25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galleries
Galleries Galeries AB & BA Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Galerie Ary Jan HELENE BAILLY Paris-Genève J. Baptista Barbara Bassi Galerie de la Béraudière Galerie Berès Bernier/Eliades Gallery Galerie BG Arts Boon Gallery Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Cabinet of Curiosities-Honourable Silver Objects Galerie Capazza Giammarco Cappuzzo Fine Art Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Claes Gallery Collectors Gallery COLNAGHI Cortesi Gallery Costermans Dalton Somaré De Brock De Jonckheere Galerie Bernard De Leye Galerie Oscar De Vos De Wit Fine Tapestries De Zutter Art Gallery Dei Bardi Art Thomas Deprez Fine Arts Patrick Derom Gallery Gallery Desmet DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Gilden's Art Gallery Gokelaere & Robinson Galerie Hadjer Philippe Heim Marc Heiremans Heutink Ikonen Galerie Hioco Hoffmans Antiques Huberty & Breyne Galerie Hurtebize rodolphe janssen Francis Janssens van der Maelen Kunsthaus Kende Harold t’Kint de Roodenbeke Florian Kolhammer Sylvia Kovacek – Vienna Kunstconsult 20th century art I objects DYS44 Lampronti Gallery Alexis Lartigue Lemaire Galerie Lowet de Wotrenge Francis Maere Fine Arts Galerie Marc Maison MARUANI MERCIER Galerie Mathivet Mearini Fine Art Meessen Montagut Gallery Galerie Montanari Jan Muller Antiques Klaas Muller Gioielleria Nardi New Hope Gallery Nosbaum Reding Dr. Nöth kunsthandel + galerie Galerie Nathalie Obadia, Paris/Brussels Objects With Narratives Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Galerie Alexis Pentcheff Christophe Perlès Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence QG Gallery Maison Rapin Stéphane Renard Fine Art Repetto Gallery robertaebasta Romigioli Antichità Rueb Modern and Contemporary Art Galerie Sophie Scheidecker Serge Schoffel - Art Premier Segoura Fine Art Selected by BRAFA, designed by Gert Voorjans Edouard Simoens Gallery Herwig Simons Fine Arts Stern Pissarro Gallery Stone Gallery Stoppenbach & Delestre Galerie Taménaga TEMPLON Galerie Patrice Trigano Valerio Turchi Univers du Bronze Gallery Sofie Van de Velde Van der Meij Fine Arts Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Gallery Galerie von Vertes Axel Vervoordt Galerie Dina Vierny VKD Jewels Galerie Florence de Voldère N. Vrouyr Floris van Wanroij Fine Art Victor Werner Whitford Fine Art Willow Gallery
 

Romigioli Antichità

Standing Madonna with Child, circa 1290-1310 Polychrome sandstone (and restorations) Northern Spain (in particular the cultural area between Castilla and Léon, La Rioja, the Basque Country and Navarre) H 102 x W 65 x D 42 cm Provenance: collection Costantino Nigro, Genoa Condition: the lower part of the statue is missing Literature: attribution and critical reading by Professor Luca Mor Exhibition: Biaf-Biennale Internazionale di Firenze, 2022

 

Meessen

benoît platéus

Benoît Platéus (Liège, 1972) French Open Apnea, 2024 Oil on canvas 80 x 90 cm Exhibition: Absences, mues et macules, Meessen x L'Atlas, Paris (FR), 2024

 

Galerie Nicolas Bourriaud

Eva Aeppli (Switzerland, Zofingen 1925-2015 Honfleur, France) Taureau Floréal, 1991 Bronze with shaded brown patina H 36 x W 23 x D 24.5 cm Titled 'Taureau Floréal' and numbered 6/8 Cast by Susse Frères Paris, stamped 'Resygram' This proof, number 6, was commissioned by the artist and cast by the Susse foundry in July 1991 Pursuing her questioning of humanity by linking it to the cosmos, Eva Aeppli found in astrology a spiritual and formal repertoire in which she could work tirelessly for almost two decades. After the Planets (1975-1976), then the Erinyes (1977), goddesses of vengeance from Greek mythology, whom she associated with Pluto, Neptune and Uranus, she tackled the Zodiac (1979-1980), each of the 12 heads expressing the character of the astrological signs; such is the case of Taurus, with its heavy sensory appetites. The result is a striking head sewn in fabric and partly cast in bronze, with refined yet eminently expressive features, the scars drawn by the seams on the surface. It's a confrontation that leaves no viewer untouched. From a private collection in France, this head is remarkably in keeping with her tormented path as a creator who cannot be assigned to any particular artistic movement, which is what makes it so exceptional.

