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 Sceners Gallery 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 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
 

Dei Bardi Art

Large sarcophagus fragment with the torso of a warrior Roman, circa 2nd century AD
 Marble 
68,5 x 61 cm Provenance:
private collection, Kent, England, 1963; Art market, London, 2015 Art Loss Register reference: S00096088

 

CKS Gallery

Jean Gabriel DOMERGUE (1889- 1962) GRAND GALA Oil on canvas; signed, titled and dedicated: A Madame G. Inscriptions on the stretcher: A Jacky Grasseau « Ce coin de la vie parisienne » Dimensions : 100 x 80 cm - Dimensions with the frame : 126 x 107 cm. PROVENANCE: Private collection. EXHIBITION: Galerie Goya, 28 allées de Tourny - Bordeaux, Domergue N°1.

 

Maurice Verbaet Collection (MVC)

Le soir (Jean Rustin, 2001, 130 x 163 cm) One of the three paintings forming part of the recent donation to the Centre Pompidou.

 

Mearini Fine Art

Master of Torcello (Venetian Master active circa 1450-1500) Crucifix Popolar wood with polychromy H 40 x W 38 x D 3.5 cm An exceptional masterpiece of the Venetian Renaissance, this small, carved, polychrome wooden Crucifix is ​​certainly attributable to the Master of Torcello, active in Venice in the second half of the 15th century. Work created for private use and devotion, certainly to be included in an 'Altarolo', but absolutely similar to the larger known Crucifixes of the same manufacture, such as the one on the island of Torcello (Venice) in the Basilica of Santa Maria Assunta.

 

Maison Rapin

Giuseppe Civitelli (Aiello Calabro 1907-1990 Rome) Large polychrome bottle on a pedestal with geometric motifs Circa 1960 H 72 x D 30 cm

 

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

 

Galerie Flak

U’u Club Marquesas Islands, Polynesia, 18th or 19th century Carved wood and fibers H 138,5 cm Provenance: David Petty collection, London; Pierre-Richard Royer collection, Paris; Alexandre Bernand collection, Paris; private collection, acquired from the above in September 2016 Exhibition: TEFAF 2024, Maastricht, Serge Schoffel, catalogue T3, p. 28

 

Galerie Alexis Bordes

Constant Montald (Ghent 1862-1944 Woluwe-Saint-Lambert, 1944) View of Houses in Spring, 1917 Gouache on paper laid down on cardboard 70 x 88.5 cm Signed and dated lower right 'C. Montald 17' Provenance: private collection, Belgium (acquired at public auction in 1993); private collection, France

 

Galerie Uzal

Gustinus Ambrosi (Eisenstadt 1893-1975 Vienna) Arm from 'The Cathedral', 1923 Bronze H 80 cm Signed and dated 'Ambrosi 1923' Provenance : private collection, Vienna

 

Waddington Custot

Barry Flanagan (1941–2009) Large Troubador, 2004 bronze 72 7/8 x 55 1/8 x 44 7/8 in / 185 x 140 x 114 cm (cast 2019) AC2 from an edition of 8 plus 3 ACs stamped with the artist’s monogram, casting date and edition number ‘f-/19 AC 2/3’ and foundry mark PROVENANCE Plubronze Limited (The Estate of Barry Flanagan) EXHIBITED ‘Barry Flanagan: Sculpture 1965–2005’, Irish Museum of Modern Art, Dublin, in collaboration with Dublin City Gallery The Hugh Lane, 28 June–24 September 2006, catalogue p.160 (repro. in colour) (3/8 exhibited) ‘Barry Flanagan: Sculpture’, Paul Kasmin Gallery, New York, 23 February–31 March 2007 (3/8 exhibited) ‘Barry Flanagan: Sculptures 2001–2008’, Waddington Galleries, London, 30 April–23 May 2008, catalogue no.7 (repro. in colour p.[23]; detail pp.[18–19]) (4/8 exhibited) ‘Beyond Limits’, Chatsworth House, Bakewell, Derbyshire, 7 September–28 October 2012 (AC1/3 exhibited) ‘Barry Flanagan’, IKON, Birmingham, 18 September–24 November 2019 (repro. in colour in catalogue on p.2–3, 5, 88) (another edition exhibited outside) ‘Mayfair Sculpture Trail’, London, 1–31 October 2020, catalogue no.8 (repro. in colour p.41) (AC2/3 exhibited) LITERATURE Paintings, Sculpture and Works on Paper, Waddington Galleries, London, 2004, no.29 (repro. in colour p.63) (1/8 catalogued) Barry Flanagan, Clare Preston (ed.), Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Waddington Custot in association with The Estate of Barry Flanagan, London, 2017 (repro. in colour pl.137)

