLE MUNICH Earrings Jade, diamonds, bronze and white gold 2016
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HIRSCHL & ADLER GALLERIES NEW YORK ROBERT HENRI (Cozad, Nebraska 1865–1929 New York) Dancer of Delhi (Betalo Rubino) Oil on canvas 97.8 x 146.7 cm (38.5 x 57.75 in.) Signed and inscribed lower left ‘Robert Henri’ Signed in the artist’s hand on the back ‘132 Robert Henri / 132 / J / Dancer of Delhi (Betalo Rubino)’ New York, 1916
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OTTO JAKOB KARLSRUHE Bailaoras Earrings with naturalistically enameled yellow gold casts of Oriental poppy petals (Papaver orientale). The intense red glow is due to the perfectly polished petal surface that shines through the vitreous enamel. An articulated chain of black diamonds leads to a rose gold capsule with a crown of white gold that is micro pavĂŠ-set with diamonds. Yellow, rose and white gold, diamonds, vitreous enamel 2016
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BEN JANSSENS ORIENTAL ART LONDON Groom Pottery Height 55.5 cm (21.85 in.) China, Tang Dynasty, 618-906
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DE JONCKHEERE GENEVA THE MASTER OF FEMALE HALF-LENGHTS (Antwerp circa 1490-circa 1540) The Holy Family with St. Elizabeth and St. John the Baptist Oil on panel 87 x 63.5 cm (34.2 x 25 in.)
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DANIEL KATZ LTD LONDON Saint Michael overcoming the devil Cast from a model by Alessandro Algardi (1598-1654) Bronze Height 53.5 cm (135.9 in.) Rome, 17th century
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GALERIE KEVORKIAN PARIS The Royal elephant Balerao and his mahout Opaque pigments and gold on wasli paper Painting 23.5 x 43.8 cm (9.2 x 17.2 in.) Folio 27.5 x 47 cm (10.8 x 18.5 in.) Rajasthan, Mewar, circa 1720-1750
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JACK KILGORE & CO., INC. NEW YORK EMILE JEAN HORACE VERNET (1789-Paris-1863) Portrait of the Violinist Charles Auguste de Bériot Oil on canvas 73 x 59.6 cm (28.7 x 23.5 in.) Circa 1832
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KOOPMAN RARE ART LONDON PAUL STORR (1771-Tooting-1844) The Bank of the United States soup tureen Silver Length of stand 52.1 cm (20.5 in.) Weight 6998 gr. (225oz) Maker’s mark of Paul Storr Retailed by Rundell, Bridge & Rundell London, 1799
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KUNSTKAMMER GEORG LAUE MUNICH MICHEL REDLIN Court games board with complete set of chessmen Amber, transparent and cloudy, in part carved and engraved, backed with silver foil, wooden carcass, brass fittings, drawer lined with blue silk, underside with Augsburg brocade paper Chessboard 37 x 37 x 11 cm (14.5 x 14.5 x 4.3 in.) Height king 7 cm (2.7 in.), pawn 5.5 cm (2.1 in.) North-east Germany, circa 1700
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LOWELL LIBSON LTD LONDON THOMAS GAINSBOROUGH (1727-1788) Admiral Thomas Graves Oil on canvas 127 x 101.6 cm (50 x 40 in.) Inscribed on a letter on the table ‘Rear Admiral Graves.../Plymo.../Admiralty...’ 1785
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LITTLETON & HENNESSY ASIAN ART LTD LONDON Imperial painting of Vairocana Buddha Yuan Dynasty (1279-1368) Ink, colour and gold on silk 144.1 x 81.9 cm (56.7 x 32.2 in.) With seals of the Qianlong Emperor (1736-1795)
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MACCONNAL MASON GALLERY LONDON JEAN BÉRAUD (1849-1935) Une Parisienne Oil on canvas 35.5 x 25.4 cm (14 x 10 in.) Signed lower right ‘Jean Béraud’ 1891
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MAISON GERARD NEW YORK CUTLER AND GIRARD Art Nouveau screen Carved maple, walnut, mahogany and satinwood 182.2 x 162.6 x 3.8 cm (71.7 x 64 x 1.5 in.) Width left and right panel 56.5 cm (22.2 in.) Width middle panel 46.4 cm (18.3 in.) Signed in inlaid monogram Italy, circa 1902
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KUNSTHANDEL S. MEHRINGER OHG MUNICH PAUL HEERMANN (Erzgebirge 1673-1732 Dresden) The quarrel Alabaster, carved fully in the round Height 71 cm (27.9 in.) Signed ‘PHeerman . Inv. e. fec.’ Dresden, circa 1712
85
