24 - UARY 31 JANVIERRUARY 2027

BRUSSELS EXPO | HEYSEL

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Artworks

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Galeries
Galeries 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 Flak

Yipwon hook figure Korewori river, Papua New Guinea, 19th century or earlier (C-14 test) Carved wood H 200 cm Provenance: Merrin Gallery, New York; Californian artist Tony Berlant collection; acquired from the above in the 1980s; Michael Hamson collection, USA; Dr. Jean-Philippe Beaulieu collection, France; acquired from the previous in 2022

 

Galerie Alexis Bordes

léon spillaert

Léon Spilliaert (Ostend 1881-1946 Brussels) Mères et enfants sur le quai du port d’Ostende, 1910 Wax crayon and Conté crayon on paper 50.2 x 32.2 cm Signed lower right 'L. Spilliaert' This work will be included in the catalogue raisonné of Léon Spilliaert being prepared by Dr. Anne Adriaens-Pannier Provenance: Louis Sneyers collection, Brussels; Mr. and Mrs. Marcel Thomas, Brussels (by descent); Henriette Thomas-Bodart, Brussels (by descent); Galerie Ronny Van de Velde, 1997; Onzea-Govaerts collection, Belgium Exhibitions: Brussels, Palais des Beaux-Arts, 41st Antiques Fair of Belgium, January-February 1996; Brussels, Palais des Beaux-Arts, 42nd Antiques Fair of Belgium, January-February 1997

 

WHITFORD

paul van hoeydonck

Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) White New World, 1966 Mixed media H 91.5 x W 61 x D 20 cm Signed and dated on verso Whitford reference PVH068 Provenance: acquired directly from the artist

 

Stone Gallery

Woolly rhinoceros skull Approx. 50.000 years old 100 x 100 x 35 cm Origin: Siberia This woolly rhinoceros skull is approximately 50,000 years old, belonging to one of the most impressive mammals in the recent history of Northern Europe and Northern Asia. There were even people who lived alongside these giants between around 30,000 and 15,000 years ago! Stone gallery has previously conducted expeditions in various countries but recently acquired this skull through a swap with a local museum. Roy says, 'It is the best-preserved and most complete skull I’ve ever seen. Even the teeth are all original.' Researchers and students from Maastricht University have digitised mammoth and rhinoceros fossils from the Ice Age, including this skull. With this technique, it’s possible to bring these extinct species back to life in motion and conduct new studies. 'We’re investigating how strong the bone structure is. For this, we use Finite Element Analyses, a method commonly applied in the construction of buildings and bridges. The study explores the forces exerted on the bones, such as during chewing. This helps us predict how and what the animal ate, as well as how well it was adapted to its enormous size.' - Paleontologist Dr. Jesse Hennekam, Assistant Professor, Maastricht University -

 

Huberty & Breyne

philippe geluck

Philippe Geluck (Brussels, 1954) Vasarely Pollock Soulages, 2025 Acrylic on canvas 80 x 80 cm (each)

 

The old Treasury

puppo di puma

Puppo di Puma brooch with moveable wings 18k yellow and white gold, enamel and circa 2.5ct brilliant-cut diamond Alessandria, Italy, circa 1990

 

Willow Gallery

henri le sidaner

la neige

Henri Le Sidaner (Mauritius, Port Louis 1862-1939 Versailles) La Neige, 1899 Oil on canvas 66 x 75 cm Signed, dated and inscribed ‘Le Sidaner Bruges 1899’ Provenance: James Fulton, Paisley; Paisley Art Institute, Paisley, a bequest from the above in 1933 Literature: W. Philip Mayes, Illustrated Catalogue of Paintings, Drawings, Sculpture in the Collections of Paisley Corporation and Paisley Art Institute, Paisley, 1948, n° A189au., p. 49 (titled 'The Red House'); Y. Farinaux-le Sidaner, Le Sidaner: L'oeuvre peint et gravé, Milan, 1989, ill. p. 70, n° 86

 

