25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galleries
Galleries Galerie bei der Albertina ▪ Zetter Franck Anelli Fine Art W. Apolloni - Laocoon Gallery Argento Gallery Ars Antiqua d'Arschot & Cie Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps Galleria Barovier&Toso F. Baulme Fine Arts Beck & Eggeling International Fine Art Galerie Berès Bernardini Milano Bernier/Eliades Galeria Bessa Pereira Galerie BG Arts Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Brun Fine Art Burzio Cabinet of Curiosities Galerie Capazza Caretto & Occhinegro Guillaume Castellano Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) CKS Gallery Collectors Gallery COLNAGHI Costermans Couck Art Gallery Dalton Somaré De Brock De Jonckheere Galerie Oscar De Vos De Wit Fine Tapestries De Zutter Art Gallery Dei Bardi Art Thomas Deprez Fine Arts Patrick Derom Gallery Desmet Fine Art Virginie Devillez Fine Art DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Finch & Co Galerie Flak A&R Fleury Galerie Christophe Gaillard Galerie des Modernes Grusenmeyer-Woliner Galerie Hadjer Galerie Haesaerts-le Grelle Heutink Ikonen Galerie Hioco Huberty & Breyne Galerie Hurtebize Pauline Janssen rodolphe janssen Francis Janssens van der Maelen Kunsthaus Kende Harold t’Kint de Roodenbeke Florian Kolhammer Labellov Alexis Lartigue Lemaire Galerie Lowet de Wotrenge LUDORFF Francis Maere Fine Arts Maison D'Art 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 Objects With Narratives Opera Gallery Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pelgrims de Bigard Galerie Alexis Pentcheff Christophe Perlès Galerie Perrin Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence Van Pruissen Asian Art Maison Rapin Almine Rech Stéphane Renard Fine Art Repetto Gallery robertaebasta Rueb Modern and Contemporary Art Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Anthony Short Antiques Ltd. Edouard Simoens Gallery Herwig Simons Fine Arts Snackers Antiques & Fine Art Spazio Nobile Gallery Stems Gallery Marjan Sterk Fine Art Jewellery Stern Pissarro Gallery Stone Gallery Stoppenbach & Delestre Galerie Taménaga TASCHEN TEMPLON Galerie Tiago The old Treasury Galerie Patrice Trigano unforget Decorative Arts Univers du Bronze Galerie Uzal Vagabond Antiques Gallery Sofie Van de Velde Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Collection (MVC) Verdini Antiques Galerie von Vertes Axel Vervoordt VKD Jewels Galerie Florence de Voldère N. Vrouyr Waddington Custot Floris van Wanroij Fine Art Galerie Watteeu by Edouard & Andrea de Caters Victor Werner WHITFORD Willow Gallery
 

Verdini Antiques

It is above all through the letters to his friend Pasquale Villari that we know the various moments of the work that allow the painter Domenico Morelli to complete the painting "Cesare Borgia in Capua", commissioned by the wealthy German entrepreneur Ettore Giulio Marstaller. On September 26, 1849 Domenico Morelli wrote to Villari that Marstaller had been very interested in a "drawing sketch representing Cesare Borgia after the capture of Capua who chooses among the women locked up in a tower 40 of the most beautiful and we agreed that he will execute the painting of the same size as the bodies, with torchlight". The relationship between the painter and the client was somewhat troubled, to the point that Domenico Morelli proposed the painting to another buyer. Completed in the spring of 54, due to Marsteller's death, the painting "oil on canvas of 131x 183.5 cm" was sold in January of the following year to Count Tasca d'Almerita of Palermo. In 1856 the painting was thus presented at the Exhibition of Fine Arts in Palermo with the title "Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw", obtaining enthusiastic judgments to such an extent that in the magazine "Il Poligrafo" the regret of not being able to grant the Neapolitan painter a diploma of gratitude, as the regulation provided for it only for Sicilian artists. The certain motivations for Morelli's choice of this dramatic historical event are not known, but, as Almerinda Di Benedetto points out, it is shown "certain, however, that the identification of an event so historically full of meaning, both for the terribleness with which the events took place, and for the very strong symbolic message transmitted by the behavior of the Capuans, strenuous and indomitable defenders of their own land and of the moral and civil values linked to it, appears more than appropriate in an era permeated by deep Risorgimento and patriotic moods". In relation to the terrible decision of the ruthless Duke Valentino to perpetrate an unprecedented massacre in Capua to the detriment of the helpless population, which came to count a few thousand victims, the professor and researcher Almerinda Di Benedetto recommends the "very recent publication by Giancarlo Bova, Il sacco di Capua. July 24, 1501, in which the author contributes, with the contribution of unpublished documents, to make greater clarity on the chilling story of the memorable massacre." As far as the purely pictorial aspect is concerned, in the year 1925 Vittorio Spinazzola would have condensed the description of the work in the following lines: "the lush canvas, in which all the virtues of his imagination, his brush, the wise research, the sensuality of the forms, the tumultuous yet Latinally contained impetus of the composition were employed, connecting to our Venetian or seventeenth-century Neapolitan tradition, in which the wonderful bottom of battlemented walls and towers glimpsed in a gold dust and the mastery of the groupings, the glimpses, the nudes, would be enough to show how much his mastery of the drawing, the brush, the form would be enough". Bibliography: Almerinda Di Benedetto- "The painted history: Domenico Morelli and the Sack of Capua" in Rosanna Cioffi, Ornella Scogliamiglio- MOSAIC- Themes and methods of art and criticism for Gianni Carlo Sciolla- vol. 2, Luciano Editore- 2012