 

TEMPLON

françois rouan

François Rouan (Montpellier, 1943) Odalisque Flandres X, 2010 Oil on braided canvases 170 x 148.5 cm - framed 175 x 154 cm Unique piece Provenance: the artist's studio Literature: Marie Luise Syring, François Rouan: Eine Wirklichkeit aus Fetzen und Flicken', Künstler : Kritisches Lexikon der Gegenwartskunst, 2013; Exhibition catalogue François Rouan, La découpe comme modèle, Musée départemental Matisse, Le Cateau-Cambresis, 2011, publ. Bernard Chauveau, coll. Couleurs contemporaines; Exhibition catalogue François Rouan, Odalisques et Pavanes, 2009-2020, TEMPLON, 2023 (illustrated p. 41), published by TEMPLON 2023

 

Whitford Fine Art

joseph lacasse

Joseph Lacasse (Tournai 1894-1975 Paris) Balancement, 1948 Oil on canvas 81 x 100 cm Signed and dated lower right and signed, dated and inscribed verso Lacasse Estate inventory number dia n° 390 Provenance: the estate of the artist

 

Klaas Muller

Frans Snijders (Antwerp, 1579-1659) Kitchen interior with two dogs, offal and a basket with fruits and vegetables, circa 1620 Oil on canvas 113 x 183 cm Signed upper left: F. SNIJDERS. Fecit Provenance: sale Campo, Antwerp, 13-15 December 1966, lot 90; sale Sotheby’s, London, 7 October 1981, lot 123, ill. p. 89; sale Sotheby’s, London, 7 July 1982, lot 233, ill.; private collection, Belgium In a kitchen, a dog (a Friesian Wetterhound) guards its booty from another dog that appears on the left. Apparently, he has pulled away from his chain and is not giving up his booty (entrails) lightly. On the right of the painting, we see an overturned basket with artichokes, asparagus, a lemon and apples. At the top left, the painting is proudly signed 'F. SNIJDERS.FECIT'. Frans Snijders had a predilection for depicting dogs and they appear frequently in his oeuvre. About seven -mostly larger works as is the case here- can be named as scenes in larders or front rooms of kitchens. The theme is usually similar: a dog defends its stolen loot against another dog (e.g. a painting on loan with a similar theme among others in the Snijders-Rockoxhuis 'Larder with dogs and a cows head'). It remains conjecture whether Snijders was pursuing a metaphor or deeper symbolism with this theme. However: each time, he shows himself to be a fantastic cinematographer and manages to render a scene just before the climax through which he builds the tension. Also typical is the dog's head on the left, which is only partially depicted (cut off from the composition it seems) which generates even more movement. The textures of the fur, meat, vegetables and fruit are fantastically rendered.

 

Philippe Heim

abie loy kemarre

Abie Loy Kemarre (Australia, 1972) Bush Hen Dreaming, 2019 Acrylic on canvas 122 x 183 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Collections: The Metropolitan Museum, New York; Bridgestone Museum of Art, Tokyo; Seattle Art Museum, Seattle; Musée des Confluences, Lyon; The Art Gallery of South Australia, Adélaïde; The Adelaide University Art Collection, Adélaïde; The National Gallery of Victoria, Melbourne, etc. The 'Bush Hen Dreaming', for which Abie Loy Kemarre has custodial rights inherited from her grandfather, was the first story Abie was allowed to paint. The bush hen, also referred to as a bush turkey or Australian bustard (Ardeotis australis), is Abie’s Dreaming Ancestor, an association commonly but erroneously referred to as a ‘totem’. These paintings refer to women’s sacred ceremonies, including a sacred waterhole site, and narrative elements from the peripatetic habits of the bush hen as it searches for food. The geometry in Abie’s Bush Hen Dreaming compositions is generated from her intimate familiarity with the hen, its habitat, and what we would recognise as the science of ethology - the study of animal behaviour.

