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Artworks

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Galleries
Galleries Galerie AB - Agnès Aittouarès Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Arte-Fact Fine Art Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps Barbara Bassi Beck & Eggeling International Fine Art Galerie de la Béraudière Galerie Berès Bernier/Eliades Galeria Bessa Pereira Galerie BG Arts Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Cabinet of Curiosities - Honourable Silver Objects Galerie Capazza Giammarco Cappuzzo Fine Art Carlucci Gallery Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Citadelles & Mazenod CKS Gallery Claes Gallery Collectors Gallery COLNAGHI 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 Desmet Fine Arts Virginie Devillez Fine Art DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Gilden's Art Gallery Grusenmeyer-Woliner Galerie Hadjer Galerie Haesaerts-le Grelle Philippe Heim 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 Hartford Fine Art - Lampronti Gallery Alexis Lartigue Lemaire Galerie Lowet de Wotrenge Francis Maere Fine Arts Maison D'Art Maisonjaune Studio Martins&Montero Martos Gallery MARUANI MERCIER MassModernDesign Galerie Mathivet Mearini Fine Art Galerie Greta Meert Meessen Galerie la Ménagerie Mulier Mulier Gallery Jan Muller Antiques Klaas Muller NARDI VENEZIA Nosbaum Reding Dr. Nöth kunsthandel Galerie Nathalie Obadia, Paris/Brussels Objects With Narratives Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Pelgrims de Bigard Galerie Alexis Pentcheff Christophe Perlès Galerie Perrin Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence Pron Van Pruissen Asian Art QG Gallery Maison Rapin Almine Rech Stéphane Renard Fine Art Repetto Gallery robertaebasta Romigioli Antichità Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Edouard Simoens Gallery Herwig Simons Fine Arts Stern Pissarro Gallery Stone Gallery Galerie Taménaga TASCHEN TEMPLON The old Treasury Galerie Patrice Trigano unforget Decorative Arts Univers du Bronze Vagabond Antiques Gallery Sofie Van de Velde 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 Galerie Watteeu by Edouard & Andrea de Caters Victor Werner WHITFORD Willow Gallery
 

Douwes Fine Art b.v.

henri fantin-latour

Henri Fantin-Latour (Grenoble 1836-1904 Buré) Vase de Pivoines, 1902 Oil on canvas 41 x 37 cm Signed lower left 'Fantin' The authenticity of this work has been confirmed by Sylvie Brame Provenance: Tempelaere, Paris; Tavernier, Paris; Colnaghi, London; Galerie Brame, Paris, 1978; Sotheby's London, 1978, lot 205; private collection, Europe; Sotheby’s London, 1989, lot 2; private collection, Europe; Sotheby’s London, 1996, lot 24; Noortman Master Paintings, Maastricht, bought at TEFAF 2004; private collection, Belgium; Douwes Fine Art, Amsterdam Literature: Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, n° 1937, p. 206

 

Boon Gallery

antony gormley

strain ii

British School Executed in 2022 Unique work Cast iron 183 x 39 x 51 cm / 72 x 15.3 x 20 in Certificate of authenticity by artist Antony Gormley, 2024

 

Stone Gallery

Quartz crystal cluster Weight: 350 kg 87 x 135 x 75 cm Origin: quarries of Mount Ida, Arkansas, USA, discovered in 1993 Provenance: Paul Membrini collection until 2023 Rock crystal is the crystallised, colourless variety of quartz, also known as clear quartz. All the crystals with their countless facets are 100% natural. With its transparent and colourless appearance, it is revered for its purity and clarity. This giant group of quartz crystals weighs approximately 350kg and is 87 x 135 x 75 cm. It displays remarkably perfect and water-clear crystals on all sides. Discovered in one of the famous crystal quarries of Mount Ida, Arkansas, USA, in 1993. The piece was once part of the Membrini Collection from Switzerland, a phenomenal museum-quality crystal collection, meticulously assembled over the years by Membrini Kristall, a firm based in Chur, Switzerland. Founder Paul Membrini was a renowned “strahler,” a professional crystal hunter who explored the Alps. Stone Gallery acquired the Membrini Collection in early 2023. Martin Garrix Stone Gallery proudly announces that the larger sibling of this piece, a great cluster weighing an impressive 4500 lbs, is now on display at the Naturalis Biodiversity Center in Leiden, in part thanks to Dutch DJ Martin Garrix.

