TETAF NEW YORK 2025
Park Avenue Armory, NYC
MAY 9 — 13, 2025
The European Fine Art Foundation - TEFAF - unveiled a preview of select works that will be featured at TEFAF New York 2025, taking place from May 9 – 13 (May 8 VIP day by invitation only). This "First Look" offers a glimpse of the exceptional range and caliber of artworks to be showcased at the Park Avenue Armory this year.At TETAF New York 2025, 91 of the finest dealers and galleries from 13 countries and 4 continents will bring the best in Modern and Contemporary Art, Jewelry, Antiquities and Design to the vibrant art community of New York City. Besides the exhibitor stands in the Wade Thompson Drill Hall, TEFAF New York 2025 will also showcase exclusive curated spaces in the Armory's 16 period rooms.
EMMA REYES
PRESENTED BY LEON TOVAR GALLERY
(STAND 366)
White Poppy, 1979
Work on paper
41 x 28 inches (104.14 x 71.12 cm)
PHOTO COURTESY OF LEON TOVAR GALLERY
White Poppy (1979) by Emma Reyes, depicts a fully bloomed white poppy alongside five buds in the shadows. This piece exemplifies Reyes’ signature style of vibrant compositions and close-up floral portrayals, which transform flowers into living beings, almost like portraits. Her work often seeks to restore humanity’s connection with nature, a theme central to White Poppy. The white poppy symbolizes a commitment to peace, an everpresent motif in Reyes' oeuvre.
ALBERTO GIACOMETTI
PRESENTED BY GALERIE MARCILHAC
(STAND 340)
Masque coiffure, c. 1933
Plaster sculpture with gilding traces
9.4 x 6.1 x 6.4 inches (24 x 15.5 x 16.5 cm)
PHOTO CECIL MATHIEU
COURTESY OF GALERIE MARCILHAC
Alberto Giacometti is considered one of the most famous figures of the French avant-garde of the 20th century. Giacometti, a genius sculptor, also showed his talent in the field of decorative arts as he modeled little objects of various shapes early on. Jean-Michel Frank was the first to detect the innovation potential of such an aesthetic applied to movable creations; in 1928, he commissioned his first objects to the sculptor.This piece, a "Mask" or "Hairdressing mask" plaster sculpture with gilding traces, was designed by Alberto Giacometti in 1933 for Frank. The pieces for Frank reveal a mastering of the space and a stylistic purification – whether it manifest itself through geometrical of figurative shapes, which were rarely reached by the contemporaries of the artist; they can be lightened to real independent works of art, more than simple daily objects.
MANTUA NANGALA
PRESENTED BY SALON 94
(STAND 320)
Untitled, 2024
Acrylic on linen
96 x 72 inches (243.84 x 182.88 cm)
PHOTO COURTESY OF SALON 94
Mantua Nangala's Untitled (2024) visualizes her ancestral homeland in the Gibson Desert of Western Australia through intricate dots in varying shades of cream and white. This work embodies the stories passed down through generations of her family, particularly the Kanaputa women's creation narratives that shaped this desert landscape. Nangala’s painting transforms these inherited stories into rhythmic patterns that map both physical and spiritual geography. Mantua Nangala has long been associated with Papunya Tula, an arts collective that has helped revolutionize contemporary Aboriginal art. By adopting acrylic paints and canvas, they have moved their artists' traditions into the future while preserving their cultural legacy.
LINE VAUTRIN
PRESENTED BY GALERIE CHASTEL-MARÉCHAL
(STAND 318)
Mirror, c. 1960
Mirror and talosel
10.6 inches (27 cm)
PHOTO BY MARINA GUSINA
Born in Paris in 1913, Line Vautrin was an artist, designer and creator of jewelry and decorative objects. A unique and fiercely independent artist, she worked in post-war Paris to create pieces renowned for their intensity and poetry.The round structure, embossed with honeycomb motifs, alternates openwork parts encircled with blue talosel and gilded mirror cabochons. The inner part features a crown of inlaid oval gilded and parma mirrors. The back of the mirror is dotted and presents the two talosel colors.