 

Galerie bei der Albertina ▪ Zetter

Adolf Loos (Brünn 1870-1933 Kalksburg) Lady's Writing Desk, around 1903/04 Softwood, oil varnish, brass fittings, writing inlay with new leather H 106 (with top) x H 80 (without top) x W 113 x D 67.5 cm Manufactured by Friedrich Otto Schmidt, Vienna Company stamp on the underside: Friedrich Otto Schmidt / Wien / 1 Singerstrasse 16 / Schmidt Miksa / Budapest / 5. Lipotkorut 4 Provenance: Private collection, Vienna Literature: Burkhardt Rukschcio/Roland Schachel, Adolf Loos. Leben und Werk, 1982, Salzburg/Vienna, ill. p. 115, n° 117 cf. Exhibition catalogue ‘Adolf Loos. Private Spaces’, Barcelona Design Museum, 2017, ill. p. 134 Exhibitions: Paris, ‘Adolf Loos – Exposition Du Cinquantenaire’, 1983; Karlsruhe, ‘Gründerzeit, Adolf Loos: Jahrhundertwende: Rückblick und Ausblick im Spiegel der Wiener Architektur’, 1987

 

Van Pruissen Asian Art

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

 

Gallery Sofie Van de Velde

Victor Servranckx (Diegem 1897-1965 Vilvoorde) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Oil on canvas 146 x 81 cm Signed and dated lower left Provenance: Félix Carlier, Waermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929); Galerie J.-P. Alaerts, Brussels; London, Christie’s, 16 October 1990, lot n° 61 (ill.); Lokeren, De Vuyst, 6 October 2001, lot n° 489; private collection, Brussels; Galerie Ronny Van de Velde, Antwerp Literature: La Nation belge (Brussels), 12th year, n° 48, 17 February 1929, ill. p. 3; Le Peuple (Brussels), 5th year, n° 48, 17 February 1929, ill. p. 1 Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue); Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, n° 33; Brussels, Palais des Beaux-Arts, 1947, n° 45 '146 x 92 cm'; Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, n° 117; Brussels, Musée d’Ixelles/Museum van Elsene, 1965, n° 107; Hasselt, Provinciaal Begijnhof, 1970, n° 57 (ill.) Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. Jacques Lipchitz (Lithuania, Druskininkai 1891-1973 Capri) Sitting figure, 1915 Bronze H 87 cm Signed 'JLipchitz' and numbered 2/7 (on base) Provenance: the estate of the artist; acquired from the abovementioned in 1989 by current owner Exhibition: Musée des Années 30, 'Lipchitz, Les Années Françaises de 1910 à 1940', 2005-2006, n° 10, pp. 16-17, ill. in colour

 

Finch & Co

Devotional crucifix of Christ Portuguese Goa, 17th Century Coromandel wood, gilded ivory, silver mounts H 107 x W 26 cm (Christ height 32 cm) Provenance: private collection, Ireland Belgium CITES: 2025/BE01024/CE A Fine and Large Portuguese Goa Devotional Crucifix the Polychromed and Gilded Ivory of Christ Crucified on a Coromandel Wood Cross Ornately Embellished with Baroque Silver Mounts standing on an integral Coromandel plinth The agonising Christ on the cross his head falling to his right with closed eyes mouth open in his call to God long hair carved in undulating locks to his shoulders the well defined torso with flexed muscles and rib cage the arms with veins threaded along their length his hands and feet pierced by silver nails his wounds polychromed red the edges of the perizonum gilded

