25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galerijen
Galerijen 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
 

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.

 

Maurice Verbaet Gallery

paul van hoeydonck

Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) Untitled, 1958 Oil on unalit 80 x 80 cm Provenance: Maurice Verbaet collection, Belgium Literature: Jan Ceuleers, Paul Van Hoeydonck, Antwerpen, Pandora Publishers, 2011, p. 160 & p. 287 Exhibition: KMSKA, Antwerp, Belgium, Fallen Astronaut. Hommage aan Paul Van Hoeydonck, 12 September 2025-12 October 2025

 

Galerie Hadjer

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Composition, Circa 1965 Wool Aubusson tapestry by the Maurice Chassagne workshop 225 x 300 cm Unique piece Provenance: atelier Maurice Chassagne; private collection, Switzerland

 

WHITFORD

joseph lacasse

Joseph Lacasse (Tournai 1894-1975 Paris) Recherche Incarnation, 1938 Oil on canvas 81 x 65 cm Signed, dated and inscribed on verso Lacasse estate inventory number Dia n° 823 Certificate of authenticity by Mrs Joostens-Koob Provenance: the artist's estate

 

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.

 

Vagabond Antiques

Pair of Roman console tables Roman Neoclassical period, circa 1770 Veneer, Sienna marble, Breccia Africana marble H 90 x W 112 x D 56 cm Provenance: previously in the collection of Cardinal Vincenzo Vannutelli (1836-1930), Dean of the College of Cardinals; thence by descent; collection of the fashion designer Stefano Gabbana Each with a rectangular top butterfly veneer in richly figured Siena marble, edged in a contrasting band of Breccia Africana marble. The frieze is crisply carved with classical laurel swags, centres by rosettes and anthemion motifs and set against a punched ground to catch the light. The square corner blocks are decorated with stylised sunflowers. The tapering fluted legs are carved in three sections, with boldly gadrooned collars and stiff-leaf details above toupie feet. The carving is of sharp quality throughout, with well-preserved original gilding enhancing the architectural lines of the design.

 

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

 

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

 

Victor Werner

constant permeke

Constant Permeke (Antwerp 1886-1952 Ostend) Head of farmer, 1926 Oil on canvas 80 x 55 cm Signed 'Permeke' lower right Bears a label on the reverse that likely indicates the artwork was part of an exhibition organised with the support or involvement of the Belgian Ministry of Public Education at the time

 

Galerie Capazza

georges jeanclos

Georges Jeanclos (Paris, 1933-1997) Kamakura, 1991 Terracotta H 30 x W 45 x D 40 cm Provenance: the artist's studio Exhibition: Georges Jeanclos, Élévation, Abbaye Royale de Fontevraud, 25 November 2023-4 March 2024 The Kamakura series was inspired by Georges Jeanclos' trip to Japan, which took him to the country's ancient medieval capital, home to the oldest Japanese Zen gardens. Jeanclos was deeply moved by the beauty and serenity that emanated from these meditative and contemplative landscapes. Upon his return to Paris, these characters were born, sculptures of resilience, ‘monks in meditation, spectators of their inner gardens’ (Tzvetan Todorov). Georges Jeanclos (1933–1997) was one of the great French sculptors of the 20th century. His work was inspired by the traumatic events of the Second World War. To escape the roundups threatening Jews in France, his family had to hide in the woods; he himself, aged around ten, learned to live with the danger of death. In the aftermath of the Liberation, he saw the bodies of former collaborators hanging from lampposts; shortly afterwards, he discovered the skeletal beings who had survived the camps. Decades later, Jeanclos would respond to this formative experience: not by withdrawing into his own experiences, but by opening himself up to the universal, listening to all suffering, past and present; not by depicting horror, but by finding within himself the strength to create beauty. Jeanclos transforms the earth he works with into thin sheets, which he uses to form figures with similar faces, both children and adults, men and women. They are sleepers lying under a sheet of earth; beings enclosed in urns stamped with Hebrew letters taken from prayers for the dead; figures loaded onto boats bound for the other world; kamakuras, meditating monks. Later, he would add Pietàs, Adam and Eve in love, couples brushing against or embracing each other. Jeanclos' images reveal both the insignificance of our person and the indomitable strength of our love; by their mere existence, they help us to live. Tzvetan Todorov

 

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.