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MENCONI + SCHOELKOPF NEW YORK CHILDE HASSAM (Boston 1859-1935 East Hampton) New York Street Scene (Fifth Avenue) Oil on canvas 60.9 x 50.8 cm (24 x 20 in.) Signed and dated lower right ‘Childe Hassam 1900’
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GALERIE MEYER-OCEANIC ART PARIS A male, Tekoteko, or gable figure from a meeting house Carved wood (Kauri Pine: Agathis australis) with a fine patina of age, exposure and wear Height 74 cm (29.1 in.) New Zealand, Polynesia, Maori, 18th-19th century
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MORETTI FLORENCE-LONDON BARTOLOMEO BULGARINI (circa 1300/1310-Siena-1378) Saint Dominic (pair with Saint Peter Martyr) Tempera on panel Diameter 24 cm Circa 1337-1338
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MIREILLE MOSLER LTD NEW YORK JACOBUS VAN LOOY (1855-1930) A Water Carrier in Tangier Pastel on paper 32 x 25 cm (12.6 x 9.8 in.) Signed ‘Jac.v. Looy’ 1886
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LILLIAN NASSAU LLC NEW YORK TIFFANY STUDIOS Wisteria table lamp Leaded glass and bronze Height 68.6 cm (27 in.) Diameter 45.7 cm (18 in.) USA, circa 1906
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OTTO NAUMANN LTD NEW YORK JAN DE BRAY (Haarlem 1627-1697 Amsterdam) The Penitent Magdalen Oil on panel 72.6 x 56.2 cm (28.6 x 22.1 in.) Signed and dated lower center on crucifix ‘JDBray/167(?)/25’
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CARLO ORSI-TRINITY FINE ART MILAN-LONDON CARLO DOLCI (1616-Florence-1687) Allegory of Patience Oil on canvas, oval 71 x 54 cm (28 x 21.25 in.) Signed in monogram and dated lower left, on the rock ‘A(nno) S(alutis) 1677 C(arlo) D(olci)’ Florence, 1677
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GALERIE PERRIN PARIS Pair of vases Blue glass, ormolu, white and blue turquin marble Height 72 cm (28.3 in.) St. Petersburg Imperial Glass Factory Russia, late 18th century
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RONALD PHILLIPS LTD LONDON The Hinton House elephant table A George II parcel gilt side table with an Egyptian porphyry top 86.5 x 82 x 36.5 cm (34 x 32.2 x 14.4 in.) England, circa 1735
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PHOENIX ANCIENT ART SA GENEVA-NEW YORK Head of a Goddess Marble Height 26.4 cm (67 in.) Greece, Late Classical, first half 4th century BC
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PRIMAVERA GALLERY NEW YORK LUCIEN GAUTRAIT Brooch 18k gold, enamel, diamond 10.8 x 10.8 cm (4.2 x 4.2 in.) France, circa 1900
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CHRISTOPHE DE QUÉNETAIN PARIS ANTOINE-ROBERT GAUDREAUS (circa 1682-1746) ébéniste du roi Commode Oak and fir veneered with amaranth, gilt-bronze mounts and red marble top 96 x 195 x 75 cm (37.7 x 76.7 x 29.5 in.) Paris, 1720-1725
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REZA PARIS Tiares earrings Featuring 50 pebble Pigeon Blood untreated rubies weighing 43.31 carats, 54 princess cut diamonds weighing 5.95 carats and brilliant-cut diamonds. Set on white polished and darkened gold.
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RÖBBIG MÜNCHEN MUNICH A mantel clock with Chinoiserie figures Bronze, chased, gilded, polychrome painted with French soft-paste porcelain flowers, figures are patinated bronze with polychrome lacquer finish and clock is enamel, brass and glass 33 x 30.5 x 15 cm (13 x 12 x 5.9 in.) Signed ‘Etienne Le Noir A Paris’ and numbered ‘279’ Paris, presumably one of the Martin workshops, circa 1750
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ROBILANT + VOENA LONDON-MILAN-ST. MORITZ PIETRO BERRETTINI, called PIETRO DA CORTONA (Cortona 1596-1669 Rome) Christ and the Woman taken in Adultry Oil on canvas 147.5 x 228.1 cm (58 x 89.8 in.)
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SAFANI GALLERY INC. NEW YORK Sarcophagus of Princess Sopdet-em-Haawt, daughter of King Peft-Jauawy-Bast Wood, gessoed and polychrome Height 187 cm (73.6 in.) Egypt, 828-712 BC
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GALERIE SANCT LUCAS GMBH VIENNA JUSEPE DE RIBERA (Jativa 1591-1652 Naples) AESOP Oil on canvas 123 x 92 cm (48.4 x 36.2 in.) Signed ‘Jusepe de Ribera F.’