 

Galerie des Modernes

jean dubuffet

Jean Dubuffet (Le Havre 1901-1985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right 'J. Dubuffet 52' Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997

 

Art et Patrimoine - Laurence Lenne

Transport case, for Louis XV at the Château de Versailles France, made between 1745-1749 Gilt-tooled leather, copper hinges H 11 cm - Ø 26.5 cm Provenance: Louis XV in Versailles Carrying and protective case for a silver porringer. The lid of the case is decorated with the coat of arms of Louis XV and the three facing crowns of the Château de Versailles, both gilt-tooled. All copper hinges are stamped with the crowned 'C' mark. The case was made between March 5th, 1745 and February 4th, 1749.

 

Maurice Verbaet Gallery

Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Hommage à Fontana, 1959 Oil, collage on canvas 50 x 60.5 cm Provenance: Hans Liechti, Grenchen; private collection, Switzerland Literature: Willy Van den Bussche and Léonore Verheyen, Retrospective Jef Verheyen 1932–1984 (Ostend/Bruges: PMMK – Provincial Museum of Modern Art / Stichting Kunstboek, 1994), p. 76 Exhibitions: Retrospektive Jef Verheyen 1932-1984, Josef Albers Museum Quadrat, Bottrop, 10 July-4 September 1994; Retrospectieve Jef Verheyen 1932-1984, PMMK Museum voor Moderne Kunst Ostende, 26 March-13 June 1994

 

Francis Maere Fine Arts

eugène dodeigne

Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Untitled, 1990 Oil on canvas 195 x 97 cm

 

Cabinet of Curiosities - Honourable Silver Objects

Cartier brooch Platinum, diamond, turquoise and onyx France, circa 1915 Signed and numbered Provenance: private collection, New York Exceptional Cartier brooch with an ingenious fastening mechanism.

 

De Wit Fine Tapestries

After David Teniers II The Fish Quay–Return of Fishermen Brussels, 1725-1750 Wool and silk 264 x 390 cm Celebrated for their lively depictions of rural life, sets of tapestries inspired by the famous peasant scenes of David Teniers II (1610–1690) formed some of the most popular tapestry series in late 17th- and early 18th-centuries. Their extraordinary appeal is reflected in the sheer number of workshops that produced them. In Brussels alone, seven ateliers wove this distinctly Flemish genre, while so-called Teniers tapestries were also produced in other European centres such as Amsterdam, Aubusson, Beauvais, Lille, London, Madrid, and Oudenaarde. Owing to this widespread production and the enduring commercial success of the genre, attributing individual designs can often be challenging. The present example, however, belongs to a distinguished series that laid the foundation for the genre and was designed by David Teniers II himself. Description The tapestry depicts a bustling quay where fishermen unload and sort their catch. On the left, a boat carrying five men arrives, still hauling in its nets, while one fisherman on the bow hands a line to a man standing at the end of the quay. In the foreground, a fisherman empties a barrel of fish and shellfish, while three men nearby appear to be negotiating. Further along the quay, another sorts his catch, two men converse, and a man leans casually on a donkey. Behind them, a figure with his back turned adds a touch of unvarnished realism. In the background, a bay stretches out, framed by a wooded coast to the left and a fortified structure to the right, complete with patrolling figures and a tall, three-tiered tower. Through the central passageway, two additional boats are visible. One hauling in its nets, the other lowering its mast. Attribution The Fish Quay was executed in the Brussels workshop of Hieronymus Le Clerc (1643-1722) or that of his associate Gaspar van der Borcht (1675-1742). Several editions of the scene are known, some bearing the signature of one of these associated tapissiers: Le Clerc or Van der Borcht’s Latinized form, A Castro. A now-lost edition formerly in Dresden bore Van der Borcht’s signature along with an extensive inscription identifying David Teniers II – the court painter to Archduke Leopold Wilhelm of Austria (1614-1662) and Don John Joseph of Austria (1629-1679), governors of the Southern Netherlands from 1648 to 1656 and 1656 to 1658 respectively – as the designer. Teniers is also cited as the designer in a 1701 archival document recording that Le Clerc and Van der Borcht sold a six-part edition of the series, including a tapestry described as “un port de mer, où l’on pesche le poisson” (a seaport, where fish are caught). Dating the collaborative production of this particular example is difficult. The earliest known editions of the series were likely produced in the 1680s, with production continuing until Le Clerc’s death in 1722. The Fish Quay lacks the usual outer border, suggesting it was intended for mounting on wainscoting.

