24 - UARY 31 JANVIERRUARY 2027

BRUSSELS EXPO | HEYSEL

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Artworks

This section will be available this Autumn.

Galeries
Galeries Galerie AB - Agnès Aittouarès Franck Anelli Fine Art Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps 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
 

Martos Gallery

keith haring

Keith Haring (USA, Pennsylvania 1958-1990 New York) Untitled, 1988 Sumi ink on rice paper 62.2 x 86.4 cm Provenance: private collection, New York Exhibition: Keith Haring: Surface to Air, Martos Gallery, New York, 6 May-25 July 2025

 

Beck & Eggeling International Fine Art

manolo valdés

Manolo Valdés (Valencia, 1942) Perfil sobre fondo azul, 2016-2017 Collage, mixed media on canvas 122 x 93 cm Signed, dated and titled on reverse Provenance: the artist's studio

 

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 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

 

Desmet Fine Arts

giovanni & giacomo zoffoli

Giacomo (Italy, 1731-1785) & Giovanni Zoffoli (Italy, 1745-1805) Capitoline Flora, late 18th century Bronze H 34 x W 10 x D 7 cm Signed 'G.Z.F' (base) After the antique model (Capitoline Musea, Rome) Accompanied by Art Loss Register certificate: S00247973 Other versions: Victoria & Albert: Museum inv. n° A.14-1974; Saltram, National Trust, 871621.4; Philadelphia Museum of Art, Acc # 1978-70-139; Oxford, Ashmolean Museum: Acc # WA1899.CDEF.B449

 

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)

 

Desmet Fine Arts

Pietra dura table top Coloured marble, alabaster and onyx Roman workshop, circa 1565-1600 H 6 x W 104.5 x D 83 cm Accompanied by Art Loss Register certificate: S00253658 Provenance: private collection, Lombardy (Italy) The pietra dura tabletop represents a symbiosis that evokes the rediscovery of the ancient world. The colored marbles used all originate from ancient Roman marble, brought to Rome from across the Roman Empire as early as the 3rd century BCE. In late 16th-century Rome, artists repurposed columns and all manner of these ancient Roman artifacts, reshaping them into sumptuous tabletops to decorate the grand palazzi. This work visualizes how 16th-century Rome sought to reclaim the identity and power of the great Roman Empire, and it must be fully understood within the context of the decoration of St. Peter’s Basilica, when Rome was once again regarded as the center of the world. The patterns are architecturally and geometrically designed to showcase the rarest marbles to their fullest effect. In this specific example, around 1800, the edge underwent restoration, during which the finest artists of the time added a black decorative band. Their aim was to frame what was already spectacular with a dignified restoration. Although created in the late 16th century, this piece radiates two millennia of superiority—politically, socially, artistically, and art historically.

 

Galerie Cento Anni

Jean Després (Souvigny 1889-1980 Avallon) Pair of chandeliers, circa 1930-1935 Silver-gilt metal H 13.5 X W 33 cm Signed J.Deprés Master's mark JD Provenance: private collection, Belgium The model of this pair is the only one known to date

 

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

 

QG Gallery

giorgio griffa

Giorgio Griffa (Turin, 1936) Campo viola campo rosa, 1990 Acrylic on jute 116 x 82 cm

 

Gilden's Art Gallery

pablo picasso

Pablo Picasso (Malaga 1881-1973 Mougins) Le bain de pieds, 1960 Brush and India ink drawing on wove paper 20.9 x 26.9 cm This ink drawing is dated 26.1.60.II in ink in the upper image. Picasso created this work on Tuesday 26 January 1960 Provenance: Forum Fine Art, Zurich; private collection, Switzerland; Christie's, London, 10 February 2005, lot 685 Literature: C. Zervos (1968), Pablo Picasso - Œuvres de 1959 à 1961, Paris, vol. 19, reference n° 137 (ill., pl. 32)

 

TASCHEN

ralph gibson

Ralph Gibson (Los Angeles, 1939) Ralph Gibson. Photographs 1960-2024 The most comprehensive collection of this highly acclaimed and prolific American photographer's work offers the fruit of more than six decades of image-making. Available in two limited art editions of 100 copies, each accompanied by a gelatin silver print numbered and signed by Gibson.