MARIE LAURENCIN
PRESENTED BY ALMINE RECH
(STAND 322)
Jeune Fille au bouquet, c. 1935
Oil on canvas
Unframed: 18.13 x 14.75 inches (45.9 x 37.5 cm)
Framed: 30.75 x 27.63 x 3.38 inches (78.1 x 70.2 x 8.6 cm)
© THE ESTATE OF MARIE LAURENCIN
COURTESY OF THE ESTATE AND ALMINE RECH
PHOTO: DAN BRADICA
Marie Laurencin was never one to shy away from the title of "woman artist," embracing all things girlish with little hesitation or apology. Throughout her long and storied career, she not only elevated female sitters—rarely choosing to represent men—but also cultivated a deliberately dainty aesthetic. She favored pastel tones, naïve storybook figuration, and airy brushstrokes. Her pretty pictures of pretty girls were more than just an ode to the power and allure of the feminine. They also functioned as visual expressions of Laurencin’s fluid sexual identity, which caused her pursue love affairs with both men and women. As a recent retrospective at the Barnes Foundation contended, the artist possessed a singular queer aesthetic that "subtly but radically challenges existing narratives of modern European art."
PARK SEO-BO
PRESENTED BY TINA KIM GALLERY
(STAND 358)
PARK SEO-BO
Ecriture No. 31-75, 1975
Pencil and oil on canvas
51.13 x 76.13 inches (129.87 x 193.37 cm)
PHOTO COURTESY OF THE PARKSEOBO FOUNDATION
This work belongs to Park Seo-Bo’s hallmark Ecriture series, which he first began developing in 1967. Ecriture began as a series of monochromes in which Park covered his canvas with a single color and then manipulated the still-wet surface with repetitive carving gestures—actions that resemble the writing of a script and draw from Eastern calligraphic traditions. In this earlier phase of the series, he used a pencil to create these repetitive marks, imbuing the canvas with intricate, rhythmic lines that evoke both the texture of handwriting and the process of meticulous craftsmanship. In the mid-1980s, he introduced hanji paper into the series, layering and scraping the pulp on the wet surface to create a new sequence of sculptural lines that seem to float above the canvas.
GURO MASK
PRESENTED BY GALERIE LUCAS RATTON
(STAND 351)
1929
Wood and pigments
12.38 inches (31.5 cm)
PHOTO BY VINCENT GIRIER DUFOURNIER
COURTESY OF GALERIE LUCAS RATTON
This Guru mask from Côte d’Ivoire comes from the former collection of the renowned painter Maurice de Vlaminck (1876-1958). Used in the "Gu" cult, it represents a protective female figure, whose elevated status is expressed through the finesse and power of its features. The elongated shape of the face is sculpted with great precision, emphasizing the elegant curve of the prominent forehead, which subtly extends to the tip of the nose, perfectly balanced by the groove of the mouth. The slit eyes are topped with a pronounced brow ridge, enhancing the mask’s mysterious and charismatic expression. Every detail of this face, carved with remarkable delicacy, evokes both harmony and grace. The meticulous attention given to the representation of the female figure, combined with the incomparable patina, grants this masterpiece a sense of balance, delicacy, and majesty.
ROBERT COTTINGHAM
PRESENTED BY
GALERIE GEORGES-PHILIPPE & NATHALIE VALLOIS
(STAND 363)
Meat Counter, 1966
Oil on canvas
40 x 60 inches (101.5 x 152.5 cm)
PHOTO COURTESY OF GALERIE GP & N VALLOIS
Meat Counter is one of Robert Cottingham's earliest paintings, and an extremely rare example of his work from the 1960s. It reveals the influence of his original career in advertising while also showcasing the early signs of his skill as a photorealist. Cottingham's attention to detail draws him towards reflections or marbling while keeping the painterly aspect of brushstrokes and swathes of color.
GUIDETTE CARBONELL
PRESENTED BY LEBRETON GALLERY
(STAND 315)
Cocotte qui Freine, c. 1949
Ceramic, wrought iron
21 x 11 x 19 inches (53.34 x 27.94 x 48.26 cm)
PHOTO COURTESY OF LEBRETON GALLERY
Born in 1910 to a Catalan father and an Armenian-born mother who was a painter, Guidette Carbonell attended several painting workshops, before dedicating herself fully to ceramics. She made her debut at the Salon d'Automne in 1928. With her white enamels speckled with bright colors, she decidedly distanced herself from the austere and meticulous approaches of her predecessors. Close to the abstract painters of the School of Paris, she sought to simplify her forms, notably through a series of stylized luminous birds that she presented at the Jeanne Bûcher Gallery in 1949. She also explored materials by combining earth with pebbles or shards of glass to create decorative plates inspired by the imagination of Bernard Palissy.
