Axel Vervoordt Co is a family-led business. Boris (left) and Axel (right).Image Credit: TEFAF

In a surprising turn for the international art fair circuit, Dominique Savelkoul  stepped down as Managing Director of the European Fine Art Foundation, (TEFAF), at the end of December in what was described by the foundation this week as "differing views on the strategic direction."  This marks the second leadership change in just over one year at one of the world’s largest fair providers for fine art, antiques, and design, covering 7,000 years of art history.

TEFAF confirmed this week that, Boris Vervoordt, one of the sons of Belgian art and design dealer Axel Vervoordt, and a driving force behind his father's influential Axel Vervoordt Co, has been named chairman since 1 January 2026 and that the fair's executive committee members will each take turns leading the foundation for a period of six months. Vervoordt is the first non-Dutch chairman to steer Europe's prominent art foundation and on paper, brings visibility, experience, and an enviable network of ultra-high-net-worth clients to the foundation's annual New York and Maastricht fairs.  

Well known in the art world for cultivating an enviable black book of high-profile collectors and luxury tastemakers, Vervoordt arrives to TEFAF's management with deep familiarity of the fair’s culture and commercial ecosystem having been a participant from the fairs beginnings. Active in the international world of art, design, and antiques since the late 1960s, the family of Belgian art dealers have sold everything from Egyptian marble bowls, to contemporary Japanese paintings and Le Corbusier armchairs.

In it's current iteration, Axel Vervoordt Co, was founded in Belgium in 2011 (and in Hong Kong in 2014). Their  art gallery, arts and antiques trading organization, interior design and real estate development divisions are headquartered, since 2017, outside Antwerp, at an industrial complex known as Kanaal.  Part gallery, part exhibition space, Vervoordt's showcase institution is housed in a former malting distillery and malting complex built in 1857 on a shipping canal leading to the port of Antwerp, though many Vervoordt-held companies are registered elsewhere. 

Rostec boss Sergei Chemezov, Vladimir Putin and multi-millionaire Sergei Adonyev

In the 1980s Axel Vervoordt purchased the floor you see in this photo of his library at 's-Gravenwezel castle, the medieval fortress surrounded by 60-hectares of park land he calls home. After the parquet de Versailles floor was restored and published in the October 1986 issue of Architectural Digest, French authorities informed him that the flooring had been stolen from a French château.

Later, in March 1998, at a time when the art world's big players paid little attention to whether an artwork offered for sale could have been stolen during the Second World War, Axel Vervoordt brought the painting Sumptuous Still Life with Lobster, Oysters, Silvergilt Covered Beaker, Silver Mounted Kendi Wine Flask and Glassware by Pieter Gerritsz van Roestraten, (21 April 1630 – 10 July 1700), a Dutch Golden Age painter, apprenticed to Frans Hals to TEFAF's fair at the MECC Exhibition and Convention Center in Maastricht. 

Its provenance, stated:

"Doweswell, circa 1900; A. Schloss Collection, Paris; Private Collection, Belgium"

Remarkably, neither the Vervoordt gallery, nor their buyer raised any eyebrows. 

This despite the fact that the painting is recorded in publicly available wartime asset lists as having been taken during World War II from the renowned Schloss Collection, assembled by Adolphe Schloss—a German-Jewish collector whose family holdings, including more than 300 paintings were seized during the Nazi occupation. Documentation related to the Schloss seizure, including official French postwar recovery reports and international claims lists, identified the still life among the numerous works looted from the Schloss family collection. 

The French Ministry of Foreign Affairs even stated where the then holder of the Van Roestraten painting as: "Private collection, Belgium. Castle of 's-Gravenwezel,  the six-story castle home Axel Vervoordt shares with his wife May in Belgium. Deflecting from its non pristine past, Vervoordt sold the painting at the Maastricht fair along with the silver matching ewer which is depicted in the artist's work.  The painting sold for $800,000 to an unnamed European private collector.

Again, not shying away from World War II sensitivities, in 2011,  Le Monde, art critic and correspondent Philippe Dagen reflected on an exhibition curated by Axel Vervoordt at the Palazzo Fortuny in Venice. He noted that while the inaugural Artempo show had been widely admired, and its successor In-Finitum had leaned heavily into a lavish presentation of works associated with Vervoordt, the Belgian's third installment, TRA, included an absurd work by Cuban artist Tania Bruguera: a heavy iron sculpture emblazoned with the phrase: Arbeit macht frei, translated as "Work makes [one] free." 