 

Snackers Antiques & Fine Art

Walter Pompe (Lith 1703-1777 Antwerp) Cross with ivory corpus, Antwerp 1770 Carved wood and ivory H 57,5 x W 27 x D 11 cm Signed Comes with CITES document Walter Pompe was a very well-known sculptor, especially of Buxus/Palm and Ivory carvings. The richly decorated Calvary features ivory bones, skull, and the snake with apple. With CITES document.

 

Segoura Fine Art

Lucien Victor Guirand de Scévola (Sète 1871-1950 Paris) Woman Portrait, 1902 Pastel on canvas 67 x 54 cm Signed and dated lower right: 'Guirand Scevola 1902'

 

Galerie Nicolas Bourriaud

BUGATTI Rembrandt (1884–1916) Small Elephant at Rest (1912) Bronze with a nuanced brown patina, signed ‘R. Bugatti’ Cast by Hébrard, numbered ‘11’, bears the mark ‘CIRE PERDUE A.A. HEBRARD’. H. 20.3 x W. 20.5 x D. 12.5 cm Circa 1923 Only twenty examples have been recorded to date. A certificate by Véronique Fromanger will be provided to the buyer Provenance: Cahier Hébrard inv. no. 3717, formerly in the collection of the Countess de V, Toulouse, acquired in 1923 or 1924; private collection, Marseille Bibliography: Véronique Fromanger, "Rembrandt Bugatti, Sculptor: A Monographic Catalogue: A Meteoric Career", Paris, Les éditions de l’Amateur, 2016, model listed under no. 300, p. 364.

 

Galerie von Vertes

Henry Moore (Castleford 1898-1986 Much Hadham) Upright Motive, Maquette n° 4, 1955 Bronze with brown patina 30,8 x 6,4 x 7,9 cm Edition of 9 + 1 A.P. Conceived and cast between 1956 and 1962 by Fiorini Ltd, London Provenance: Zabriskie Gallery, New York City; B.C. Deane Collection, US; D.J. Rosenthal Collection, US; Dr. Phillip Cohen Collection, Washington, D.C.; Private collection, Washington, D.C. (by descent from the above); Bonhams, New York, 20 November 2025, lot 119; Private collection, Switzerland This work is registered in the Henry Moore Foundation archives. Literature: Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, n° 381 (another cast ill. pl. 15b); Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, n° 381 (another cast ill. p. 21); Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, n° LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, 'a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the : Upright Motifs.'

 

Rueb Modern and Contemporary Art

Alighiero Boetti (Turin 1940-1994 Rome) Cinque x Cinque Venticinque, 1988 Embroidery 21 x 22 cm Signed and inscribed n° 82769 on the reverse Provenance: kunsthandel E.J, van Wisselingh & Co, Haarlem, the Netherlands This work is accompanied by the certificate of Archive Boetti n° 10891 dd May 2026

 

Galerie Alexis Pentcheff

René GRUAU (1909-2004) New look, Christian Dior Encre sur papier (double face), cachet de l'artiste en bas à gauche, 105 x 75 cm. Provenance : Atelier René Gruau

 