JEAN PROUVÉ
PRESENTED BY GALERIE PATRICK SEGUIN
(STAND 331)
Croismare school, 1948
Steel, wood and glass
1259.88 x 315 inches (32 x 8 m)
PHOTO COURTESY OF GALERIE PATRICK SEGUIN
The size of the building, the quality of its architectural treatment and the skills of the Atelier Jean Prouvé captured visitors’ attention as soon as it opened. The 255m² (2.744 sq ft) construction numbers seven central portal frames, over 9 feet high, and two external walkways that derive their elegance from the slenderness of the tubular portal frames. The facade panels, solid or glazed, give rhythm and contrast.The monumental entrance canopy in folded sheet steel is an autonomous module supported by two struts, key elements in Jean Prouvé’s work. Two axial portal frames and the ridge beam of the Croismare school will be specially reassembled for TEFAF New York 2025. A model will also be presented, illustrating the scale of this demountable architecture, the largest ever designed by Jean Prouvé.
THE BLANCHARD OSIRIS
PRESENTED BY DAVID AARON LTD
(STAND 212)
Circa 664-332 B.C.
Bronze
21.7 inches (55 cm)
PHOTO COURTESY OF DAVID AARON LTD
A bronze statuette of mummiform Osiris on a wooden base. The god wears the White Crown of Upper Egypt, with a central uraeus and chin strap, which would have originally attached to a false beard (now missing). The facial features are cast in fine detail, with slender eyebrows over recessed almond-shaped eyes with prominent cosmetic lines. The hands are crossed over the chest, and the lower ends of the crook and flail remain below the fists – originally these implements would have extended upwards towards the shoulders. Statuettes such as this were made in a range of sizes, and this is a notably large example. One of similar size is now in The Metropolitan Museum, New York (61.45).
HEMMERLE MUNICH
PRESENTED BY HEMMERLE
(STAND 339)
Hemmerle bangle, 2025
Spessartine garnets, knitted almandine,
stainless steel, bronze, white gold
1.65 inches (42 mm) diameter
PHOTO COURTESY OF HEMMERLE
A unique creation showcasing artistry and innovation, this Hemmerle bangle seamlessly weaves history and craftsmanship into an exquisite contemporary jewel. Crafted using a revived 19th-century Austrian knitting technique, delicate almandine garnet beads are meticulously handknitted with silk threads to form an intricate, flexible structure that embraces the wrist with effortless elegance. The ends of the bangle are adorned with spessartine garnets, set in a striking combination of bronze and white gold on the reverse, creating a warm, harmonious tonality that highlights Hemmerle’s signature fusion materials. This one-of-a-kind creation is a testament to Hemmerle’s dedication to reviving historical techniques while pushing the boundaries of contemporary jewelry design.
ALEXANDER CALDER
PRESENTED BY GALERIE MIGNONI
(STAND 302)
Voiles, 1973
Work on paper
30.69 x 22.44 inches (78 x 57 cm)
PHOTO COURTESY OF GALERIE MIGNONI
Alexander Calder initially began his artistic journey as a painter but didn’t explore gouache as a medium until a yearlong stay in Aix-en-Provence, France, in 1953, when he was in his mid-sixties. From that point forward, he continued to create works on paper alongside his sculptural practice. This more immediate medium allowed Calder to effortlessly translate the bold, vivid language of his sculptures into two dimensions. Working with speed and spontaneity, he employed dynamic lines and planes of his signature primary colors to convey geometric patterns, natural motifs, and metaphysical themes that inspired him.
ANNE IMHOF
PRESENTED BY SPRÜTH MAGERS
(STAND 306)
Untitled (Silas), 2024
Bronze cast
50.88 x 46 x 9.63 inches (129 x 117 x 24.3 cm)
Edition of 3 + 1 AP
© ANNE IMHOF, KUNSTHAUS BREGENZ
COURTESY OF THE ARTIST AND SPRÜTH MAGERS
PHOTO: MARKUS TRETTER
Imhof ’s most recent works transform ongoing drawing practice into sculptural, patinated bronze reliefs in the tradition of artists from antiquity to the Italian Renaissance through August Rodin. In Untitled (Silas) (2024), Imhof ’s lines and shading are translated into three dimensions, the figures becoming literally embodied, with seductively smooth, bronzed skin. The scene depicts androgynous characters with limbs entwined, flanked by a dog and dolphins. This peaceful view is counteracted by the image of a mushroom cloud bursting on the horizon, which renders the protective embrace of the humans and animals especially poignant and mysterious. Expanding on themes of melancholy and allegory present throughout Imhof ’s oeuvre, the works on view at TEFAF New York 2025 exhibit the artist’s compelling synthesis of symbolic figural representations, imagined narratives, art and cultural history.
