TEFAF Maastricht 2026: A Record-Breaking Art Fair

At the 2026 TEFAF Maastricht art fair, D’Lan Contemporary, a leading Aboriginal art dealer, reported exceptional early sales, including Makinti Napanangka’s *Untitled – Lupulnga* (2009), which sold for between $225,000 and $250,000, setting a new record. Other notable sales included two works by Johnny Warangula Tjupurrula, *Water Dreaming* and *Lightning* (1971), each fetching between $87,000 and $96,000. Additionally, Long Jack Phillipus Tjakamarra’s *Water Dreaming* (1971) sold for $60,000-65,000, while Mirdidingkingathi Juwarnda’s *Thundi* (2008) and *Dibirdibi Country* (2011) sold for $80,000 and between $160,000 and $180,000, respectively, to New York collectors. D’Lan Davidson, founder of D’Lan Contemporary, noted that the gallery experienced a record start to the year, driven by increased global institutional interest in Indigenous Australian art.

New York Observer

The fair showcased a variety of artworks from different eras and styles. Marianne Boesky's gallery featured vibrant works by Brazilian artist Thalita Hamoui, with prices ranging from $16,000 to $60,000. The gallery's strategy of pairing contemporary pieces with historical works aims to contextualize the artists within a broader art historical dialogue. Similarly, the GRIMM Gallery reported multiple sales of young painters, including Michael Raedecker’s *koan* (2022) for $65,000 and Angela Heisch’s *The Dreamer* (2025) for $52,500, emphasizing the eclectic tastes of contemporary collectors.

New York Observer

Italian galleries maintained a strong presence at TEFAF, with Galleria D’Arte Maggiore g.a.m. showcasing works by postwar Italian masters like Giorgio Morandi and Massimo Campigli. Notably, Campigli's monumental painting *Casa* (1964) was on hold early in the fair. Tornabuoni Art also reported several sales, including works by Enrico Castellani and Lucio Fontana, highlighting the ongoing interest in postwar Italian art.

New York Observer

While the fair celebrated record sales and diverse artistic dialogues, some critics argue that the high prices and exclusivity of the event may alienate emerging artists and collectors. Concerns have been raised about the accessibility of such prestigious art fairs, which often cater to affluent buyers.

New York Observer

• “Collectors’ tastes are becoming increasingly eclectic: collectors of contemporary art are also looking more and more towards Old Masters and design.” — Jorg Grimm, Founder of GRIMM Gallery

New York Observer

• “It offers a unique opportunity to place contemporary art in dialogue with art history and to move quite literally from an Old Master to a contemporary painting.” — Jorg Grimm, Founder of GRIMM Gallery

New York Observer

TEFAF Maastricht 2026 has proven to be a significant event for both established and emerging artists, with record-breaking sales and a diverse range of artworks. The fair not only highlights the growing interest in Indigenous Australian art but also emphasizes the importance of contextualizing contemporary works within historical narratives. As the art market continues to evolve, the implications of such high-profile events will be closely monitored by collectors and critics alike.

New York Observer