The range of offerings at TEFAF provides an opportunity to reach new would-be collectors, said Sean Kelly, whose eponymous gallery
sold a sculpture by
on opening day for $250,000, as well as two photographs by
Frieze and TEFAF are “completely different fairs,” he said. “We enjoy showing alongside really high-end design and antiquities [at TEFAF]. Maastricht has such a venerable history and such a different client base that for us it’s a real opportunity.”
Kelly said he was seeing some new faces too, despite being a regular on the fair circuit.
“There’s a lot of people that I don’t see at any of the other fairs, at the Armory or ADAA or Frieze, so I’m assuming that’s the Maastricht effect,” he said.
The transit works both ways, said Moshe Bronstein, of The Merrin Gallery, a Midtown antiquities dealer. His austere blue-gray booth, just across from Beck & Eggeling’s, featured a range of treasures from Etruscan helmets priced at $28,000 to an Egyptian torso for $2 million, spiked with a black and white
painting, which had sold by mid-afternoon.
Bronstein said TEFAF New York gave galleries like his exposure to contemporary and modern art collectors. The handful of antiquities dealers present were scattered around the New York fair, an arrangement that illustrates to potential buyers how easily the genres mix visually. It’s also a change from TEFAF Maastricht, which has nearly three times as many dealers, and where antiquities booths are grouped together in one section.
The sense of history pervades even galleries with a focus on modern and contemporary artists, such as Leon Tovar Gallery
, whose two New York locations represent artists from Latin America. Gallery Coordinator Nathaly Berrío-Diaz said they chose to present historical works from the ’60s and ’70s from their artists, such as the Venezuelan kinetic artist
, whose three-dimensional works drew many admirers.