The individual needs of my clients and observing discretion are the top priority for all mandates.
My services are based on confidential advice, comprehensive service and the "Code of Ethics" of the international association CINOA (Confédération Internationale des Négociants en Œuvres d’Art/The International Federation of Art & Antique Dealer Associations).
In my offers, I attach importance to thorough art history research and complete documentation.
A high level of personal commitment and lean organization guarantee efficient and transparent processing at market conditions.
I maintain a well-developed network with specialists from the art trade, galleries, auction houses, art museums and foundations as well as insurance companies, fiduciary, legal and tax services, based on a business relationship that in many cases has grown over decades.
Leading positions in international art trade since 1994, including director of an internationally renowned gallery for classical modern and Russian avant-garde art, and director and specialist for art after 1945 and contemporary art at Christie's International AG.
Foundation of Silvan Faessler Fine Art GmbH, domiciled in Zug, in the spring of 2006. The international client base includes private collectors, financial services and insurance companies, law firms and family offices, foundations, corporate collections, and art museums.
Engagements in culturally active foundations as curator and member of foundation boards.
Co-author of the Biographical Lexicon of Swiss Art and jury member of national and international art awards.
Numerous exhibition projects in own gallery space as well as pop up events; since 1997 personal participation in well over 50 art fairs in Switzerland, Europe, and the US.
University degree (lic.phil.I) in Occidental and East Asian Art History and in Business Administration from the University of Zurich.
Married, two adult sons, lives in Zug.
«Even more interesting for connoisseurs are the presentations of local galleries. The most significant include Genevan gallery Blondeau & Cie. (and) Zug-based gallery Silvan Faessler Fine Art (...).»
Christian von Faber-Castell, Geneva is catching up. Artgenève art fair, in: Finanz und Wirtschaft, 2/2/2013.
«In this way (at Kunst Zürich), you can always make real discoveries, see and buy works by local and regional artists, and always find works by well-known names at far more moderate prices than at the big fairs. For example, in the “Engadin Corner” of Zug-based Silvan Faessler’s space where a pencil drawing by Alberto Giacometti is to be had for 120,000 Swiss francs. (...) Two paintings by the abstract expressionist Hugo Weber, who tried his luck as an artist in New York, are a further small sensation at the same stand. If this, quite wrongly, somewhat forgotten Swiss master of post-war art had had an American name, the prices (65,000 and 100,000 Swiss francs) for his two wonderful paintings from the sixties would easily have carried an additional zero.»
Philipp Meier, The second division is the first division. Zurich fair fever, in: Neue Zürich Zeitung, 10/31/2013, p. 19.
«Born in Zug, he is an art dealer and gallery owner. He worked for Christie's auction house as director and expert for contemporary art and was also director of the Gmurzynska Gallery. (…). Silvan Faessler has many contacts from his longstanding work as an art dealer: “The art trade is incredibly personal, based on relationships and trust that you have to build.” This does not happen overnight and also takes place according to the principle: “Collectors become friends; friends become collectors.” The young gallery owner is now delighted to be attracting nationally and internationally renowned artists to (his showroom at) Vorstadt 18. Something he has already achieved with Bill Beckley. When asked what brought him from Soho, New York, to this small Zug gallery, the well-known American conceptual artist answered: “Silvan is a really talented art expert,” following it up with an even greater compliment: “He is intelligent and honest.” »
Susan Holz, Trust needs to be created, in: Neue Zuger Zeitung, 11/15/2014, p. 9.
«The stands at the Kunst Zürich and Art Genève fairs each bear witness to a fine sense of quality. An exciting mixture of rare gems by renowned representatives of modern art, but also carefully selected examples of contemporary art characterize the program of the art dealer Silvan Faessler Fine Art. Silvan Faessler, who has been active in the international art trade sector since 1994, founded his gallery in Zug in 2006.»
Philipp Meier, Fine Sense, in: NZZ The Beautiful Sides, issue 08/14, p. 18.
«One of the specific features of the Art Paris Art Fair is that some of the galleries simultaneously exhibit classical works by the great masters and works by less well-known artists. Among these figureheads of the fair is Silvan Faessler (Zug, Switzerland), who is exhibiting photographs by the American Bill Beckley and wire mobiles by the Austrian Knopp Ferro, paper works by Joan Miró and Sophie Taeuber-Arp, but above all the original plaster of "Pagoda Fruit" (1949) by Hans Arp. An edition of three bronzes of the latter was created, one of which is now in the Tate Liverpool, another in the Armand Hammer Collection, now the Hammer Museum in Los Angeles.»
Frédéric Bonnet, In the alleys of Art Paris, in: Journal des Arts, 3/15/2015, p. 24.
«Silvan Faessler is currently presenting an exquisite selection of original works on paper by the most important representatives of classical modernism. Pencil drawings, ink works, watercolors … Picasso, Chagall, Grosz, Cézanne, Kirchner and Miró are just some of the resounding names who have created the precious things on paper which can be seen in this small space. There are pictures from private collections as well as Faessler’s own stocks. (…) The exquisiteness of the pictures shown in this suburban showroom is reflected not least in their impressive provenance.
The best comes last. True to this motto, the art dealer and gallery owner Silvan Faessler has scheduled this first-class exhibition of international standard for the end of the exhibition year. For him, works of art on paper have a very special charisma. (…) “This makes the proximity to the artist particularly immediate,” says Faessler. “And what's more, such works usually have an effect that transcends epochs – especially if they are of such good quality. Then they are absolutely timeless.”»
Zuger Zeitung, 11/23/2016