Topstukken TEFAF Maastricht 2019 

The Tefaf Maastricht art fair has long enjoyed a reputation as the most prestigious commercial gathering for lovers of fine and decorative art made well before the 20th century. At this year’s 32nd edition, however, much of the energy among the 279 exhibitors will come instead from the unlikely corner of Modern and contemporary art, thanks to the efforts of the New York power dealer Christophe Van de Weghe. “Maastricht is the Mecca of art fairs but, by international standards, the Modern section just wasn’t good enough,” Van de Weghe says. 

From 16-24 March, the cream of the art and antiques world once again gathers in the southern Dutch province of Limburg for TEFAF's prestigious annual fair Maastricht. This year nearly 300 dealers from 20 countries set up stall at the city's MECC, bringing a total of around 35,000 objects spanning seven millennia. While the event is divided into its usual eight sections – Ancient Art, Antiques, Design, Haute Joaillerie, Modern, Paintings, Paper, and Tribal – the Modern section for 2019 has been swelled by 13 new exhibitors, out of 28 newcomers to the fair overall. New blood is also provided by the six galleries partici[ating unde the Showcase scheme, which gives recently established dealers the opportunity to take part at relatively low cost. Meanwhile this year's loan exhibition affords visitors a preview of Rembrandt's The Abduction of Ganymede (1635) and other highlights from the Dresden State Art Collections, in advance of the unveiling of their restored quarters at the German city's Royal Palace. On the following pages, Susan Moore selects her highlights, Samuel Reilly picks out the region's best exhibitions, and Apollo talks to the curator of a new show at the Bonnefantenmuseum. 

TEFAF Maastricht: tutte le novità dell’edizione 2019. TEFAF Paintings - Nicholas Hall (342)

Editors’ Picks: 8 Great Art and Design Events This Week 
Fantastic Art Revisited: Exhibiting Old Masters and Contemporary Art, The Kitchen

In sheer wall power and rare historical gems, “Endless Enigma: Eight Centuries of Fantastic Art,” a two-floor, 130-work exhibition at David Zwirner exceeds the “museum-quality” designation and edges toward once-in-a-lifetime status.

It’s all about the historical mashup at @davidzwirner in “Endless Enigma: Eight Centuries of Fantastic Art,” coorganized with @nicholashjhall. So much wonderful #weirdness but for an over-the-top #erotic, #phantasmagorical vibe nothing beats Gustave Moreau’s jewel-like #Symbolist dreamscape “Le Poète et La Sirène” (1893). That’s a stone-cold, emerald-eyed stare! 

In sheer wall power and rare historical gems, “Endless Enigma: Eight Centuries of Fantastic Art,” a two-floor, 130-work exhibition at David Zwirner exceeds the “museum-quality” designation and edges toward once-in-a-lifetime status.

At Old Master specialist Nicholas Hall, Liu Dan unveils an ambitious landscape, made in ink on rice paper, which will be displayed alongside the Renaissance print that inspired it: Martin Schongauer's famous The Road to Calvary - Christ Carrying the Cross, dated to around 1475-80 (until 23 November). Nicholas Hall has also collaborated with David Zwirner to present 'Endless Enigma: Eight Centuries of Fantastic Art', an exhibition that spans from the 14th century to the present day, and includes medieval stone gargoyles and works by Titian and Giorgio de Chirico (until 27 October).

As a work (which in a way it is), Endless Engima convulses the eye and mind. It challenges one’s cognitive and art historical vision while recalibrating both. For instance, Odilon Redon’s haunting figure in L'Ange du Destin (The Angel of Destiny) (c. 1900), or James Ensor’s biting yet whimsical Skeleton’s Warming Themselves (1889) placed nearby a small gray and white painting of a human skeleton walking casually down an urban street—absent of its left radius, ulna, and hand bones—painted, surprisingly, by Francis Alÿs (London, 2005), or the madly beautiful Extensive coastal landscape with the calling of Saint Peter by Herri met de Bles placed in the same room as Michaël Borremans’ Fire from the Sun (2017) depiction of humanity crawling on all fours.

It is a fantastic feeling to have been here before, as we surely have, and to return here refreshed. In 1936 Alfred H. Barr, Jr. brought his Fantastic Art, Dada, Surrealism to the Museum of Modern Art, and traces of it survive and are now not just resurrected but, well, remembered. The present recall and revision set the same non-limits on the time and geographical framing, and so this exhibition is gratifyingly wide-ranging, from the twelfth-century to right now in 2018. The point of it all is of course how we re-look at something as squishy as the imagination and its inventions, and how we resituate the range of items we are considering in relation to the present moment and however we conceive of the contemporary avant-garde.

Tefaf Maastricht 2019. Le gallerie e le novità.

Good morning from Jerry Saltz

Nicholas Hall curator of ‘Endless Enigma: Eight Centuries of Fantastic Art’ earlier today at Zwirner, standing next to one of the standout pieces in that show… ‘The last time [Wallace Putnam's Mask of the Traveler] appeared in public was in the 1936 MoMA exhibition ‘Fantastic Art, Dada, Surrealism’

It took David Zwirner’s current exhibition, Endless Enigma: Eight Centuries of Fantastic Art organised in collaboration with the Old Master dealer Nicholas Hall, to demonstrate how the possibilities of blending the old and the new can be an exciting, even inevitable development in collecting. 