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G. SARTI PARIS ALTICHIERO DA ZEVIO (Zevio circa 1330-circa 1390 Verona) The Virgin and Child enthroned Tempera and gold on wood panel 97 x 49.7 cm (38.2 x 19.6 in.) Circa 1380
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SHAPERO RARE BOOKS LONDON LOUIS DUPRÉ Voyage a Athènes et a Constantinople First edition, large folio, with 40 fine hand-coloured lithographs and a lithograph self-portrait of Dupré signed in pencil by the artist, contemporary red half morocco gilt 63 x 47.5 cm (24.8 x 18.7 in.) Paris, 1835
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S.J. SHRUBSOLE NEW YORK ROBERT & THOMAS MAKEPEACE The Richmond Cup A George III silver gilt cup and cover Height 52 cm (20.5 in.) Fully hallmarked London, 1794
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ELLE SHUSHAN PHILADELPHIA FRANCOIS DUMONT (Lunville 1751-1831 Paris) Portrait of a Young Lady in the guise of Ceres Gouache and watercolor Diameter 5.9 cm (2.3 in.) Signed lower right ‘Dumont’ Paris, circa 1785
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SIEGELSON NEW YORK CARTIER Le Ciel An Art Deco mystery clock with a transparent blue night sky dial embellished with rose-cut diamond comet hands and mother-of-pearl and enamel hour markers in the form of stars and Roman numerals, enclosed in a frame of black onyx and coral resting on two antique carved jade fish enhanced by black onyx detail, coral fins and tails, and cabochon moonstones; set upon a carved rock crystal fountain against a black obsidian base; concealing a divided axel
movement with 13 jewel platform escapement; with French assay marks Signed on the base ‘Cartier Paris Londres New York’ and nos. ‘0763, 1387, 3266’ and on the the movement no. ‘3266’ Height 21.6 cm ( 8.5 in.) Paris, 1928
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ROB SMEETS OLD MASTER PAINTINGS GENEVA LUCA GIORDANO (1632-Naples-1705) Portrait of a Mathematician Oil on canvas 127 x 100 cm (50 x 39.4 in.) Circa 1663
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TAYLOR | GRAHAM NEW YORK NORBERT GOENEUTTE (Paris 1854-1894 Auvers-sur-Oise) Salon Japonais Oil on canvas 62.3 x 86.4 cm (24.5 x 34 in.) Signed lower right ‘Norbert Goeneutte’
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ANTIQUARIAT BIBERMÃœHLE AG HERIBERT TENSCHERT RAMSEN MASTER OF CLAUDE DE FRANCE (most likely Eloy Tassart) Book of Hours of Queen Claude de France Illuminated manuscript on vellum in a gold and enamel binding, comprising 39 miniatures, fully illuminated borders surrounding each of the text pages, showing mottos and devices and numerous heraldic symbols of the French Royal family. Recently bound into massive gold and enamel covers with 56 diamonds, crafted at the Court of Rudolph II in Prague. 8.4 x 5.5 cm (3.3 x 2.1 in.) Circa 1522-1523, binding in Prague, Imperial workshop, circa 1600
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CAROLLE THIBAUT-POMERANTZ NEW YORK-PARIS EVARISTE FRAGONARD and JOSEPH DUFOUR Les Mois: Avril Juillet 2 panels from a set of 5, individually depicting 5 months: April, July, August, October, December. Wood-block printed on small joined-papers (papiers raboutés). Hand-brushed background in pale blue. Each panel mounted on linen canvas and stretcher. 100 x 56 cm (39.5 x 22 in.) each Manufacture by Joseph Dufour, Paris, 1808
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ERIK THOMSEN GALLERY NEW YORK ANONYMOUS Places Along the Tokaido Pair of six-panel folding screens Ink, mineral colors, gofun (white powdered shell), and gold on paper with gold leaf Each 119.5 x 280.5 cm (47 x 110.5 in.) Japan, Edo period (1615-1868), 17th century
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TOMASSO BROTHERS FINE ART LONDON-LEEDS Profile head of Alexander the Great (365-323 BC) White marble 57 x 42 cm (22 x 16 in.) Florence, circa 1550
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VANDERVEN ORIENTAL ART ‘S-HERTOGENBOSCH Large figure of Wetuo Pusa Wood and paint Height 122 cm (48 in.) Early Ming Dynasty, 14th-15th century
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AXEL VERVOORDT WIJNEGEM-ANTWERP-HONG KONG Head of Horus Granodiorite Height 14.5 cm (5.7 in.) Egypt, Ptolemaic Period, 332-30 BC
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GALLERIA CARLO VIRGILIO & CO ROME SALVATOR ROSA (Naples 1615-1673 Rome) Saint Paul the Hermit Oil on canvas 199 x 118.5 cm (78.3 x 46.6 in.) Circa 1660
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RUPERT WACE ANCIENT ART LONDON Head of a lion Faience 13 x 11 cm (5.1 x 4.3 in.) Egypt, New Kingdom, Dynasty XVIII, reign of Tuthmosis IIITuthmosis IV, circa 1480-1390 BC
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WARTSKI LONDON CARTIER Brooch in the form of fighting cockerels in the Japanese taste which was illustrated in The New Yorker in 1945 Gold and gem set Length 13 cm (5.1 in.) Signed ‘Cartier’ New York, 1945
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JORGE WELSH WORKS OF ART LONDON-LISBON Two famille rose seated Dutchman flasks Porcelain decorated in overglaze enamels of the famille rose palette and gold, with metal mounts 34 x 24 x 16 cm (13.4 x 9.5 x 6.3 in.) China, Qing dynasty, Qianlong period (1736-1795)
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JOAN WIJERMARS AMSTERDAM AUGUSTE RODIN (Paris 1840-1917 Meudon) Portrait of John Wesley de Kay Bronze, rich green-brown patina Height 37 cm (14.6 in.) (without base) Signed with the heightened signature on the inside ‘A. Rodin’ and with the foundry mark ‘Alexis Rudier/Fondeur Paris’ Conceived in 1909-10 and cast in September 1917, unique piece
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ADAM WILLIAMS FINE ART LTD NEW YORK JOSEPH WRIGHT OF DERBY, A.R.A. (Derby 1734-1797) A grotto in the Gulf of Salerno,with the figure of Julia, banished from Rome Oil on canvas, held in its original Wright of Derby Neo-Classical frame 124 x 172 cm (48.75 x 67.75 in.)