LOUIS COMFORT TIFFANY
PRESENTED BY DELORENZO GALLERY
(STAND 354)
Tiffany Studios Wisteria Table Lamp, 1905
Leaded stained glass shade on a bronze base
Height: 27 inches (68.6 cm) Shade : 18 inches (45.7 cm)
PHOTO BY CHRISTIES
The Wisteria lamp was the first Tiffany lamp to feature an irregular bottom border. Each piece of glass is individually selected and cut, with over two thousand pieces required to create a single lamp. Considered a luxury item, Tiffany Wisteria lamps have always commanded some of the highest prices, both historically and today.Its tree-like base was inspired by the Bella Sombra trees of Gibraltar. During a company retreat to Gibraltar, Tiffany and his collaborators—lamp designers Clara Driscoll and Agnes Northrup—were drawn to the tree’s strength and functionality.The Wisteria lamp has been exhibited in major museums, including the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, and the New-York Historical Society.
ZAHA HADID
PRESENTED BY DAVID GILL GALLERY
(STAND 204)
Coffee Table Liquid Glacial, 2012
Color acrylic
15.7 x 106.3 x 35.4 inches (40 x 270 x 90 cm)
PHOTO COURTESY OF DAVID GILL GALLERY
Zaha Hadid’s coffee table Liquid Glacial, with its subtle rippling surface, recalls the motion of water captured in glistening acrylic. It embodies the soft transition of forms that is signature to Hadid’s architecture. The collection embraces cutting-edge 3D technology to defy its materiality and create works that remain atemporal. Since their debut collaboration with the Dune formations at the Venice Biennale in 2007, Hadid and Gill have strived to create furniture collections that push the boundaries of contemporary design, debuting Liquid Glacial in 2012 and Stellarluna and Ultrastellar in 2016, shortly before the architect’s passing.
TAHER ASAD-BAKHTIARI
PRESENTED BY HOSTLER BURROWS
(STAND 203)
Tribal Weave, 2024
Gabbeh woven wool with exposed warp
118 x 98.5 inches (299.72 x 250.19 cm)
PHOTO COURTESY OF THE ARTIST AND HOSTLER BURROWS
Taher Asad-Bakhtiari (b. 1982, Tehran, Iran) offers a striking, contemporary take on hand-woven textiles and furnishings, mapping out a bold style of open-work tapestries which retool the kilim flatweaves and denselyknotted gabbeh rugs that have long defined his region’s cultural traditions. Asad-Bakhtiari’s fabric constructions feature large-scale triangular patterns, intersected by striated bars and lines. These minimalist forms override the logic of warp and weft, evoking landforms and the iconography of ancient civilizations. They also reference the repeated geometries of mid-century avant-garde design and the craft movement, such as those seen at Black Mountain College. Woven from hand-spun and naturally-dyed wool with the occasional inclusion of contemporary materials, these lace-like works seek to spur new creative wrinkles within a craft tradition dating back centuries.
WALDEMAR CORDEIRO
PRESENTED BY THE MAYOR GALLERY
(STAND 310)
Untitled, 1952
Enamel on plywood
9.25 x 12 inches (23.5 x 30.5 cm)
PHOTO COURTESY OF ESTATE OF THE ARTIST,
THE MAYOR GALLERY AND LUCIANO BRITO
Waldemar Cordeiro, one of Brazil's greatest concrete art exponents of the 1950s, was a visionary artist and theorist, merging theory and practice in an impressive body of work. His significance is increasingly recognized globally, featured at the 2024 Venice Biennale, his centenary is being celebrated at the ZKM Karlsruhe, Germany in a retrospective. Born in 1925 in Rome, Waldemar Cordeiro moved to São Paulo after WWII and co-founded the "Ruptura" movement in 1952, challenging figuration in art. His works, including Untitled (1952), showcase a blend of sensory interplay and technological distancing. Later, Waldemar Cordeiro pioneered computer-based art, with notable pieces like The Woman Who is not B.B. (1971).
JOSEF FRANK
PRESENTED BY MODERNITY STOCKHOLM
(STAND 370)
Chest of drawers 'Flora,' model 1050, 1960
Mahogany, hand printed paper 'Nordens flora'
by C.A. Lindman & brass handles.
