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
 

Vagabond Antiques

Pair of carved Heraldic stone lions Central European, Hapsburg Territories, late 17th century Carved limestone H 90 x W 57 x D 77 cm A striking pair of limestone lions, carved in full relief and designed as true opposites. Each is seated upright, with bared teeth, strong haunches and tightly curled manes. Both wear a crown and hold an oval cartouche carved in bold relief with an interlaced monogram. They were made to flank the formal entrance of a major estate. The form and detailing are typical of high-status Baroque culture in Central Europe and the crown design is especially telling. Each features a repeating pattern of fleur-de-lis and crosses, closely following the design of imperial crowns used in Habsburg heraldry - particularly in the realms of Austria and Bohemia. A crucial distinction is the placement of such a crown directly on the animal - not merely above the cipher - which indicates an emblem of royal standing. Comparable examples can be seen on the monumental lions at Prince Eugene of Savoy's Upper Belvedere Palace in Vienna and others across Bavaria and Austria, where lions were used as heraldic supporters for noble or imperial arms. The monograms are hard to decipher but are almost certainly ciphers for the original owners or patrons. They likely stood at the gates of a major estate or seat of power under Habsburg rule or allegiance, marking out territories and status.

 

De Zutter Art Gallery

christo

Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Umbrellas, 1990 Diptych Collage and mixed media on panel 78.2 x 67.2 cm and 78.2 x 31.2 cm Provenance: artist's studio; private collection Literature: S. Philippi, ed., Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984-91, Cologne, 1998, pp. 694-695 (illustrated)

 

Segoura Fine Art

eduard hildebrandt

Eduard Hildebrandt (Poland, Gdańsk 1818-1868 Berlin, Germany) Cormorants at Sunset over the Arctic, 1852 Oil on canvas 80 x 90 cm Signed and dated lower right Provenance: private collection, France

 

Galerie Hurtebize

pierre-auguste renoir

Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Composition, Paysages et Fleurs, circa 1910 Oil on canvas 15 x 25.5 cm Initial R bottom left Certificate of authenticity from the Wildenstein Institute n°24.05.29/21585 dated 12 June 2024 Provenance: private collection, France

 

Kunsthaus Kende

Takahiro Iede (Japan, 1962) Ayaori-gane vase 'Rhythm', Saitama 2019 Shakudo, Shibuichi, silver H 23 cm - Ø 27.3 cm The gracefully curved body widening towards the waved upper rim. The body composed of woven strips of shakudo, shibuichi and silver. Spectacular, large work by Japanese artist Takahiro Iede, crafted with brilliant skill using the so-called Ayaori-gane technique. “To set myself free, I test the limits of myself and metal.” – the Japanese artist metalsmith Takahiro Iede Born in Fukui Prefecture, Japan in 1962, the artist and metalsmith Takahiro Iede now lives and works in Saitama. The metal artworks of Takahiro Iede combine traditional craftsmanship with modern innovation. With every hammer stroke, he explores and expands the possibilities of his material. His works take a special status in Japanese art and are perceived as avant-garde, sculptural and transcending all formal limitations imposed by the technical feasibility of traditional metalworking. Takahiro Iede has enriched Japanese metalwork with a deeply impressive technique known as Ayaori-gane ('metal weaving'). This technique is characterised by various types of copper alloys with gold and silver, which are woven into patterns and then hammered and soldered together with silver. The braided creations of the Ajiro weaving technique in the bamboo craftsmanship of his home region and the woven tapestries of the Native Americans inspired the artist to develop this very difficult technique. In the Ayaori-gane technique, a plate is made by weaving metal strings. In the next step, the fine cavities within the pattern are filled with melted silver. This fills the individual metal strands of the pattern to form a coherent plate, and the resulting workpiece is shaped into three-dimensional forms using various metalworking techniques, primarily hammering. In some cases, the artist deliberately refrains from filling the spaces between the strands to leave the woven formation unfinished. There are no comparable techniques to the Ayaori-gane technique in Japanese art or other cultures that preceded it. For his outstanding achievement, Takahiro Iede received the highly prestigious Medal with Purple Ribbon for artistic merit in 2016, the awarding of which usually precedes a later designation as a future Living National Treasure.

 

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.