 

Van Pruissen Asian Art

Okazaki Sessei (Yamashiro 1858-1921 Tokyo) Bronze sculpture 'Bathing Girl Seated On Rock' Japan, 1854-1921, Meiji Period H 42 x W 12 x D 25 cm Signed Sessei Provenance: private collection, the Netherlands; private collection, Switzerland; private collection, Chile

 

Grusenmeyer-Woliner

Large Iridescent Ammonite Placenticeras costatum Late Cretaceous, approximately 73 million years old Bearpaw Formation Origin: St. Mary River Valley, Alberta (AB), Canada 47 x 57 cm

 

Meessen

mountaincutters (Brussels, 1990) Node-Venus, 2026 Copper, glass H 37 x W 40 x D 12 cm Unique artwork

 

Galerie Raf Van Severen

Jean Brusselmans (Brussels 1884-1953 Dilbeek) Decor for Erwartung, 1936 Mixed media on paper 60 x 90 cm Label at the back; Erwartung; Decor pour 'Erwartung', d’Arnold Schoenberg, 1936; Decor pour le 4e acte Literature: Paul Haesaerts, Jean Brusselmans, 1939, p. 67; Robert L. Delevoy, Jean Brusselmans: CR établi par Mme G. Brys-Schatan, 1972, 421.IV

 

Edouard Simoens Gallery

Pierre Alechinsky Le trou du souffleur , 1997 Signed and dated on the back Acryl and ink on paper laid on canvas 146 x 113 cm 57 1/2 x 44 1/2 in Provenance "Pierre Alechinsky: Olie, acryl, aquarel, ets, litho..." Atelier 22, Schilde 2004 Literature/Press Wordt opgenomen in de oeuvrecatalogus in voorbereiding door de heer Frédéric Charron onder nr. 3216

 

Repetto Gallery

Lucio Fontana (Santa Fe 1999 - 1968 Varese) Madonna col Bambino, 1953-1954 Glazed and painted terracotta: white, light blue and blue H 24.5 x W 13.5 x D 9 cm Signed on the reverse: 'L. F.' Certificate of authenticity on photograph by Fondazione Lucio Fontana, n° 2543/1 Provenance: Galleria Blu, Milan; private collection, Gorle (2543/1) Literature: L. M. Barbero, 'Catalogo ragionato delle sculture ceramiche', Tomo I, p. 212, n° 53-54 FMA 1

 

DIE GALERIE

Fabrizio Plessi (Reggio Emilia 1940-2026 Dolo) Two stills from 'Splash', 2026 Video installation (LED flat screen) and sound 60 x 100 cm Provenance: artist's studio

 

Mearini Fine Art

Corinthian capital (variation on a Roman type from the 3rd/4th century) Central-southern Italy, late 12th - early 13th century Greek Marble H 52 x W 50 x D 50 cm In this unusual variation on the Corinthian there are three orders of acanthus leaves, finelly indented with drill holes in evidence, which reach up to the top of the kalathos. Already in ancient times this type of capital was exported to Aquileia (Udine) a city destroyed by Attila in 452 and temporarily abandoned upon the arrival of the longboards in 568, as shown by a fragmentary example in the national Archeological Museum datable between the 3rd and 4th century.