 

Galerie La Patinoire Royale Bach

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

 

Stern Pissarro Gallery

Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Femme dans un paysage, 1917 Oil on canvas 25.3 x 39.7 cm Stamped lower right: Renoir Provenance: the artist's estate; Palais Galliera, Paris, 18 March 1964, (titled 'Gabrielle au jardin'); Hôtel George V, Paris, 10 December 1996, (titled 'Paysage'); private collection, Italy Literature: Marc Elder, L'Atelier de Renoir, vol. II, L'Atelier de Renoir (n.p.: MM. Bernheim-Jeune, Editeurs d'Art, 1931), n° 59 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Albert André, Marc Elder, and Messrs. Bernheim-Jeune, Renoir's Atelier / L'Atelier de Renoir, Rev. ed. (Paris: MM. Bernheim-Jeune, Éditeurs d'Art, Paris; San Francisco: Alan Wofsy Fine Arts, 1989), n° 599, p. 243 (ill. pl. 187, first state, titled as 'Paysage, bouquet'); Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, 1911-1919 (Paris: Éditions Bernheim-Jeune, 2014), no. 3981, p. 204 (ill. p. 204, present state, as "Paysage du Midi") Exhibitions: Paris, Galerie Jean Charpentier, Beautés de la Provence, 17 December 1947-7 March 1948, n° 129 (titled as "Gabrielle au jardin," dated circa 1915) This work is accompanied by letter from the Wildenstein-Plattner Institute confirming the work will be included in the forthcoming Renoir digital catalogue raisonné.

 

Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)

Unique binding of incredible modernity, produced circa 1925 by the great architect and designer Josef Hoffmann (Pirnitz 1870-1956 Vienna), one of the founding members of the Wiener Werkstätte and the creator of the fabulous Palais Stoclet in Brussels. Large quarto, full fawn morocco on wooden boards with undulating decor, dark fuchsia silk doublure and endpapers, interior gilt signature Wiener Werkstätte with, above, Hoffmann's small gilt monogrammed mark. On: Henny Bauer & Wilhelm Kienzl, Sanctissimum (1924), first edition of the score for voice and piano. Signed by Josef Hoffmann Literature: Isabella Croÿ-Frick, Bookbinding and Leather in Christian Witt-Dörring & Janis Staggs, Wiener Werkstätte 1903-1932, The Luxury of Beauty, (2017), pp. 192-211; MAK Wien: Archiv der Wiener Werkstätte, Entwurfszeichnungen, Bucheinband, inventarnummer WWE 24-9; Yves Peyré, Histoire de la reliure de création, (2005), p. 138, p. 140; Ruperta Pichler, Wiener Werkstätte. Lederobjekte aus den Sammlungen des Österreichischen Museums für angewandte Kunst, (1992), pp. 77-92; Werner J. Schweiger, Wiener Werkstätte, art et artisanat, 1903-1932, (1982), p. 183 Pierre Coumans, Antiquarian bookseller

 

Maison D'Art

Benvenuto Tisi called Il Garofalo (Ferrara, circa 1476–1559) The Nativity, circa 1525/1540 (Adoration of the Christ Child/Adoration of the Shepherds) Oil on wooden panel 38.1 x 33 cm Literature: A. Bliznukov, Ludovico Mazzolino: catalogo delle opere, Florence (forthcoming; as Garofalo, circa 1525/1540)

 

Guy Pieters Gallery

karel appel

Karel Appel (Amsterdam 1921-2006 Zurich) Polderkoe, 1952 Oil on canvas 82 x 116 cm This work is registered in the archives of the Karel Appel estate Provenance: Martha Jackson Gallery, New York; private collection, Belgium; Galerie Krikhaar, Amsterdam; private collection, Brussels

 

Philippe Heim

Griet van Malderen Collodion The Legend, Tribute To Tim Composition of 12 collodions (65 x 65 cm) 280 x 280 cm

 

Galerie Nicolas Bourriaud

François Martinez (Oran 1902–1986 Toulouse) Two Birds of Prey, circa before 1938 Direct carving in thuja wood H 57 x W 39 x D 26 cm Signed ‘F Martinez’ Unique piece

 

Floris van Wanroij Fine Art

rombout ‘pauli’ pauwels

Rombout ‘Pauli’ Pauwels (Mechelen circa 1625-1692 Ghent) The Virgin and Child Terracotta, sculpted on full round (contains restorations) H 52.5 x W 24 x D 23.5 cm Provenance: the Hulshoff Pol collection, Wassenaar, The Netherlands Literature: Neeffs, E. (1879), Histoire de la peinture et de la sculpture à Malines, Ghent, Vol. II, pp. 193-200; Nieuwdorp, H. (1977), De beeldhouwkunst in de eeuw van Rubens in de Zuidelijke Nederlanden en het prinsbisdom Luik, Brussels: KMKG, pp. 325-327 nrs. 294-298, p. 140, n° 103; Jacobs, A. & Vézilier, S. (2011), Fascination baroque: la sculpture baroque flamande dans les collections publiques françaises, Paris, pp. 116-121