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EXHIBITOR LIST
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A. AARDEWERK DUTCH SILVER AND ANTIQUE JEWELRY The Hague – The Netherlands T +31 70 324 09 87 M +31 6 54 77 33 37 E silver@aardewerk.com I www.aardewerk.com Dutch silver and antique jewelry Stand 52 p.28 DIDIER AARON, INC. New York – Paris – London T +1 212 988 5248 E info@didieraaron.com I www.didieraaron.com Old master and 19th-century paintings and drawings, 18th-century furniture Stand 84 p.29 AGNEWS London – UK T +44 207 491 9219 E anna.cunningham@agnewsgallery.com I www.agnewsgallery.com Old masters, 19th- and early 20th-century paintings Stand 54 p.30 A LA VIEILLE RUSSIE, INC New York – USA T +1 212 752 1727 E alvr@alvr.com I www.alvr.com Fine European and American jewellery, Fabergé, gold snuffboxes and objets de vertu, Russian decorative and fine arts. Established 1851. Stand 51 p.31 KUNSTGALERIJ ALBRICHT Oosterbeek - The Netherlands London - UK T +31 26 361 18 76 M +31 6 54 27 22 27 E info@albricht.nl I www.albricht.nl 19th- and 20th-century paintings Stand 28 p.32 ÅMELLS Stockholm – Sweden T +46 86 11 4193 E info@amells.com I www.amells.com Old master paintings and Scandinavian art Stand 33 p.33
ANCIENT ART OF THE NEW WORLD, INC. New York – USA T +1 212 737 3766 M +1 917 584 0189 E info@aanwinc.com I www.aanwinc.com Pre-Columbian art Stand 93 p.34 APTER-FREDERICKS LTD London – UK T +44 20 73 52 21 88 M +1 917 696 4063 E antiques@apter-fredericks.com I www.apter-fredericks.com 18th-century English furniture and works of art Stand 44 p.35 ARIADNE GALLERIES New York – USA London - UK T +1 212 772 3388 M +1 917 640 8165 E info@ariadnegalleries.com I www.ariadnegalleries.com Ancient works of art Stand 38 p.36 ARONSON ANTIQUAIRS Amsterdam – The Netherlands T +31 20 623 31 03 M +1 646 415 2561 E mail@aronson.com I www.aronson.com 17th- and 18th-century Dutch Delftware Stand 57 p.37 GREGG BAKER ASIAN ART London – UK T +44 20 7221 3533 E info@japanesescreens.com I www.japanesescreens.com Japanese paper screens, hanging scrolls, Buddhist sculpture, Japanese post-war avant-garde paintings Stand 72 p.38 VÉRONIQUE BAMPS Monaco T +377 97 97 3757 M +33 643 91 74 65 M + 1 818 401 8943 E info@veroniquebamps.com I www.veroniquebamps.com Antique jewellery Stand 71 p.39
JEAN-LUC BARONI LTD. London – UK T +44 20 79 30 53 47 M +44 780 141 9445 E info@jlbaroni.com I www.jlbaroni.com Old master and 19th-century paintings and drawings Stand 94 p.40 MICHELE BEINY New York – USA T +1 212 794 93 57 M +1 917 319 7102 E michele@michelebeiny.com I www.michelebeiny.com 18th- and 19th-century English and Continental porcelain and faience, objets du vertu, French furniture, modern and contemporary sculpture, and jewelled works of art Stand 78 p.41 BENAPPI Turin – Italy T +39 011 88 32 62 E info@benappi.com I www.benappi.com Italian and European old master paintings and sculpture from the 14th to the 20th century Stand 76 p.42 BLUMKA GALLERY New York – USA T +1 212 734 3222 M +1 917 412 3303 E info@blumkagallery.com I www.blumkagallery.com Medieval and Renaissance sculpture and works of art Stand 5 p.43 JULIUS BÖHLER Starnberg – Germany T +49 81 51 55 9253 M +49 171 756 2953 E info@boehler-art.com I www.boehler-art.com European sculpture and works of art from the early Middle Ages into the Baroque period Stand 5 p.44
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BOWMAN SCULPTURE London – UK T +44 79 30 0277 M +44 797 631 1159 E gallery@bowmansculpture.com I www.bowmansculpture.com 19th- and 20th-century sculpture Stand 36 p.45
GALERIE CHENEL Paris – France T + 33 1 42 97 44 09 M +33 6 07 36 43 84 E contact@galeriechenel.com I www.galeriechenel.com Ancient art Stand 10 p.51
BURZIO London – Farnham - UK T +44 750 257 15 87 E info@lucaburzio.com I www.lucaburzio.com Antiques and works of art Stand 46 p.46
GALERIE DIDIER CLAES Brussels – Belgium T +32 2 414 19 29 M +32 477 66 02 06 E contact@didierclaes.com I www.didierclaes.com African art Stand 1 p.52
CAHN INTERNATIONAL AG Basel – Switzerland T +41 61 271 6755 M +41 79 855 78 37 E mail@cahn.ch I www.cahn.ch Greek, Roman and Egyptian antiquities Stand 13 p.47 ALBERTO DI CASTRO Rome – Italy T +39 06 679 2269 M +39 335 42 0880 E info@dicastro.com I www.dicastro.com Sculpture, furniture, painting, drawing and works of art from the 14th century to the 19th century Stand 86 p.48 ALESSANDRA DI CASTRO Rome – Italy T +39 06 69 92 3127 M +39 335 56 50 711 E info@alessandradicastro.com I www.alessandradicastro.com Italian and European works of art, furniture, sculpture, old master paintings Stand 24 p.49 WALLACE CHAN China T +852 2523 2788 E info@wallace-chan.com I www.wallace-chan.com Jewellery art, carvings and sculptures Stand 18 p.50