 

Harold t’Kint de Roodenbeke

Englebert Van Anderlecht (Brussels, 1918-1961) Rome 1, 1960 Oil on canvas 150 x 122 cm Signed, dated and titled on the reverse Inventory number 664 on the reverse Provenance: private collection, Brussels Literature: Serge Goyens de Heusch, Englebert Van Anderlecht, Mercator, 1998, ill. p. 207; Englebert Van Anderlecht, exhibition catalogue, MRBAB, Brussels, 1990, ill. n° 79 Exhibitions: Galerij M.A.S. Astene, march-april 1969; Museum van Deinze, Englebert Van Anderlecht, March-May 1990; MRBAB, Englebert Van Anderlecht, Brussels, 1990 In the shadow of war and its aftermath, Englebert Van Anderlecht began his career as an artist in the early 1940s, right in the midst of the global conflict. After this tragedy, the “young Belgian painting” movement brought together a group of artists in a state of euphoria. Their style was colorful and optimistic - a form of rebirth, a way to forget and move toward new horizons. By the late 1940s, there was a desire to recreate new rules - or rather, to affirm that there were no longer any rules. Creativity alone mattered and had to prevail over any form of academicism. Thus, Englebert Van Anderlecht turned toward abstraction at the end of the 1940s and definitively embraced it by the mid-1950s. His palette grew stronger, his tones deeper, and he adhered to a form of abstract expressionism. This style of painting reflected a worldwide desire for rupture and emancipation. In the United States, the tone was set by Jackson Pollock and Franz Kline, from gestural to abstract expressionism. In France, a new generation emerged with Nicolas de Staël, Pierre Soulages, Simon Hantaï, and Judith Reigl. Belgium was no exception, with Antoine Mortier and Englebert Van Anderlecht, the latter being the most committed to the path of free or abstract expressionism. “I believe it is essential that there be men who do not accept established rules, who do not believe that truth is forever what a few moral leaders have decided it to be, who see that life is not merely the sum of all discoveries made so far. In this, I see a promise of freedom. We believe that everything remains to be done, that our earth is young, that we are not old men sunk into routine, and that the marvelous still awaits us tomorrow.” - Text by Englebert Van Anderlecht, 1960 Within this context, the large and striking canvas, Rome I, belongs to the period of maturity and recognition of this artist, who died prematurely in 1961 at the age of 43. The brush or paintbrush seems to whirl across the canvas like a ballet. The tones are deep, intense, applied with palpable strength and energy, while the final result bursts forth across the space. The work then takes on its full dimension, filling the surface with unmatched power - one of the finest works by this essential figure of Belgian painting.

 

Galerie La Patinoire Royale Bach

Erró (Ólafsvík, Iceland, 1932) Le Wall, 1975 Acrylic on canvas 99 x 67 cm

 

Francis Janssens van der Maelen

Maurice Daurat (Bordeaux 1880-1969 Meulan-en-Yvelines) Art Deco table centrepiece Paris, circa 1927-1931 Sterling silver, Macassar ebony, marble H 42.5 x W 104 x D 20 cm This striking early 20th century French silver and alabaster centrepiece on a Macassar ebony base is a superb example of Art Deco design. Designed by Maurice Daurat in Paris, circa 1927-1931. Maurice Daurat was famous for his limited editions and large commissioned works. His style is characterised by geometrical, strict shaping, emphasising volume and material.

 

The old Treasury

c. deambrogi

C. Deambrogi necklace 18k yellow gold, pearl, coral and enamel Alessandria, Italy, circa 1970

 

Galerie Taménaga

kyosuke tchinaï

Kyosuke Tchinaï (Japan, 1948) Fleur sacrée, 2025 Mixed media on washi paper mounted on wood panel 100 x 73 cm Provenance: the artist's studio

 

Galerie Boulakia

jean dubuffet

Jean Dubuffet (Le Havre 1901-1985 Paris) Lampe et Balance 1, 1964 Oil on canvas 97 x 130 cm Signed and dated bottom centre; signed, titled and dated 'juillet 64' on reverse Provenance: Dr. Jacqueline Porret-Forel, Paris (gift from the artist in 1966); collection in the United Arab Emirates; European collection Literature: Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XX: L'Hourloupe I, Paris, 1966, cat. no. 367 (ill. p. 168). Exhibition: Jean Dubuffet, Galerie Georges Moss, Geneva, Nov. 1969-Jan. 1970, cat. n° 8

 

VKD Jewels

Angela Cummings (Austria, Klagenfurt 1944) Set of earrings and matching brooch, USA, circa 1980 18K yellow gold, mother of pearl and rock crystal Signed Angela Cummings, marked 18k

 

Christophe Perlès

 

Galeria Bessa Pereira

Sergio Rodrigues (Rio de Janeiro, 1927–2014) 'Kilin' chair, 1970s Solid wood, leather H 68 x W 68 x D 68 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 302; Cals, S, Sergio Rodrigues, Rio de Janeiro: Icatu, 2000, p. 142

 

d'Arschot & Cie

Pair of Belgian silver saucers Namur, 1737-1749 Nicolas Everard (Belgium, 1698-1736) W 24.2 cm - 373 and 374 gr