‘The Four Elements’ not playing nice. Painted by the short-lived Louis Finson (1580-1617) in 1611. In ‘Endless Engima: Eight Centuries if Fantastic Art’ at Zwirner on W 20. Definitely worth your while.

This rich serving of mostly Western image making was selected by Nicholas Hall, a distinguished connoisseur and dealer of European paintings, whose own gallery is at 17 East Seventy-sixth Street...There are a number of bona fide masterpieces, thus bowing to our contemporary obsession with fame and the superlative. The star in this category is, hands down, a monumental depiction of Herodias (or Salome) proffering the severed head of her victim on a silver trencher by Titian (yes, Titian). A bound and illustrated booklet prepared by the emeritus Cambridge scholar Paul Joannides is available to allay any skepticism of the attribution. But more importantly, there is the picture itself, fresh from a judicious recent conservation campaign and now dominating its space with the unmistakable gravitas of the great Renaissance master.

This show is ridiculous. It has a Titian. It has the Kimbell Art Museum’s James Ensor painting of skeletons warming themselves by a fire. Is it a museum show? Are we shopping? Who cares: they’ve got Gustave Moreau, Sherrie Levine, Leonor Fini, Jean-Jacques Grandville and Eileen Agar in the same few rooms together. A wonderful show of weird/macabre/darkly funny art, it’s inspired by the legendary 1936 exhibition Fantastic Art, Dada, Surrealism at MoMA. This is loose, delightful fun the kind of which most museums only dream of having.

Covering centuries of fantastical art, a new broad-ranging exhibition at David Zwirner brings together the bizarre from across art history. Endless Enigma: Eight Centuries of Fantastic Art places contemporary artists in context with artists with similar visions from the past, and shows how forward-thinking those artists from the past were. With over 130 works from international museum and private collections, the exhibition makes connections from the twelfth century to the present day.

In New York, David Zwirner gallery opened Endless Enigma, a show organised with the Old Masters and 19th-century specialist Nicholas Hall. Works in the mostly selling exhibition span the 12th-century (a limestone grotesque head) to a 2017 Michaël Borremans painting (until October 27).

Let’s start with the one show you absolutely shouldn’t miss. Art just doesn’t get any better than what’s on view in Chelsea at David Zwirner’s “Endless Enigma: Eight Centuries of Fantastic Art” (through Oct 27), an exhibition that brings together three floors of psychologically charged artwork from historical giants such as Titian, Hieronymous Bosch and Francisco de Goya to contemporary masters like Louise Bourgeois and Sherrie Levine. It’s hard to overstate the sheer ambition and impressiveness of the 800 years’ worth of work curator Nicholas Hall brought together—much of which has been borrowed from museums and private collections. 

The exhibition draws from Alfred H. Barr Jr.’s 1936 show at The Museum of Modern Art, New York’s “Fantastic Art, Dada, Surrealism.” This show not only introduced America to these art movements but also placed them in a historical and cultural context by placing them with artists from earlier centuries. On view are works drawn from international museum and private collections and features more than 130 works from the 12th century till today.

Something satisfyingly peculiar is afoot on West 20th Street: eight centuries of fantastic art tumbled together in ways that make the strange even stranger… These are works of art caught up in their own imaginations. And when they speak up, they have something of the quality the ramblings and shoutings of a madman on a street corner, or of dreams mistily recounted by someone sharing your pillow… There’s a muttered cacophony going on here. It’s enjoyable but disturbing, like an eighteenth-century visit to Bedlam.

Nina Chanel Abney curates a group show at Jeffrey Deitch; Hermès comes to town with an extravagant pop-up; David Zwirner exhibits 130 masterpieces, some dating back centuries

You don’t get more museum quality than this show, drawn from international collections, which explores artistic treatments of dreams, the subconscious and the fantastical from the 12th century to the present. Contributions by a hit list of art-historical heavyweights—Giuseppe Arcimboldo, Hieronymus Bosch, Goya, Ensor, Picasso, Duchamp—are joined by works from contemporary artists such as Sherrie Levine, Luc Tuymans and Lisa Yuskavage.

Throughout centuries, artists have been trying to explain the world around them in terms of an alternate reality, creating fantastic art drawn from imagination, fantasy, the subconscious, poetry, nature, myth, and religion.

The thematic exhibition soon on view at David Zwirner will explore the past and present of fantastic art. Titled Endless Engima: Eight Centuries of Fantastic Art, this comprehensive thematic exhibition spanning two floors of the gallery’s space and encompassing the time of several centuries will include more than 130 works from the twelfth century to the present day.

Mark your calendars. The editors at artnet News searched New York City high and low for the most exciting, bizarre, and thought-provoking gallery exhibitions this fall. From Chelsea to the Lower East Side, we’ve got you covered.

