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
 

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

 

Grusenmeyer-Woliner

Portrait of a young boy Antonine Period, circa the end of the 2nd century Marble H 21 cm Provenance: Roger Peyrefitte (1907-2000) collection, Paris; sale of Roger Peyrefitte collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Art Market, 1978; Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; Dr. Anton Pestalozzi (1915-2007), Zurich, acquired from the previous owner; thence by descent Literature: Auction catalogue, Roger Peyrefitte Collection, Hôtel George V, Paris, May 26th, 1977, lot n° 12; Auction catalogue, Antiquities and Islamic Art, Sotheby’s, New York, December 14th, 1993, lot n° 94; I. Jucker, Skulpturen der Antiken-Sammlung Ennetwies, Mainz on the Rhine, 1995, Vol. 1, pp. 41-42, n° 24, pls. 49-50; K. Fittschen, Prinzenbildnisse Antoninischer Zeit, Mainz on the Rhine, 1999, p. 93, cat. n° 97

 

Claes Gallery

Dan 'deangle' Mask Ivory Coast, Dan people Presumed early 20th century Wood and pigment H 25 cm Provenance: Hubert Goldet (1945–2000), Paris, until 1972; Lucien Van de Velde (1933-), Antwerp, from 1972 to 1975; René (1901-1998) & Odette (1925–2012) Delenne, Brussels Literature: Arts d’Afrique Noire 34, 1988, p. 49; Utotombo, Kunst uit Zwart-Afrika in Belgisch privé-bezit, de Heusch, Brussels, 1988, p. 148, fig. 59; A ‘Harley Mask’ at the Cleveland Museum of Art: More on Masks among the Mano and Dan Peoples, Petridis, African Arts, Vol. 45, n° 1, 2012, p. 31, fig. 8; Trésors de Côte d’Ivoire, Neyt, Fonds Mercator, Brussels, 2014, p. 44-45, fig. 18 (indication: H. 26 cm); The Language of Beauty in African Art, Petridis, The Art Institute of Chicago, 2022, p. 207, fig. 164 Exhibitions: Utotombo. Kunst uit Zwart-Afrika in Belgisch privé-bezit, Palais des Beaux Arts, Brussels, 25 March-5 June 1988; The Language of Beauty in African Art, The Art Institute of Chicago, Chicago, 20 January 2022-27 March 2023 Originating from the northwest of Côte d’Ivoire, near the borders of Liberia and Guinea, the Dan are an agricultural people who primarily cultivate rice and cassava. Their way of life, complemented by hunting, fishing, and gathering, is rooted in a patrilineal society without a central authority, structured around clans led by chiefs chosen for their prestige, bravery, or agricultural success. Relations between clans, often marked by rivalries, gave rise to a rigorous social organization: young warriors ensured the group’s defense, while chiefs reinforced their influence through feasts and gifts. Local power rested on a balance between the chief, the council of elders, and the male associations, which upheld discipline, guided the initiation of young men, and preserved community cohesion. The Dan distinguish between two worlds: that of the village - a humanized and social space - and that of the forest, the realm of spirits and natural forces. It is within this duality that their art takes root, renowned for its independence and for the diversity of its styles from one village to another. In their pursuit of formal perfection, Dan artists express through their works an ideal of beauty that is both spiritual and harmonious. A symbol of this aesthetic quest, the Dan 'deangle' mask is characterized by its regular oval shape, polished surface, narrow eyes, short nose, and full, slightly parted lips. The raised scarifications emphasize the geometry and graphic strength of the composition. Of an elegance imbued with softness and femininity, it embodies the Dan ideal of beauty. Used within the Leopard secret society (go), associated with the pacifying spirit zlan, this mask served as an intermediary between young initiates and the village community. First exhibited and published for the general public in 1988, this exceptional work was most recently presented (in 2022) at the Chicago Museum. The mask’s deep gaze, highlighted by a fine band across the eyes, captures the viewer’s attention. Its patina, with warm brown reflections, and its concave form lend it a presence that is both powerful and serene.