 

Willow Gallery

marc chagall

Marc Chagall (Vitebsk 1887-1985 Saint-Paul de Vence) Esquisse pour ‘Le Shofar’, 1976 Pastel, gouache and graphite on paper 48 x 31 cm - framed 76 x 59 cm Signed. Executed Sils, winter 1973 This painting is accompanied by a certificate of authenticity from the Comité Marc Chagall Provenance: estate of the artist; thence by descent

 

Cabinet of Curiosities-Honourable Silver Objects

Art deco writing desk Probably Paris, circa 1920-1930 Macassar ebony with inlays of various woods and mother-of-pearl H 122 x W 60 x D 10 cm Provenance: private collection, Paris

 

Florian Kolhammer

Seating ensemble (pair of chairs and table) Moritz Herrgesell (Vienna, 1853-1952) School of Koloman Moser, Vienna, circa 1902 Lacquered beech Table H 77 x W 50.5 cm Chairs H 96 x W 55 x D 55 cm Provenance: private collection Vienna, Austria Literature: Hochschule für angewandte Kunst in Wien (ed.), Koloman Moser 1868–1918, exh. cat., Vienna 1979, p. 203; Leopold Museum (ed.), Koloman Moser 1868-1918, exh. cat., Prestel 2007, pp. 204-205, 206; Hochschule für angewandte Kunst (ed.), Koloman Moser. Graphik Kunstgewerbe Malerei, Salzburg and Vienna 1984, p. 163, 241; Christian Witt-Dörring (ed.), Koloman Moser. Designing Modern Vienna 1897–1907, Prestel Verlag, München, London, New York 2013, pp. 138, 144, 159, 185, 193 Moritz Herrgesell studied architecture at the Vienna School of Arts and Crafts from 1901 to 1905. His famous teacher was none other than Josef Hoffmann. Herrgesell benefited above all from the fact that the ties between the Vienna Secession, artisans and the School of Arts and Crafts were particularly close at this time and that there was frequent creative exchange between individual classes and their teachers. This special situation also brought Moritz Herrgesell into contact with other renowned artists during his studies. The most influential role model here was the famous Viennese universal artist Koloman Moser. Hoffmann attested to Herrgesell's 'great talent and taste' and recommended him 'as completely capable and skillful in all these tasks'. Moritz Herrgesell's particular style can already be seen in his early design from 1903. The influence of his teachers is initially omnipresent and clearly noticeable. In the years that followed, however, his personal interpretation of furniture design became tangible. Herrgesell also regularly took part quite successfully in exhibitions and competitions. After completing his studies, he worked in his parents' carpentry business and showed his designs with great success at national and international exhibitions and competitions. The seating group shown here can be regarded as one of Moritz Herrgesell's first completely independent works from his early creative period. The influences of his mentor Koloman Moser are clearly evident, but it is the fine details that clearly set Herrgesell's design apart. This ensemble from the heyday of Viennese furniture art around 1900 is a rare museum piece from the circle of the most important artists of the time.

 

Rueb Modern and Contemporary Art

lucebert

Lucebert (Amsterdam 1924-1994 Alkmaar) Nomadic, 1959 Gouache on paper 63 x 49 cm Signed and dated '59' Provenance: Kunsthandel Lambert Tegenbosch, Heusden aan de Maas, The Netherlands

 

Willow Gallery

Bernard Buffet (Paris 1928-1999 Tourtour) Le Phare, 1955 Oil on canvas 114 x 146 cm - framed: 136 x 168 cm Signed and dated 'Bernard Buffet 55’ Provenance: Galerie Drouant-David, Paris; Galerie Hélios Art, Bruxelles; private collection, Japan Literature: Fonds de dotation Bernard Buffet, éd., Bernard Buffet, Catalogue raisonné de l'Œuvre peint, 1954-1958, Paris, 2024, vol. II, p. 90 (ill.)

