This image is from one of the fine pieces in auction, you will find it in the catalogue by following the link.
KOTA RELIQUARY GABON
Form Through Time 8th June 2022 – This Kota Reliquary from Gabon is “carved wood and hammered copper, of classic abstract form, crescent coiffure leading to bi-planal features and diamond shaped handle, sand polished, mounted on a bespoke wooden stand”.
From the Lyon & Turnbull website: “The making of figures to honour ancestors and allow continued communication with them was once widespread. The Kota peoples of modern Gabon and Republic of Congo produced particularly elaborate reliquaries which reduced the human form to a distinctive flattened shape. Their use of wood and hammered metal is completely unique among African sculptural forms.”
Visit our website for some unique African Tribal Art pieces. Browse our catalogue or contact us for more pieces
TRIBAL ART FAIR AMSTERDAM ONLINE 21 APRIL – 25 APRIL 2022
TRIBAL ART FAIR AMSTERDAM ONLINE 21-25 APRIL 2022 – The Tribal Art Fair online will be from Thursday 21 April at 3 pm until Monday 25 April 10 pm (local time). In this edition of this unmissable art fair, 25 dealers will participate showing their most recent acquisitions on this website.
Every gallery will post up to 50 objects on their gallery page and on Saturday 23 April at 3 pm and every gallery will add an extra 10 objects.
There will also be a lecture program which you can follow from home. Don’t miss it! TRIBAL ART FAIR AMSTERDAM ONLINE 21-25 APRIL 2022
TRIBAL ART FAIR AMSTERDAM ONLINE 21 APRIL – 25 APRIL 2022
Click on the link to see more about the exhibitors and their pieces.
LONDON ART FAIR 21-24 APRIL 2022 – BUSINESS DESIGN CENTRE, ISLINGTON (PREVIEW EVENING 20 APRIL) an unmissable event in the international art calendar and for all art lovers.
This spring, the London Art Fair will present its 34th edition featuring over 100 selected galleries celebrating the best in Modern and Contemporary Art to discover and purchase.
At the fair you will find prints and editions, to major works by renowned artists from the 20th century to today. The Fair nurtures collecting at all levels, providing expert insight through an inspiring programme of talks, tours and curated exhibitions.
If you’d like to purchase your tickets the LONDON ART FAIR, follow this link
The Leading Spring Event for Modern and Contemporary Art
Art Paris is back this year once again! September 2021 edition of Art Paris was a huge success, that inaugurated the Grand Palais Éphémère on the Champ-de-Mars with a record-breaking 0f 72,745 visitors!
Art Paris is back from 7 to 10 April 2022 with a spectacular selection of 130 modern and contemporary galleries from around twenty different countries.
Both regional and cosmopolitan, Art Paris 2022, the 24th edition is characterized by its commitment in favour of the environment with two important themes – “Natural Histories” and “Art & Environment”- combined with an innovative and sustainable approach to organising an art fair.
In 2022:130 exhibitors from 23 countries • more than 900 artists represented • 37% foreign participants • 63% French galleries • 30% newcomers • 72 746 visitors in 2021
Art Paris adopts a sustainable approach that is a first in the world of art fairs.
To read further and find more information, and to purchase tickets visit the Art Paris 2022 website:
How Authentic is an African Tribal Mask you ask… well, let me try and give you some useful tips today.
To determine the age and authenticity of an African Tribal Mask or any other type of African Tribal art, knowledgeable collectors and dealers use many different techniques. However, there is no better way to learn than having lived among these pieces, having had close contact and seen thousands of pieces when purchasing and selling African Tribal Art like we do.
Research online or through books or African Tribal catalogues is also a good source of information if you know where to look for, as not all information out there is accurate. You can also go to auctions, fairs, museums, visit collections, this is where you will get knowledge from. But keep in mind that this will take years, but you have to start somewhere if you are an African Tribal art lover like us.
Today we will solely focus on How Authentic is an African Tribal Mask. However most tips apply to other African Tribal art pieces as well.
Depending on the place you buy your mask from, very often there is no information as to origin and no guarantee of authenticity. This is a big concern in today’s marketplace as there are so many fakes and reproductions. All our pieces come with a Certificate of Authenticity accompanied with information about each piece.
There are various degrees of authenticity, a mask can be used and authentic, but it can also be new but authentic. You find many decorative, reproductions and fakes out there, therefore, you have to be careful when purchasing African Tribal art depending on your desirability of its authenticity.