 

MassModernDesign

max ingrand

Max Ingrand (Bressuire 1908-1969 Paris) Chandelier model 2128, 1960 Brass and glass. Produced by Fontana Arte H 93 x W 80 x D 28 cm Provenance: private collection, Torino Literature: Fontana Arte catalogue ca. 1960

 

Desmet Fine Arts

Two fragments of a wooden sarcophagus corner post of the Priest Horudja re-united after 50 years Wood Egypt, late Dynastic period, 26th Dynasty, circa 664-525 BC H 92 x W 15 x D 5.5 cm Accompanied by Art Loss Register certificates: S00238635 & S00238636 Provenance: Fragment A: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977). Fragment B: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977); Ede Gallery, London (of which acquired in 2020)

 

Serge Schoffel - Art Premier

Litxókó figure Karajá tribe, early 20th century Rio Araguaia valley, Brazil Wood, pigments and vegetal fibers H 52 cm

 

Galerie Nicolas Bourriaud

emile gilioli

Emile Gilioli (Paris, 1911-1977) Obélisque, circa 1960 Marble sculpture H 88 x W 25.5 x D 24 cm Signed 'Gilioli' Unique piece Provenance: the artist's studio Literature: Pierre Descarges, La logique de Gilioli, XXe siècle, Juin 1970, n° 34, p. 70; Ionel Jianou, Hélène Lasalle, Gilioli, Paris, 1971

 

CKS Gallery

Victor Vasarely (Hungary 1906-1997 Paris) Syrom, 1956-1959 Acrylic on canvas 162 x 130 cm Provenance: acquired from the artist by the previous owner

 

Galerie Berès

louis marcoussis

Louis Marcoussis (Poland, Warsaw 1883-1921 Cusset, France) Nature morte au flacon d'opaline, circa 1927 Oil on canvas 73 x 100 cm Signed lower right 'Marcoussis' Certificate of authenticity n° 1200H143 by Solange Milet on 4 December 2000 Literature: Les Cahiers d'Art, 1927, n° 7-8, p. 5

 

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

 

CKS Gallery

Salvador Dalí (Spain, Figueras 1904-1989) Nude ascending the staircase, 1973 Brown patina bronze sculpture H 212 × W 139 × D 117 cm - Height with the base: 297 cm Signed & numbered 'Dalí 2/8', Foundry mark 'Fratelli Bonvicini, Italie' on the shell Certificate of authenticity by M. Robert Descharnes and listed in the Descharnes Archives under the n° 0-264 Provenance: private collection

 

MARUANI MERCIER

ross bleckner

Ross Bleckner (New York, 1949) Pushing Daisies, 1995 Oil on linen 213.4 x 182.9 cm

 

Francis Janssens van der Maelen

Silver box in jade Paris, Art Deco Sterling silver, jade W 35 cm - 4400 gr (total weight) Bears retailer's stamp, Boin-Taburet and maker's mark, Henry & Fils Boin-Taburet were formed in 1873 and quickly established themselves as one of Paris's most noteworthy makers & retailers, winning a Gold medal at the 1889 Paris Exposition Universelle. Arguably their most distinctive work married silver and silver-gilt with other materials including porcelain, marble, and in the case of this stunning Art Deco tureen, jade. Jade was seemingly a less often used material - the only other piece found with a similarly carved jade element was a box that fetched an incredible amount at auction in 2012.

 

Christophe Perlès

Ormolu mounted Saint-Cloud porcelain figures, presumably showing actors in Asian costumes Circa 1740 A similar pair is visible in the 'Musée des Arts décoratifs' in Paris

 

Nosbaum Reding

nat meade

Nat Meade (USA, Greenfield 1975) Tide Pool, 2024 Oil on jute 63.5 x 71.1 cm

 

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.

 

De Brock

alan charlton

Alan Charlton (Sheffield, 1948) Triangle, 2012 Acrylic on canvas H 162 x W 162 x D 4.5 cm Provenance: the artist's studio, Hatfield, UK; De Brock, Knokke, Belgium

 

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

 

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

 

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.