 

Christophe Perlès

Set of Chantilly porcelain with Kakiemon decoration, 18th century The set consists of one jar, one covered ewer, three cachepots, one cup and one saucer The term 'Kakiemon' is attributed to a group of Japanese porcelains whose characteristics are a subtle decoration in fine translucent overglaze enamels and a milky white unblemished body called 'nigoshide' in Japanese. Kakiemon porcelains were exported to Europe in large numbers where they were extremely popular. Compared with blue and white porcelains, Kakiemon was very expensive

 

Univers du Bronze

auguste rodin

Auguste Rodin (Paris 1840-1917 Meudon) Petite ombre de la Porte de l'enfer ou 'Petite Ombre n°1' Model of 1885, cast in 1943 Bronze, richly shaded green brown patina H 31.1 x W 13.8 x D 10.9 cm Bronze signed 'Rodin', cast by 'Alexis Rudier Fondeur Paris' (mark), 'A.Rodin' inside relief seal; 13 examples by this founder for Rodin between 1906 and 1911, then 4 by him for the Museum between 1919 and 1945 (completed edition by Georges Rudier between 1958 and 1966 with 7 bronzes) - Comité Rodin advice letter 2022-6677B

 

Huberty & Breyne

philippe geluck

Philippe Geluck (Brussels, 1954) Le meilleur d'entre nous, 2024 Acrylic on canvas 110 x 100 cm Signed lower right Provenance: the artist's studio

 

Douwes Fine Art b.v.

melchior d'hondecoeter

Melchior d'Hondecoeter (Utrecht 1636-1695 Amsterdam) The bird concert, a family of ducks near a pond with a farm in the background, circa 1666 Oil on canvas 102.5 x 87.5 cm Traces of signature at lower right: M. With thanks to Dr Fred Meijer who wrote a certificate for the work on 9 August 2024, confirming the authenticity of the artwork Provenance: sale collection Konstantin Tifoxilos, Vienna, Wawra, 28 November 1904, lot 75, b&w ill. opposite title page; Galerie Arnot, London 1919; Heirs to Minister Dr. H. Sulzer, Winterthur; Gebr. Douwes Fine Art, Amsterdam, n° 8377, 1968 shown at the Delftse Antique Fair; private collection, The Netherlands; thence by descent to the current owners Exhibition: Kunstmuseum Winterthur, Der unbekannte Winterthurer Privatbesitz 1500-1900, September-October 1942 (Kunstverein Winterthur), cat. n° 145

 

QG Gallery

keith haring

Keith Haring (Reading 1958-1990 New York) Plate 13 Photostat (from the Blueprint Drawings portfolio), 1981 Photostat on paper 105 x 125 cm Signed lower right ‘K. Haring’, signature and date stamped lower right ‘Jan 16 1981 Keith Haring’ Unique work Provenance: gift from the artist circa 1981; private collection, USA; private collection, USA; Wright, May 2024; private collection, Belgium Literature: Keith Haring: Editions On Paper 1982-1990, Littmann, p. 174 discusses series, p. 181 illustrates realized screenprint

 

Christophe Perlès

Bronze inkwell in various porcelains from China, Japan, Chantilly and Mennecy Typical of 18th-century mercers

 

