25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

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
 

Patrick Derom Gallery

Léon Spilliaert (Ostend 1841-1946 Brussels) White Box, Bottle, Shells and Books, 1904 Pencil, India ink wash, brush, coloured pencil, pastel, gouache on paper 41.5 x 27.5 cm Signature lower left: L. Spilliaert

 

Barbara Bassi

Arman (Nice 1928-2005 New York) Musical instruments bracelet, circa 1990 Diamonds and 18 kt yellow gold Unique piece signed and dedicated by Arman 'Arman for Janadine' Sonia Delaunay (Ukraine, Hradyz'k 1885-1979 Paris) Flamenco, 1979 Silver metal and enamel Limited edition Provenance: private collection, USA Literature: Cover of catalogue 'Bijoux d'artistes de Calder à Koons' by Diane Venet (Flammarion), Musée d'Art Décoratif, Paris, 2018

 

De Zutter Art Gallery

paul delvaux

Paul Delvaux (Wanze 1897-1994 Furnes) Trois femmes, 1955 Ink and watercolour on paper 54 x 71.5 cm

 

Galerie Florence de Voldère

jacob grimmer

Jacob Grimmer (Antwerp, 1525-1590) Winter landscape Oil on panel 37.3 x 51 cm Provenance: Antonie Palamedes Stevens (1601-1673), painter and collector; private collection, Austria; sale Versailles, 1937; private collection, Paris; sale Galliera, Paris, 29 November 1973 n° 20,21,22,23; private collection, Brussels Literature: R. de Bertier, Jacob et Abel Grimmer, 1991, ill. pp. 104-108 Received as a master of the Guild in 1547, Jacob Grimmer is amongst the great pioneering painters in the history of Northern painting. A contemporary of Pieter Bruegel the Elder, he shared with him a passion for nature; like him, he painted from life, and his works are filled with realism and genuine emotion. It is through the recurring theme of the seasons in his work that Jacob Grimmer expresses his innovative vision of the landscape, where shifting atmospheric moods adapt to everyday and secular scenes.

 

Galerie Jean-François Cazeau

martial raysse

Martial Raysse (Nice, 1936) Green on green, 1964 Spray paint, xerography, collage, oil and cardboard mounted on canvas 33 x 22 x 7 cm Signed Martial Raysse, dated 64 and titled Green on green (on the reverse) This work is registered in the inventory 'l'Oeuvre de Martial Raysse' under n° IMR-0193 Provenance: William Copley collection, USA; Christie's, New York, Contemporary Art - Including property from the collection of William Copley, 8 November 1993, lot 8; private collection, Paris; acquired from the above by the present owner Exhibition: New York, Galerie Luxembourg & Dayan, Martial Raysse: 1960-1974, 11 May-13 July 2013

 

Gallery Sofie Van de Velde

René Magritte (Lessines 1898-1967 Brussels) La Gorgone, 1943 Coloured pencil on paper 14 x 18.8 cm Signed lower right. With certificate of the Comité René Magritte CM 2021/2/18 dated 26 October 2021

 

unforget Decorative Arts

fulvio bianconi

Fulvio Bianconi (Padua 1915-1996 Milan) 'Sirena' vase model 4201 Designed in 1950, manufactured by Venini Murano, Italy Blown glass in amber color, iridescent, decoration in white glass called lattimo H 30.5 x W 20 x D 10 cm Acid signed on the reverse on 4 lines 'venini murano MADE IN ITALY' Provenance: Sotheby's London, Design, 16 October 2018, lot 88 Literature: Marc Heiremans, Art Glass from Murano 1910-1970, Stuttgart, 1993, p. 270, fig. 223 Franco Deboni, VENINI GLASS: Its history, artists and techniques, Volume I, Turin, 2007, n.p. for a drawing of the model in the Venini ‘Red’ catalogue; Franco Deboni, VENINI GLASS: Catalogue 1921-2007, Volume II, Turin, 2007, pl. 193; Marino Barovier, ed., FULVIO BIANCONI AT VENINI, exh. cat., Le Stanze del Vetro, San Giorgio Maggiore, Venice, 2015, p. 16 for a sketch from the Venini ‘Black’ notebook, p. 25 possibly illustrates the present lot, pp. 130, 144, 156 In 1950, Bianconi created a series of glass sculptures, some representing marine subjects (mermaids and fish) in a playful manner, and others exploring the theme of the female body. Several of these pieces were successfully exhibited at the major traveling exhibition Italy at Work, organized in the United States between 1950 and 1953. Many of these sculptures are characterized by a technique of applying 'lattimo' threads that stand out on a transparent surface. Other sculptures feature Phoenician decorations which, like 'lattimo' decorations, are also used on vases with soft baselines.

