TEFAF Maastricht’s Manon van den Beuken On the Fair’s Upcoming Edition

“TEFAF has done a remarkable job of upholding its standard of excellence, which is a key reason the fair has thrived for 38 years,” Manon van den Beuken, director of TEFAF Maastricht, tells Observer. She has overseen twenty-three editions of the fair, which is widely regarded as one of the foremost fairs for high-end fine art, antiques and design. This year’s edition, scheduled for March 15 to 20 with VIP previews on March 13 and 14, will showcase fine art, antiques and collectibles spanning 7,000 years of human history.

Among the highlights of the upcoming March art fair in Maastricht is Titian’s Madonna and Child with St. Mary Magdalene (1555-1560), which spent centuries hidden in prestigious private collections before being brought back to market by Trinity Fine Art. Antique dealer Alessandra di Castro will present an exquisitely crafted porcelain biscuit of an angel’s head, recently attributed to Giovanni Volpato and distinguished by its paste coloring, designed to evoke the patina of ancient Roman statuary. Galerie Tanakaya will offer a rare print by Katsushika Hokusai from his celebrated series Shokoku taki meguri (A Visit to Waterfalls in Various Provinces), a prime example of the artist’s best period, marked by masterful use of rare ink colors, including reddish-browns, delicate blues and striking yellows that create dramatic contrasts.

On the contemporary and modern art side, standout works include a Guido Reni-inspired piece by Ai Weiwei, presented by Galleria Continua, and an elegant lamp by Alberto Giacometti—one of the few decorative objects the artist ever designed—on view at Galerie Lafabre. Galleria D’Arte Maggiore (G.A.M.) will showcase a striking bronze totemic sculpture by Roberto Sebastian Matta. And amid the renewed market interest in rare manuscripts and books, Peter Harrington will present an early volume of Charles Darwin’s groundbreaking On the Origin of Species by Means of Natural Selection.

Speaking to Observer in advance of this year’s opening, van den Beuken said that TEFAF’s rigorous vetting process has played a fundamental role in consistently raising the fair’s standard of quality. As the market has grown more professionalized and financialized and buyers have become increasingly informed, it has remained steadfast in its commitment to unbiased excellence. “TEFAF’s Vetting Committees bring in experts from various disciplines with minimal commercial interest.”

It’s about expertise, scholarship and research, and placing a cultural mission at the core of its business model. “We’re committed to the international art community beyond the buying and selling facilitated by TEFAF’s fairs, and this dedication continues to evolve with the times,” she says. The organization not only champions the market but also spearheads and collaborates on global efforts to rescue, restore and conserve cultural and artistic heritage. “From the annual TEFAF Museum Restoration Fund grant, established in 2012, to introducing the yearly TEFAF Summit in association with the Netherlands Commission for UNESCO in 2024, the projects are impactful and diverse in scope.”

Since its inception, TEFAF has been anchored in Maastricht in the Netherlands, but in 2016, it expanded to New York with two editions—first with one in fall and one in spring, before streamlining to a single annual fair in May, post-Covid, to better align with the city’s art market cycle. Asked about the distinctions between the two geographies, van den Beuken answers that while TEFAF Maastricht spans 7,000 years of art history, with Old Master paintings, antiques and classical antiquities comprising nearly half the fair, TEFAF New York tends to shift the focus toward modern and contemporary art and design.

However, both offer a refined atmosphere and meticulously curated experience anchored by both the art and artifacts presented and the overall environment and atmosphere. “TEFAF’s unique identity stems from the fair’s Dutch roots,” van den Beuken says. Among the highlights is the team of roving oyster shuckers, a nod to the Netherlands’ culinary heritage and a hallmark of both the Maastricht and New York editions.

Another feature that sets TEFAF apart from other art fairs is the breathtaking floral displays, which greet visitors at both the MECC in Maastricht and the Park Avenue Armory in New York. Though the venues differ, these elaborate arrangements help maintain TEFAF’s cohesive and unmistakable aesthetic. Since the fair’s inception in 1988, Ten Kate Flower Design has collaborated with fair designer Tom Postma Design to create these signature installations. “The team ensures every aspect is flawless, checking the over 75,000 stems individually to ensure their beauty,” van den Beuken says.

In New York, Tom Postma Design is also responsible for TEFAF’s distinctive transformation of the historic Park Avenue Armory into a lighter, more contemporary space while preserving its architectural grandeur. “Renowned for their existing architectural details and period fixtures, the Armory’s landmark historic rooms offer an extraordinary platform for dealers to present something unique. Their individually curated design transforms them into mini-galleries within the fair.”

But more important is the curation of art and objects presented at the fair. TEFAF has refined and reinforced its vetting practices over the years, ensuring a level of scrutiny unmatched by most fairs. According to van den Beuken, the evaluation process is particularly rigorous. “The strict vetting process creates the optimal environment for collectors—both private and institutional.” That process, which she says is designed to be transparent, is entrusted to an elite panel of experts—academics, conservation scientists, conservators, independent scholars, and more—who bring deep knowledge from their respective disciplines while maintaining no commercial interests in the market.

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In recent years, the Maastricht edition (which, as alluded to above, leans more heavily toward modern art, Old Masters and antiques) has made significant efforts to bridge the generation gap by actively engaging with younger collectors and art lovers through education and outreach. TEFAF recently introduced “The Insider’s Collecting Guide,” a resource specifically designed to help new and emerging collectors navigate their journey at the fair. “It is part of our Emerging Collectors Program,” says van den Beuken. “This year at Maastricht we have invited the interior designer and tastemaker Remy Renzullo to curate a ‘selection’ of pieces more accessible for collectors just starting out.”

Complementing these efforts is a newly developed mobile guide, complete with navigational tools and curated content that offers visitors an immersive, educational experience while still being geared toward collectors at all levels.

Expanding the fair’s reach and cultivating a new generation of collectors is central to its long-term vision. “The goal is to work diligently to future-proof TEFAF,” says van den Beuken. (Equally important in this regard, she says, is the fair’s commitment to sustainability, which involves a continuing collaboration with the Gallery Climate Coalition.)

Beyond the main events in Maastricht and New York, TEFAF is developing year-round initiatives to engage collectors, dealers and experts before and after the fairs. These include the TEFAF Summit, TEFAF Focus and the TEFAF Curator Course—all launched last year.

TEFAF is also increasing its support for younger and emerging dealers, who now have the opportunity to present in the exclusive Showcase section. “Since its introduction in 2008, the Showcase has been the beginning for many leading international exhibitors at TEFAF,” says van den Beuken. This year’s selected galleries include Amanita (United States), Desmet Fine Art (Belgium), FENG J Joaillerie d’Art (China), Galerie Nicolas Fournery (France), Galerie Raphael Durazzo (France), Lyndsey Ingram (London), Montagut Gallery (Spain), Objects With Narratives (Belgium), Poncelin de Raucourt Fine Arts (France) and VETA Galeria (Spain).