Galerie Raf Van Severen

gustave van de woestyne

Gustave Van de Woestyne (Ghent 1881-1947 Brussels) Adrienne De Zutter au violon, 1920 Oil on canvas 208 x 110 cm Signed bottom left Dedicated 'To Adrienne De Zutter', signed with the artist's initials and dated on the back Provenance: collection of the model, Adrienne De Zutter (1905-1989), future Mrs. Paul Van de Woestyne (1905-1963), himself the son of the writer Karel Van de Woestyne (1878-1929) and nephew of the painter; private collection, Europe (by descent to the current owners, grandchildren of the model and great-grandnephews of the painter) Literature: Kultureel Centrum Mechelen, Gustave Van de Woestyne, 1881-1947, 1967; Museum Voor Schone Kunsten, Ghent, Gustave Van de Woestyne, 2010, n° 78 “Adrienne De Zutter au violon” is a masterclass by the Belgian painter Gustave Van de Woestyne (1881–1947). Van de Woestyne was a prominent member of the first group of the ‘School of Latem’, and this portrait is a beautiful example of his very distinctive and own personal style. On a first and quick look, we see a majestic lady, gracefully rising above the landscape, painted in peaceful duff coloring. Her violin in hand and modestly dressed, she is depicted in a fairytale landscape composed of two trees with graceful silhouettes, perhaps umbrella pines, rising from stylized valleys, and a rose, worthy of Saint Exupéry's Little Prince, in the foreground on the right. The upper part of the sky is simply described by means of a royal blue band in the manner of Hiroshige prints. How do we analyze this? Where does this come from? First, for his technique, we need to go back to Van de Woestyne’s youth. In 1902, a young Gustave went to an exhibition for the first time, one of the Flemish Primitives, like Jan van Eyck and Pieter Bruegel. It would leave an eternal mark on him. Gustave uses a sharp outline of the figures in his works, resulting in a sober and symbolic representation of the model. Secondly, regarding the color palette, we take a little step in Gustave’s life. At the time of the execution of the painting, Gustave had huge admiration for Douanier Rousseau. However, the actual inspiration for the coloring lies in Italy. In 1913, he toured Florence and Tuscany with Valerius De Saedeleer. The many fresco’s and mural paintings have a typical softer and lighter use of colors. So, we can say that, regarding coloring he leaned less towards the warm and dark coloring of the Flemish Primitives and more to the works of their Italian contemporaries. At the outbreak of the First World War, the Van de Woestynes fled the country, only to return in 1919. Around that time, Van de Woestyne soon settled with his family in in the Rozenhuis (or House of Roses) in Waregem, belonging to art lovers and philanthropists Charles De Zutter and his wife Marguerite Taelman. It was here, Van de Woestyne made a portrait of their daughter Adrienne De Zutter. The ties between the De Zutter and Van de Woestyne families predate the Great War. Beyond these friendly relations, the couple played a genuine role as patrons for the artist, as is evident from the booklet of the Van de Woestyne retrospective in Brussels (Palais des Beaux-Arts, 1929). In an unpublished supplication that the painter addressed, on February 5, 1929, to Marguerite Taelman to encourage her to lend her works after an initial refusal, he also stated: 'Without your paintings I must not show those of other collections because, as you know as well as I do, yours are the best.' If it is therefore very likely that the portrait of Adrienne was commissioned by the De Zutters, it is also possible to imagine that Gustave was touched by the languid and pale beauty of his model, who would marry the eldest son of his brother Karel in 1929. The exceptional quality of this painting and detailed story behind it, elevates it to the status of an absolute masterpiece.

 

Galerie Flak

Shamanic 'Nepcetaq' plaque mask Yup’ik, Eskimo, Alaska, 19th century Carved wood H 45 x W 49 cm Provenance: former private collection, North America; Christie’s Paris, 19 June 2013, lot 76; former collection Daniel Hourdé, Paris, acquired at the above sale

 

Galerie de la Béraudière

jean dubuffet

Jean Dubuffet (Le Havre 1901-1985 Paris) Barbe de la sentence inique, 1959 Prints collage and India ink on paper 51 x 33.5 cm Signed and dated upper right: J. Dubuffet 59 Dated and inscribed on the reverse: Barbe de la sentence inique, juin 59 Provenance: Galerie Daniel Cordier, Paris; collection Claude Hersaint, Paris; collection Hélène Anavi, Paulhiac (acquired in 1965); sale Sotheby’s, New York, 27 March 1984, lot 50; Richard L. Feigen & Co., New York; private collection (acquired from the above in 1987); sale Christie's, Paris, 20 October 2022, lot 10; private collection, Belgium Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, As-tu cueilli la fleur de barbe, Fascicule XV, Paris, 1985, n° 53, ill. p. 36

 

Stone Gallery

180 million year old pregnant Ichthyosaur A pregnancy of 180 million years ago, captured in rock, preserved forever Provenance: Holzmaden, Germany Besides being an extraordinary fossil, 'Mutti' (the nickname for this Ichthyosaur, German for Mommy) can be seen as a symbol for motherhood, fertility and femininity. This female ichthyosaur is unique because she was carrying two offspring that can be seen clearly in her abdomen, making her a symbol of femininity and motherhood. Ichthyosaur was an ancient sea monster that ruled the oceans approximately 251 million years ago, 20 million years before dinosaurs came about. Icthyosaur means “Fish Lizards” in Greek. They existed for 100 million years. They were at the top of the marine food chain.