 

Pelgrims de Bigard

pieter brueghel the younger

Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) A village scene with a horse-drawn cart and a goose keeper Oil on panel 25 x 31 cm Signed lower left 'P. BREUGHEL' Provenance: collection Kaufmann, before 1934; Kunsthandel P. de Boer, Amsterdam, 1934; collection Van Hees, The Netherlands, until 1969; private collection, The Netherlands Literature: P. de Boer, De Helsche en de Fluweelen Brueghel en hun invloed op de kunst in de Nederlanden, exhibition catalogue, Amsterdam 1934, ill. p. 9, p. 32, n° 32; Pantheon, Monatsschrift für Freunde und Sammler der Kunst, Munich, 1934, XIII, ill. p. 141; P. de Boer, Catalogus van oude schilderijen, exh. cat., Amsterdam, 1940, ill. n° 8; Singer Museum, Modernen van toen 1570-1630, Vlaamse schilderkunst en haar invloed, exhibition catalogue, Laren 1963, n° 53; Georges Marlier, Pierre Brueghel le Jeune, 1969, pp. 417-418, ill. n° 263; Klaus Ertz, Pieter Brueghel der Jüngere (1564-1637/38), die Gemälde mit kritischem Oeuvrekatalog, Lingen 2000, Vol. II, p. 821, ill. n° 667, p. 824, inv. n° E116 Exhibitions: Amsterdam, Kunsthandel P. de Boer, De Helsche en de Fluweelen Brueghel en hun invloed op de kunst in de Nederlanden, 10 February-26 March 1934, n° 32; Amsterdam, Kunsthandel P. de Boer, November-21 December 1940, n° 8; Laren (N.H.), Singer Museum, Modernen van toen 1570-1630, Vlaamse schilderkunst en haar invloed, 15 June-1 September 1963, n° 53

 

Galerie Capazza

éric antoine

Éric Antoine (France, 1974) Tidy V, 2024 Ambrotype 40 x 40 cm Provenance: the artist's studio Exhibition: La Fabrique des Éléments, 4 October-7 December 2025, Galerie Capazza, France In the Cerveaux (Brains) series, from which Tidy V originates, layers of leaves and stacked documents tell stories of real or imaginary lives. The ambrotype, one of the earliest photographic processes using a camera obscura, is created using wet collodion applied to a glass plate, resulting in a unique piece. With a contemporary approach, Eric Antoine uses wet collodion for its precision, deep blacks and silvery density. His work is closely linked to his place of residence and his memories. In the landscapes of the Alsatian Vosges, he developed a fascination for trees, which he studies in anthropomorphic portraits. Through a stationary journey, Eric Antoine often returns to the same places to capture their slow evolution. His work is organised into series in which destinies are recounted using layered still lifes, drowned flowers and accumulations of objects/symbols. These photographs without subjects challengethe very essence of this medium: light, optics, chemistry. The question of the materiality of the image remains at the heart of the artist's research. Far from any nostalgia, the wet collodion process here is an emancipatory discipline. In an almost sculptural approach, Eric Antoine delivers true photograph-objects, shimmering and silvery.

 

Maison Rapin

gianni russian

Gianni Russian (Trieste, 1922-1962) Three mirrors depicting the Three Graces for Fontana Arte, circa 1940 Mirrored and back-painted glass 135.5 x 70 cm (each panel) Signed 'G. Russian' on the middle mirror

 

MARUANI MERCIER

jaclyn conley

Jaclyn Conley (USA, Connecticut 1979) At The Foot of The Tree, 2025 Oil on linen 213.4 x 152.4 cm

 

Romigioli Antichità

Pair of marble plates with semi-precious stones and soft polychromes Florence, early 19th century 44 x 38 cm (plates) 62.5 x 55 cm (frames) Provenance: Florentine workshop Oval plate depicting a naturalistic composition with a basket, flower buds, fruit and birds, one with a bird's nest, the other with a nest and eggs, in an antique carved and gilded wooden frame.