GALERIE ERIC COATALEM Paris – France T +33 1 42 66 17 17 M +33 6 09 16 64 24 E coatalem@coatalem.com I www.coatalem.com Old master paintings, drawings and sculptures, French and Italian, from the 17th to the 20th century Stand 39 p.53 COLNAGHI London – UK T +44 207 491 7408 E info@colnaghi.com I www.colnaghi.com Old master paintings and drawings Stand 7 p.54 DANIEL CROUCH RARE BOOKS London – UK New York - USA T +44 207 042 0240 M +44 77 66 75 1391 E info@crouchrarebooks.com I www.crouchrarebooks.com Printed books, maps, manuscripts and globes Stand 95 p.55 DICKINSON London – UK New York - USA T +44 20 74 93 03 40 E london@simondickinson.com E newyork@simondickinson.com I www.simondickinson.com Master paintings Stand 62 p.56
CHARLES EDE LTD London – UK T +44 20 7493 4944 M +44 7817738495 E info@charlesede.com I www.charlesede.com Antiquities from Egypt, Greece and the Roman Empire Stand 87 p.57 JAIME EGUIGUREN, ARTE Y ANTIGÜEDADES Buenos Aires – Argentina T +54 11 4816 2787 E jaimeeguiguren@ jaimeeguiguren.com I www.jaimeeguiguren.com Old paintings, antiques and works of art Stand 81 p.58 EGUIGUREN ARTE DE HISPANOAMÉRICA Buenos Aires – Argentina T +54 11 48 06 75 46 E info@eguiguren.com I www.eguiguren.com Latinamerican art Stand 42 p.59 LES ENLUMINURES Paris – France New York - USA T +33 1 42 60 15 58 M +33 6 09 68 45 43 E newyork@lesenluminures.com I www.lesenluminures.com Illuminated manuscripts, miniatures, medieval works of art, including rings Stand 63 p.60 RICHARD L. FEIGEN & CO New York – USA T +1 212 628 0700 E info@rlfeigen.com I www.rlfeigen.com European old master and 19th-century paintings, drawings and sculpture Stand 75 p.61 PETER FINER London – UK T +44 20 78 39 56 66 E gallery@peterfiner.com I www.peterfiner.com Antique arms, armour and related objects Stand 26 p.62
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SAM FOGG London – UK T +44 20 7534 2100 M +44 77 66 05 4431 E info@samfogg.com I www.samfogg.com European art from the Middle Ages with departments also focusing on Ethiopian, Islamic and Asian art Stand 12 p.63
RICHARD GREEN London – UK T +44 207 493 3939 E paintings@richard-green.com I www.richard-green.com Old master, British, sporting, marine, French impressionist, modern British, 19th-century European and Victorian paintings Stand 67 p.68
ANTIQUARIAAT FORUM BV ´t Goy–Houten – The Netherlands T +31 30 601 19 55 M +31 6 54 68 03 66 E info@forumrarebooks.com I www.forumrarebooks.com Antiquarian and rare books, with special emphasis on the subjects of travel, natural history, coloured plate books, early printing and the Islamic world Stand 95 p.64
DR. JÖRN GÜNTHER RARE BOOKS AG Basel – Stalden – Switzerland T +41 41 669 7000 E info@guenther-rarebooks.com I www.guenther-rarebooks.com Illuminated medieval and Renaissance manuscripts, miniatures and early printed books Stand 23 p.69
FRENCH & COMPANY, LLC New York – USA T +1 212 535 3330 M +1 646 289 0186 E info@frenchandcompanyart.com I www.frenchandcompanyart.com European paintings from the 16th through the 20th century Stand 32 p.65 GALERIE JACQUES GERMAIN Montreal – Canada T +1 514 278 6575 M +1 514 238 6575 E info@jacquesgermain.com I www.jacquesgermain.com Fine African art Stand 91 p.66 BERNARD GOLDBERG FINE ARTS, LLC New York – USA T +1 212 813 9797 E info@bgfa.com I www.bgfa.com Early 20th-century American art Stand 65 p.67
HABOLDT · PICTURA Amsterdam – Paris– New York T + 33 1 42 66 44 54 E oldmasters@haboldt.com I www.tefaf.com Old master paintings and drawings Stand 92 p.70 HEMMERLE Munich – Germany T +49 89 24 22 600 E info@hemmerle.com I www.hemmerle.com Contemporary jewellery Stand 59 p.71 HIRSCHL & ADLER GALLERIES New York – USA T +1 212 535 8810 E gallery@hirschlandadler.com I www.hirschlandadler.com 19th- and early 20th-century American and European paintings, drawings, sculpture; American furniture and decorative arts, 1810 to 1910 Stand 74 p.72 OTTO JAKOB Karlsruhe – Germany T +49 721 85 5911 M +49 175 245 2738 E kontakt@ottojakob.de I www.ottojakob.de Contemporary jewellery Stand 82 p.73
