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The European Fine Art Fair, better known as Tefaf, has established itself as the pre-eminent fair for Old Masters. But over the past five years, a series of strategic shifts has made clear that a younger generation of collectors is increasingly in focus.
Among the changes is the expanded space devoted to contemporary jewellers, who “demonstrate how techniques, materials and design languages evolve, often in direct dialogue with historical precedents,” according to Will Korner, Tefaf’s head of fairs. This approach aligns with the event’s broader ambition to present important works from across cultures and periods, encompassing not only Old Masters and antiques, but also Chinese porcelain, Mughal paintings, Venetian glass, and 20th- and 21st-century art and design.
Unlike London, Paris or New York — where comparable events may also attract the casually curious — Maastricht appeals largely to professional collectors. Last year’s fair drew more than 50,000 visitors, a 15 per cent increase on 2024, though still well below the 75,000 attendees recorded before the pandemic.
Last year, London-based jeweller Santi and US-based Ana Khouri joined the fair. The upcoming edition in March will see the debut of independent jewellers Cora Sheibani, Fernando Jorge, René Boivin and Dries Criel, all whom will join brands long associated with Tefaf, such as Buccellati, Hemmerle and Van Cleef & Arpels.
While Tefaf attracts the deep-pocketed clients jewellers seek, gaining entry as an exhibitor is far from straightforward.
Korner says fewer than half of all applicants are accepted. A committee comprising more than 200 museum professionals and independent specialists examines every object destined for display. Jewellery faces additional scrutiny, with all mounted diamonds and coloured gemstones — rubies, sapphires and emeralds — over two carats, as well as natural pearls weighing more than 30 grains, requiring laboratory verification.
Hemmerle ring with diamond set in iron and white gold
Hemmerle earrings in tourmaline, bronze and white gold
The rigour of the vetting process lends exhibitors a distinct credibility. “Visitors come with knowledge, and that kind of audience is invaluable,” says Christian Hemmerle, the fourth generation to lead the Munich-based jewellery house. Having participated continuously since 1997 — a period during which his parents infused the brand with a more erudite, Bauhaus-inspired aesthetic — the fair has become part of Hemmerle’s development. “For us, it has shaped not only visibility, but also the quality of engagement.”
For Nicolas Luchsinger, chief executive of Buccellati, no other fair offers such breadth of wares. “One can acquire contemporary art, Old Master paintings, Art Deco furniture or Chinese snuff boxes all in one place,” he says. “And because Maastricht is not easy to reach, only genuinely passionate connoisseurs attend. Being both a jeweller and a silversmith makes Buccellati especially appealing to this clientele, which we don’t always reach in our stores.
“We have clients who only shop at Tefaf.”
Meanwhile, Richemont-owned Van Cleef & Arpels has used its participation to promote its Heritage Collection — an ensemble of pieces reacquired from the market, restored and offered for sale once more. This year’s highlight is a transformable diamond necklace from 1963, drawing on motifs from both couture and nature. “We have met new clients who might never have entered a boutique,” says Natacha Vassiltchikov, the brand’s heritage retail director. “We also regularly invite loyal collectors, who take great pleasure in discovering our creations in the context of the fair, where their artistic dimension and enduring appeal are even more evident.”
Santi’s Archery Ring
Gold Jaali Earrings by Santi
Bridging history and modernity also appeals to Krishna Choudhary, a 10th-generation jeweller and founder of Santi Jewels, whose work blends Mughal motifs with modern materials. “Historians were appreciating contemporary craftsmanship, while modern jewellery collectors were captivated by the historical depth,” he says.
For the new jewellers joining this year, the fair also offers practical business advantages. “As a small business, wholesale is difficult and expensive — a fair is a middle ground,” says Cora Sheibani, who has deliberately chosen not to open a permanent store, citing financial and security constraints, as well as a desire to remain flexible.
At Tefaf, she will present existing collections, including her recent Facets and Forms, which explores a wide range of diamond cuts.
Antwerp-based Dries Criel takes a similar approach. Alongside his core pieces, he will unveil a one-of-a-kind creation intended to “offer a proper appreciation of the wide spectrum of my creative universe,” he says, adding that forging relationships will matter more than immediate sales.
Ty Murphy, a lawyer and fine art specialist, sees jewellery at Tefaf as “a strategic moat”. “While [Art] Basel and Frieze own the ‘conceptual’ and the ‘now’, Tefaf owns the pedigree,” he says. “By placing a contemporary ring next to a 17th-century still life, the fair is ‘museum-fying’ jewellery — signalling that this is not merely a luxury good, but a piece of history that happens to be new.”
“We’re seeing the death of the ‘siloed’ collector,” Murphy adds. “People don’t just buy in one category any more.”
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