 

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)

 

Huberty & Breyne

nicolas de crécy

Nicolas de Crécy (Lyon, 1966) Brouillard, vers plan glacier, 2024 Watercolour, acrylic and gouache on paper 80 x 120.5 cm

 

Galerie Haesaerts-le Grelle

Gustave Serrurier-Bovy (Liège, 1858-1910) Silex linen cupboard, circa 1905 Poplar, blue stencils and blue-painted iron H 192 x W 70 x D 45 cm Provenance: Villa de L’Aube, collection of Gustave Serrurier-Bovy, Soyeur-Delvoye Literature: Jacques-Grégoire Watelet, Gustave Serrurier-Bovy, Éditions Beaunord, Paris, 1989, p. 87 Built between 1902 and 1905 on the Cointe hill in Liège, the Villa de L’Aube was the personal home of Gustave Serrurier, a true manifesto of his conception of architecture. He lived there until his death in 1910. Intended for the children’s and staff’s bedrooms, the Silex furniture was made of poplar, assembled with simple iron screws, and decorated - some of it - with painted stencils. First appearing at the Château de La Cheyrelle in 1904, Gustave Serrurier would go on to incorporate the Silex furniture into the layout of his own house. This linen cupboard was part of the original furnishings of the villa.

 

Maison D'Art

François Perrier (Pontarlier, circa 1594-1649) The flight into Egypt, the Holy Family prepares to embark, circa 1640 Oil on canvas 100 x 90 cm Literature: M. A. Novelli, in T. Zennaro, ed., La Pittura Eloquente (exh. cat., Monte-Carlo, Maison d’Art), 2010, pp. 33-35, n° 5; A. Brogi, François Perrier e i ‘bolognesi’, Studi di Storia dell’Arte, 29, 2018, pp. 147-166: pp. 151-153 and colour plate XVI Exhibition: Maison d’Art, Monte-Carlo, June 16th-July 16th, 2010, n° 5

 

Douwes Fine Art b.v.

emanuel de witte

Emanuel de Witte (The Netherlands, Alkmaar circa 1616-1691/2 Amsterdam) Interior of the Oude Kerk in Amsterdam, the transept seen from the South Oil on canvas 64 x 71.5 cm Signed 'E. De. Witte' (c.r.) Provenance: Abraham Dijkman, Amsterdam; his deceased sale, Amsterdam, de Bosch/ Yver, 17-18 July 1794, lot 47; sale, London, Foster, 25 March 1931 (as 'unknown'); acquired at the above sale by Asscher & Welker, London; with D. Katz, Dieren; Dr. A. Welker, London, 1935; with J.D. Klaasen Jr., Rotterdam; P.M. Kerdel, Scheveningen, 1963; with Hans Cramer, The Hague by 1990; acquired by a Dutch Foundation, in 1998 Literature: Noach, 'Het Material tot de Geschiedenis der Oude kerk te Amsterdam', Amsterdam 1937, p. 81; E. Trautscholdt, in U. Thieme and F. Becker, 'Algemeines Lexikon der Bildenden Künstler' Vol. 36, Leipzig, 1947, p. 125; I. Manke, 'Emanuel de Witte', Amsterdam, 1963, p. 92, n° 62 with ill. fig. 31; F. Duparc et al., 'Masterpieces of the Dutch Golden Age', exhibition catalogue, Atlanta, 1985, p. 132-3, n° 60 with ill.; H.R. Leppien, 'In Blickfeld: Holländische Kirchenbilder', exhibition catalogue, Hamburg, 1995, pp. 56-7, 66-8, n° 20 Exhibitions: Rotterdam, Museum Boymans Van Beuningen, 'Vermeer, oorsprong en invloed Fabritius, de Hooch, de Witte, 9 July-9 October 1935, n° 116; Rotterdam, Museum Boymans Van Beuningen, Tentoonstelling van schilderijen, beeldhouwwerken en teekeningen uit particuliere verzamelingen in Nederland: onder auspiciën van de 'Stichting Museum Boymans' , December 1939-January 1940, n° 59; Atlanta, High Museum of Art, Masterpieces of the Dutch Golden Age, 24 September-10 November 1985, n° 60, p. 132-3; Hamburg, Kunsthalle, In Blickfeld: Holländische Kirchenbilder, 1995/96, n° 20

 

Galerie Flak

Yup'ik shaman mask Coastal Yup’ik - Eskimo, St Michael or Yukon river Delta, Alaska, 19th century Carved wood, pigments H 19.5 cm Provenance: Karin & Leo (1937-1987) Van Oosterom collection, The Hague, acquired in 1980 Yup’ik shamanic masks (from the Indigenous culture of the Arctic region of Alaska) bear witness to a spirituality and artistic power of remarkable depth. Exceptionally rare today - as most were destroyed or discarded after their ceremonial use - these works are imbued with mystery and poetry. Their evocative force and symbolism of metamorphosis deeply inspired Surrealist masters such as Max Ernst and Leonora Carrington, who discovered in them a new visual language of the unconscious. This striking mask represents a tunghak spirit - a powerful celestial being linked to the moon, the sun, and the balance between humans and nature.

