24 - UARY 31 JANUARYRUARY 2027

BRUSSELS EXPO | HEYSEL

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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
 

Romigioli Antichità

giuseppe piamontini

Giuseppe Piamontini (Florence, 1664-1744) Small Faun playing with a Satyr, 1710 Carrara marble H 79 cm Signed and dated 1710 Provenance: private collection, Florence Literature: Sandro Bellesi, I marmi di Giuseppe Piamontini, ed. Polistampa 2008 Ideal pendant 'Eros and Anteros' at the Money Museum in Palazzo Pitti, Florence

 

Beck & Eggeling International Fine Art

heinz mack

Heinz Mack (Germany, Lollar 1931) Weisse Vibration, 1958 Synthetic resin in wood (relief) H 28 x W 68 x D 4 cm Signed and dated lower middle 'Mack 58', verso titled 'Weiße Vibration' Provenance: estate of Franz Swetec, Düsseldorf (acquired from the artist)

 

Galerie de la Présidence

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Composition, 1947 Charcoal on paper 108 x 74 cm Signed lower right Provenance: Galerie Louis Carré & Cie, Paris; Galerie Renou & Poyet, Paris; private collection, The Netherlands

 

Galerie Taménaga

kyosuke tchinaï

Kyosuke Tchinaï (Japan, 1948) Fleur sacrée, 2025 Mixed media on washi paper mounted on wood panel 100 x 73 cm Provenance: the artist's studio

 

Galerie de la Béraudière

joan miró

Joan Miró (Barcelona 1893-1983 Palma de Majorque) Femme, oiseaux, 1976 Oil, gouache and oil stick on scratched board 65.1 x 50.2 cm Signed lower right 'Miró' Signed, dated and titled on the reverse:  MIRÓ., 20/IV/76., Femme, oiseaux Provenance: estate of Joan Miró; Sotheby's, Madrid, 42 works by Joan Miró, 9 December 1986, lot 4 (in aid of the Fundaciò Pilar i Joan Miró, Palma de Mallorca); Quitana Fine Arts, New York; Ramis Barquet Gallery, Mexico City; private collection; Christie's, New York, 9 November 2000, lot 460; Waddington Galleries, London; private collection, Portugal (acquired from the above in 2004); Phillips, New York, 8 November 2015, lot 14; private collection, Europe Literature: Jacques Dupin, Ariane Lelong, Joan Miró, Catalogue raisonné. Paintings, vol. VI: 1976-1981, Paris, Gallery Lelong and the Miró Succession, 2004, ill. n° 1737, p. 49 Exhibitions: 2018, Brussels, Galerie de la Béraudière, Calder, Miró et leurs rencontres parisiennes; 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs-d'oeuvre de la galerie et Surréalisme In Woman, Birds, Joan Miró unfolds a free and vibrant universe, where colour and line become forces in motion. Against a deep black background, reds, yellows and whites burst forth with an almost musical intensity. The artist condenses the essence of his language into this work: the spontaneity of gesture, the simplicity of form and the poetry of symbolism. The woman and the bird, emblematic motifs in his work, merge into a space that is both controlled and spontaneous. Created at the end of his life, this composition expresses the supreme freedom of an artist at the height of his powers.

 

MassModernDesign

jose zanine caldas

Jose Zanine Caldas (Brazil, Belmonte 1919-2001 Vitória) Denuncia bench, 1979 Pequi hardwood H 50 x W 300 x D 41 cm Provenance: private collection, Brasilia

 

Galerie Dina Vierny

aristide maillol

Aristide Maillol (Banyuls-sur-Mer, 1861-1944) Léda, 1901-02 Bronze H 28.3 cm Artist's monogram (on the back of the base) Ambroise Vollard edition from 1902 Foundry Florentin Godard, executed between 1907 and 1937 Provenance: private collection, New York; private collection, London: Galerie Dina Vierny, Paris (acquired from the above in 2025) Litrature: W. George, Les albums d'art Druet, vol. II, Maillol, Paris, 1927, another cast illustrated; J. Rewald, Maillol, Paris, 1939, p. 166 and another cast ill. pp. 110-111 (dated 'circa 1902'); W. George, Aristide Maillol, Berlin, 1965, pp. 137 & 232, another cast ill. p. 137; W. George, Maillol et l'âme de la sculpture, Neuchâtel, 1977, p. 128, another cast and terracotta version ill. pl. 139; B. Lorquin, Aristide Maillol, London, 1995, p. 52, another cast ill. p. 53

