"TEFAF really feels like a world apart. I think it has a lot to do with the aroma of money. It was palpable - the intensely transactional mood of the crowd, which seemed to be there for serious business, and the gallerists matched their energy. The Armory looked the part, beautifully decked out with columns of fresh flowers and garlands adorning entranceways, along with a custom-built balcony where guests could have fresh oysters and Champagne while looking out over the Drill Hall below."
"And then there was the selection: so many exceptional pieces that are probably destined for private museums. I decided to focus on pieces I would love to live with, albeit in an imaginary apartment - there is no room or budget in my actual one. Everything I gravitated toward was small, except for a magnificent chair made by Paul Rodocanachi for Jean-Michel Frank, circa 1935."
"Rodo, on view at Galerie Jacques Lacoste, is made of limed oak upholstered in original Hermès tan leather with X-shaped legs connected by a crossbar. I imagined this would be the chair I would sit in to study my new treasures. And there were many. I was immediately set on fire by a trio of hand-carved ebony objects by Alexandre Noll at Galerie Lefebvre."
"They included a round lidded box, a rectangular platter, and a rectangular box. Noll was a French artist and furniture-maker whose work with wood made the material feel and look like clay to sensuous effect. My obsession with his work led me to visit his daughter Odile, who lived outside of Paris in the family house she grew up in with much of her father's furniture. Out in the back garden, his studio was a time capsule, exactly as he'd left it with unfinished work and all his tools."
TEFAF creates a distinct environment compared with other major design fairs, marked by a palpable sense of money and serious business among attendees. The Park Avenue Armory is staged with fresh flowers, garlands, and a custom balcony offering oysters and Champagne while overlooking the Drill Hall. The fair’s selection includes many exceptional pieces, often suited for private museums. A focus on objects one would live with leads to interest in small works, including a Paul Rodocanachi chair for Jean-Michel Frank from around 1935, made of limed oak with original Hermès tan leather and X-shaped legs. Additional favorites include hand-carved ebony objects by Alexandre Noll, whose woodwork feels clay-like, prompting a visit to his daughter and a view of his preserved studio.
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