 

Barbara Bassi

arman arman

Arman (Nice 1928-2005 New York) Bracelet instruments, 2005 White gold 18 kt and diamonds 8 examples Fausto Melotti (Rovereto 1901-1986 Milan) Brooch/pendant 'Grata', circa 1978 Rose gold 18 kt and corals 8 examples

 

Galerie Hadjer

joan miró

Joan Miró (Barcelona 1893-1983 Palma de Mallorca) La femme au miroir Aubusson tapestry woven by the Pinton workshop / Mobilier National, France Wool Based on original tapestry cartoon from 1965 138 x 200 cm Edition 2/8 - Project with the Miro Foundation in 2024 Provenance: Atelier Pinton Aubusson-French National collection/Miro Foundation Literature: The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020 Exhibition: The Fabric of Modernity: Matisse, Lurçat, Miró... and French tapestries. Kunsthalle München, 6 December 2019-8 March 2020; Au fil du siècle, 1918-2018 Chefs-d'œuvre de la tapisserie, Galerie des Gobelins, 2018

 

Barbara Bassi

arman arman

Mario Buccellati Necklace and earrings set White gold 18 kt, oval and round diamonds, necklace total ct. 52,02 and earrings total ct. 10,52 Published in the catalogue Buccellati, Ed. Skira, p. 115

 

HELENE BAILLY Paris-Genève

kees van dongen

Kees Van Dongen (Delfshaven 1877-1968 Monte-Carlo) Bouquet de fleurs, circa 1950 Oil on canvas 55 x 38 cm Signed lower right: Van Dongen and countersigned on the back on the stretcher: Van Dongen This work will be included in the digital Catalogue Raisonné of Kees Van Dongen's work which is being prepared by the Wildenstein Plattner Institute, Inc. Notice of inclusion dated 28 May 2024 Provenance: Galerie Romanet, Paris; private collection, acquired from above (before 1999); Kunsthandel Frans Jacobs, Amsterdam; Jan-Dirk Paarlberg, Amsterdam, acquired from above

 

Bernier/Eliades Gallery

martin margiela

Martin Margiela (Belgium, Leuven, 1957) Grey Steps III, 2023 Carpet on canvas on wooden frame 191.5 x 111.5 cm

 

Patrick Derom Gallery

fabienne verdier

Fabienne Verdier (Paris, 1962) Torrent de haute montagne au printemps (High Mountain Stream in Spring), 2023 Acrylic and mixed media on canvas 90 x 213 cm Provenance: the artist’s studio

 

Segoura Fine Art

carlos schwabe

Carlos Schwabe (Zwitserland, 1866-1926) Melisande, 1908 Gouache and mixed technique on paper 29 x 13 cm Signed, dated 1908 lower right and titled Mélisande lower left This full-length portrait depicts an emblematic female figure of the late nineteenth century, inspired by Maurice Maeterlinck's Symbolist play ‘Pelléas et Mélisande’. This dramatic play explores the platonic love between the two protagonists. This portrait of Mélisande reflects Carlos Schwabe's attachment to this enigmatic and spiritual character, illustrating his affinity with Symbolism. The painting bears witness to Schwabe's exceptional talent, his ability to capture emotional depth through his unique artistic expression. Between 1892 and 1924, Schwabe illustrated numerous works, enriching the texts with his striking visions. In 1924, he illustrated ‘Pelléas et Mélisande’, offering us sensual, enigmatic and mystical images. This portrait can therefore be seen as a real preparatory work for these illustrations.

 

Galerie Hadjer

joan miró

Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Hirondelle d'Amour Aubusson tapestry woven by the Pinton workshop/ Mobilier National, France Wool Based on original tapestry cartoon from 1979 200 x 160 cm Edition 2/8 - Project with the Miro Foundation in 2024 Provenance: Atelier Pinton Aubusson - French National collection / Miró Foundation Literature: Le Monde Nouveau de Charlotte Perriand, Fondation Louis Vuitton; K. L. H. Wells, Weaving Modernism. Postwar Tapestry Between Paris and New York, Yale University Press, 2019; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020 Exhibitions: Joan Miró, Hirondelle d’Amour was presented as part of the Louis Vuitton Foundation exhibition, Le Monde Nouveau de Charlotte Perriand, October 2nd, 2019-February 24th, 2020; The Fabric of Modernity. Matisse, Lurçat, Miró and French tapestry, 2020

 
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