 

NARDI VENEZIA

nardi venezia

'Ad Orientem' collection Bracelet crafted in gold and horn, set with diamonds, pink sapphires and rubies. Nardi’s universe has always been inspired by the distant horizons that captivate Venice

 

Pauline's Jewellery Box

Art Deco emerald & diamond necklace, circa 1920-1930 Platinum, emerald and diamond Provenance: France A beautiful Art Deco Colombian emerald & diamond pendant necklace, set with a pear shaped Colombian emerald weighing approximately 13.44 carats surrounded by old mine cut diamonds. Estimated total diamond weight is approximately 3.00 carats. Estimated colour H-I on average. Estimated clarity VS on average. The diamonds are bright & lively. Mounted in platinum.

 

Lemaire

Pair of covered jars in Chinese porcelain Powdered-blue ground porcelain with Famille verte floral motifs, and mounted in chiseled silver (scrolls and stars) Kangxi period, early 18th century H 14.5 cm

 

Citadelles & Mazenod

Honzo Zufu Illustrated album in five volumes of the 'materia medica', completed in 1828 by Iwasaki Kan'en H 29 x W 25 x D 19.5 cm Limited and numbered edition of 999 copies Published by Citadelles & Mazenod in 2025

 

Hartford Fine Art - Lampronti Gallery

Giovanni Antonio Canal, also called Canaletto (Venice, 1697-1768) Capriccio of Piazza San Marco from the Basin of San Marco with the Church of the Redeemer Oil on canvas 130 x 105 cm Written expertise by A. Morassi and by R. Pallucchini Provenance: Mrs. Van der Gucht collection; Christie’s sale, catalogue n° 78, November 1965; Fogg collection, acquired from the above sale; Sotheby’s sale, catalogue n° 110A, March 1968; Johnson collection, acquired from the above sale; Sotheby’s sale, catalogue n° 70, June 1970; Harlow collection, acquired from the above sale Literature: W. G. Constable, Canaletto, second edition, ed. J. G. Links, Volume II, n° 459, p. 438, pl. 208

 

Galeria Bessa Pereira

Abraham Palatnik (Brasil, Natal 1928-2020 Rio de Janeiro) Cupboard, 1950s Iron, wood and painted glass H 90 x W 150 x D 49 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, pp. 244-245; Vasconcellos, M., Móvel brasileiro moderno (1st edition), Rio de Janeiro: Aeroplano, 2012, p. 193

 

Galerie Hadjer

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Composition, Circa 1965 Wool Aubusson tapestry by the Maurice Chassagne workshop 225 x 300 cm Unique piece Provenance: atelier Maurice Chassagne; private collection, Switzerland

 

Carlucci Gallery

Monumental mirror Carved and gilded wood Rome, 17th century 200 x 175 cm Provenance: private collection Literature: Alvar Gonzales-Palacios, Arredi e ornamenti alla corte di Roma 1560-1795, Electa, 2004, pp. 98-99

 

Galerie Bernard De Leye

Stag hanap Germany, Melchior Mair, circa 1582-1583 Augsbourg Hall mark Bears the crest of Hans Moser, lord of Pötzleinsdorf from 1571 to 1583 Provenance: Hans Moser, Pötzleinsdorf (near Vienna), 1582-1583; collection Otto Wessner Saint-Gallen, until 1921; sale 'Galerie Fischer', Lucerne, 1922; private collection Switzerland until 2024 Comparative works: Stag hanap, identical to this model, with hallmark from Vienna, after 1582, goldsmith marked with a hunting horn, Waddesdon Bequest, British Museum inv. WB138; Stag hanap, gilded silver, Augsbourg hallmark, 1576-1586, Melchior Bair, Museum of Applied Arts, Budapest

 

Citadelles & Mazenod

Les arts africains This book offers a renewed synthesis of African arts, enriched with an abundant iconography (over 560 illustrations) H 31 x W 24.5 cm Published by Citadelles & Mazenod in 2025

 
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