Nicholas Hall is delighted to announce the exhibition Metamorphosis: Liu Dan’s Fantastic Landscape and the Renaissance, which will take place at the gallery on 17 East 76th street. In this exhibition, Liu Dan will present a major landscape painting inspired by the Renaissance German artist Martin Schongaeur’s iconic print Christ Carrying the Cross alongside the original print, as well as a small selection of Old Master works on paper from the Renaissance onward by Parmigianino, Perino del Vaga, and Il Guercino among others. This is his first exhibition with the gallery and the first of its kind in New York to present Liu Dan’s painting in the context of its original European point of reference.

David Zwirner is pleased to present Endless Enigma: Eight Centuries of Fantastic Art, a thematic exhibition spanning two floors of the gallery’s West 20th Street location in New York. Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this exhibition takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries. Drawn from international museum and private collections, the exhibition at David Zwirner will include more than 130 works from the twelfth century to the present day.

今年6月，以“展望新的制度模式：本世纪中叶的中国文化景观”为主题的首届美术馆2050研讨会在上海龙美术馆举行。在研讨会上，来自世界各地的演讲人聚集在一起讨论艺术机构快速发展的形势。此外，还关注一直被忽略的美术馆组织结构及管理的问题。虽然在讨论众多宽泛的问题时很难有明确的答案，但我们可以从研讨会中总结出三点精华来进行分享。。。方圆是纽约古易画廊（Nicholas Hall）的项目总监，她指出卢浮宫阿布扎比的主题展览是中国的美术馆可参考的模式。

There has been some discussion in the past few weeks as to whether the $450 million (£336 million) paid for Leonardo da Vinci’s ‘Salvator Mundi’ might have a tonic effect on the wider Old Master market which had been in danger of slipping from view.

A recently salvaged and restored Leonardo da Vinci painting has sold or a record-breaking $450.3 million at Christie's New York. Nicholas Hall interviewed by Dermot Murnaghan on Sky News Tonight With Dermot Murnaghan on November 16, 2017.

Just a dozen years ago, a worn, touched-up, old painting of Christ went for less than $10,000 (8,450 euros) at an estate sale. On Wednesday, it was auctioned for a record-breaking $450 million (380 million euros) as a long-lost Leonardo da Vinci dubbed “the Last da Vinci” or the “male Mona Lisa.” Years of painstaking cleaning and study led scholars to authenticate it as Leonardo’s roughly 500-year-old “Salvator Mundi,” Latin for “Savior of the World.” But some experts are stunned at the jaw-dropping price for a painting with a patchy history and heavy restoration.

After 19 minutes of dueling, with four bidders on the telephone and one in the room, Leonardo da Vinci’s “Salvator Mundi” sold on Wednesday night for $450.3 million with fees, shattering the high for any work of art sold at auction. 

After 19 minutes of dueling, with four bidders on the telephone and one in the room, Leonardo da Vinci’s “Salvator Mundi” sold on Wednesday night for $450.3 million with fees, shattering the high for any work of art sold at auction. It far surpassed Picasso’s “Women of Algiers,” which fetched $179.4 million at Christie’s in May 2015. The buyer was not immediately disclosed.

Building on its huge success from last year, the second iteration of October Art Week will kick off on October 26, from 5:00 to 9:00 p.m. with a round of convivial Upper East Side gallery open-houses – organized to coincide with TEFAF New York and Christie’s Classic Art Week of auctions and selling exhibitions. Nineteen of the world’s most noted fine and decorative art dealers will add to the week’s electricity by curating and hosting special exhibitions—all within strolling distance of one another.

Building on its huge success from last year, the second iteration of October Art Week will kick off on October 26, from 5:00 to 9:00 p.m. with a round of convivial Upper East Side gallery open-houses – organized to coincide with TEFAF New York and Christie’s Classic Art Week of auctions and selling exhibitions. Nineteen of the world’s most noted fine and decorative art dealers will add to the week’s electricity by curating and hosting special exhibitions—all within strolling distance of one another. 

Your weekly editors' picks: 17 Things to See in New York This Week

Nicholas Hall is delighted to announce the exhibition Paintings by Carlo Maratti, opening on October 26, 2017 to coincide with TEFAF New York.  

The New York-based Old Masters dealer Nicholas Hall, who previously served as the international chairman of Christie’s Old Masters and 19th-century department, is now collaborating with the Parisian mid-century design gallerist François Laffanour. The pair are showing Modern furniture alongside European Master paintings and sculpture in the top two floors of a townhouse just step away from the Carlyle Hotel on Manhattan’s Upper East Side. 

The New York-based Old Masters dealer Nicholas Hall, who previously served as the international chairman of Christie’s Old Masters and 19th-century department, is now collaborating with the Parisian mid-century design gallerist François Laffanour. The pair are showing Modern furniture alongside European Master paintings and sculpture in the top two floors of a townhouse just step away from the Carlyle Hotel on Manhattan’s Upper East Side. 

We are pleased to announce the opening of Nicholas Hall, a private gallery and art advisory firm focused on European Masters. Based in two floors of 17 East 76th Street, we offer for sale a curated selection of paintings, drawings and sculpture. We also provide a broad range of art advisory services, among them valuations, as well as buying and selling through auction and private channels.