TOMASSO
Previously known as Tomasso Brothers Fine Art, TOMASSO is specialized in high-quality European Sculpture from the early Renaissance to the Neo-Classical period, with a strong focus on Renaissance bronzes. The two UK based galleries also showcase antiquities, Old Masters paintings, furniture and works of art. Their core clients are major private collectors as well as prestigious museums.
TOMASSO
Previously known as Tomasso Brothers Fine Art, Tomasso is specialized in high-quality European Sculpture from the early Renaissance to the Neo-Classical period, with a strong focus on Renaissance bronzes. The two UK based galleries also showcase antiquities, Old Masters paintings, furniture and works of art. Their core clients are major private collectors as well as prestigious museums.
Antique Art
Bardon Hall
Weetwood Lane
Leeds LS16 8HJ, UK
+44 (0) 113 275 5545
Marquis House
67 Jeremy Street
London SW1Y 6NY, UK
+44 (0) 207 839 9394
Head of Lucius Verus, after the Antique
North Italian, first quarter of the 16th century
bronze with a rich dark patina
64cm (25 ¼ in.) high, including socle
Provenance
André Derain (1880-1954) Paris, France
His collection sale, Hôtel Drouot, Paris
9-11 March 1955, lot 175 (illustrated)
All our Interviews
Read all our exclusive interviews with antique, modern, contemporary & primitive art dealers.
Interview with Dino Tomasso ~ Partner
Dino & Raffaello Tomasso © TOMASSO
Interview by Pauline Loeb-Obrenan, founder of artfairmag.
Brothers Dino and Raffaello Tomasso are partners in Tomasso Brothers Fine Art since the opening of the gallery in Leeds in 1993. They opened their London gallery in St James’s in 2013. As they recently welcome the next generation of the Tomasso family, the gallery is now operating as TOMASSO. I spoke with Dino about art fairs, in particular TEFAF Maastricht, where the gallery exhibits every year.
artfairmag: You participated in TEFAF Maastricht and TEFAF New York Fall. Are the clients and challenges different between the European and American editions?
Dino Tomasso: It has to be said that the clientele does differ between New York and Maastricht, but our returning collectors by and large visit both venues. TEFAF New York was conceived as a satellite edition and stepping stone to what will always be the primary fair. For obvious reasons, the main difference between the two locations for galleries based in Europe is logistics. The two fairs fully complement each other, allowing us to reach a far wider American audience in New York than we see in Maastricht, as well as there being a much larger percentage of European visitors in Maastricht, complemented by returning international clients.
artfairmag: Are the collectors you meet in art fairs the same as the ones that come to your galleries?
D. T.: Yes, we tend to see familiar faces at both fairs and gallery events, but TEFAF offers an opportunity to connect with clients who would seldom pass by the gallery.
artfairmag: You have exhibited artworks by Damian Hirst several times at TEFAF Maastricht – I presume this was to attract contemporary art collectors? Did this and would you employ this kind of parallel approach again?
D. T.: Our choice to work with Damian was based on a personal relationship from childhood, together with a shared aesthetic for works of art across many centuries. We have done several joint exhibitions which have included contemporary artists and should the correct opportunity arise again, we would give it serious consideration.
“I’m particularly fond of the initial conversation with a potential new client, especially if they are thinking of entering the field of European sculpture.”
artfairmag: Tomasso Brothers showcases some very large sculptures. Do you bring these large pieces to TEFAF, or do you prefer displaying smaller ones, which are perhaps easier to sell?
D. T.: Over the last decade exhibiting at TEFAF we are fortunate that the gallery has achieved a reputation for exhibiting objects of significant artistic and historical value. Some of these objects that have been amongst the highlights of the fair have been on a monumental scale, which has always garnered an enthusiastic response from visitors.
artfairmag: Our readers would love to know more about what you are going to showcase at TEFAF. Could you give us some clues?
D. T.: For this year’s edition of TEFAF Maastricht, we will be bringing some recent important rediscoveries in the sculpture field. At the same time, we have totally reinvented the way we are presenting objects, with a highly unusual display.
artfairmag: What are your favourite moments when you are participating in a fair? The excitement of the opening, quiet conversations with collectors over the following days or cheerful evenings with other art dealers?
D. T.: I’m particularly fond of the initial conversation with a potential new client, especially if they are thinking of entering the field of European sculpture. TEFAF fairs are unique in the fact that they create a wonderful atmosphere of camaraderie between the dealers, and naturally, the opening is always exciting, as a large part of our business is done on that day.
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Cover pic taken in @thomasbrambillagallery
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@miartmilano 2024! It was my very first time in miart and I think the fair stands by its reputation: European collectors should definitely attend. Hats off the artistic director Nicola Ricciardi 🎩
Highlighted pieces:
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• @waelshawky707 at @liarummagallery
• @julianschnabelstudio at Gian Enzo Sperone
Stunning @maliparmiofficial outfit found at @mercerbyedith 🙏
Cover pic taken in @thomasbrambillagallery
#miart #miart2024 #contemporaryart #artcollector #julianschnabel #milan #maliparmi #milanfashion