Many types of wood are used to carve masks, and not all have been used for the same purposes. Some African sculptures for example, were carved with the purpose of being put outside for all tribes’ members use and will need to be weather resistant, these are made in a very heavy and dense wood, while masks made to be danced, and neck rests need to be transported all day long, are made in a lighter wood.
One good way to assess the age of a piece is to look at the materials that were used to carve and to make that piece. There are materials, tools and techniques that were used let’s say in the 1900s, that are specific to that era, therefore cannot belong to any other era.
Something we must always bear in mind with African Tribal pieces, is that any tribe’s ceremonies, meaning of pieces, what they are used for, etc, are all part of the Secret Society of each tribe. Therefore, there are many secrets and meanings that are not known to outsiders, as they only share what they want. So, many meanings are only reflect what we would like to believe about them.
AUTHENTIC USED AFRICAN TRIBAL MASK
Lets start with authentic used African Tribal masks. This is what most serious collectors and museums look for, masks that were carved by the tribe’s craftsmen, who’s craftmanship has been passed down onto generations and generations and were used in various ceremonies and celebrations.
Signs of wear, age, damage and repairs can make the mask even more desirable. However, we must warn you and you should be careful, as used masks can be faked, and through a quick “antiquing” job with tinted varnish for example, it can be very hard to tell if its authentic or not.
Another thing you must be aware of is an unnatural patina. By rubbing the pieces in the wrong places, wrong directions, in a big area, in an uniform way is a technique some people use to influence the appearance of a piece.
AUTHENTIC NEW AFRICAN TRIBAL MASK
Authentic new same as the above, but has never used. Some masks are crafted within the tribe, are not used or have very little use, but this is still an authentic mask. Some of these masks are sold and show some signs of age from being stored or displayed improperly. This is something that occurs but will still be culturally correct and is usually in good condition.
DECORATIVE, REPRODUCTIONS AND FAKE AFRICAN TRIBAL MASKS
These are new masks that were made for tourists and lovers of African art who do not want to spend huge amounts of money on a piece they love. These masks are normally well carved and are creative. Please be aware that fakes are masks that are misrepresented as authentic.
There are many myths out there in relation to the authenticity of a mask. Let me give you an example. A piece has a smoke scent so many believe it is authentic.
NO! THIS IS WRONG! When masks and other African tribal art pieces were/are made, they often were/are darkened using the firing of wood and greasing it, so the wood would smell of smoke. However, be aware that people who make fakes can also use this method to make believe that this is an authentic piece.
Other examples are creating an impression of erosions on masks and statues artificially, drilling holes to imitate insects, using chemicals abrasives to damage the surface. Many fake carvers put the pieces in the ground, or keep them in the garden for a few months to make them look older and suffered erosion. Some even put pieces on the top of a termite to produce a quick old -aged impression . Small pin holes made artificially on the surface is not the same as the remains of powder from beetle borings. I could go on and on with many techniques that are used to make a piece look older and more used than it really has been.
THE BACK OF A MASK TELLS MORE THAN THE FRONT
If the mask is predominantly wood, the patina of the surface can be an indicator of authenticity, particularly on the reverse of the mask. The tribe’s person who wore a mask does a lot of moving in his dances, and contact between body and wood can leave sweat and oil stains. You can look for wear from forehead, cheeks, chins and noses. The repeated rubbing movements on the mask will leave its marks.
Masks are predominantly worn during social events and religious ceremonies, often as part of ritual dances. They have different designs and are meant to convey specific symbolic meaning and the masks have purposes that differ according to tribe and ceremony, as does their style and decoration.
Masks vary widely, some are simply carved wood, others are more intricate and have painted elements and incorporate raffia and other materials.
A less polished and slightly uneven surface on the reverse of a mask is often observed in older traditional masks. The working of the wood can also be indicative of the authenticity of a mask; it should have been clearly executed by hand. Any indication that mechanical tools have been used, for example if holes in the mask appear to have been made with an electric drill, should make a buyer wary.
An interesting fact that many people don’t know of, is that ceremonial masks are part of a big and heavy costume, and normally have a piece of fabric covering the back of the wearer’s head. This is to ensure that no one recognises the person under the costume and behind the mask in the ceremonies they are being used in.