Those familiar with Belzic's work on identifying stolen artefacts from Cyrenaica,  the region in North Africa located between Roman Egypt and Tripolitania; today it is part of Libya know that his identifications have lead to restitutions, some of which have been discussed on ARCA's blog.  Often, that same research, in favourable jurisdictions, has resulted in restitutions of cultural property to Libya. Note that the absence of a face, or aprosopy, remains without real parallel in any other location in the rest of the Mediterranean world. Likewise, this object's first appearance in circulation on the international art market coincides with the Second Libyan Civil War (2014–2020), which marked a large uptick in material appearing on the art market from illegal digging around Cyrene, near Shahhat, during the country's instability.

Also in 2014, Vervoordt's firm brought a first century BCE South Arabia (Yemen) alabaster Relief of a Male Figure with Elaborate Hairdo and Horns to TEFAF's Maastrich fair.  For that event, the gallerist listed the object's provenance as: "Ancient collection Belgium, acquired in 1940; Ancient collection M. Abdalla Babeker, Sudan, acquired between 1917 and 1930."

It should be noted that "M. Abdalla Babeker" has been identified as a false-collector name which has come up in provenance records linked to stolen artefacts from Sudan circulated and sold by Jaume Bagot, of J. Bagot Arqueología in Barcelona.  That problematic Catalan dealer, frequently discussed on ARCA's blog, is known for having handled stolen Egyptian shabtis of the Pharaoh Taharqa and Senkamanisken which were illegally exported out of North African country and sold onward in the European ancient art market with this same Babeker provenance.

This object was seized by US Customs and Border Protection at the Los Angeles/Long Beach Seaport on 15 June 2016 as part of a 40-item shipment weighing more than 5 tons collectively valued at over $745,000.  A form submitted by a customs broker lists the importer and consignee of the items as "Kim Kardashian dba (doing business as) Noel Roberts Trust," an entity linked to Kim Kardashian and Kanye West’s US real estate purchases.

That same Roman sculpture was photographed at Vervoordt's booth in TEFAF by the Italian Carabinieri on 21 March 2011

"I would consider my visit there most successful. The financial situation being what it is, I was anxious to spend as little money as possible in purchases and get as many pieces on consignment as possible. I am glad to say it worked out better than I expected."

"I bought a beautiful Baphuon female torso from Peng Seng for $ 13'000, a small, but exquisite Baphuon head from Chai Ma for $ 2'000 and four pieces from Douglas Latchford for $ 20'000. These Bangkok purchases, together with a vase from Mayuyama, $ 8'500, bring the grand total of my purchases on this trip to $ 43'500."

"The greater part of my time in Bangkok was spent in numberous [sic] meetings with our friend Douglas, I am getting the following two important pieces on consignment:(they are supposedly already on their way)."

"Pre Angkor Hari Hara, about 35", supposedly recently excavated in Cambodia near the South Vietnamese border, It is a great piece. The selling price will be $ 300'000 or over, still to be decided upon with Latchford."

"Large Koh Ker female torso; another very beautiful and important piece, selling price $ 100 000 or more, to be determined still."

"Douglas has the following 3 bronzes which at this time he is not ready to give me yet, but which I am sure will come in the very near future."

"I have explored extensively with Peng Seng and Latchford how to get legitimate papers for the large Koh Ker guardian and for all subsequent shipments. The following is the best procedure that I can think of at this time:  For the Koh Ker guardian Peng Seng will send us a letter written and signed somebody in Bangkok. He will say that he has seen this piece in Peng Seng's shop three years ago. Peng Seng would like us to give him the exact text we want in this letter. You and I will discuss this when I am in London."

"On all future shipments of important pieces only, both Peng Seng and Latchford, they will ship the pieces the way they have always done, but at more or less the same time will send a modern piece of about the same size and same subject, described on the airway bill in such a way that nobody will know to which this airway bill applies. From my discussions with Sherman Lee I can say that an airway bill which describes the shipment as a sculpture, rather than "personal belongings", would be satisfactory. It also occurred to me that: we are mostly talking about Khmer art from Cambodia, being shipped out of Thailand, which is not the country of origin, this should lessen our problem."