On March 15 in Maastricht, The European Fine Art Foundation (TEFAF) will exhibit a must-see edition of TEFAF Maastricht 2025 at The Maastricht Exhibition & Conference Centre (MECC), on view through March 20. Uniting the most discerning collectors, curators, and art lovers from around the world, the commanding art fair features the crème de la crème of antiques, design, and fine art.
This year, 273 galleries and dealers hailing from 21 countries offer treasures which span 7,000 years of art history—a momentous opportunity for both admiring and collecting. In addition to Main Fair booths, Fairgoers will experience TEFAF Showcase, with presentations by emerging and young galleries, as well as TEFAF Focus, which allows for curators to skillfully focus on a solitary theme or visionary. Further, the second annual TEFAF Summit takes place on March 17 beside the Netherlands Commission for UNESCO, connecting thought leaders to delve into the groundbreaking merits of impact investment and philanthropy in the ever-evolving arts landscape.
TEFAF Brings New Perspectives to the Global Art Market
TEFAF Maastricht 2024, TEFAF Summit; Courtesy of TEFAF, photo by Loraine Bodewes.
“As a foundation, TEFAF has rightly viewed support for young and emerging dealers as central to its mission,” said Managing Director Dominique Savelkoul. “I am delighted to see the breadth and variety of this year’s galleries, from the Arts of Africa & Oceania to Chinese porcelain. Since the inception of Showcase in 2008, it has been the starting point for many leading international dealers. I hope this year’s participants will be inspired by the generations of galleries that have preceded them.”
“TEFAF has rightly viewed support for young and emerging dealers as central to its mission,”
Dominique Savelkoul
Alongside AXA XL as global lead partner for TEFAF Maastricht 2025, TEFAF Showcase will unfold as a pivotal destination for embarking on burgeoning creative talent. 10 leading edge galleries participate in this year’s iteration: Amanita (NY, United States and Italy); Desmet Fine Art (Belgium); FENG J Joaillerie d’Art (China); Galerie Nicolas Fournery (France); Galerie Raphael Durazzo (France); Lyndsey Ingram (London, UK); Montagut Gallery (Spain); Objects With Narratives (Belgium); Poncelin de Raucourt Fine Arts (France); and VETA Galeria (Spain).
The second edition of TEFAF Focus builds upon a perceptive collecting philosophy of bringing together artists from various eras and disciplines under a single umbrella. Here, visitors will explore essential shows by Ketabi Bourdet (France), Ceysson & Bénétière (France), Galerie Pauline Pavec (France), Carolle Thibaut-Pomerantz (France), and Maria Wettergren (France). Revered art spaces debuting at the fair in 2025 include Paul Coulon (United Kingdom), Anne Sophie Duval (France), Mariane Ibrahim (France), Alexis Lartigue Fine Art (France), and Richard Saltoun Gallery (United Kingdom).
Main Fair Standouts at TEFAF Maastricht 2025
Danielle Mckinney, “Repose,” 2025, Signed and dated in ink (verso): Danielle Mckinney, 2025,
Oil on linen, 9 x 12 inches, 22.9 x 30.5 cm,
Framed: 10 x 13 inches,
25.4 x 33 cm,
(DMC.21575); © Danielle Mckinney and courtesy of Marianne Boesky Gallery, New York and Aspen.
New to the rapturous fair, Marianne Boesky Gallery (United States) showcases the expressive works of artist Danielle Mckinney in dialogue with artworks by Edward Hopper (1882–1967). Mckinney offers a new series of lush paintings, while creations by Hopper include two etchings, a charcoal drawing, and a watercolor. Meditating on light and solitude, the visual conversation beguiles with poetic colorways, riveting use of shine and shadow, and protagonists wrapped within their own freeform worlds.
Edward Hopper, “Night Shadows” from Six American Etchings (1921, published 1924); copyright Licensed by Artists Rights Society (ARS), NY and courtesy of Marianne Boesky Gallery, New York and Aspen.
Friedman Benda (United States) returns with “Ettore Sottsass: Il Vetro,” deeply honoring the Italian architect and his meticulous and remarkable investigations in glass. “I tried to move away from the everyday object and attempted to create Glass with a capital letter,” said Sottsass. “Of course, it’s a risky approach because I don’t want to be an artist, much less a sculptor, but in the end, the objects that are produced seem like they are, yet they’re not: they’re a mix that isn’t quite understood.”
“I tried to move away from the everyday object and attempted to create Glass with a capital letter,”
Ettore Sottsass
Following a spellbinding retrospective at the Stanze del Vetro (Venice, 2017), this presentation probes the architect’s boundary-breaking works in glassmaking, which stunningly encompasses industrial design, blown-glass, ceramic objects, and soaring wooden and metal cabinets. Each creation comes to life as if a fantastical character—a revelatory fusion of the organic and the mechanical that transcends time and space.
Ettore Sottsass, “Xiangzheng,” 1999; Courtesy of the artist and
Friedman Benda (United States).
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