However, due to its huge volume and weight, when sold, masks are stripped of all of this fabric and are sold as only the wooden mask. This is also the reason why most masks do not have two holes on each side, above the ears, where a string should have been to hold the mask on the wearer’s face/head.
This is a summarised and brief piece of advise we have got for you, but if you need any further guidance, please do not hesitate to contact us at
Fine Arts district , Saint-Germain-des-Prés, Paris
Parcours des Mondes 2022
If you are an art lover you will not want to miss the opportunity to visit the Parcours des Mondes 2022 event.
Parcours des Mondes is the most important international fair for non-European, Asian and archeology arts, both in terms of the number, quality and diversity of its participants.
Every year at the beginning of September, it brings together around forty galleries specializing in the arts of Africa, Asia, Oceania, the Americas and in archeology , in Saint-Germain-des-Prés, in the heart of Paris.
With more than twenty years of experience, the Parcours des Mondes is an institution working to disseminate knowledge and works from non-European cultures and we hope to share this passion with you.
Each year, Parcours des Mondes brings together galleries specializing in tribal art, Asian art and classical archaeology.
You can find all the participants in the 2022 edition following the link
In nine years Paris Tribal has become an unmissable event in the world of tribal art and in the Parisian agenda. Its exhibitors’ quality and special NDA – exclusive thematic exhibitions, a pleasant experience, both with collectors and new non-European art lovers in a convivial and warm atmosphere – explains this growing success.
Thematic exhibitions are displayed along the way.
Every year this open-air fair brings together around thirty galleries specialized in the arts of Africa, America, the Himalayas, Indonesia and Oceania.
Paris Tribal is not only an art exhibition, it is a unique opportunity for all visitors to discuss and share their passion with recognized experts in a warm and friendly atmosphere.
Paris Tribal 2022 is a festive event in compliance with the sanitary rules, a springtime renewal atmosphere.
Here is a magnificent tribal art mask that we have sold recently.
You will most certainly find some masks similar to this one at Paris Tribal 2022:
Senoufo Kpeliye Mask: Country: Ivory Coast
Height: 27cm x 15cm
Estimated date: Late 20 Century
At this fair you will find several tribal art pieces just like the ones we have on our website. Please visit us at
If you are looking to learn more about African Tribal Art, we thought it could be helpful if we gave you a list of African tribal art books that we believe are good books, filled with plenty information.
We are suggesting this list of African tribal art books, however, there are more books out there that you can read or purchase, which contain much more information.
Let’s not forget that Africa is a big country, with lots of different tribes spread-out, all of them with their own culture, art, customs, beliefs, Gods and religion. Their ceremonies might have similarities to us outsiders, but for them it is very different although intents may be similar, such as reaching puberty ceremonies or religious ceremonies where some of their art pieces and statues are normally used.
Now we will leave you quite a sizable list of African Tribal art Books:
African Art by Frank Willett
“The art of the Fang, the BaTeke, the BaKota, and other African peoples is extraordinarily vigorous and shows a brilliant sense of form. The substantial aesthetic impact that their works have had on the development of twentieth-century Western art—on Picasso, Derain, Braque, and Modigliani, among others—continues to this day. This classic study reveals the astonishing variety and expressive power of the art of a continent that contains more distinct peoples and cultures than any other. The revised edition has been updated throughout, incorporating recent research and additional illustrations, plus a new chapter and extended bibliography. It remains an invaluable resource for students and for anyone interested in African art.”
Kota: Visions of Africa Series: Visions of Africa Series by Louis Perrois
“The Kota people, who live in Gabon in the coastal area of western equatorial Africa, have developed an astonishing creativity in representations of their ancestors. Dreamlike figures combine a sharp sense of stylized reality tending toward abstraction with an extraordinary and imaginative use of copper, tin, and iron for purposes of decoration. But what seems at first to have been a matter of aesthetic taste has in fact a symbolic function, as most of the decorative motifs and the choice of the technique are linked to the kinship system or religious beliefs. The reliquary figures and initiation masks of the Kota and Mbete served both as aide-mémoires and as instruments useful in arousing the forces of the netherworld among the Gabonese and Congolese in times past. Together with the Fang byeri and other nkisi punu, they have gradually become the time-honored emblems of a culture paying tribute to ancestral values of the peoples of the African equatorial forest.”