Vagabond Antiques

Wall Lights Attributed to Giocondo Albertolli (1742-1839) Milan, Late 18th Century Height: 72cm Width: 45cm Depth: 37cm These elegant gilt-metal wall sconces are attributed to the Milanese architect, designer and ornamentist Giocondo Albertolli, one of the leading figures of Italian Neo-classicism. Their design closely relates to the engraved ornament published in Albertolli's celebrated pattern books, particularly Ornamenti Diversi (Milan, 1782), which played a central role in disseminating the new classical taste throughout Lombardy and Northern Italy. The sconces display many of the motifs associated with Albertolli's ornamental vocabulary, including scrolling acanthus brances, finely fluted candle sockets and radiating drip pans. Their unusually tall proportions and boldly projecting arms give them a distinctly sculptural character, creating a sense of movement and depth rarely encountered in wall lights of the period. The open voluted arms, enriched with naturalistic foliage, closely resemble a number of Albertolli's published designs for girandoles and wall lights. Born in Bedano, near Lugano, Albertolli settled in Milan in 1774 at the invitation of the architect Giuseppe Piermarini. As Professor of Ornament at the Brera Academy he exerted a profound influence on the decorative arts of Northern Italy, providing designs for architecture, furniture, metalwork and interior decoration. His published engravings became an important source for craftsmen working in the Neoclassical style throughout the late eighteenth century. The present sconces are attributed to Giocondo Albertolli and were almost certainly produced by craftsmen working within the circle of artists and decorators associated with him in late eighteenth century Milan. Their refined design and high quality of execution reflect the sophisticated decorative arts tradition that flourished in Lombardy during the Neoclassical period. Height: 72cm Width: 45cm Depth: 37cm

 

Heutink Ikonen

Year Icon (Menologion) Russia, late 19th century Egg tempera on gesso on linen-covered wood 35.5 × 30.5 cm Provenance: private collection, Germany This beautifully painted year icon (menologion) brings together the entire Orthodox liturgical year in a single composition. The twelve months are divided into separate sections, each depicting the saints and feast days commemorated throughout the calendar year. At the centre of the composition is the Anastasis (the Resurrection of Christ), surrounded by scenes relating to the Church’s movable feasts, including the Ascension and Pentecost, as well as scenes from Christ’s Passion. Along the edge are numerous venerated images of the Mother of God - each associated with its own feast day in the church year. This icon stands out for its unusually compact size. Despite its modest dimensions, the painter has succeeded in incorporating an exceptionally extensive iconographic programme without compromising on clarity or refinement. Hundreds of figures, scenes and inscriptions are depicted with remarkable precision and virtuosity. Thanks to its good preservation, even the smallest of details remain clearly visible.

 

Galerie Oscar De Vos

Rik Wouters (Mechelen 1882 - 1916 Amsterdam) Rik with a patch 1916 Brush drawing with Chinese ink on paper 40 x 29 cm Provenance: Nel Wouters, Overijse Marcel Mabille, Brussels Literature: Avermaete, Rik Wouters, 1962, p. 145, 242 De Pesseroey & Langui, Honderd zelfportretten, 1976, p. 46-47 Van den Bussche et.al., Rik Wouters (1882-1916), p. 20, 234 Hautekeete, Simon & De Nijn, Rik Wouters. De menselijke figuur, 1999, no. 74b, p. 100 Damman et.al., Ik of een ander. Zelfportretten van Belgische kunstenaars, 2003, p. 148-149 Exhibitions: 1935, Brussels, Palais des Beaux-Arts, Exposition Rik Wouters 1946, Den Haag & Rotterdam, Gemeentemuseum & Museum Boijmans, Expositions Rik Wouters 1946 Mechelen, Feestzaal, Retrospectieve Rik Wouters 1947, Antwerp, KMSKA, Rik Wouters 1953, Varese, Seconda Rassegna Internazionale di Scultura all'aperto 1957, Antwerp, KMSKA, Retrospectieve Rik Wouters 1957, Paris, Musée National d'Art Moderne, Rétrospective Rik Wouters 1961, Washington, Smithsonian Institution, National Collection of Fine Arts, Smithsonian Traveling Exhibition Service, Belgian Drawings: From Ensor to Delvaux (Le dessin belge), no. 61 1999, Mechelen, CC Antoon Spinoy, Rik Wouters. De Menselijke figuur, no. 74b

 

Labellov

Hermès Vert d’Eau Matte Alligator Constance Mini With Gold Hardware, 2023 * The interior is lined in tonal lambskin leather * Includes felt protector, invoice, CITES certificate, vanity mirror, dust bags and box * W 18 x H 14 x D 6 cm

 

