Summarize this content to 2000 words in 6 paragraphs in Arabic The contemporary ceramics and glass dealer Adrian Sassoon knows his place. It\u2019s among fine 18th-century furniture, Islamic artworks of mythical significance, and historic German paintings, sculpture and silver. \u201cThe traditional antique and fine art dealers,\u201d he says. \u201cWith different tastes, perhaps, but the highest standards.\u201dThe London dealer has been coming to Tefaf in Maastricht for 17 years now, and although the work he sells is exclusively made in the present day, he insisted from his first appearance at the fair that he had a spot among dealers of the most venerable historic work. \u201cBecause what I have to offer,\u201d he says, \u201cis also part of history. In my view, museums are rarely collecting for a contemporary gallery, but to extend the historic story of how materials \u2014 clay, glass, metal \u2014 are transformed by skilled artists. The work I sell has a place in those continuing collections.\u201d Not that this is his only constituency. Individual collectors are important too, and Tefaf offers plenty. \u201cPeople who are in tune with historical decorative arts completely understand what we are offering,\u201d says Sassoon. \u201cThey will simply be passing by, and suddenly appear on the stand, attracted by something both recognisable \u2014 a glaze, a form, a type of glass \u2014 but completely new.\u201dThe historic dealers were pleasantly surprised by the quality of the work we were showing, how it was made, that it was rooted in classicismThis year, nonetheless, Sassoon is expecting a visit from an American museum team, coming to Maastricht specially to see a gigantic new work by Junko Mori. It is a sculptural explosion of hundreds of steel elements that the Yokohama-born artist and metalworker has hand-forged in her Welsh workshop and will command a six-figure price. \u201cYou could say it\u2019s an antique of the future,\u201d says Sassoon. \u201cIt has tremendous originality at its moment of conception and making. It acknowledges the history of art, but has a place in its own time.\u201d Mori has spent hours in museums and collections examining both antique metalwork, as well as historical observations of nature. But although this knowledge underpins her work, the intensity of detail and extreme number of elements make her work particularly lavish and unique.An antique is generally accepted to be an object more than 100 years old, with particular aesthetic and historical significance. Tefaf is full of them \u2014 the fair is where a bronze pin made in western Iran in the early first millennium BC can be found next to an art nouveau Lalique necklace loaded with diamonds and finely carved glass and an early Gauguin flower-painting that already demonstrates a special way with colour. \u201cWe\u2019re very curious to see how we\u2019ll fit in,\u201d says Robbe Vandewyngaerde, the 27-year-old co-founder of Brussels gallery Objects With Narratives. \u201cIt\u2019s quite a classical fair.\u201d With this in mind, his gallery is showing the work of the duo Maison Jonckers, where a brother and sister team \u2014 Alexandra and Gr\u00e9goire \u2014 are carrying on the work of their father Armand, creating sculptural furniture in bronze, stainless steel and silver, sometimes combined with resin. \u201cLike their father, they want to bring depth and feeling and texture to metal,\u201d says Vandewyngaerde. \u201cThey etch into the material abstractly, and create something tactile and use oils, waxes and acids to create a patina. It has an antique sensibility.\u201d\u00a0\u00a0Objects With Narratives has already made a connection between past and present by taking on a historic building in Brussels in which to show work. A former fur showroom and atelier, built in the Beaux-Arts style, its ground floor is decorated with gold leaf and wall panels painted with animal scenes. \u201cIt has helped clients imagine how contemporary pieces might work in an older home,\u201d says Vandewyngaerde. \u201cBut we heard some of the more traditional dealers at Tefaf were concerned about new work.\u201dWhen the London dealer Sarah Myerscough took a stand at the fair for the first time last year, she found the opposite to be true. \u201cThe historic dealers were pleasantly surprised by the quality of the work we were showing, how it was made, that it was rooted in classicism,\u201d says Myerscough. \u201cThey were impressed.\u201d\u00a0Myerscough has championed serious craftsmanship and sustainable, natural materials since she opened her gallery in 1998. Gareth Neal, an east London furniture designer who works with historic tools and the latest computer-controlled machinery, is a good example. Myerscough is showing a tall chest of drawers by Neal skewed from its traditional form by being top heavy, and finished in mahogany veneers that are a waste product of the instrument-making industry.\u00a0When I ask Christopher Wilk, the keeper of furniture, textiles and fashion at the Victoria and Albert Museum in London, about important work being made today, Neal\u2019s name comes up: the designer\u2019s work first entered the collection in 2013. \u201cHe is a good designer and a very good maker, referencing traditional forms, but with an innovative edge,\u201d he says. \u201cBut we don\u2019t worry at the museum about whether something will be a valued antique. We look for objects that reflect the time in which they are made and have something interesting to say about that time.\u201d Under Wilks\u2019s stewardship, however, curators now have to record exactly why they consider an acquisition to be important. \u201cA hundred years ago, people thought the values of the present moment were fixed, or would continue. But now we think of taste and value as being very relative. We live in a postmodern world.\u201dCollectors, on the other hand, may be looking for work that will hold its economic as well as cultural value. Which is perhaps why Marc Benda, of New York gallery Friedman Benda, is bringing a selection of glass works by Ettore Sottsass (the Italian designer who died in 2007) to Tefaf. The pieces \u2014 which include totemic vases in rich blues and reds \u2014 were made in Sottsass\u2019s later years, and are in the \u20ac40,000-\u20ac90,000 range. \u201cThey are very ambitious sculptures,\u201d says Benda. \u201cThey represent a culmination of his practice, and are already considered important. They are beyond a matter of taste. They are canonical works.\u201dDavid Gill, however, who introduced contemporary collectible design to London\u2019s Fulham Road \u2014 long the domain of old-world antiques dealers \u2014 in the late 1980s, has faith in the eye of the individual. He has produced extremely demanding pieces over the years with designers including the late Zaha Hadid, and is showing work by the German furniture maker Valentin Loellmann at Tefaf. Loellmann is an outlier who creates otherworldly works by fusing metal and wood into pieces that have an almost ineffable sense of history. \u201cCurious collectors embrace the new,\u201d Gill says. \u201cAnd if they go with the challenge, they are rewarded years later.\u201dMarch 15-20, tefaf.comFind out about our latest stories first \u2014 follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic The contemporary ceramics and glass dealer Adrian Sassoon knows his place. It\u2019s among fine 18th-century furniture, Islamic artworks of mythical significance, and historic German paintings, sculpture and silver. \u201cThe traditional antique and fine art dealers,\u201d he says. \u201cWith different tastes, perhaps, but the highest<\/p>\n","protected":false},"author":1,"featured_media":233255,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-233254","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/233254","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=233254"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/233254\/revisions"}],"predecessor-version":[{"id":233256,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/233254\/revisions\/233256"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/233255"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=233254"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=233254"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=233254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}