 

Galerie Raf Van Severen

anne-pierre de kat

Anne-Pierre De Kat (The Netherlands, Delft 1881-1968 La Frette-sur-Seine, France) Femme à la cigarette, 1921 Oil on canvas 102 x 80 cm Signed bottom left Provenance: private collection, Knokke-Heist Literature: Paul Caso, Anne-Pierre De Kat, Une vive intelligence visuelle, Les Editeurs d'Art Associés Exhibition: Guillaume Campo, Meir 47-55 Antwerpen, Exposition n° 121 (label at the back)

 

Cabinet of Curiosities - Honourable Silver Objects

Silver-gilt tazza Mark D possibly for Isaac Dighton or Deighton William and Mary period, London, 1691 Family coat of arms of the 2nd Earl of Petersborough, Henry Mordaunt Ø 29.5 cm Weight: 887 g Provenance: private collection, Belgium

 

Barbara Bassi

afro, berrocal, bury, cesar

Afro: Bracelet in yellow gold 18 kt, red coral, diamonds and rubies, unique piece 1960's Miguel Berrocal: Microdavid - 1969/71 - Pendant/sculpture in bronze - Signed and numbered 17388 - cm. 6,5 x 2 Pol Bury: Ring hexagonal in silver - 2005 - Signed and numbered 3/8 - Silver 925 - gr. 20 ca - cm. 3 x 3,5 César: Brooch/pendant in yellow and white gold 18 kt - 1980's - Signed and numbered 1/4 PA - gr. 19 - cm. 5,3 x 4,5

 

Bernier/Eliades

martina quesada

Martina Quesada (Argentina, Buenos Aires 1987) The verge was always there, 2025 Linen and wood 143 x 215 cm

 

De Brock

Julian Opie (London, 1958) Beach Head 17, 2018 Paint on overlaid aluminium panel 190 x 156 cm

 

Galerie Haesaerts-le Grelle

Gustave Serrurier-Bovy (Liège, 1858-1910) Coat rack, circa 1905 Painted iron, brass, and enameled cast iron H 204 cm – Ø 63 cm Literature: Bigot du Mesnil du Buisson, F. & du Mesnil du Buisson, E., Serrurier-Bovy – un créateur précurseur – 1858–1910, Paris, Faton, 2008, p.166-167; Jacques-Grégoire Watelet, Serrurier-Bovy, Ateliers Vokaer, Brussels, 1986, p. 109 Designed in 1905 for the former Marchal confectionery shop on rue de l’Écuyer in Brussels, this sculptural work in iron and brass, measuring over two metres in height, embodies the very essence of the artist’s genius as a leading figure of Belgian Art Nouveau.

 

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

 

Pauline's Jewellery Box

Art Deco emerald & diamond necklace, circa 1920-1930 Platinum, emerald and diamond Provenance: France A beautiful Art Deco Colombian emerald & diamond pendant necklace, set with a pear shaped Colombian emerald weighing approximately 13.44 carats surrounded by old mine cut diamonds. Estimated total diamond weight is approximately 3.00 carats. Estimated colour H-I on average. Estimated clarity VS on average. The diamonds are bright & lively. Mounted in platinum.

 

Guy Pieters Gallery

yves klein

Yves Klein (Nice 1928-1962 Paris) La Terre Bleue, 1957 IKB Pigment H 41 x Ø 29 cm Provenance: Galerie Bonnier, Geneva; private collection, Sweden Literature: P. Wember, Yves Klein, Cologne, 1969, p. 109, n° RP7 (another example ill.); P. Restany, Yves Klein, New York, 1982, p. 226 (another example ill.); J.P. Ledeur, Yves Klein: Catalogue of Editions and Sculptures Edited, Belgium, 1999, p. 242 (another example ill.); N. Charlet, Yves Klein, Paris, 2000, p. 230 (another example ill.); H. Weitemeier, Yves Klein: International Klein Blue, Cologne, 2001, p. 83 (another example ill.) Exhibitions: Paris, Centre Georges Pompidou Musée National d'Art Moderne, Yves Klein, March-May 1983, p. 109, n° 56 (another example exh.); Nice, Musée d'Art Moderne et d'Art Contemporain and Museo Pecci Prato, Yves Klein: Long Live the Immaterial!, April 2000-January 2001, p. 184 (another example exh. and ill.); Musée des Beaux-Arts d'Angers, Marie Raymond, Yves Klein, November 2004-February 2005, p. 190 (another example exh. and ill.)