 

Mulier Mulier Gallery

art & language

Art & Language (Collective of artists, 1968 Coventry, United Kingdom) 100% Abstract, 1968 49 x 43.5 cm Signed and dated on reverse

 

Galerie AB - Agnès Aittouarès

pablo picasso

Pablo Picasso (Malaga 1881-1973 Mougins) Two characters, séduction, 1953 Produced in Cannes on 16 December 1953 Ink on paper 20.9 x 26.4 cm Signed upper left and dated upper right Provenance: Scheffel Gallery, Bad Homburg, Germany; private collection, acquired from the Scheffel Gallery in 1989; private collection; private collection, Paris Literature: Christian Zervos, Pablo Picasso. Œuvres de 1953 à 1955, vol. 16, Paris, 1965, n° 57, p. 20; Dore Ashton, Picasso on Art: A Selection of Views, New York, 1972, p. 125

 

Galerie Hioco

yukiya izumita

Yukiya Izumita (Japan, 1966) Laminate, 2025 Iwate clay W 35 cm

 

Desmet Fine Arts

giovanni & giacomo zoffoli

Giacomo (Italy, 1731-1785) & Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed 'G.Z.F' (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973 Other versions: Victoria & Albert: Museum inv. n° A.14-1974; Saltram, National Trust, 871621.4; Philadelphia Museum of Art, Acc # 1978-70-139; Oxford, Ashmolean Museum: Acc # WA1899.CDEF.B449

 

Dei Bardi Art

The Resurrection England, Nottingham, 15th century Alabaster
 H 31 x W 24 x D 4 cm Provenance: Hubert Wilm collection, 19th century, Munich; German Museum, Nuremberg, 1880–1920; Lempertz, Cologne, 1944; John and Johanna Bass collection, New York; Bass Museum of Art, Miami Beach, 1963

 

Claes Gallery

 

Galerie von Vertes

tony cragg

Tony Cragg (Liverpool, 1949) Nea Relatives, 2020 Bronze Conceived and cast in 2020 6 casts H 77 x W 44 x D 47 cm Signature and foundry stamp on the base Certificate of authenticity by the artist on 10 April 2025 Provenance: Buchmann Galerie, Berlin (acquired directly from the artist)

 

Repetto Gallery

jean dubuffet

Jean Dubuffet (Le Havre 1901-1985 Paris) Topographie, January 1959 Oil on paper collage applied on paper [assemblage d’empreintes (huile noire)] 47 x 59 cm Certificate of authenticity by Galerie de l’Ile-de-France, Paris Provenance: Galerie de l’Ile-de-France, Paris; private collection, Italy Literature: Max Loreau (Ed.), Catalogue des travaux de Jean Dubuffet. Fascicule XIX : Célébration du sol II, texturologies, topographies, Weber éditeur, Paris, n° 173

 

Artimo Fine Arts

charles-auguste fraikin

Charles-Auguste Fraikin (Herentals 1817-1893 Brussels) Emerging from the Sea Bath White Carrara marble H 123 x W 37 x D 33 cm Provenance: Francis Meyer collection, Switzerland Literature: Fraikin, Charles-Auguste. Catalogue de la galerie. Musée Fraikin de Herenthals offert par l'artiste à sa ville natale l'an 1891. Herentals: Typ. L. Bongaerts-Verbeeck, 1891; Engelen & Marx. La sculpture en Belgique à partir de 1830. Tome III: Devreese-Hecq. Bruxelles : Éditions Ars 2006, pp. 1550-1557 With this work, Charles-Auguste Fraikin celebrates feminine beauty captured in the intimacy of a daily gesture: that modest and natural act of a young woman emerging from the water and wringing out her long hair. The sculptor excels here in the art of suggestion rather than revelation. The delicately fitted drapery clings to the body’s contours whilst gracefully concealing them, playing on the translucency of the marble and the softness of the volumes. The work bears witness to the dual influence of classical ideals and the romantic taste for a sensitive evocation of femininity. Through his treatment of surfaces - silken, clean, almost vibrant - Fraikin achieves a remarkable degree of refinement whilst preserving a clear narrative: that of a moment suspended in time, poised between genre scene and allegory. Emerging from the Sea Bath brilliantly illustrates Fraikin’s ability to combine modesty with sensuality, simplicity with virtuosity, in a sculpture that speaks both to the eye and to the imagination.

