#Tefaf Maastricht

[empirearchives]

I found this neat portrait of Roustam Raza made by Hortense de Beauharnais! Circa 1800s

Roustam was Napoleon’s bodyguard and valet, and Hortense was Napoleon’s stepdaughter. Roustam was an Armenian Mameluke in Egypt, originally from Tbilisi. He became employed by Napoleon during the Egypt campaign in 1799, following him back to Europe, and remained by his side until Napoleon’s abdication in 1814. He lived the rest of his life in France.

TEFAF Maastricht

[pikasus-artenews]

TEFAF MAASTRICHT 2024

TEFAF Maastricht è considerata tra le principali fiere al mondo per le belle arti, gli oggetti d’antiquariato e il design

[jacqwess]

`1TEFAF 2024-2 - Toujours les femmes

TEFAF 2024 - my second and last blog about this fascinating art fair. It's huge, so forgive me if I didn't see all of it, and will give you here a very personal, subjective description...

[otaviogilbert]

Masterpiece Heist | The TEFAF Maastricht Art Robbery Unveiled | Disappear TV

Discover the gripping tale behind the daring TEFAF Maastricht Art Robbery in our documentary, 'Masterpiece Heist | The TEFAF Maastricht Art Robbery Unveiled' on Disappear TV. Delve into the world of art crime, explore the audacious theft, and unravel the mysteries surrounding this high-stakes caper.

[purplelandoperaprofessor]

[desimonewayland]

Capezzale with the shape of a devotional pendant depicting Mary Magdalene Circa 1700 Coral and silver

Capezzale with the shape of a devotional pendant depicting Mary Magdalene is a hanging work of art that represents a female figure holding a framed cruciix and topped with a bow of openwork corals. The set is made from worked, openwork and carved corals, that are tied with silver thread to two riveted openwork silver plates, which act as a support.

via: TEFAF Maastricht

[liminalmemories21]

So many more than seven sentences Sunday

tagged by @carlos-in-glasses and @freneticfloetry.  Thank you for giving me an excuse.

Massey lifts the dark velvet hanging over a painting on an easel and TK's breath catches.

It's a full length portrait of a woman, staring out defiantly at the viewer.  He can identify it as Dutch Renaissance, although he's sure TK could give it a more precise date.  There's something about seeing art up close that never stops being visceral in a way he can't explain.  It's like the paint is richer, the colors more vibrant without the filter of glass or the cordon at a museum. 

TK sounds like he's barely breathing.  "Is that?"  Massey nods, and TK glances at him. "Can I?"  Massey nods again and stands back a little to let TK get close.  And then like he can't help himself he steps up beside TK's elbow, pointing out small details in the painting.  For half a minute Carlos wonders if he's playing TK, and then dismisses it.  Massey genuinely loves this painting, and if he'd sat around for half a year trying to find a way to forge a connection with TK he couldn't have thought of anything more effective than this. 

TK reaches back for Carlos's hand to pull him closer.  He has to clasp his hands behind his back to stop himself from touching.  He has the sense that if he reached out he'd be able to feel the nap of the wool, the cool whisper of the silk, the crisp starch of the lace.  He looks closer and gets lost in the way he can see the dust motes floating in the beam of sunlight coming in through the window in the painting.

"Do you like it?" Massey asks, and he sounds genuinely interested.

Carlos nods.  "It's astonishing."

"Where did you get it?" TK breathes, tilting his head to look at the cat peeking out from under the woman's skirts.

"TEFAF in Maastricht.  It was painted as a wedding portrait."

Carlos tilts his head, appraising the woman's expression.  "She doesn't look like she was thrilled about the marriage."

"See Dad, I told you."  Massey barks an unexpected laugh, and turns to look at the teenage girl standing in the doorway.

"My daughter, as you can see, agrees with your analysis."  He pulls her into the room.  "Claire, this is Detective Reyes, and Mr Strand.  My eldest daughter, Claire."

She steps up next to her father, looking at the painting.  "She looks like Aunt Annabeth."

Massey coughs in an attempt to smother a laugh.  "Don't let her catch you saying that."

She shrugs, unconcerned, and turns to her father.  "Mom says you have to stop mooning over your picture and come help her be polite to all the boring people you invited."

