Thomaï Serdari on Fine Arts & Luxury
TEFAF Maastricht 2013
Jean Fouquet. Bracelet, 1927. Courtesy of Hancocks.

Jean Fouquet. Bracelet, 1927. Courtesy of Hancocks.

Art Fairs are the millennials of art patronage. They proliferate rapidly, embrace life, art and technology in their 2.0 versions, and have no time to spare. Nurtured in times of privilege, they are overly specialized and exclusive, trendsetters in a post-modern culture that fosters breadth of knowledge rather than depth. In a calendar year, art fairs outpace the frenetic speed of fashion shows.

The Gen-Xer of fairs, TEFAF Maastricht, an annual elaborate affair that was established in 1975, matured through a series of iterations that concluded, in 1996, in its definite form and current identity. A renowned institution today, TEFAF Maastricht owes its reputation to its inclusive approach to fine art. In other words, contrary to the intense specialization of most art fairs, TEFAF Maastricht showcases world art of all media through the centuries.

This year the fair is taking place from March 15-24 and hosting 288 exhibitors.  Among the masterpieces, there is plenty of charm as with the Art Deco hinged geometric style bangle bracelet featured here (with semi-circular panels enameled in black each set with a large step-cut aquamarine in between pavé diamond panels. Paris circa 1927). It is accompanied by the original design from the Fouquet archives, dated 1927, with two variations on the finished piece as well as the original fitted case with an inner silk signed ‘G FOUQUET 6 AVE ROYAL PARIS’ (Booth: Hancocks).

© Thomaï Serdari