 

Objects With Narratives

Tim Vranken (Heusden, 1987) ARA Pooltable, 2023 American Walnut, Slate H 82 x W 280 x D 160 cm Includes: 2 cues, a set of balls and a triangle Lead time 16-20 weeks

 

Galerie Oscar De Vos

Frits Van den Berghe (Gent 1883 - 1939) The companions 1932 Oil on canvas 150 x 130 cm Signed lower right: FVBerghe 32 Provenance: Alla en Bénédict Goldschmidt, Brussels Literature: Langui, Frits Van den Berghe en de jongere generatie, in: Kunst-Kultuur, yr.1, 1940, p.4 Van Hecke, Frits Van den Berghe, in: Les Peintres Contemporains, 1948, pp.99-110, cat. 55 Van Hecke, A propos des deux expositions de Frits Van den Berghe, in: Les Arts plastiques, no. 5-6, 1948, pp.240-242, pl.55 Haesaerts, Sint-Martens-Latem. Gezegend oord van de Vlaamse kunst, 1965, no. 689 Langui, Frits Van den Berghe. Catalogue raisonné de son oeuvre peint (Bruxelles: Laconte, 1966), no. 396 Langui, Het Expressionisme in België,  1970, pl. 81, p.128 Hoozee, Tahon-Vanroose & Bown-Taevenier, Frits Van den Berghe, 1983, p. 164 Boyens, Frits Van den Berghe, 1999, pp.161, 233, no. 132 Boyens, Frits Van den Berghe, 1999, p.290, no. 753 Pauwels, Als een fonkelenden spiegel, 2019, pp.296-297 Exhibitions: 1933, Ghent, Frits Van den Berghe en Joseph Cantré, no. 6 1934, Stockholm, Belgisk Konst, no. 204 1934, Oslo, Belgisk kunst - Belgisk utstillung av moderne kunst i Norge ordnet ved L'art contemporain i Antwerpen, no. 204 1937, Moscow & Leningrad, Hedendaagse Belgische Kunst, no. 9 1938, Brussels, Les Compagnons de l'Art, no. 187 1997, Deurle, Deurle: 6 juli 1997 (The Deurle Conversation) 1999, Ostend, Retrospectieve Frits Van den Berghe, no. 132

 

Verdini Antiques

Domenico Morelli (Naples, 1823-1901) Cesare Borgia in Capua, 1854 Oil on canvas 131 x 183.5 cm Provenance: Count Tasca d'Almerita of Palermo Literature: 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 Exhibition: Exhibition of Fine Arts in Palermo, 1856, presented as: Cesare Borgia after the siege of Capua makes women who had taken refuge in a basement of the castle draw 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 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'.

 

Galerie Watteeu by Edouard & Andrea de Caters

Pia Manu Room Divider, 1977 Concrete and Glass H 254 x W 233 x D 32 cm

 

Stéphane Renard Fine Art

Maerten de Vos (Antwerp 1532 – 1603) The Four Elements: Air, Earth, Water and Fire Pen and brown ink wash on laid paper 100 x 138 mm for each drawing The drawings of Earth, Water and Fire are signed and dated 1579 Provenance: private collection, Lyon – France These four previously unpublished drawings were used around 1585 to produce the series of four engravings by Johannes Sadeler (Hollstein 529–532). The success of this publication led, a few years later, to the production of a second, smaller series by Raphael Sadeler, Johannes’s brother (Hollstein Dutch and Flemish, Maerten de Vos, XLIV–XLVI, 1360–1364, copy d.).

 

Galerie Taménaga

Jean Fautrier (Paris 1898–1964 Châtenay-Malabry) Tête, 1927 Oil on canvas 35 x 27 cm Signed upper right: 'Fautrier' Provenance: Jean-Paul Ledeur, Paris Literature: Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898-1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, n° 319; Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, n° 256, illustrated p. 199 Exhibitions: Hamburg, Kunstverein, Jean Fautrier, 19 May–17 June 1973, n° 16; Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January - 4 May 1986, n° 35, ill. p. 25; Paris, Galerie Jeanne Castel, 1986

 

robertaebasta

Gabriella Crespi (Saronno 1922-2017 Milan) Fungo ( mushroom) standing lamp, 1970s Brass stem and details, metacrilate diffuser H 77 cm, ⌀ 70 cm Provenance: private collection, Italy. Certificate of authenticity by Gabriella Crespi Archives, Milano

 

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

 
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