 

Willow Gallery

Eugène Boudin (Honfleur 1824-1898 Deauville) Bordeaux, le port, 1874 Oil on canvas 41 x 64 cm 56 x 79 cm (framed) Signed, dated and inscribed 'E. Boudin 74 Bordeaux' Provenance: Louis Bernard collection; its sale, Me Chevallier, Paris, 11 May 1901, lot 19; Jules Chédeville, Paris and Honfleur; Michel Durnerin, Paris (by descent); then by descent Literature: R. Schmit, Eugène Boudin, Paris, 1973, vol. I, p. 347, n° 978; G. de Knyff, Eugène Boudin raconté par lui-même, Sa vie, son atelier, son œuvre, Paris, 1976, p. 130 (ill.); R. and M. Schmit, Eugène Boudin, Premier supplément, Paris, 1984, p. 150, n° 978 (ill.)

 

De Jonckheere

pieter brueghel the younger

Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or the Village Lawyer, 1622 Oil on panel 78.9 x 123.2 cm Signed and dated: P. BREVGHEL, 1622 Provenance: private collection, Belgium; Galerie Legenhoek, Paris, 1991; private collection, France Literature: Ertz, Klaus, Pieter Brueghel der Jüngere: Die Gemälde mit kritischem Oeuvrekatalog, Lingen, Luca Verlag, Vol. I, 2000, p. 513, cat. E 507, repr.; Curie, Christina, Allart, Dominique, The Brue[H]el Phenomenon, Brussels, Royal Institute for Cultural Heritage, vol. III, p. 1030-1031 This Payment of the Tithe, or The Village Lawyer, is marked by Pieter Brueghel the Younger’s verve, meticulous execution, and vibrant colours. The satirical subject mocks the profession of the lawyer responsible for collecting the heavy tax that the poorest peasants struggled to pay. The grotesque faces of the petitioners, as well as the lawyer’s prognathous jaw - associating him with the Spanish authorities then in power - fascinate through their caricatural force. This original composition by Pieter Brueghel the Younger stimulated the market of the time, generating strong demand. The success of this still-relevant satire has endured to the present day.

 

Mulier Mulier Gallery

andy warhol

Andy Warhol (USA, Pennsylvania 1928-1987 New York) Shoe, circa 1956 Ink, tempera and gold flake on paper 45.9 x 60.6 cm Stamped twice by the estate of Andy Warhol, with number of the estate

 

Huberty & Breyne

philippe geluck

Philippe Geluck (Brussels, 1954) Vasarely Pollock Soulages, 2025 Acrylic on canvas 80 x 80 cm (each)

 

Martins&Montero

maria thereza alves

Jimmie Durham (Texas 1940-2021 Berlin) for Labinac PINO (model 3), 2019 Epoxy resin, glass, iron, and bronze 100.5 x 66 x 50 cm 2/15 + 5 AP

 

Barbara Bassi

mouboussin multicolor stone set

Maison Mauboussin Multicolour set of necklace and earrings, 1980s Diamonds, pearls and coloured precious stones mounted in 18 kt yellow gold Provenance: private collection, Italy

 

Nosbaum Reding

melanie loureiro

Melanie Loureiro (Cologne, 1994) Where Hummed Intentions Drift, Ancient Bonds Persist, 2024 Oil on canvas 160 x 140 cm

 