 

Barbara Bassi

franco cannilla

franco cannilla

Franco Cannilla - Bracelet unique piece 1960's - Yellow gold 18 kt and diamonds - Ed Masenza Roma

 

Gallery de Potter d’Indoye

Mantel clock depicting the fall of Phaeton Ormoulu bronze France, Consulat period, circa 1800 H 80 x W 53 x D 19 cm Provenance: collection of Robert de Balkany, Paris Literature: Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich, 1986, pp. 354-355, n° 5.9.4.; Marie-France Dupuis-Baylet, L’Heure, le Feu, la Lumière, les Bronzes du Mobilier National 1800-1870, 2010, Ed. Faton, p. 26 n° 1; Marie-France Dupuy-Baylet, Napoléon 1er et les Arts décoratifs. Trésors des palais impériaux, exh. cat. 2013, Macao, Museum of Art, n° 1, pp. 34-35; Thierry Sarmant, Palais disparus de Napoléon : Tuileries, Saint-Cloud, Meudon [exhibition, Paris, Galerie des Gobelins, 15 September 2021 to 15 January 2022], Paris : In fine, 2021; Adrien Goetz, Ambroise Tézenas, Résidences présidentielles, Paris : Flammarion, 2021, p.173 The subject of this clock illustrates the episode in which Jupiter strikes Phaeton with a thunderbolt. Phaeton wanted proof that he was the son of the Sun, (Helios). Phaeton then asked his father to let him drive his chariot. Terrified by the height and the sky, Phaeton veered off course and descended so low that he scorched the Earth. The maddened stars complained to Jupiter, who struck the chariot and Phaeton. 'The terrified horses leap in a large circular movement with pin-wheel escapement mounted on the backplate, the pendulum crutch with fine-screw beat adjustment, and outside countwheel strike on a bell, the canthmechanism showing seconds with original hands'. The bronzier Pierre-Etienne Romain (1765- after 1821) deposited the drawing of a Clock representing the same subject in the cabinet of drawings of the National Library in March 1800. Related works: The Mobilier National keeps three clocks representing this subject: one found at the Tuileries Palace in 1809, another at Ministry of Foreign Affairs, and the third at the Palace of Saint Cloud in 1818, then at the Elysée Palace.

 

De Brock

ethan cook

Ethan Cook (USA, Texas 1893) Untitled, 2014 Hand woven cotton canvas and industrial canvas, framed 193 x 193 cm Provenance: the artist's studio, Brooklyn, NY, USA; T293 Gallery, Rome, Italy; private collection, Europe; Phillips, London, 26 June 2018, lot 276; private collection, UK; Phillips, London, 5 December 2018, lot 71; De Brock, Knokke, Belgium (acquired at the above sale)

 

Victor Werner

carl johan bonnesen

Carl Johan Bonnesen (Aalborg 1868-1933 Copenhagen) African elephant, 1924 Bronze with green patina H 54 x W 78 x D 34 cm Signed and dated CARL J. BONNESEN 1924 Provenance: Professor Karl Meyer, board member of Villadsens Fabrikker; donated Nov. 9th, 1932, to the company director Christian Villadsen and his wife Ingeborg (as inscribed on the base); gifted by Christian Villadsen’s grandson to the previous owner

 

Christophe Perlès

 

Galerie Berès

simon hantai

Simon Hantaï (Hungary, Bia 1922-2008 Paris, France) Étude en noir et blanc pour Pierre Reverdy, circa 1969 Oil on canvas 96 x 75.5 cm Certificate of authenticity n° 2024-16 from the archives Simon Hantai on October 12th, 2024 Provenance: gifted by the artist to Peter Stuyvesant Foundation in 1969 Exhibition: Tilburg, Kultureel Centrum, Peter Stuyvesant collectie, 1979

 

Maison D'Art

Benvenuto Tisi called Il Garofalo (Ferrara, circa 1476–1559) The Nativity, circa 1525/1540 (Adoration of the Christ Child/Adoration of the Shepherds) Oil on wooden panel 38.1 x 33 cm Literature: A. Bliznukov, Ludovico Mazzolino: catalogo delle opere, Florence (forthcoming; as Garofalo, circa 1525/1540)

