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Maastricht

MEISTERWERKE FÜR EINEN BESONDEREN ANLASS

Maastricht





  • 10.05.2024 - 14.05.2024
    (New York) February 1, 2024 – Returning to the iconic Park Avenue Armory, TEFAF New York...
Exhibitor: Gregg Baker Asian Art   Amida Buddha seated in kekka fusa (lotus position) with the hands in Amida mudra Carved wood and lacquer, height 48 cm  Japan, Fujiwara period, (898-1184)      Provenance: Mrs Betty Borman, Beverly Hills


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Volles Haus im Kunstraum Gewerbepark-Süd: Zur Eröffnung der...
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Das Müllerfenster  

Nur die Schutzheilige des Berufsstandes stammt

Masterpieces from  

London, 6th July 2016 – Over the last two days, at

Ikonische Bilder  

Volles Haus im Kunstraum Gewerbepark-Süd: Zur Eröffnung

  • Queen Beatrix of the Netherlands visits TEFAF Maastricht 2012 Queen Beatrix of the Netherlands visited TEFAF Maastricht 2012 on Wednesday 14 March as the world’s finest art and antiques fair prepares to celebrate its Silver Jubilee. Her Majesty arrived for a visit to The European Fine Art Fair at the MECC (Maastricht Exhibition and Congress Centre) in the southern Netherlands the day before it opens its doors for a private view. TEFAF was founded 25 years ago and has grown from a relatively small event to a fair where 265 dealers from 19 countries exhibit an extraordinary range of magnificent art and antiques. The Royal visit was part of a series of events marking the Silver Jubilee of TEFAF Maastricht. Photo: Harry Heuts
    Queen Beatrix of the Netherlands visits TEFAF Maastricht 2012 Queen Beatrix of the Netherlands visited TEFAF Maastricht 2012 on Wednesday 14 March as the world’s finest art and antiques fair prepares to celebrate its Silver Jubilee. Her Majesty arrived for a visit to The European Fine Art Fair at the MECC (Maastricht Exhibition and Congress Centre) in the southern Netherlands the day before it opens its doors for a private view. TEFAF was founded 25 years ago and has grown from a relatively small event to a fair where 265 dealers from 19 countries exhibit an extraordinary range of magnificent art and antiques. The Royal visit was part of a series of events marking the Silver Jubilee of TEFAF Maastricht. Photo: Harry Heuts
    The European Fine Art Foundation
  • Exhibitor: L'Arc en Seine  Pierre Chareau 1883-1950 Pair of "MF172" armchairs 25½ x 30 x 31½in.  Circa 1923
    Exhibitor: L'Arc en Seine Pierre Chareau 1883-1950 Pair of "MF172" armchairs 25½ x 30 x 31½in. Circa 1923
    The European Fine Art Foundation
  • Exhibitor: E.H. Ariëns Kappers  Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Diana at the bath Etching on 17th-century paper without watermark  Signed in the plate lower right 'RHL. f.'  Circa 1631  Fine impression of this rather large print. The drawing for this etching is in the British Museum and shows the outlines indented for transfer on the copperplate. Rembrandt used very fine lines, which tend to show some wear even in the earlier impressions. This copy must come from a French collection. The old mount shows the Le Blanc no. 165 with the comment 'Très belle épreuve'. Rembrandt probably made the print in 1631, the year he moved to Amsterdam . In that period he began to display interest in mythological subjects. Diana is only recognizable through her quiver. He made several editions in the following ten years. In late impressions the print is grey.
    Exhibitor: E.H. Ariëns Kappers Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Diana at the bath Etching on 17th-century paper without watermark Signed in the plate lower right 'RHL. f.' Circa 1631 Fine impression of this rather large print. The drawing for this etching is in the British Museum and shows the outlines indented for transfer on the copperplate. Rembrandt used very fine lines, which tend to show some wear even in the earlier impressions. This copy must come from a French collection. The old mount shows the Le Blanc no. 165 with the comment 'Très belle épreuve'. Rembrandt probably made the print in 1631, the year he moved to Amsterdam . In that period he began to display interest in mythological subjects. Diana is only recognizable through her quiver. He made several editions in the following ten years. In late impressions the print is grey.
    The European Fine Art Foundation
  • Exhibitor: Berko Fine Paintings  Gustave de Jonghe (Courtrai 1829-1893 Antwerp) Lover's Walk Oil on panel, 55.5 x 46 cm  Signed, entitled, situated and dated lower right 'Lover's Walk Gibraltar 1865'  Painter of genre scenes and portraits. De Jonghe was a pupil of his father Jean-Baptiste De Jonghe, Navez and Gallait. Like Alfred Stevens he settled in Paris before 1860 and became an exquisite painter of women and the family in the Second Empire. He distinguished himself by his talent and his reputation from 1863 onwards was undisputed. Disabled from 1882, he was stricken with blindness and died after a long illness in Antwerp.       Literature: P. & V. Berko, Dictionary of Belgian Painters born between 1750 & 1875, Knokke, 1981, p. 177; P. & V. Berko, 19th-century European Virtuoso Painters, Knokke, 2011, p. 428, ill. p. 234
    Exhibitor: Berko Fine Paintings Gustave de Jonghe (Courtrai 1829-1893 Antwerp) Lover's Walk Oil on panel, 55.5 x 46 cm Signed, entitled, situated and dated lower right 'Lover's Walk Gibraltar 1865' Painter of genre scenes and portraits. De Jonghe was a pupil of his father Jean-Baptiste De Jonghe, Navez and Gallait. Like Alfred Stevens he settled in Paris before 1860 and became an exquisite painter of women and the family in the Second Empire. He distinguished himself by his talent and his reputation from 1863 onwards was undisputed. Disabled from 1882, he was stricken with blindness and died after a long illness in Antwerp. Literature: P. & V. Berko, Dictionary of Belgian Painters born between 1750 & 1875, Knokke, 1981, p. 177; P. & V. Berko, 19th-century European Virtuoso Painters, Knokke, 2011, p. 428, ill. p. 234