De Jonckheere

lucas van valckenborch

Lucas van Valckenborch (Leuven 1535/6-1597 Frankfurt am Main) The Kermesse of St. George, 1595 Oil on panel 22.5 x 38.5 cm Signed and dated 1595 LVV on the fountain Provenance: collection of Charles Theodore of Bavaria (1724-1799), Elector of the Palatinate and Bavaria, Munich, inv. n° 138 (according to a label in brown ink on the back dating from 1799, n° 138); collection of Maximilian de Beauharnais, Duke of Leuchtenberg (1835-1852) (fragmentary label); Almas Gallery, Munich, 1941; private collection, South Germany Literature: Pantheon, September 1941, supplement V, repr.; Bernt, Walter, Die niederländischen Maler des 17. Jahrhunderts, Munich, 1948, n° 865 (1960 edition, n° 1216, repr.); Wied, Alexander, Lucas und Marten van Valckenborch. Das Gesamtwerk mit kritischem Oeuvrekatalog, Freren, Luca Verlag, 1990, pp. 176-77, n° 81, repr. Lucas van Valckenborch was undoubtedly introduced to painting by his father Laureys van Valckenborch, before being accepted as a master of the Mechelen painters' guild in 1564. Following the religious persecution inflicted by the Duke of Alba's troops on supporters of the Reformation, he fled the city in 1567 to take refuge in Liège, then in Aachen from 1570 to 1573, where he was reunited with his brother Marten and Hans Vredeman de Vries (1527-1609). He settled temporarily in Antwerp from 1575 to 1577. He was then employed in Brussels by Matthias, the then Governor-General of the Netherlands. In 1581, he accompanied the latter to Austria, staying in Vienna and Prague, as well as in Linz and Nuremberg. As of 1593, he shared his workshop in Frankfurt am Main with his brother Marten; he was granted citizenship on 10 January, 1594, encouraged by Archduke Ernest of Austria (1553-1595). He worked actively in the family workshop until his death in 1597. Considered one of the greatest landscape painters of the 16th century, Lucas van Valckenborch's concept of landscape was derived from Joachim Patinir and Pieter Bruegel the Elder. His very detailed portrayals of the seasons, village kermesses, romantic scenes and townscapes, stand out owing to the meticulous care employed in their execution and the precise structure of the planes leading to the horizon. His panoramic landscapes are a careful observation of the Meuse valley; his anecdotal scenes are painted with the delicacy of a miniaturist, while his landscapes are presented with topographical accuracy. At the end of his life, his deep landscapes with their luminous, refined nuances, bear witness to a creative approach that sought to go beyond the Bruegelian concept, which was never surpassed by his contemporaries.

 

Galerie La Forest Divonne

jeff kowatch

Jeff Kowatch (Los Angeles, 1965) Holy wholly, 2024 Oil on linen 180 x 126 cm Provenance: the artist's studio

 

Maisonjaune Studio

Gabriella Crespi (Saronno 1922-2017 Milan) Daybed (house and garden collection), 1977 Wood, rattan and brass H 210 x W 140 x D 215 cm Signed Certificate of authenticity signed by the artist's daughter

 

Art et Patrimoine - Laurence Lenne

Potpourri vase in polychrome porcelain Tournai porcelain, second period, 1763-1775 H 36.5 cm Rare potpourri vase in soft-paste, polychrome Tournai porcelain. At its base, it depicts a gallant offering grapes to his lady Provenance: former du Bois de Roest collection Literature: a similar piece is published in Lucien Delplace, Considérations sur les porcelaines de Tournai, p. 25, plate 3; and in Soil de Moriamé & Delplace, La Manufacture Impériale et Royale de Porcelaine de Tournay, 1937, p. 341, n° 645, plate 79

 

Martos Gallery

keith haring

Keith Haring (USA, Pennsylvania 1958-1990 New York) Untitled, May 23, 1981 Marker on plastic 53.3 x 57.3 cm Provenance: Ellen Meyer collection, acquired directly from the artist; New York; Christie’s Auction, 1 May 1991, lot 313; private collection, Italy; Martos Gallery, New York Exhibition: Keith Haring: Surface to Air, Martos Gallery, New York, 6 May–25 July 2025

 

Galerie Florence de Voldère

frederik bouttats l'ancien

Frédérik Bouttats the Elder (Antwerp, 1590-1661) Earthly paradise Oil on canvas 55.5 x 83 cm A painter of landscapes, paradises, and animals, he was also an engraver. He joined the Antwerp Guild as early as 1612. He had two pupils, as well as his sons Frédérik the Younger and Jacob. Founder of a famous family of artists, he contributed, along with his followers, to the influence and richness of Flemish painting through brilliant works under the influence of Velvet Brueghel, Jan van Kessel, and Roelandt Savery. To the great delight of naturalists and humanist scholars, the Breughels and their painter friends such as the Bouttats multiplied the themes of the Earthly Paradise, celebrating the beauty and diversity of creation. Like the Bird Traps, these paradises met with great success, and different versions can now be seen in the world’s greatest museums.