BEN JANSSENS ORIENTAL ART LTD London – UK T +44 20 79 76 18 88 E info@benjanssens.com I www.benjanssens.com Chinese, Japanese and Indian works of art Stand 25 p.74 DE JONCKHEERE Geneva – Switzerland T +41 22 310 8080 E geneve@dejonckheere-gallery.com I www.dejonckheere-gallery.com Old master paintings Stand 43 p.75 DANIEL KATZ LTD London – UK T +44 207 493 0688 M +44 7770 364 099 E info@katz.co.uk I www.katz.co.uk Fine art from antiquity to the 20th century Stand 60 p.76 GALERIE KEVORKIAN Paris – France T +33 1 42 60 72 91 E contact@galeriekevorkian.com I www.galeriekevorkian.com Arts of the Islamic world, Mughal and Indian miniature painting, ancient Near Eastern antiquities Stand 56 p.77 JACK KILGORE & CO., INC. New York – USA T +1 212 650 11 49 E info@kilgoregallery.com I www.kilgoregallery.com Old master, 19th-century, and early 20th-century European paintings Stand 77 p.78 KOOPMAN RARE ART London – UK T +44 207 242 7624 E enquiries@koopmanrareart.com I www.koopmanrareart.com Fine English and Continental silver, objets of Vertu Stand 89 p.79
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KUNSTKAMMER GEORG LAUE Munich – Germany T +49 89 2781 8555 M +49 172 8730 961 E kunstkammer@kunstkammer.com I www.kunstkammer.com Renaissance artworks made of amber, silver, coral, coconut, rock crystal, and other precious materials that were part of Kunstkammer Stand 5 p.80 LOWELL LIBSON LTD London – UK T +44 20 7734 8686 M +1 646 798 0540 E pictures@lowell-libson.com I www.lowell-libson.com British paintings, watercolours, drawings and sculpture of the 17th to 20th centuries Stand 80 p.81 LITTLETON & HENNESSY ASIAN ART LTD London – UK T +44 207 930 08 88 E mark@littletonandhennessy.com I www.littletonandhennessy.com Asian art Stand 35 p.82 MACCONNAL-MASON GALLERY London – UK T +44 20 78 39 76 93 E fineart@macconnal-mason.com I www.macconnal-mason.com 19th- and 20th-century European, Post Impressionist, modern British, Sporting and Marine paintings and Sculpture Stand 45 p.83 MAISON GERARD New York - USA T +1 212 674 7611 E home@maisongerard.com I www.maisongerard.com 20th-century decorative art Stand 30 p.84 S. MEHRINGER Munich – Germany T +49 89 98 7431 M +49 171 49 24 263 E sascha.mehringer@web.de I www.tefaf.com Sculptures and works of art Stand 76 p.85
MENCONI + SCHOELKOPF New York – USA T +1 212 879 8815 E info@msfineart.com I www.menconischoelkopf.com American paintings between 1800–1950 Stand 29 p.86 GALERIE MEYER – OCEANIC ART Paris – France T +33 1 43 54 85 74 M +33 680 10 80 22 E ajpmeyer@gmail.com I www.meyeroceanicart.com Oceanic Art from Melanesia, Polynesia, Micronesia and Australia. Early Eskimo art from the Arctic Circle Stand 22 p.87 MORETTI London – Florence T +44 207 491 05 33 E enquiries@morettigallery.com I www.morettigallery.com Italian old master paintings Stand 64 p.88 MIREILLE MOSLER LTD New York – USA T +1 212 249 4195 M +1 917 362 5585 E info@mireillemoslerltd.com I www.mireillemoslerltd.com Old master, 19th- and 20th-century drawings and paintings; American conceptual art from the 1960s through the 1980s, including photography Stand 27 p.89 LILLIAN NASSAU LLC New York – USA T +1 212 759 60 62 E info@lilliannassau.com I www.lilliannassau.com Work of Louis Comfort Tiffany, Tiffany Studios and early 20th-century decorative arts Stand 40 p.90 OTTO NAUMANN LTD. New York – USA T +1 212 734 4443 M +1 914 320 7523 E otto@ottonaumannltd.com I www.ottonaumannltd.com European old master paintings from the 17th to the 19th centuries Stand 58 p.91
CARLO ORSI – TRINITY FINE ART Milan – Italy London - UK T +39 02 76 00 2214 T +44 207 493 4916 M +39 338 2653 412 E info@galleriaorsi.com I www.galleriaorsi.com Old master paintings and sculpture Stand 83 p.92 GALERIE PERRIN Paris – France T +33 1 42 65 01 38 M +33 6 08 71 27 60 E contact@galerieperrin.com I www.galerieperrin.com 18th-century French furniture, works of art and paintings Stand 70 p.93 RONALD PHILLIPS LTD London – UK T +44 20 74 93 23 41 E advice@ronaldphillipsantiques.com I www.ronaldphillipsantiques.com 18th-century English antique furniture ranging from Queen Anne to the Victorian period Stand 66 p.94 PHOENIX ANCIENT ART Geneva – Switzerland New York – USA T +1 212 288 7518 E info@phoenixancientart.com I www.phoenixancientart.com Works of ancient art that constitute the essence of Western civilization, from Classical Greece and Rome, Mesopotamia, Egypt, Central Europe, Eurasia and South West Asia, from 6000 BC-14th century AD Stand 73 p.95 PRIMAVERA GALLERY New York – USA T +1 212 924 6600 E contact@primaveragallery.com I www.primaveragallery.com 20th-century applied and decorative arts, including painting and sculpture, rare Italian glass and fine jewelry 1800-1970 Stand 41 p.96