From a customer review: “Not only do they cover how art has influenced the individual, but also how religion and style have influenced the art. One of the outstanding features of these books are the black and white photos illustrating how the various art forms were used and the colour plates exhibiting various types of art from masks to chairs with captions describing each item”
“Artists from the kingdom of Kongo—a vast swath of Central Africa that today encompasses the Republic of Congo, the Democratic Republic of Congo, and Angola—were responsible for outstanding creative achievements. With the influx of Portuguese, Dutch, and Italian merchants, missionaries, and explorers, Kongo developed a unique artistic tradition that blended European iconography with powerful indigenous art forms. An initially positive engagement with Europe in the 15th century turned turbulent in the wake of later displacement, civil war, and the slave trade—and many of the artworks created in Kongo reflect the changing times.
This comprehensive study is the first major catalogue to explore Kongo’s history, art forms, and cultural identity before, during, and after contact with Europe. Objects range from 15th-century “mother-and-child” figures, which reflect a time when Europeans and their Christian motifs were viewed favorably, to fearsome mangaaka, power figures that conveyed strength in the midst of the kingdom’s dissolution. Lavishly illustrated with new photography and multiple views of three-dimensional works, this book presents the fascinatingly complex artistic legacy of one of Africa’s most storied kingdoms.”
The Tribal Arts of Africa by Jean-Baptiste Bacquart
“The marvellous achievements of black African artists over thousands of years are revealed and superbly portrayed in this book. The earliest pieces date from the beginning of the first millennium, the most recent from the early twentieth century before the commercial production of art for the tourist trade. All were made by Africans for their own use. Jean-Baptiste Bacquart has divided Africa south of the Sahara into forty-nine cultural areas. Each section studies the most important tribe within that area, surveying its social and political structures as well as its artistic production. The art is analysed according to type in most instances masks, statues, and everyday objects such as utensils, furniture, and jewellery. When appropriate, further information on artistically related tribes is provided. Each section contains lavishly presented colour photographs of all the major object types, documentary black-and-white illustrations, and its own bibliography. A detailed reference section with information on key collections open to the public and a glossary completes this invaluable publication, the only one to present the entire range of black African art in accessible form. 865 illustrations and photographs, 195 in colour.”
“Mysterious, graceful, and majestic, the African mask has long been the subject of great fascination for those interested in tribal civilizations and cultures. Now available in paperback, this beautiful volume presents nearly 250 of the finest African masks from the incomparable Barbier-Mueller Collection, which is unique in its vast number of artifacts and wide geographic scope.The book includes one hundred color plates accompanied by in-depth descriptions, as well as numerous black-and-white photographs of the masks as they are used in religious and secular celebrations. Introductory texts from renowned scholars describe how the masks are constructed, examine their significance in African culture, and offer insight into the universal practice of masquerading. A unique contribution to literature on African art, this book is also a wonderful introduction to countless fascinating, ages-old spiritual traditions still being practiced today.”
Yoruba: Sculpture of West Africa Hardcover by William Buller Fagg
“Examines the artistry and religious significance of the masks, headdresses, staffs, and other wood carving and sculpture of the Yoruba tribe of West Africa.”
Mumuye Sculpture from Nigeria: The Human Figure Reinvented
by Frank Herreman (Text), Constantine Petridis (Contributor)
“Through 41 masterworks, Mumuye Sculpture from Nigeria reveals some of the most accomplished statues made by this Nigerian tribal group. The Mumuye artists’ abstract interpretation of the human body, which recalls that of cubist and expressionist artists, has been immensely appealing to African art enthusiasts. Their anthropomorphic figures demonstrate an astonishing range of variations, testifying to their makers’ unbridled creativity and limitless inventiveness. Here, a meticulous analysis of the extraordinary forms of Mumuye figures—paying attention to their striking sense of motion—recognizes different workshops and even the hands of individual masters. A summary of the scant field-based studies discusses the figures’ primary role as emblems of status and rank, their connections to ancestral veneration, and healing and divination practices. Though a selection of masks and other objects, this book reveals the beauty of Mumuye figurative sculpture.”
Baule Monkeys by Claessens Bruno, Danis Jean-Louis
“The Baule people of the Ivory Coast are renowned for their refined sculptural work of masks and figures. This book is the first to focus exclusively on an antithetic aspect of Baule culture—rough zoomorphic sculptures representing monkeys. These awe-inspiring bowl-bearing figures evoke invisible powers and serve their communities through the mediation of diviners. Investigating the creation, forms, and usage of the sculptures, the authors shed light on the cultural and ritual contexts in which they operated. Beautifully illustrated with over 55 full-page color images of works in public and private collections, this important publication also includes many unpublished field photographs.”