 

Mearini Fine Art

Pair of sidewalls from a wooden choir with the figures of Saints Andrew and Anthony the Abbot Woodcarver close to Jehan de Vitry's Geneva workshop Upper Savoy, circa 1450-1460 Walnut 275 x 50 cm (each) Provenance: private collection, Italy

 

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

 

De Wit Fine Tapestries

Tree of Life (fragment) Southern Netherlands, probably mid-16th century Wool and silk 230 x 195 cm

 

Galerie Boulakia

Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144

 

Galerie BG Arts

René Lalique Vase 'Deux Anneaux Pigeons', 1919 Made in opalescent glass with grey patina H 33 cm Engraved signature Provenance: private collection, France Literature: Félix Marcilhac, René Lalique - Catalogue Raisonné de l'Œuvre de Verre, Les Éditions de l'Amateur, Paris, 2011, n° 880

 

Galerie Taménaga

Maurice Denis (Granville 1870-1943 Paris) Les Bergers, à la chèvre noire, circa 1918 Oil on canvas 45.2 x 62.2 cm Signed lower left 'Maurice Denis' Provenance: Lang; Galerie Druet; Hirschler; private collection Literature: Paris, Galerie Druet, Exposition Maurice Denis, 1918, n° 27; Ploëzal, Château de la Roche-Jagu, Maurice Denis et la Bretagne. Les étés de Silencio, 2009, n° 59, repr. p. 157

 

Christophe Perlès

Chantilly porcelain pair of pots-pourris with Chinese porcelain covers Silver-gilt mounts Circa 1740

 

Lemaire

Pair of potpourri vases in Paris porcelain Patinated and gilt bronze mounts with handles adorned with intertwined serpents and openwork lids decorated with acanthus leaves Locré manufactory, circa 1785 H 41 cm Signed with crossed torches

 

Victor Werner

carl johan bonnesen

Carl Johan Bonnesen (Aalborg 1868-1933 Copenhagen) African elephant, 1924 Bronze with green patina H 54 x W 78 x D 34 cm Signed and dated CARL J. BONNESEN 1924 Provenance: Professor Karl Meyer, board member of Villadsens Fabrikker; donated Nov. 9th, 1932, to the company director Christian Villadsen and his wife Ingeborg (as inscribed on the base); gifted by Christian Villadsen’s grandson to the previous owner

 

De Jonckheere

pieter brueghel the younger

Pieter Brueghel the Younger (Brussels 1564-1638 Antwerp) The Payment of the Tithe or the Village Lawyer, 1622 Oil on panel 78.9 x 123.2 cm Signed and dated: P. BREVGHEL, 1622 Provenance: private collection, Belgium; Galerie Legenhoek, Paris, 1991; private collection, France Literature: Ertz, Klaus, Pieter Brueghel der Jüngere: Die Gemälde mit kritischem Oeuvrekatalog, Lingen, Luca Verlag, Vol. I, 2000, p. 513, cat. E 507, repr.; Curie, Christina, Allart, Dominique, The Brue[H]el Phenomenon, Brussels, Royal Institute for Cultural Heritage, vol. III, p. 1030-1031 This Payment of the Tithe, or The Village Lawyer, is marked by Pieter Brueghel the Younger’s verve, meticulous execution, and vibrant colours. The satirical subject mocks the profession of the lawyer responsible for collecting the heavy tax that the poorest peasants struggled to pay. The grotesque faces of the petitioners, as well as the lawyer’s prognathous jaw - associating him with the Spanish authorities then in power - fascinate through their caricatural force. This original composition by Pieter Brueghel the Younger stimulated the market of the time, generating strong demand. The success of this still-relevant satire has endured to the present day.

 

Galerie Nathalie Obadia, Paris/Brussels

joris van de moortel

Joris Van de Moortel (Ghent, 1983) Music enjoys direct access to the soul, has an immediate echo of response since we have music within ourselves, 2025 Oil on linen and artist’s steel frame (3 panels) 200 x 220 cm Provenance: the artist's studio, Belgium Exhibition: Joris Van de Moortel, Le poids du ciel illumine la terre, Galerie Nathalie Obadia, Paris, France, 2025

 

Collectors Gallery

claude wesel

Claude Wesel (Belgium, 1942-2014) Pectoral, 1970 18ct gold, pearl, diamond and steel Model #3000 Unique piece Provenance: the artist's family Exhibition: 'Memories' exh. held by Sotheby's Brussels in spring 2025

 

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

 

Cabinet of Curiosities - Honourable Silver Objects

Cartier necklace 18-carat yellow gold, diamond and onyx France, 1970s Commissioned for a Belgian family Signed and numbered Provenance: private collection, Brussels

 
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