29.9 x 52.36 x 17.3 inches (76 x 133 x 44 cm)
PHOTO COURTESY OF MODERNITY
This sophisticated chest of drawers, titled the 'Flora,' model 1050, is a classic creation by the celebrated Josef Frank for Svenskt Tenn in the 1930s. Renowned as one of Sweden's most influential designers, Josef Frank masterfully combined functionality with artistic design in this timeless piece. Crafted from premium mahogany, the chest is adorned with hand-printed paper from 'Nordens flora' by C.A. Lindman and complemented by elegant brass handles. The intricate botanical motifs honor the harmony between nature and design, creating a visually stunning and meaningful aesthetic.
ROMAN HEAD OF A BEARDED GOD
PRESENTED BY CHARLES EDE
(STAND 356)
c. 2nd century AD
Marble
7.9 inches (20 cm)
PHOTO COURTESY OF CHARLES EDE / JARON JAMES
This sculpture captures the head of a bearded male, possibly Zeus or Poseidon, but most likely Asclepius, god of medicine, carved from marble with added use of a hand drill. His luxuriant mane of hair is arranged in thick, flame-like locks which sweep upwards and off his forehead in layers from a centre parting, and fall around his face in voluted waves. His heavily lidded eyes gaze straight forwards and have incised irises and drilled crescentic pupils. There is a deep crease on his forehead, his nose is straight, and his full, slightly parted lips, are framed by a centrally divided beard of overlapping curls. Broken diagonally across the face with some restoration to the lips, the upper right side of the anastole-like hair restored.
LUCIO FONTANA
PRESENTED BY TORNABUONI ART
(STAND 353
Concetto spaziale, Attesa, 1965
Water-based paint on canvas
25.9 x 20.9 inches (66 x 53 cm)
PHOTO COURTESY OF TORNABUONI ART
Lucio Fontana combined the highly saturated monochromatic purity of Klein’s canvases with Pollock’s violently physical action. Fontana’s gesture annihilated Pollock's proclivity toward additive mark-making and replaced it with a vandalistic destructiveness. Drawing attention to the materiality of the picture-plane, Fontana’s cuts question classical interpretations of a ‘figure-ground’ relationship; rather than striving toward an illusion of perspectival depth, Fontana’s punctures create forms within the canvas that embody a real third dimension of space. Moreover, the painting’s chromatic radiance amplifies the profound darkness of the plunging black recesses that aptly signify Fontana’s quest for ''the Infinite, the inconceivable chaos, the end of figuration, nothingness.'' (Lucio Fontana cited in Lucio Fontana, exhibition catalogue, London 1999).
SHIRLEY JAFFE
PRESENTED BY GALERIE NATHALIE OBADIA
(STAND 364)
Untitled, c. 1967
Oil on canvas
51.13 x 34.63 inches (130 x 88 cm)
PHOTO © GALERIE NATHALIE OBADIA
Based on the idea of a movement as the starting point, Jaffe assembles signs within the frame of the canvas, tempering their individual energies and adjusting her palette in order to achieve the overall formal and sensorial equilibrium of the composition. Never overloading the canvas with material so as not to muddy its communication with the viewer, Shirley Jaffe makes works that are states of play, freeze-frames of a flux, immortalizing fugacity, the frantic effervescence of mixed urban forms, isolating and adjusting them precisely on the canvas. The effect of disorientation is pronounced, yet the paintings continue to find their balance in this imbalance. The language of Jaffe’s architectures truly becomes the expression of a shared visual memory.
DANIEL RICHTER
PRESENTED BY GALERIE THADDAEUS ROPAC
(STAND 345)
At TETAF New York 2025 Galerie Thaddaeus Ropac will present a painting by Daniel Richter titled Triumpf des Höhnischen, 1924 (Oil on canvas, 91.73 x 68.11 x 2.55 inches / 233 x 173 x 6.5 cm).
Daniel Richter’s most recent series of paintings shows anthropomorphic creatures against chromatic backgrounds. Rendered in a spectrum of bright, prismatic colors, the works oscillate between geometric rigidity and organic fluidity. The German artist first came to prominence in the 1990s when he transitioned into fine art from the world of music, where he began his career designing posters and record sleeves for punk bands. Daniel Richter combines motifs from art history, mass media and pop culture to create idiosyncratic, surreal worlds. Ever the innovator, his recent paintings tread a path between figuration and abstraction, typified by the chaotic entanglements of fragmented bodies. Evoking a sense of rebellious energy and electric vibrancy, making the figures both playful and defiant.
TETAF NEW YORK 2025