African Art by SCALA (Creator)”
“The art of sub-Saharan African has a long history, although it is difficult to reconstruct precisely because many works, being made from wood and earth, have disappeared without trace, and archaeological excavations, which could enrich out knowledge of the region, are still rare. Nonetheless, what has been preserved–largely works from the past 150 years, although there are some which date back even thousands of years–is already substantial and provides evidence of a great variety of artistic traditions, which can be traced back to broad historical and geographical areas and to ethnic or tribal groups. Although they may vary from place to place, some elements seem to be recurrent and common to all African artistic traditions. Statues are often figures of ancestors or deities and sacrifices are offered to them to maintain communication with the other world, between gods and humans, between the living and the dead. The fertility of women and the fields is another recurrent theme. In societies with no writing system, art offered material support for the word, also facilitating the transmissions of traditions. While much attention is often paid to form, objects are almost never created solely for pleasure. These works are not the expression of the artists’ free imagination nor are they intended for the individual enjoyment of a collector. Far more ambitiously, their purpose is to contribute to the order of the world, the well-being of the community, and to maintaining life.”
Spirits Speak: A Celebrations of African Masks by Peter Stepan
“Over 150 images of outstanding African masks from the world’s leading museums and private collections reveal the splendour and majesty of these fascinating masterpieces. The masks seen in these pages represent diversity and an aesthetic power that rivals the most famous works of art from around the world. Originating from more than thirty countries, the masks featured here are shown in stunning full-page reproductions and accompanied by field photographs. Enlightening commentaries offer background information about the function and origins of the masks use within the ethnic groups from which they originate. A beautifully produced full-colour fold-out map places each mask in its original site, which together with the stunning reproductions, field photographs and text, creates a magnificent celebration of African artistry and culture. It is the ‘best of’ African masks book. “Prestel’s African Masks” by the same author has sold over 40K copies worldwide.”
Because the History of African tribal art is also very important, I will leave you with two very interesting reading suggestions, which contain a view into a bit of history of African tribal art:
African Art In Transit by Christopher B. Steiner
“Based on extensive research in West Africa, Christopher Steiner’s book presents a richly detailed description of the economic networks that transfer art objects from their site of use and production in Africa to their point of consumption in art galleries and shops throughout Europe and America. In the course of this fascinating transcultural journey, African art acquires different meanings. It means one thing to the rural villagers who create and still use it in ritual and performance, another to the Muslim traders who barter and resell it, and something else to the buyers and collectors in the West who purchase it for investment and display it in their homes.”
by Monica Blackmun Visona, Robin Poynor, Herbert M. Cole
“A groundbreaking work, this is the first book to cover the arts of the entire continent of Africa, including Egypt, and to survey the art history, rather than the cultural traditions, of African peoples. The authors’ unique synthesis of up-to-date research on African arts of many periods and geographic areas has resulted in a major contribution to the literature of art history.
Thousands of years of African art, from prehistory to the present, are considered, encompassing sculpture, painting, architecture, textiles, ceramics, and the myriad art forms of personal adornment and performance. Individual authors contribute chapters on their areas of expertise, yet the whole volume works as a seamless text, weaving together everything from prehistoric Saharan rock art to contemporary sculpture, including the rich, multi-faceted art of the African diaspora. Brilliantly illustrated throughout, and including full indexes and bibliography, this volume is a milestone in the study and future perception of African art.”
This list could go on, but I am going to leave you with this last suggestion which I believe is probably one of the most comprehensive and well-illustrated book on African Art which is still in print is “African Sculpture Speaks” by Ladislas Segy. Please see above his other book on African mask, which I can highly recommend, “Masks of Black Africa”.
This list could go on but I am going to leave you with this last suggestion which I believe is probably one of the most comprehensive and well-illustrated book on African Art which is still in print is “African Sculpture Speaks” by Ladislas Segy. Please see above his other book on African mask, which I can highly recommend, “Masks of Black Africa”.