 

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)

 

COLNAGHI

Attributed to the Menzies group Red-figure epichysis in terracotta with Hermaphroditos and a woman Greek, Apulian, circa 330-310 B.C. H 21 cm Provenance: Eugène Piot collection (1812-1890); his sale, 3 May 1870, lot n° 21; private collection, France; purchased from the above, 2022 Literature: F. Lenormand, Collection d’Antiquités Grecques recueillies dans la Grande-Grèce, l’Attique et l’Asie Mineure par M. Eug. P., Paris 1870, p. 16, n° 21 This epichysis is noteworthy for its provenance, as it was once part of the prestigious collection of Eugène Piot (1812–1890) - the French art critic, journalist, publisher, collector, and photographer - and it still bears his collection label. The present example also stands out for its above-average size and exceptional quality. It is in excellent condition and is typical of 4th-century BC Apulian Greek pottery. This vessel, characterized by its elegant neck surmounting a coiled body, was probably used to contain precious liquids intended for sparing use. Its delicate mouth seems ill-suited for serving wine, as has sometimes been suggested in the past, with some even describing such vases as “low-shaped oinochoai with flat bottoms.” Rather, they were most likely used for oil or perfume. The dropper-like mouth is flanked by two small, stylized masks in relief. The wide, disc-like shoulder of the vase has been decorated with particular attention to detail and form. The border is adorned with a frieze of eggs. A hermaphroditic Eros kneels and presents a mirror to a seated young woman, who also holds a mirror and a crown. On the reverse, an elegant arrangement of palmettes unfolds from the base of the handle and frames the central scene. The concave sides of the body are decorated with a vegetal frieze, overpainted in white and incised. Comparable examples are held at the Getty Museum in Malibu and the Musée Saint-Raymond in Toulouse; both have been attributed to the Menzies Group, active during the third quarter of the 4th century BC.

 

Galerie Perrin

walter sauer

Walter Sauer (Brussels 1889-1927 Algiers) Pensive woman, circa 1925 Mixed media 78.5 x 61.3 cm Signed upper left 'WS Walter Sauer' Provenance: private collection A unique, elegant style characterises the art of Walter Sauer, an artist who, in his short lifetime, lit up the Belgian art scene in the first twenty years of the twentieth century. Sauer's hand has a sensitivity to form that is characteristic of decorators; reality, in his eyes, is stripped of that which is superfluous, showing the noble essence of form. This essentiality, combined with an absolutely personal technique, makes Sauer's works instantly recognisable. The figure of the woman is the leitmotif of the artist, who combines his vision of the model with a series of cultural references ranging from Japanese art to Western tradition.

 

Thomas Deprez Fine Arts

jean delville

Jean Delville (Leuven 1867-1953 Brussels) Aveugle, 1888 Oil on canvas 65 x 81 cm Signed and dated l.l.: 'Jean Delville / 1888' Relined, with a fair amount of retouching Provenance: private collection, Brussels, since three generations. Exhibitions: Salon de Gand, XXXIVe Exposition Triennale, Ghent, 1889, cat. n° 166, as: 'Aveugle'; L'Essor, XIIIe exposition annuelle, Brussels, 1889, cat. n° 4, as: 'Aveugle' PRESS F.N., 'Chronique Artistique', dans: Journal de Bruxelles, 24/03/1889, p. 5 (Supplément au Journal de Bruxelles du 24 mars 1889): 'L'Aveugle, la femme si visiblement plongée en des pensées lourdes et étroites, qui se chauffe [...]'

 

Galerie Hioco

Head of Buddha Black stone Thailand, Môn-Dvaravati era, 8th-9th century AD H 25 cm Provenance: private collection, USA, before 1974

 

Claes Gallery

 

Galerie Patrice Trigano

arman

untitled

Arman (Nice 1925-2008 New York) Untitled, 1992 Accumulation of tea kettles Gouache, charcoal, and pencil on Mulberry paper 164.5 x 131.5 cm Provenance: acquired from the estate of the artist

 

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

 

Dalton Somaré

Guardian figure Kota Ndassa, Gabon, 19th century Wood, copper, brass, iron 46 cm Provenance: collected in situ between 1902 and 1923 by a French officer; thence by descent

 

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

 

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.

 

Galerie Christophe Gaillard

claude viallat

Claude Viallat (Nîmes, 1936) 199/1975, 1975 Mixed media on canvas 188 x 208 cm Provenance: Galerie Jean Fournier; the artist's studio, Nîmes (FR)

 
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