Much of the artwork market seems transparent and puzzling, not least when it comes to antiquities. This industry has had its fair share of controversies, ranging from forgeries to illegal plundering and trafficking, and often a mixture of all of those misdeeds. In 2023, an antiquities expert claimed that a good percentage of a group of looted archaeological artefacts repatriated to Italy from the US ( and valued at more than$ 20mn ) were, following a trafficking investigation, knock-offs. At the same time, popular collecting categories such as modern art and modern style have relegated the popularity of antiquities to something of an older person’s intellectual hobby. Modern and modern works offer immediate visual impact — many more Instagram-friendly — without the need for very little checking, while fresh funds has much favoured the art of its time, as a reflection of its own preoccupations. This year’s Tefaf art and antiques fair in Maastricht includes eight antiquities galleries ( a small percentage of the fair’s 273 exhibitors ): specialists who are passionate about winning people over to their niche. They share some pleasant memories about the experiences of the business — plus some nice surprises— for the would-be collection. Pinhead monument in copper from 1st century BC Luristan in Iran © Courtesy Galerie KevorkianThink beyond figures with broken nosesIf Greek and Roman stones aren’t your thing, that doesn’t imply that you don’t like treasures. The Tefaf area for treasures traders is in fact called” Ancient Art”, things most of its vendors also subscribe to. This is partly to avoid some of the negative associations ( think “antiquities trafficking”, “looted antiquities” ) as well as to reflect that “it’s a small market but covers thousands of years and numerous cultures so is the broadest niche of all”, says the London dealer Rupert Wace. The regional approach extends, of sure, to ancient Egypt, including a somewhat fetching metal bird, a picture of the sun god Horus dating to the 7th century BC, at Plektron Fine Arts. Reaching beyond, in time and place, Wace has a 19th-century sub-Saharan Kota reliquary, a metal-crafted, humanoid guardian figure to honour the dead, while Galerie Kevorkian has beautifully sinuous bronzes from Luristan, Iron Age Iran ( first millennium BC ). Kota reliquary guardian figure from southern Gabon, made of copper, brass and iron © Courtesy Rupert WaceUnlike in other fields, antiquities don’t need to be complete. ” It is often better to acquire a fragment of the highest artistic merit than a fully intact but less exceptional piece”, says the Basel dealer Jean-David Cahn. Buyers might also be enticed by the growing market for wearable ancient jewellery. Kallos has a Roman gold and emerald necklace and pair of earrings that prove boho-chic is nothing new. Brush up on the law — and ethicsAntiquities are treasured partly because of their long history, but this is also their own Achilles ‘ heel. Provenance— where an object has come from and its proof of ownership — is vital, but often very difficult to establish. The trade is heavily and increasingly regulated but absolute oversight is impossible, particularly in the digital age — witness the recent appearance on eBay of some of the hundreds of objects that were stolen from the British Museum. The most important ethical guideline is that items should only be bought if the buyer is certain that they have not been illegally excavated or illegally exported since 1970, the date of the signing of the international Unesco convention on cultural property. There are, of course, complexities around establishing such certainties ( remember, documentation can be forged too ). Plus, as ever, there are grey areas. For individual collectors, dealers characterise the 1970 guideline as a rule of thumb rather than a rule. As Martin Clist at London’s Charles Ede puts it,” the absence of evidence is not evidence of absence”. Nevertheless, an ill-informed buyer could end up with an item that can’t be resold, so make sure to have the right questions to hand and don’t be afraid to ask to see any relevant paperwork. Find a trustworthy dealerThey would say that, wouldn’t they? But in this instance, it is sound advice, particularly for a starter collector. A reputable dealer will have done a lot of heavy lifting. ” Even we can’t do it all ourselves”, says the Roman arts specialist Ollivier Chenel. ” We reach out to scholars and other researchers to chase down sources and provenance”. But how to know a dealer is reputable? The main trade bodies are the International Association of Dealers in Ancient Art ( IADAA ) and the Antiquities Dealers ‘ Association ( ADA ), while some individual regions have their own professional organisations, such as the British Antique Dealers ‘ Association and the Syndicat National des Antiquaires. Major-league art fairs are also responsible for the exhibitors they accept and often have stringent vetting requirements. This is the case at Tefaf while other respected fairs include Frieze Masters in London and the Brafa Art Fair in Brussels. Most dealers now have up-to-date websites and publish thorough catalogues, often to coincide with the big art fairs. They are also very open to conversation. ” Do not be afraid of saying the wrong thing or making mistakes”, Clist says” Dealers come across this all the time and ( largely! ) don’t judge the person accordingly. A good relationship will last all one’s collecting life “.Don’t spend too muchBlack-glazed terracotta jug from ancient Greece, circa 4th-century BC © Courtesy of Charles Ede” Ancient art is fundamentally undervalued relative to other areas in the art market”, says Salomon Aaron at London’s David Aaron. Certainly when compared to modern art, where a prized work can run into the millions, antiquities provide a very pleasant surprise and it is very possible to find a good buy for less than £10, 000. At Tefaf, Charles Ede has a stylish Greek black-glazed and ribbed terracotta jug ( c4th-century BC ) priced at €7, 000 while Rupert Wace’s aforementioned gold and emerald necklace is €9, 800. Conservation and care are also relatively inexpensive, certainly when compared to, say, dealing with leaked formaldehyde in a contemporary work. ” Our objects have lasted thousands of years already”, says the Paris dealer Corinne Kevorkian. Touch the pastClassical myths and legends, often learned in childhood, have enduring appeal. ” The stories of gods, heroes, poets, generals and emperors conveyed in these objects are matched by the stories of everyday men and women, from slaves to the aristocracy”, says Madeleine Perridge, director of Kallos Gallery in London. ” These really stick for many of us who then go on to a lifetime of loving ancient history “.A bronze figure of a Greek ruler, circa 2nd century BC, at the Kallos Gallery in London © Sophie StaffordA Greek gold oak wreath, circa 4th-3rd century BC, at the Kallos Gallery in London © Sophie StaffordUnlike most art, antiquities are meant to be interactive. ” Anyone who is thinking of collecting ancient art already feels that thrill of another world, of being able to touch and live with these pieces”, Perridge says. Wace finds that” a very important part of the fun is to be able to hold the objects and create an immediate connection with the past”. Clist gets seriously romantic:” In a world of superficiality, there is something deeply profound about owning a simple terracotta lamp bought for a few hundred pounds, or a fragment of sculpture dating back thousands of years. . . The millennia disappear, and one can ponder what of the ancient world differs from ours and what remains the same. It shows us what we are as human beings “.March 15-20, tefaf.comFind out about our latest stories first — follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning
An insider’s guide to collecting antiquities ( and dodging knock-offs )