Collectors Gallery

Irakli Nassidzé (Tbilisi, 1973) 'Anili' Necklace, 2025 From the 'Mystical Contours' Collection 18-karat gold, peridot, topaz, amethyst, lazurite, coral and quartz Created for Zarapkhana, Georgia’s historic jewellery house Limited edition of 2

 

Bernier/Eliades

Tindara SPARTÀ Born 1994, St Rémy, France Lives and works in Dijon, France Title work: La course des Lèvriers (01), 2026 Watercolour on plaster and wood Painting 80 x 122 x 7,5 cm Photo credits: Boris Kirpotin Education 2018 DNSEP – Diplôme National Supérieur d’Expression Plastique, Option Art, École Nationale Supérieure d’art de Dijon, France 2015 DNAP – Diplôme National d’Arts Plastiques, Option Art with honours, École Nationale Supérieure d’Art de Dijon, France Solo Exhibitions 2026 MAD HOUSE, Bernier/Eliades Gallery, Athens, Greece 2024 Coup de chien, Bernier/Eliades Gallery, Brussels, Belgium 2023 Butch’s car, Atelier White Cubi, Dijon, France 2022 Le bain – Installation and performance, Les bains du Nord, Frac Bourgogne, Dijon, France Selected Group Exhibitions 2026 Canin.e, Ateliers Vauban, hosted by Maeva Totolehibe, Besançon, France Ceux qui vacillent, Atelier White Cubi, Dijon, France 2024 Les dodos n’ont jamais froid, double show with Eva Pelzer, Saint-Nazaire Museum, Bourbon- Lancy, France 2023 Après-midi de chien, Collectif Portail, Chagny, France 2022 Y’a de l’orage, Collectif Portail, Chagny, France Y’en a un peu plus, je vous le mets quand même?, Atelier White Cubi, Dijon, France 2021 Confluents, Residence in Labastide, Artistes & Associés, Labastide Villefranche, France Des trous dans les murs, Collectif Portail Création du Collectif Portail, Chagny, France 2020 Capitale des Alentours, Chagny, France 2019 Pas besoin de constat, Chagny, France 2018 Les oiseaux ont cessés de chanter, Interface Gallery, Dijon, France 2014 Disons Dijon, Entrepôt 9, Dijon, France

 

The old Treasury

Faraone brooch Italy (import marks for France), 1980s 18k yellow gold, diamonds, sapphires and emeralds Circa 6 x 4 cm

 

Véronique Bamps

Bulgari necklace, circa 1990 Necklace featuring five spheres in yellow, white, and rose gold

 

CKS Gallery

ANSELM KIEFER (1945) WEI ß WIE GITTERTÜNCHE, 1989-2020 " I don't paint illusions, but real human situations." Emulsion, acrylic, oil, charcoal, chalk, burned books and thread on canvas DIMENSIONS : 280 x 380 x 33 cm PROVENANCE :Private Collection, Paris

 

Van Pruissen Asian Art

Ban'ura Shogo (1901 - 1982) Paper and Writing Box with pea plant design Japan, 1950-1960 H 20.8 x W 32 x D Signature: Shogo saku Provenance: Ben Janssens collection, UK Literature: Jan Dees, Splendour in detail - 20th century Japanese lacquer from the Ben Janssens Collection, 2021 Exhibited at Japan museum SieboldHuis 2021

 

d'Arschot & Cie

An early German bowl Aachen, circa 1620 Johann Christoph Walch (active between 1620 and 1647) Silver ø 10.7 cm 103 gr

 

De Zutter Art Gallery

Corneille (Liège 1922-2010 Auvers-sur-Oise) Le montagnard, 1950 Oil on canvas 36 x 46 cm Provenance: collection Janssen, Belgium Literature: CoBrA, 'La clouleur spontanée', Le mans, Musée de Tessé 2017/2018 and Musée de Pont Aven 2018 Exhibition: CoBrA expositie Museum voor schone kunsten Brussel 2008/2009

 

Galeria Jordi Pascual

Victor Vasarely (Pecs 1908-1997 Paris) Agew, 1991 Acrylic on canvas 120 x 120 cm Certificate of authenticity from Michèle-Catherine Vasarely Provenance: private collection, Bergamo

 

Anthony Short Antiques Ltd.