African Sculpture Speaks” by Ladislas Segy
“Historian and collector Ladislas Segy approaches African art from several different but interrelated perspectives, considering sculptures first as products of a distinct African culture, then as high-quality works of art. Seeking to bring the African carver’s work within the scope of the Western observer, Segy stresses the need for appraising African art within its own context, suspending established procedures for art appreciation and viewing the object as it actually is, not as we think it is or should be. Bringing to bear the disciplines of aesthetics, anthropology, psychology, and phenomenology, Segy shows how the deep-seated magico-religious beliefs of the tribal carver creates such a powerful emotional tension in the work that the viewer can recapture that emotion and identify it as part of his own experience. Originally published in 1952—revised and enlarged over the years— African Sculpture Speaks is now in its fourth edition. A systematic style guide analyzes the characteristic features of the different styles of tribal sculpture, and a special chapter for the collector tells how to buy and care for African art. Segy also discusses the styles of the main sculpture-producing tribes in East and South Africa. Included are maps, a bibliography, a list of illustrations, and an index.”
After fleeing from Uganda in the 17th century, the Lega tribe settled on the west bank of the Lualaba River in the Democratic Republic of Congo (formerly Zaire).
They are also known as the Warega, the 200,000 people who constitute the Lega tribe live in autonomous villages, collectively situated at the top of a hill surrounded by a palisade.
The chief, Kindi is how Lega tribe peoples refer to him, is the oldest member of the tribe who also holds the highest grade within the Bwami society.
The Bwami, which is open to both men and women, regulates social and political life of the Lega.
Progression through the seven male and four female grades is made possible by the giving of presents and the participation in initiations.
Division of labour is gender based: men hunt- and clear new land and women cultivate manioc.
“The teachings of Bwami permeate all aspects of life, guiding the moral development of the individual and governing relations with others. Bwami doctrine is represented by wood and ivory masks, heads, and small figures, all of which play a vital role during initiation into the society’s highest grades. Although simple in form, these carved objects embody complex and multiple meanings, elaborated through proverbs, skits, and dances. The masks refer to ancestors and are passed from one generation of initiates to the next as symbols of continuity. For the Lega, physical beauty and moral excellence are inseparable. The dotted-circle motifs on many Lega works represent body markings, which enhance both the carvings and the characters they depict. The smooth polished surfaces of these sculptures allude to the refined and perfected nature of the Bwami initiate.”
“There are seven levels of initiation for men and four for women, starting at puberty and going through life at various key stages. Some of the items used in the initiation ceremonies seem quite mundane to us, such as the use of stools. But to the Lega, the stool represents the cohesion of the initiated members, with the glossy patina of the seat being a metaphor for the wisdom and poise of the initiate, and the roughness of the base being symbolic of the untutored. “
Lega sculpture appeals both to the eye and mind, simple and elegant lines demonstrate the great technical skill of the Lega craftsmen. Their masks are known by their characteristic features of bean shaped eyes, long nose and small open mouth, the whole framed by raffia beards and hair.
Here is an example of a beautiful Lega Mask we have in our vast collection and is for sale:
The the wood at the back of the mask presents a lovely patina of use.
From: Belgium Private collection
Size: 47cm x 16cm
Date: Mid 20 Century
Lega masks are not worn on the face as it is traditional, but they are either tied to the arm or displayed on specific ceremonial frames. These masks reveal their secrets to the initiate, their precise messages being passed on by the tutor through the power of the ancestor.
Lega masks are representations of the ancestors and are owned by men initiated into the highest level of the second highest grade of the Bwami.
Last week we gave you a list of scheduled Art Fairs happening in the United Kingdom in 2022. Today we will give you a list of Art Fairs Around the World in 2022.
We are going to list all the Art Fairs around the world that are already scheduled to go ahead in 2022, but, we believe that there are still many Art Fairs that are yet to be announced that they are going ahead in 2022.
The calendar of winter Art Fairs for 2022 around the world is still being reorganized, and their dates changed due to Omicron. As we’ve mentioned, due to dates changing, before making any plans for any of them, please confirm that it is still going ahead amid the current pandemic, as many Art Fairs have already been rescheduled, some have moved dates just a few weeks, including Art Genève, but others have moved their dates months ahead, including the London Art Fair, which will run in April instead of January, and Paris’s Salon du Dessin now is scheduled for May instead of March.
The Winter Show, BRAFA Art, and TEFAF in Maastricht have yet to announce dates for 2022.