 

Ars Antiqua

viviano codazzi and jan miel

Viviano Codazzi (Italy, Bergamo 1604-1670 Rome) and Jan Miel (Belgium, Beveren 1599-1663 Turin, Italy) Architectural Capriccio with a View of Saint Peter's Basilica and Classical Antiquities First half of the 17th century Oil on canvas 149 x 200 cm Authenticated by Professor Alessandro Agresti

 

Philippe Heim

Jean-Jacques Darbaud (France, 1943) Homme Danakil, 2000 Bronze, nuanced brown patina Founder's mark: Fonte Fuentes Barcelone H 70 x W 50 x D 50 cm Signed ‘Darbaud’, and numbered 1/8

 

Costermans

pierre-philippe thomire

Pierre-Philippe Thomire (Paris, 1751-1843)(Attributed to) Pair of table centrepieces Empire period, early 18th century Chiselled and gilded bronze H 57 x W 22 cm

 

Galerie Berès

Georges Lemmen (Brussels, 1865-1916) Vue sur l'église de Dadizele, circa 1891 Oil on panel 16 x 24 cm Monogram lower right GL This work will be included in the forthcoming catalogue raisonné being prepared by Olivier Bertrand Literature: Roger Cardon, Georges Lemmen 1865-1916, Brussels, 1997, 40 p. 104

 

TASCHEN

marc newson

Marc Newson (Australia, Sydney 1963) America’s Cup This limited edition unfurls the story of America’s Cup and celebrates its skippers, owners, defenders, and challengers. Packed with previously untold tales and unseen photographs, it features a case designed by Marc Newson, crafted from cotton sailcloth, and a custom-made closure by Louis Vuitton, the official partner of the 37th America's Cup. Copies 1-175 come with a numbered carbon fiber bookstand also designed by Newson.

 

DIE GALERIE

andré masson

André Masson (Balagny-sur-Thérain 1896-1987 Paris) La victime, 1942 Gouache and sand on wood 37.8 x 32.8 cm Monogrammed and dated lower left Provenance: the artist’s studio; Galleria Studio Due Ci, Rome Literature: Masson: Massaker, Metamorphosen, Mythologien. exh. cat. Kunstmuseum Bern, Bern 1996, p. 39; André Masson. Un Combat, exh. cat. Musées de la Cour d'Or, Metz 1999, p. 39, 181; André Masson. La mémoire du monde, exh. cat. DIE GALERIE, Frankfurt am Main 2025, p. 43. Exhibitions: Masson: Massaker, Metamorphosen, Mythologien. Kunstmuseum Bern, 1996; André Masson. Un Combat, Musées de la Cour d'Or, Metz, 1999; André Masson. Zwischen Welten – Entremondes, Kunstsammlungen Chemnitz, Chemnitz, 2019-2020; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main, 2024-2025

 

Stone Gallery

Woolly rhinoceros skull Approx. 50.000 years old 100 x 100 x 35 cm Origin: Siberia This woolly rhinoceros skull is approximately 50,000 years old, belonging to one of the most impressive mammals in the recent history of Northern Europe and Northern Asia. There were even people who lived alongside these giants between around 30,000 and 15,000 years ago! Stone gallery has previously conducted expeditions in various countries but recently acquired this skull through a swap with a local museum. Roy says, 'It is the best-preserved and most complete skull I’ve ever seen. Even the teeth are all original.' Researchers and students from Maastricht University have digitised mammoth and rhinoceros fossils from the Ice Age, including this skull. With this technique, it’s possible to bring these extinct species back to life in motion and conduct new studies. 'We’re investigating how strong the bone structure is. For this, we use Finite Element Analyses, a method commonly applied in the construction of buildings and bridges. The study explores the forces exerted on the bones, such as during chewing. This helps us predict how and what the animal ate, as well as how well it was adapted to its enormous size.' - Paleontologist Dr. Jesse Hennekam, Assistant Professor, Maastricht University -

 

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

franco cannilla

franco cannilla

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

 

Galerie Alexis Bordes

jacques-emile blanche

Jacques-Emile Blanche (Paris 1861-1942 Offranville) View of a longère at the end of a tree-lined path, near Offranville Oil on canvas 38.3 x 46.2 cm Signed lower right: J E Blanche Certificate of authenticity by Mrs. Jane Roberts, a specialist on the artist Provenance: private collection, France Literature: Jane Roberts, Jacques-Émile Blanche, Paris: Gourcuff-Gradenigo, 2012; Mireille Bialek, Michel Ciry, Félicien Cacan, Jacques-Émile Blanche à Offranville: peintre-écrivain, Offranville: Mairie d’Offranville, 2006

 
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