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CHRISTOPHE DE QUÉNETAIN Paris – France T +33 1 47 27 29 71 M +33 6 19 02 32 80 E info@christophedequenetain.com I www.christophedequenetain.com Furniture and decorative arts Stand 3 p.97
GALERIE SANCT LUCAS Vienna – Austria T +43 1 512 82 37 M +43 676 597 9940 E info@sanctlucas.com I www.sanctlucas.com Old master paintings Stand 21 p.102
REZA Paris – France T +33 1 42 61 51 21 E contact@alexandrereza.com I www.alexandrereza.com High jewelry. Precious stones such as ruby, emerald, diamond, sapphire and pearls Stand 11 p.98
GALERIE G. SARTI Paris – France T +33 1 42 89 33 66 E giovanni.sarti@wanadoo.fr I www.sarti-gallery.com Italian paintings from 14th to 17th century, 17th-18th centuries furniture and art objects Stand 96 p.103
RIJKSMUSEUM Amsterdam – The Netherlands I www.rijksmuseum.nl Stand 6
SHAPERO RARE BOOKS London – UK T +44 20 74 93 08 76 E rarebooks@shapero.com I www.shapero.com Rare books including travel, literature, natural history, illustrated books, fine bindings, prints and maps Stand 88 p.104
RÖBBIG MÜNCHEN Munich – Germany T +49 89 29 97 58 E info@roebbig.de I www.roebbig.de Early German porcelain and 18th-century French and German furniture, paintings and objets d´art Stand 14 p.99 ROBILANT + VOENA London – Milan – St Moritz T +44 20 7409 1540 E art@robilantvoena.com I www.robilantvoena.com Old master paintings, classic modern and contemporary art Stand 2 p.100 SAFANI GALLERY INC New York – USA T +1 212 570 6360 M +1 917 748 9656 E info@safani.com I www.safani.com Museum quality works of ancient art Stand 53 p.101
S.J. SHRUBSOLE, CORP. New York – USA T +1 212 753 89 20 E inquiries@shrubsole.com I www.shrubsole.com Antique English silver and jewellery Stand 37 p.105 ELLE SHUSHAN Philadelphia – USA T +1 215 587 0000 M +1 917 754 8989 E elle@portraitminiatures.com I www.portraitminiatures.com Fine portrait miniatures and portrait waxes Stand 34 p.106
SIEGELSON New York – USA T +1 212 832 2666 E info@siegelson.com I www.siegelson.com Masterpieces of 20th-century jewelry design in the following categories: fine gemstones and diamonds, antique and estate jewelry, objects of art, contemporary designers, and jewelry Stand 79 p.107 ROB SMEETS OLD MASTER PAINTINGS Geneva – Switzerland T +41 22 301 5519 M +41 79 285 9262 E info@robsmeets.com I www.robsmeets.com Old master paintings Stand 4 p.108 TAYLOR | GRAHAM New York – USA T +1 212 535 5767 M +1 203 216 3088 E abby@taylorandgraham.com I www.taylorandgraham.com Sculpture Stand 85 p.109 ANTIQUARIAT BIBERMUHLE AG HERIBERT TENSCHERT Ramsen – Switzerland T +41 52 742 05 75 E mail@antiquariat-bibermuehle.ch I www.antiquariat-bibermuehle.com Illuminated medieval manuscripts, rare illustrated books, fine bindings Stand 55 p.110 CAROLLE THIBAUT-POMERANTZ New York – USA Paris - France T +1 212 759 6048 M +33 6 09 05 35 98 E carolle@ctpdecorativearts.com I www.antique-wallpapers.com Decorative arts, specializing in antique wallpapers (papiers peints) Stand 30 p.111
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ERIK THOMSEN GALLERY New York – USA T +1 212 288 2588 E info@erikthomsen.com I www.erikthomsen.com Fine Japanese paintings and works of art Stand 47 p.112
RUPERT WACE ANCIENT ART LTD London – UK T + 44 207 495 1623 E info@rupertwace.co.uk I www.rupertwace.co.uk Ancient Egyptian, Greek and Roman, Near Eastern antiquities Stand 90 p.117
TOMASSO BROTHERS FINE ART Leeds – London T +44 113 275 5545 M +44 77 98 888 988 E info@tomassobrothers.co.uk I www.tomassobrothers.co.uk European sculpture from early Renaissance to Neo-Classical periods with particular speciality in European Renaissance bronzes. Old Master paintings, antiquities, fine furniture and objects. Stand 8 p.113
WARTSKI London – UK T +44 20 74 93 11 41 E wartski@wartski.com I www.wartski.com Antique jewellery, works of art by Carl Fabergé, objets de vertu and antique silver Stand 31 p.118