    The European Fine Art Foundation
  • Exhibitor: Kunsthaus Bühler GmbH  Maurice Denis (Granville 1870-1943 Paris) La Treille Oil on canvas, 245 x 198 cm  Signed with initials lower right  1905    Provenance: Galerie Druet, Paris, inv.-no. 1912; Sold in 1905 by Druet; Private colleciton, Germany
    Exhibitor: Kunsthaus Bühler GmbH Maurice Denis (Granville 1870-1943 Paris) La Treille Oil on canvas, 245 x 198 cm Signed with initials lower right 1905 Provenance: Galerie Druet, Paris, inv.-no. 1912; Sold in 1905 by Druet; Private colleciton, Germany
    The European Fine Art Foundation
  • Exhibitor: Cahn International AG  Attributed to the Truro Painter (Hoppin-Lecce Workshop) Red-figure Rhyton in the form of a horse's head Clay, length 23.5 cm  West Greece, Apulian, 1st quarter of 4th century BC  Plastically modelled one-handled drinking vessel with red-figure decoration on the bowl. With quaking nostrils and ears held nervously erect, the thoroughbred eagerly awaits the start of a race. The slender head of this noble animal is carefully rendered in detail, and it is graced with a remarkable topknot elegantly fashioned of forelocks tightly bound upright. On the rhyton's bowl, whose rim is edged with a pattern of waves, a woman hastens off to left bearing phiale and wreath. The folds of her chiton have slipped from her left shoulder, exposing her breast, and flow out behind. Four ivy leaves in the upper field, a row of fruit in the phiale and the woman's long taenia are in added white. Framing the scene are two large handle-palmettes. Of interest is the fact that the inside of each ear is pierced cleanly through to the rhyton's interior, just below the lower edge of the bowl, a certain indication that the vessel was created solely as a tomb offering, for use in the afterlife. For the high quality and sensitive naturalism of its modelling, too for its early date and excellent state of preservation, this horse's head rhyton is arguably the finest of its type yet known. Both ears have been reattached. Slight damage to upper edge of topknot, and to wave pattern at bowl's rim just above female figure.  Provenance: Collection Daenens, Antwerp
    Exhibitor: Cahn International AG Attributed to the Truro Painter (Hoppin-Lecce Workshop) Red-figure Rhyton in the form of a horse's head Clay, length 23.5 cm West Greece, Apulian, 1st quarter of 4th century BC Plastically modelled one-handled drinking vessel with red-figure decoration on the bowl. With quaking nostrils and ears held nervously erect, the thoroughbred eagerly awaits the start of a race. The slender head of this noble animal is carefully rendered in detail, and it is graced with a remarkable topknot elegantly fashioned of forelocks tightly bound upright. On the rhyton's bowl, whose rim is edged with a pattern of waves, a woman hastens off to left bearing phiale and wreath. The folds of her chiton have slipped from her left shoulder, exposing her breast, and flow out behind. Four ivy leaves in the upper field, a row of fruit in the phiale and the woman's long taenia are in added white. Framing the scene are two large handle-palmettes. Of interest is the fact that the inside of each ear is pierced cleanly through to the rhyton's interior, just below the lower edge of the bowl, a certain indication that the vessel was created solely as a tomb offering, for use in the afterlife. For the high quality and sensitive naturalism of its modelling, too for its early date and excellent state of preservation, this horse's head rhyton is arguably the finest of its type yet known. Both ears have been reattached. Slight damage to upper edge of topknot, and to wave pattern at bowl's rim just above female figure. Provenance: Collection Daenens, Antwerp
    The European Fine Art Foundation
  • Exhibitor: Daxer & Marschall Kunsthandel  Ferdinand Hodler ( Bern 1853 – 1918 Geneva) Self-Portrait of the young Hodler in a Workshop Oil on paper on cardboard on wood, 20 x 28.5 cm  1872/73 Authentications: - Berthe Hodler, Genève (verso on support). - F. Hodler archive, Carl Albert Loosli, No. 2625 (addition to the catalogue raisonée). - Schweizerisches Institut für Kunstwissenschaften, Zurich, Controll-no. 17'725.  Provenance: - Ferdinand Hodler, Geneva, until May 19, 1918. - Estate Ferdinand Hodler, Genf, since May19, 1918. - Salon d’Art [Wyatt], Geneva, Place Neuve, at an unknown point in time. - Max Wassmer, Bremgarten castle, since 1920-1970. - Gertrud Martz-Wassmer (daughter of Max Wassmer), 1970-2011. Literature:
    Exhibitor: Daxer & Marschall Kunsthandel Ferdinand Hodler ( Bern 1853 – 1918 Geneva) Self-Portrait of the young Hodler in a Workshop Oil on paper on cardboard on wood, 20 x 28.5 cm 1872/73 Authentications: - Berthe Hodler, Genève (verso on support). - F. Hodler archive, Carl Albert Loosli, No. 2625 (addition to the catalogue raisonée). - Schweizerisches Institut für Kunstwissenschaften, Zurich, Controll-no. 17'725. Provenance: - Ferdinand Hodler, Geneva, until May 19, 1918. - Estate Ferdinand Hodler, Genf, since May19, 1918. - Salon d’Art [Wyatt], Geneva, Place Neuve, at an unknown point in time. - Max Wassmer, Bremgarten castle, since 1920-1970. - Gertrud Martz-Wassmer (daughter of Max Wassmer), 1970-2011. Literature:
    The European Fine Art Foundation