TEFAF Maastricht 2020

March 7 – 15, 2020

Photographs by Franck Saada.

Photographs by Franck Saada.

Photographs by Franck Saada.

Photographs by Franck Saada.

Photographs by Franck Saada.

Press Release

Early Access for the fair opens March 5th

Preview opens March 6th

Public fair days begin March 7th

TEFAF Maastricht runs through March 15th

 

We will be exhibiting at booth number 613.

The European Fine Art Fair 2020

MAASTRICHT — MARCH 7th - 15th— This year we present the usual mix of contemporary and historic objects, reflecting the gallery’s dedication to aesthetic novelty and conceptual line-blurring— a dose of ceramic art & design (our specialty), as well as two-dimensional works and pieces executed in carved wood, cast bronze, and basse-taille enamel.

The contemporary selection of objects will include sculpture by Osamu Kojima, known for his landscape-inspired abstract works. They will stand alongside the intricate porcelain skulls of Katsuyo Aoki— objects which one is temepted to call both memento mori and rococo. We will also display lighting by celebrated Danish ceramist Bente Skjøttgaard, as well as large paintings by Francesco Clemente and Per Kirkeby.

The stand will debeut new pieces by Kim Simonsson, a Finnish sculptor famed for his iconic Moss Children, marking his departure from the verdant motif and embarking on a new series of works in white and gold-tones.

The historical selection of works on show includes a self-portrait in bronze by Sarah Bernhardt the famed nineteenth-century French actress often called the first superstar, a dramatic bronze figure by Agathon Leonard, and works by Francois-Rupert Carabin, Lucien Hirz, and Georg Hulbe. Viewers will also enjoy turn of the century Scandinavian furnishings by Lars Kinsarvik and vessels designed by renowned French interior decorator, Georges Hoentschel.

Our stand follows several trains of thought and variations on many themes. We may glimpse parallels between the phantasmagoria and introspection in Aoki’s and Simonsson’s porcelain sculptures and Bernhardt’s bronze self portrait, as well as within the symbolist figure by Leonard. Hulbe and Kinsarvik’s radically different treatment of closely knit traditions in craft and design reveal not just regional difference, but the interiority of the maker. Meanwhile, Blunk, Skjøttgaard, Kirkeby, and Kojima all respond to the crossroads of abstraction and the natural world in exceptional and unique ways. Likewise, Hirz, Carabin, and Hoentschel take the contemporary moods of their era into entirely different directions.

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