VANDERVEN ORIENTAL ART ´s–Hertogenbosch - The Netherlands T +31 73 614 62 51 M +31 6 53 17 85 21 E info@vanderven.com I www.vanderven.com Oriental and Asian art Stand 61 p.114 AXEL VERVOORDT Hong Kong – China Wijnegem - Belgium T +852 25 03 2220 E info@axelvervoordtgallery.com.hk I www.axelvervoordtgallery.com Archaeology, Oriental art, furniture and works of art, ZERO- and Gutai Art Stand 9 p.115 GALLERIA CARLO VIRGILIO & CO Rome – Italy T +39 06 6871093 M +39 338 242 7650 E info@carlovirgilio.it I www.carlovirgilio.it Late 18th- to early 20th-century drawing, painting, sculpture and contemporary art Stand 17 p.116
JORGE WELSH WORKS OF ART London – Lisbon T +44 20 72 29 21 40 M +44 78 31 18 62 24 E uk@jorgewelsh.com I www.jorgewelsh.com Chinese export porcelain and cross-cultural works of art resulting from cultural encounters between Europe, Africa, India, China and Japan (15th to the 18th century) Stand 50 p.119 JOAN WIJERMARS Amsterdam – The Netherlands M +31 6 51 32 17 17 E info@wijermars.com I www.wijermars.com Late 18th-century to mid-20th-century European sculpture Stand 28 p.120 ADAM WILLIAMS FINE ART LTD New York – USA T +1 212 249 4987 M +1 917 495 9490 E adammwilliams@msn.com I www.adam-williams.com Old master paintings Stand 33 p.121
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TEFAF
HELVOIRT - THE NETHERLANDS T +31 411 64 50 90 info@tefaf.com NEW YORK - USA 1325 Avenue of the Americas, 28th floor New York, NY 10019 USA T +1 212 202 5950 info@tefafny.com
SEE YOU AT TEFAF MAASTRICHT 10–19 MARCH 2017 TEFAF NEW YORK SPRING 4-9 MAY 2017
www.tefaf.com PARTICIPATION Applications for participation in the 2017 Fair can only be done through www.tefaf.com. Acceptance is solely at the discretion of TEFAF and only following an invitation from TEFAF. The organisers reserve the right to refuse admission to the Fair without giving any reason and to remove any person whose conduct, in the opinion of the organisers, renders such action desirable. Canvassing orders by any unauthorised person is strictly prohibited and, should this occur, the right of expulsion will at once be exercised. The distribution or display of printed or other material, except by exhibitors at their stands, is also prohibited. While every care is taken by the publishers, the descriptions and attributions of the items illustrated are the sole responsibility of the individual firms. No part of this book may be reproduced in any form by print, photo print, microfilm or any other means without written permission from the publisher. Vetting of all objects will be done 2 days prior to the Fair.
DESIGN Wiedemann Lampe, London, UK PRINTING Graphius - DeckersSnoeck, Ghent, Belgium
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A. AARDEWERK DUTCH SILVER AND ANTIQUE JEWELRY DIDIER AARON, INC. AGNEWS A LA VIEILLE RUSSIE, INC KUNSTGALERIJ ALBRICHT ÅMELLS ANCIENT ART OF THE NEW WORLD, INC. APTER-FREDERICKS LTD ARIADNE GALLERIES ARONSON ANTIQUAIRS GREGG BAKER ASIAN ART VÉRONIQUE BAMPS JEAN-LUC BARONI LTD. MICHELE BEINY BENAPPI BLUMKA GALLERY JULIUS BÖHLER BOWMAN SCULPTURE BURZIO CAHN INTERNATIONAL AG ALBERTO DI CASTRO ALESSANDRA DI CASTRO WALLACE CHAN GALERIE CHENEL GALERIE DIDIER CLAES GALERIE ERIC COATALEM COLNAGHI DANIEL CROUCH RARE BOOKS DICKINSON CHARLES EDE LTD JAIME EGUIGUREN, ARTE Y ANTIGÜEDADES EGUIGUREN ARTE DE HISPANOAMÉRICA LES ENLUMINURES RICHARD L. FEIGEN & CO PETER FINER SAM FOGG ANTIQUARIAAT FORUM BV FRENCH & COMPANY, LLC GALERIE JACQUES GERMAIN BERNARD GOLDBERG FINE ARTS, LLC RICHARD GREEN DR. JÖRN GÜNTHER RARE BOOKS AG HABOLDT · PICTURA HEMMERLE HIRSCHL & ADLER GALLERIES OTTO JAKOB BEN JANSSENS ORIENTAL ART LTD DE JONCKHEERE DANIEL KATZ LTD GALERIE KEVORKIAN JACK KILGORE & CO., INC. KOOPMAN RARE ART KUNSTKAMMER GEORG LAUE LOWELL LIBSON LTD LITTLETON & HENNESSY ASIAN ART LTD MACCONNAL-MASON GALLERY MAISON GERARD S. MEHRINGER MENCONI + SCHOELKOPF GALERIE MEYER - OCEANIC ART MORETTI MIREILLE MOSLER LTD LILLIAN NASSAU LLC OTTO NAUMANN LTD. CARLO ORSI - TRINITY FINE ART GALERIE PERRIN RONALD PHILLIPS LTD PHOENIX ANCIENT ART PRIMAVERA GALLERY CHRISTOPHE DE QUÉNETAIN REZA RÖBBIG MÜNCHEN ROBILANT + VOENA SAFANI GALLERY INC GALERIE SANCT LUCAS GALERIE G. SARTI SHAPERO RARE BOOKS S.J. SHRUBSOLE, CORP. ELLE SHUSHAN SIEGELSON ROB SMEETS OLD MASTER PAINTINGS TAYLOR | GRAHAM ANTIQUARIAT BIBERMÜHLE AG HERIBERT TENSCHERT CAROLLE THIBAUT-POMERANTZ ERIK THOMSEN GALLERY TOMASSO BROTHERS FINE ART VANDERVEN ORIENTAL ART AXEL VERVOORDT GALLERIA CARLO VIRGILIO & CO RUPERT WACE ANCIENT ART LTD WARTSKI JORGE WELSH WORKS OF ART JOAN WIJERMARS ADAM WILLIAMS FINE ART LTD
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