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The European Fine Art Fair (TEFAF) Maastricht 2025 opened its doors on March 13 (for VIP visitors) and on March 15 (for general public), setting the stage for one of the most prestigious art fairs in the world. Against a backdrop of shifting economic tides, geopolitical uncertainties, and impending EU regulatory changes affecting art imports, the fair faced significant challenges. Yet, the mood remained optimistic, with exhibitors reporting satisfactory early sales and strong institutional interest. This year’s edition reaffirmed TEFAF’s reputation as a premier destination for collectors, museums, and art enthusiasts.
An Impressive Roster of Masterpieces
TEFAF Maastricht 2025 once again delivered an extraordinary selection of artworks spanning centuries and styles. Among the highlights was Pablo Picasso’s Les Dormeurs (1964), a vibrant and dynamic composition priced at $50 million, displayed by Landau Fine Art. The painting, characterized by its expressive brushstrokes and layered forms, was one of the most talked-about pieces at the fair.
In the realm of Old Masters, Titian and Girolamo Dente’s Madonna and Child with St. Mary Magdalene drew significant attention at the Trinity Fine Art booth. The delicate composition, rich in color and emotion, showcased the artists’ mastery in religious painting. Another remarkable historical piece was Diego Velázquez’s Mother Jerónima de la Fuente (1620), a commanding portrait of a nun famed for her missionary work in the Philippines. Accompanying the painting was a bronze crucifix sculpture, believed to have been modeled by Michelangelo, offered by Stuart Lochhead for €1.8 million.
The selection of works extended beyond painting, embracing sculptures and rare antiquities. One of the most intriguing finds was a 16th-century ceramic waterspout from the Dome of the Rock, adorned with Ottoman floral motifs, presented by Sam Fogg. Another standout was a Northern Song dynasty pottery jar overflowing with ancient bronze coins, showcased by Vanderven Oriental Art.
A Strong Institutional Presence
A defining feature of TEFAF is its ability to attract leading museum representatives and curators. This year was no exception, with attendees from institutions such as The Metropolitan Museum of Art in New York, The Louvre Abu Dhabi, The Hermitage, and Tate. The presence of high-profile collectors, including Christian Levett, who champions female artists in his private museum in France, added to the fair’s prestige.
One notable acquisition was a portrait of Marie Bracquemond, one of the few recognized women Impressionists, purchased from Galerie Pauline Pavec. This purchase reflected a broader trend at the fair—an increasing emphasis on historically overlooked female artists.
Contemporary and Avant-Garde Attractions
While TEFAF is celebrated for its classical offerings, it also features a vibrant contemporary section. The Showcase segment, dedicated to newer galleries, presented dynamic and experimental works. Raphael Durazzo highlighted abstract pieces by Hilla Rebay, a pioneering artist and the first director of the Museum of Non-Objective Art, the precursor to the Guggenheim Museum. Prices for Rebay’s works ranged from $15,000 to $200,000, appealing to a broad spectrum of collectors.
Another standout sale came from Applicat Prazan, which reported multiple transactions on the first day, including Serge Poliakoff’s abstract masterpiece Composition en bleu (circa 1953), which sold for €1.3 million. The strong interest in post-war and modern works suggested that collectors were eager to explore beyond the traditional realms of Old Masters and Impressionism.
A Commitment to Art Restoration
TEFAF’s commitment to the preservation of art was evident through the announcement of the €50,000 TEFAF Restoration Fund, which this year was awarded to the Musée Condé in Château de Chantilly. The funding will aid the restoration of the Très Riches Heures du Duc de Berry, a masterpiece of medieval manuscript illumination. The manuscript will be on display from June to October, allowing the public to appreciate its renewed splendor.
Additionally, a rare Book of Hours made for Catherine of Aragon (circa 1509) was on display at Jörn Günter Rare Books. The detailed illustrations and historical significance of the book made it a particularly engaging highlight. Interestingly, manuscripts remain a male-dominated collecting category, while books of hours are more commonly purchased by female collectors, according to exhibitor Dr. Sara Öberg Stradal.
Market Resilience Amidst Economic Uncertainty
Despite global economic volatility, TEFAF Maastricht 2025 demonstrated resilience. While the art market is not immune to external pressures, high-quality works continue to find buyers. Several galleries reported that while collectors approached purchases with caution, museum acquisitions and strong private interest provided a stable foundation for sales.
The fair’s ability to adapt to changing economic and political landscapes, while maintaining its commitment to excellence, cements its status as the world’s leading fair for fine art, antiques, and design. With its diverse offerings, institutional backing, and dedication to cultural heritage, TEFAF remains an unmissable event for the global art community.
This article is published on ArtAddict Galleria, where we explore the intersections of art, history, and culture. Stay tuned for more insights and discoveries!