 

Alexis Lartigue

victor vasarely

Victor Vasarely (Pecs 1908-1997 Paris) Dell-Yell, 1972 Acrylic on panel 48 x 48 cm (in square) 68 x 68 cm (in diamond shape) Signed lower center, signed, dated and titled at the back Authenticity confirmed by the Vasarely Foundation Provenance: succession from the Paris region (in their collection since the early 70s)

 

Segoura Fine Art

charles-alexandre debacq

Charles-Alexandre Debacq (Paris, 1804-1850) The Temptation of Saint Anthony, 1831 Oil on canvas 106 x 79 cm Signed lower left Exhibition: Paris, Salon of 1831

 

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

 

Beck & Eggeling International Fine Art

max ernst

Max Ernst (Brühl 1891-1976 Paris) Un Caprice de Neptune, 1959 Oil on canvas 27 x 35 cm Signed lower right 'max ernst' Provenance: Paolo Marinotti; Lawrence Rubin Greenberg Van Doren Fine Art, New York; private collection, Germany Literature: W. Spies, S. and G. Metgen: Max Ernst. Oeuvre-Katalog, Werke 1954-1963, Cologne, 1998, p. 194, n° 3425 (ill.) Exhibitions: 1961, June-July, Paris, Max Ernst sculptés, Galerie au Pont des Art Weill; 1966, 17 June-2 October, Venice, Max Ernst, Oltre la pittura, Palazzo Grassi, cat. n° 7 (ill.); 1979, Munich, Max Ernst, Retrospektiv, Haus der Kunst, cat. n° 296, ill. III (colour ill. n° 30, ill. 331)

 

Maurice Verbaet Gallery

francis dusépulchre

Francis Dusépulchre (Seneffe 1934-2013 La Louvière) Relief, 1970 Synthetic lacquer on masonite 122.50 x 98 cm Provenance: estate of the artist

 

Galerie de la Béraudière

jean fautrier

Jean Fautrier (Paris 1898-1964 Châtenay-Malabry) Les feuilles vertes, 1934 Oil on canvas 73 x 60 cm Signed lower left 'Fautrier' Provenance: Jean Paulhan collection, France; Dominique Aury collection, France; private collection, France (by descent); Tajan, Paris, November 23rd, 2022, lot 44; private collection, Belgium Literature: Marie-José Lefort, Catalogue Raisonné de l'oeuvre peint de Jean Fautrier, Norma éditions, 2023, p. 293, n° 478 (ill.); Palma Bucarelli, Jean Fautrier, Pittura e materia, édition Il Saggiatore, Milan, 1960, ill. n° 107 p. 306 Exhibitions: 1974, Paris, Galeries nationales du Grand Palais, Jean Paulhan à travers ses peintres, cat. n° 563, p. 218

 

Ars Antiqua

pieter van lint

Pieter van Lint (Antwerp, 1609-1690) Allegory of Labor rewarded by Peace and Abundance, in the presence of Minerva and Time Oil on copper 104 x 130 cm Authenticated by Professor Carlotta Venegoni Published on RKD

 

Heutink Ikonen

Anastasis Russia, circa 1600 32.5 x 26.5 cm The Anastasis (resurrection) of Christ and the victory over the realm of death are central to this icon. Christ, surrounded by a radiant mandorla, tramples the gates of the underworld and pulls Adam up from a stone coffin by his wrist. Behind Adam stands John, pointing to Christ with his hand and addressing a group of Old Testament prophets and forefathers. To the right of Christ are Eve, Kings David and Solomon, and the prophet Daniel, amongst others. At the bottom right, Christ can be seen rising from his own tomb

 

Galerie Watteeu by Edouard & Andrea de Caters

claudio salocchi

Claudio Salocchi (Milan, 1934-2012) Rotating bookcase 'Centro', 1960s Patinated teak H 213 cm - ∅ 78 cm

 

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

 
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