 

Galerie Patrice Trigano

mel ramos

Mel Ramos (California, 1935) Tammy Time, 1997 Watercolour on paper 76 x 48 cm

 

Maison Rapin

kam tin

KAM TIN Octopus bench with six legs, 2025 Patinated bronze, mohair velvet H 50 x W 120 x D 40 cm

 

Finch & Co

Gandharan Head of a Buddha Afghanistan, 3rd century AD Stucco with ‘earth pigment’ Some old ‘restoration’ to the nose H 26 x W 14.5 x D 14 cm Provenance: Michael Dollard, New York, USA; John Stephens, circa 1986, London, UK; thence by descent; private collection

 

Vagabond Antiques

Monumental carved marble Sundial Portugal, Oporto region, mid-18th century H 357 x W 130 x D 62 cm Portugal has a rich tradition of country houses and manors indigenously known as solares or quintas. Some were modelled on the great 18th century gardens of Le Notre and other landscape architects in France. Under King João, himself a great patron of the arts, began the great 18th century period of Portuguese baroque. The previous austere architectural style, albeit heavily influenced by Renaissance Italy, was replaced with exuberance. With great profits from its colonies and especially gold and precious stones from Minas Gerais and the Sertão of São Paulo in Brazil, it was the golden era of Portuguese architecture and ornament. From it there emerged a new artistic language. Named the Joanine, in honour of the King, it was an architectural style that transformed quintas not only in Portugal but also in the nation’s Atlantic provinces and overseas colonies. This spectacular sundial, monumental in scale, incorporates many architectural elements synonymous with the baroque architecture of the mid-18th century. It was a highly creative Italian who created a form of this style of architecture perfectly suited to Northern Portugal. Born in 1691 and trained in Sienna, Nicolau Nasoni arrived in Oporto in 1725. Having established his reputation by modernising the city’s cathedral, he was commissioned by Jeronimo de Tavora e Noronha to build the Church of Clerigos, one of Oporto’s great 18th century churches. Commissions for other churches and quintas followed, the most famous of which being the grand solar de Mateus, known all over the world for the rose wine that bears its name. The architectural composition of this sundial probably owes more to the façade of the Cas dos Porto Carreiro. Similar works was commissioned by Antonio de Vasconcelos Carvalho e Menezes, a wealthy Portuguese noble who made part of his wealth in Brazil, it was constructed by a Spanish architect but heavily influenced by Nasoni’s work. The volute scrolls and the foliate elements as well as the stylised lambrequins all echo Nasoni’s designs for the gilt woodwork of Oporto churches.

 

Hoffmans Antiques

Chandelier in the 'Retour d’Égypte' style Paris, early 19th century Attributed to Benjamin Ladouèpe-Dufougerias and the 'Manufacture de Cristaux de Montcenis' Ormoulu, patinated and fire-gilt bronze for twelve candles H 130 cm - Ø circa 80 cm Provenance: private European collection This magnificent chandelier exemplifies the short-lived yet influential 'Retour d’Égypte' style, which emerged in the wake of Napoleon’s Egyptian campaign (1798–1801). At its centre stands an amphora-shaped patinated urn, crowned with a flaming finial and surmounted by a pinecone. From the urn’s body spring twelve elegantly curved candle arms arranged in two tiers, richly ornamented with foliage motifs and set between four stylised Egyptian masks. The chandelier is suspended by four chains leading to an imposing corona adorned with leonine masks and voluted floral decoration. The style was largely shaped by the architects Charles Percier and Pierre François Léonard Fontaine, whose neoclassical designs laid the foundation for this decorative vocabulary. It endured only briefly before giving way to the Empire style with the establishment of Napoleon and the First French Empire. Provenance and Comparanda: A closely related chandelier for twelve lights, attributed to the Manufacture de Cristaux de la Reine, is preserved in the collections at Versailles, formerly installed in Marie-Antoinette’s inner cabinet at the Petit Trianon.

 

Galerie Ary Jan

Jean-Pierre Cassigneul (Paris, 1935) Se voir dans un regard, 1990 Oil on canvas 130 x 97 cm Signed lower left and titled on reverse Authenticity confirmed by Jean-Pierre Cassigneul

 

Meessen

benoît platéus

Benoît Platéus (Liège, 1972) Italian mushrooms, 2025 Oil and collage on canvas 80 x 90 cm

 
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