 

Meessen

evariste richer

Evariste Richer (Montepellier, 1969) Saint-François, 2025 Ink on paper 112 x 112 cm

 

Hoffmans Antiques

Pair of side cabinets Paris, circa 1800 Walnut, mahogany, and mahogany veneer with gilt-bronze mounts, grey Bardiglio marble tops H 88 x W 45 x D 44 cm In the manner of Luigi and Antonio Manfredini, Paris Provenance: private European collection This pair of neoclassical cabinets reflects the refined elegance of early 19th-century Parisian design. Each cabinet combines function with ornament, comprising drawers, a cupboard, and a concealed drawer. The gilt-bronze mounts feature central lion masks and Egyptian-inspired motifs, a reference to the vogue sparked by Napoleon’s Egyptian campaign. Topped with slabs of grey Bardiglio marble, the cabinets blend practicality and decorative sophistication.

 

Meessen

léa belooussovitch

Léa Belooussovitch (Paris, 1989) Langue de Barbarie (Sénégal), 2025 Drawing with coloured pencil on wool felt 56.5 x 46.5 cm (framed)

 

Claes Gallery

Reliquary Figure 'Mbulu-ngulu' Kota Kota-Obamba People Gabon, presumed late 19th-early 20th century Wood, copper and brass H 43 cm Provenance: private collection, Los Angeles, until 1979; private collection, Geneva Literature: L’Art Kota. Les figures de reliquaire, Chaffin, Meudon, 1979, pp. 234-235, fig. 133 (written height: 43.5 cm)

 

Galerie Hadjer

alexander calder

Alexander Calder (USA, Pennsylvania 1898-1976 New York) IXE, 1970 Wool and silk 170 x 280 cm Aubusson tapestry by the Pinton workshop Edition of 6 + 2 AP Provenance: Atelier Pinton; private collection, France

 

Beck & Eggeling International Fine Art

manolo valdés

Manolo Valdés (Valencia, 1942) Perfil sobre fondo azul, 2016-2017 Collage, mixed media on canvas 122 x 93 cm Signed, dated and titled on reverse Provenance: the artist's studio

 

Galerie Nicolas Bourriaud

jacq orlande sinapi

Jacq Orlande Sinapi (Marseille, 1911-1989) Bison, circa 1940 Bronze with nuanced brown patina Cast by Leblanc-Barbedienne and bearing the foundry's stamp H 50 x W 57 x D 21 cm Signed ‘Jacq Orlande Sinapi’ Only two pieces known to date Provenance: private collection, France

 

Galerie Capazza

Goudji (Georgia, Bordjomi 1941) Oryx à la robe diaprée, 2025 Silver 1st title, serpentine, pyrite, crystal, Armour stone H 49 x W 38 x D 10 cm Provenance: the artist's studio Exhibition: Goudji, L'or du temps, 5 July-28 September 2025, Galerie Capazza (France) This oryx, with its serpentine goatee and crystal-adorned tail, is an African antelope. It sports horns and a coat draped in Armour stone, and wears a silver bell around its pyrite neck, ready to ring. 'When viewing Goudji's works, one is overcome by a disturbing feeling, that of being faced with original, powerful, dazzling masterpieces that delicately resonate with so many symbols that shape our visual culture and our common heritage, from Persia to Athens, from Babylon to Rome, from the Tigris to the Danube, winged griffins of malachite and lapis lazuli, birds with bold and daring beaks, reassuring ex-votos, kantharoi and cups worthy of banquets of the gods. Modest, always secretive, born into goldsmithing because he ardently wanted to be, constantly devoted to his craft, constantly exploring forms, constantly telling stories, Goudji has definitely entered into history.' by Olivier Gabet, 2025 (General Curator of Heritage and Art Historian - Director of the Department of Decorative Arts at the Louvre Museum)

 
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