Carlos swallows a laugh at the long suffering look on Massey's face, but he just rolls his eyes theatrically at his daughter and waves her off.  "Yes, yes, we'll be right there."  He's never seen Massey this relaxed, this relatable, and he wonders if it's his daughter, or the painting that softens him, and then chastises himself for being uncharitable.

tagging anyone who wants to play.  snippets are my favorite thing.

[naomi-tm]

“Quails” by Kayama Matazo

https://www.nytimes.com/2023/03/02/arts/design/shibunkakus-tefaf-maastricht-nihongaa.html?campaign_id=54&emc=edit_clim_20230303&instance_id=86764&nl=climate-forward®i_id=58267195&segment_id=126797&te=1&user_id=5ffab5e74ee811442d1d70bd125b8b96

[steininbeeld]

14 maart 2024.

"TEFEAF"

Vanmorgen een leuk stukje in de krant van mijn bezoek aan de TEFAF in Maastricht met dank een Annemiek Mommers.

(14 maart 2024)

[empirearchives]

The Little Beggar, c. 1808-09, Napoleonic era

By Hortense Haudebourt-Lescot, French

The Little Beggar is one of the earliest known works by the artist, who arrived in Rome a few months after her professor, Guillaume Guillon-Lethière, had been appointed director of the Academy of France in its new home in the Villa Medici. The subject is exceptional in showing a beggar in such a compassionate light; while he is clearly asking the viewer for money, he is a sympathetic, not a threatening figure, reflecting a significant change of attitude towards the less fortunate.

Literature

François Guizot, De l’état des Beaux-Arts en France et du Salon de 1810, Paris, Maradan, 1810, p. 99

Pierre François Gueffier, Entretiens sur les ouvrages de peinture, sculpture et gravure, exposés au Musée Napoléon en 1810, Paris, Gueffier jeune, 1811, p. 157

C. P. Landon, Salon de 1810, p.104

Paul Menoux, Hortense Haudebourt-Lescot, Catalogue Raisonné, Paris, Arthena (to be published).

TEFAF Maastricht

[jacqwess]

TEFAF 2023 - impression

[blogexperiences]

Rare riscoperte storiche e capolavori senza precedenti alla XXXVII edizione di TEFAF Maastricht

highlights TEFAF 2024MECC Maastricht9 – 14 marzo 2024 L’edizione 2024 di The European Fine Art Foundation (TEFAF) torna al MECC di Maastricht in grande stile, portando riscoperte storiche, capolavori senza eguali, e pezzi da collezione di qualità museale proposti da un’ampia selezione di espositori. TEFAF Maastricht 2024 si tiene dal 9 al 14 marzo, con anteprima solo su invito nei giorni 7 e 8…

[peterpijls1965]

De Amsterdamse fotograaf en welzijnswerker Max Natkiel is bij mijn weten niet vertegenwoordigd op de Tefaf-kunstbeurs die vandaag opent in Maastricht.

Rond 2005 kende ik in Amsterdam een beroemde galeriehouder die foto’s van Max Natkiel in een la had liggen. Een kennis hapte toe. Of hij de foto contant wou betalen. De kennis zei te betwijfelen of Natkiel daar ooit één cent van zou krijgen.

Van twee andere kunstenaars hoorde ik in die jaren dat de bewuste galeriehouder een “boef” was. Bij mijn weten is ook hij niet aanwezig op Tefaf.

De foto die ik hier deel komt uit het fotoboek Studio Paradiso. Daarin staan ruim 600 portretten van Paradisobezoekers die Max Natkiel vooral in de vroege jaren '80 maakte.

Filosoof Dirk van Weelden schreef de inleiding.

Natkiel fotografeerde meestal in het toilet punks, skinheads en rasta’s. Hij dronk met ze en raakte met ze aan de praat. Max Natkiel werkte met een oude Rolleiflex.

[masterscrafts]

Pivoine Spinelle Clip by Van Cleef & ArpelsVAN CLEEF & ARPELS/TEFAF MAASTRICHT

Jewelry & Art Converge @ TEFAF Maastricht 2018 - by Anthony DeMarco Senior Contributor | FORBES - LIFESTYLE - WATCHES & JEWELRY