Exceptional and Very Rare 18th-Century George III Thomas Chippendale Period Mahogany Bookcase *English, circa 1770 – all original and highly authentic* An outstanding and extremely rare 18th-century George III period mahogany bookcase, in the manner of Thomas Chippendale, a true statement piece that combines refined architectural design, exceptional craftsmanship and superb, entirely original condition. The upper section is crowned by an impressive broken arch pediment above a finely carved blind fret frieze, giving the bookcase great presence and elegance. Below, a pair of beautifully panelled cupboard doors, retaining their original brass escutcheons, key and fully working lock, open to reveal generous shelving, ideal for books or treasured objects. The lower section is equally distinguished, fitted with two short and three long graduated oak lined drawers, all retaining their original swan neck brass handles. The whole is raised on classic original blocked ogee bracket feet, which, together with the original panelled oak backboards, confirm the authenticity and integrity of this important piece. Made in England circa 1770, this bookcase displays a superb, rich mahogany colour and a warm, mellow patina developed over more than two centuries. The surfaces, proportions and details are all in remarkable original condition, clearly reflecting the skill of the Georgian cabinetmaker and the careful stewardship it has enjoyed throughout its life. Bookcases of this calibre, period and originality are exceptionally scarce on the market. A very fine example of Georgian library furniture in the Chippendale tradition, this piece offers a rare opportunity to acquire a genuinely period, all authentic masterpiece that unites grandeur, elegance and practicality. A superb focal point for a drawing room, library or study, and an ideal choice for any serious collector or refined interior seeking a museum quality statement piece of outstanding 18th-century craftsmanship. Height 197cm (77.6in) Width 108cm (42.5in) Depth 54cm (21.3in)

 

Collectors Gallery

René Julien (Hollogne-aux-Pierres 1937-2016 Cavaillon) Phaeton necklace, circa 1970 18-karat yellow and white gold and ceramic Unique piece Provenance: family of the artist

 

Galerie Alexis Bordes

Eugène Galien-Laloue (Paris 1854-1941 Chérence) Paris, View from the Banks of the Seine of the Former Trocadéro Palace Gouache and India ink on paper 19 x 31 cm Signed lower left 'E. Galien Laloue' Provenance : private collection, France

 

robertaebasta

Banksy (UK) 2003 Turf War 35 x 49 cm (59 x 72 cm with frame) Silkscreen on paper, signed edition no. 10/750 With Pest Control certificate of authenticity Provenance: Private Collection, Italy.

 

Galleria Barovier&Toso

Fabrizio Plessi (Reggio Emilia1940-2026 Dolo) Bottle Sculpture, 2025 Murano glass by Galleria Barovier&Toso 33 x 12 cm Signed by the artist 'Plessi'

 

Galerie Hurtebize

Henri Lebasque (Champigné, 1865-1937 Le Cannet) Femme au chapeau fleuri dans un jardin, 1900 Oil on canvas 65 x 54,3 cm Signed lower right Certificate of Authenticity by Art Expert Denise Bazetoux

 

Repetto Gallery

Christo (Gabrovo 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Pont Neuf, Wrapped (Project for Paris), 1985 Graphite, charcoal pastel, wax crayon, fabric, photograph collage on cardboard mounted on a stretcher 144.5 × 165 cm Upper element: 38 x 165 cm; lower element 106,5 x 165 cm Signed, dated and titled lower on the upper element The artwork’s details have been reviewed and confirmed by the Foundation Christo and Jeanne-Claude Provenance: Michael Cullen, London; Deutsche Bank Collection, Frankfurt (acquired from the above in 1985)

 

Galerie BA - Berthet Aittouarès

Vera Molnar (Budapest 1924 - 2023 Paris) 2 se singularisant E - f, 1974-2018 Acrylic print on canvas 60 x 60 cm Signed and titled on the back Provenance : Artist's studio

 

Galerie Jean-François Cazeau

Niki de Saint Phalle (1930-2002) La Force (Strenght), 1987 Painted polyester resin 35 x 53,3 x 29,2 cm Edition of 10, numbered 3/10 Artist's signature and number '3/10 Niki de Saint Phalle' (on a plaque fixed at the bottom) Provenance: artist's studio; Gallery Gimpel Fils, Londres; private collection, acquired in 1989; private collection, France

 

Verdini Antiques

Vincenzo Raffaelli Rome, Via del Babuino 93 Performed between 1835 and 1845 ca. Round top in colored marbles "pebble" samples 200 ca. Diameter 91.2 cm = 3 Roman feet Thickness 5.2 cm = 2 Roman inches The round top in colored marble that we are dealing with, is a real "pebble" sample made of ancient "excavation" marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.

 
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