MU­SEUM TOUR...

TEFAF Maas­tricht 2018: The Best of The Best Lon­don Orig­i­nals: An Art Af­fair

Adorn - - PUBLISHER’S NOTE -

(Fac­ing page) A Love Tale by WAL­LACE CHAN. Horse-shaped jadeite, di­a­mond, pink di­a­mond, jadeite, crys­tal, brown di­a­mond, tsa­vorite gar­net, yel­low di­a­mond and ti­ta­nium; China 2017. (Above) A brooch in the form of an owl in the Etr­uscan taste by CASTELLANI. Gold, the sur­face dec­o­rated with fil­i­gree, the eyes set with banded agate; Castellani mono­gram Rome, circa 1860.

Rar­ity and qual­ity are the dis­tinc­tive fea­tures of TEFAF Maas­tricht, Nether­lands – thanks to the 275 ex­hibit­ing deal­ers, who of­fered inim­itable col­lec­tions that made it a must-visit fair for in­ter­na­tional buy­ers. The 31st edi­tion of the fair was opened to the pub­lic on March 10th, while March 8th-9th were re­served for col­lec­tors to pre­view the show, which cel­e­brates over 7,000 years of art his­tory. Some­thing that col­lec­tors can ex­pect, and for which TEFAF Maas­tricht is uniquely known, is that ex­hibitors of­fer items from highly spe­cialised col­lect­ing cat­e­gories. A master class in crafts­man­ship was on of­fer at Adrian Sas­soon, a spe­cial­ist in 18th cen­tury ce­ram­ics and a Maas­tricht ex­hibitor since 2008. The gallery has a long­stand­ing re­la­tion­ship with the in­ter­na­tion­ally renowned gold­smith, GIO­VANNI CORVAJA, who is an alchemist when it comes to his craft. Corvaja’s lat­est work show­cased true in­no­va­tion in goldsmithing tech­nol­ogy. The Man­dala Bowl (pic­tured along­side) is com­posed of ap­prox­i­mately 4,000 me­tres of 18-karat gold wire, and yet in the way it has been crafted, around two-thirds of its vol­ume is air. This al­lows for a cap­ti­vat­ing play of light over its geometric struc­ture. The ic­nonic HEMMERLE cel­e­brates the 125th an­niver­sary of the busi­ness this year. A long-time par­tic­i­pant at TEFAF, Hemmerle show­cased among other things, the Har­mony Ban­gle (left) set with two aqua­marines at the finials of the tex­tured alu­minium piece. The un­usual light blue colour on the metal has been de­vel­oped by Hemmerle in its Mu­nich ate­lier through years of ex­per­i­ment­ing with alu­minium’s colour vari­a­tions.

THE GALLERY HAS A LONG­STAND­ING RE­LA­TION­SHIP WITH THE IN­TER­NA­TION­ALLY RENOWNED GOLD­SMITH, GIO­VANNI CORVAJA, WHO IS AN ALCHEMIST WHEN IT COMES TO HIS CRAFT. CORVAJA’S LAT­EST WORK SHOW­CASED TRUE IN­NO­VA­TION IN GOLDSMITHING TECH­NOL­OGY.

Also within TEFAF La Haute Joail­lerie, VAN

CLEEF & AR­PELS show­cased an ar­ray of both stun­ning vin­tage and con­tem­po­rary pieces to un­der­line the su­pe­rior crafts­man­ship and cre­ativ­ity of the mai­son. Of note from The Her­itage col­lec­tion was a mag­nif­i­cent light and flex­i­ble di­a­mond neck­lace (c.1955), which com­prises some 60 baguette-cut stones and 23 pear-shaped di­a­monds. The el­e­gant, pear-shaped di­a­monds float along rows of

baguette-cut di­a­monds cre­at­ing a bril­liant dance of light along the wearer’s neck (see above left).

OTTO JAKOB, a self-taught artist­gold­smith, has since 1980 de­voted him­self ex­clu­sively to the cre­ation of jew­ellery. Otto Jakob em­ploys 10 master gold­smiths in his ate­lier in Karl­sruhe, Ger­many, and pro­duces just about 100 pieces a year. At TEFAF, the brown di­a­mond ear­rings (above right) mounted in white gold were

set with old mine-cut brown di­a­monds and high­lighted with vit­re­ous enamel. The ear­rings were in­spired by the math­e­mat­i­cal ar­chi­tec­ture of spin­dle-shaped gas­tro­pod shells. The ab­stract whorls were cov­ered with translu­cent green-grey vit­re­ous enamel and set with brown di­a­monds within eye-like mounts.

De­but­ing at the TEFAF was VERDURA’s Ravenna Cuff (be­low) that was de­signed by Duke Fulco di Verdura in the 1930s for Coco Chanel. The 18-karat gold cuff is dot­ted with green tour­ma­line, tan­zan­ite, amethyst and peri­dot, with ivory-coloured enamel and 18-karat gold; and the 18-karat gold cuff with black enamel is set with tan­zan­ite, rain­bow moon­stone, white topaz, and amethyst. In­spired by Byzan­tine splen­dour, the cuff jux­ta­poses bold gem­stones in a strik­ing ge­om­e­try.

The Tog­gle Torque Neck­lace by SUZANNE BELPERRON. Black lac­quer, plat­inum and 18-karat grey gold set with 6 carats of di­a­monds, in­clud­ing one 2.02-carat round, bril­liant-cut di­a­mond. From the Belperron Tou­jours col­lec­tion, de­signed by Suzanne Belperron...

An Art Deco Panel Neck­lace by MARCHAK. Three-row turquoise beads and carved lapis lazuli in be­tween, cen­tred by an oval lapis panel pierced and carved with a flo­ral and fo­li­ate scroll de­sign, the pan­els mounted in gold; Paris, circa 1930.

Flo­ral Cross Pen­dant. Sil­ver and di­a­monds, 1770. Quintessen­tially high ro­coco, the cross com­posed of open­work asym­met­ri­cal flo­ral trails unites re­li­gious sym­bol­ism with the con­tem­po­rary in­ter­est in botany stim­u­lated by the pub­li­ca­tions of the Swedish...

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