Van Pruissen Asian Art

nagai ikka

Nagai Ikka (Japan, 1869–1940) Pair of six-panel folding screens with crows, 1930s Ink on paper H 137 x W 268 cm (each) Signed in the bottom corner Provenance: private collection, Japan Nagai Ikka (also known by the art names Zuiunan and Hanpo) was born in 1869 in Suibara, Niigata Prefecture, during the early Meiji period. He trained under leading masters of the Maruyama and Shijō schools, including Suzuki Shōnen, Nakano Kimei, and Hirafuku Hoan, and later absorbed stylistic influences from Kawanabe Kyōsai. This grounding in careful observation and naturalistic rendering provided the foundation for a personal style that balanced precision with expressive freedom. He began painting crow paintings after helping Ernest Francisco Fenollosa create 'One Hundred Crows', a painting he had commissioned from Kyosai. The late Meiji and Taishō periods were marked by profound change in Japanese art, as artists navigated between traditional aesthetics and the growing influence of Western naturalism. Ikka embraced this dialogue, drawing on classical ink painting techniques whilst expanding his horizons abroad. From 1903 to 1908, he lived in the United States, exhibiting at international events such as the Portland Expo, where he won a silver medal, and later at the Italian Expo. His crow paintings, admired both in Japan and overseas, earned him the affectionate nickname 'Doctor of Crows' from statesman Ōkuma Shigenobu. The crow (karasu) has a long symbolic tradition in Japanese culture, appearing in classical poetry, Buddhist imagery, and Shintō cosmology, most famously as Yatagarasu, the mythical three-legged crow. Ikka revitalised this motif, transforming it from a minor decorative element into the central subject of bold, dynamic compositions. This pair of six-panel folding screens demonstrates his command of movement and atmosphere. Painted in ink with sparing touches of colour, the crows appear in varied postures—perched, in flight, or interacting—creating a rhythm that guides the viewer’s eye across the expansive surface. Bold, calligraphic brushstrokes define wings and feathers, while softer washes evoke wind, mist, and shifting light. The result is a scene that is both naturalistic and poetic, combining the restraint of traditional ink painting with a striking modern vitality. Ikka’s crows are not static symbols but living presences, conveying alertness, intelligence, and social energy. His lifelong study of corvid behavior, informed by travels across Japan, Korea, China, Taiwan, and the United States, gave his work an observational depth rare among his contemporaries. At the same time, his art reflects a broader ambition: to elevate the ordinary into the emblematic, merging natural accuracy with expressive force. Today, Ikka’s crow paintings are prized by collectors and studied as important examples of Meiji-period nihonga, where fidelity to nature combines with enduring Japanese aesthetic ideals. These folding screens stand as a testament to his originality and his ability to transform a humble subject into a powerful symbol of vitality and freedom.

 

Cabinet of Curiosities - Honourable Silver Objects

Silver-gilt tazza Mark D possibly for Isaac Dighton or Deighton William and Mary period, London, 1691 Family coat of arms of the 2nd Earl of Petersborough, Henry Mordaunt Ø 29.5 cm Weight: 887 g Provenance: private collection, Belgium

 

Boon Gallery

kwang young chun

Chun Kwang Young (South Korea, Hongcheon 1944) Aggregation, 2007 Mixed media with Korean mulberry paper 163 x 131 cm Signed and dated on reverse

 

Stern Pissarro Gallery

maurice estève

Maurice Estève (Culan, 1904-2001) Untitled, circa 1953-1955 Gouache, watercolour and charcoal on paper 52.6 x 69.3 cm Signed lower left 'Estève' This work is registered in the archives of Mrs Monique Prudhomme-Estève under n° A.78 Provenance: private collection, UK This vibrant work by Maurice Estève dates from a pivotal moment in his career, when he was refining the style that would come to define his mature practice. A master of watercolor, this medium allowed him to develop a visual language characterized by subtle transparencies and rich chromatic nuances. The work features the bold colors and interlocking geometric forms that have made his oeuvre renowned, and its appealing format and quality make it a particularly attractive choice.

 

Victor Werner

thierry van ryswyck

Thierry Van Ryswyck (Antwerp 1911-1958 Vallauris, France) Walking panther, 1929 Patinated plaster H 53 x W 133.5 cm x D 23 cm Name and address of the mould maker inscribed on the underside of the base: A. Hoefnagels, mouleur, Quai Cockerill 19, Anvers Signed and dated Th. Van Ryswyck 1929 Provenance: private collection

 

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.

 

Meessen

evariste richer

Evariste Richer (Montepellier, 1969) Saint-François, 2025 Ink on paper 112 x 112 cm

 

Pron

fausto melotti

Fausto Melotti (Rovereto 1901-1986 Milan) Il meridiano delle campane, 1979 Brass H 97.5 x W 74 x D 38 cm Literature: Milan, Galleria Stendhal, Cascella Consagra Melotti, 1980; Padua, Stevenson Arte Contemporanea, Fausto Melotti. Sculture, tecniche miste e incisioni, 1982; Intra, Galleria Corsini, Fausto Melotti. Sculture e Acquarelli. Un'opera d'arte è un'oasi, 1982; Busto Arsizio, Galleria Il Punto Sette, Fausto Melotti, 1984; Parma, Galleria La Sanseverina, Fausto Melotti, 1986, pp. 29, 47, n° 29, ill. Exhibitions: Gianni Cavazzini, Poetiche sosprese di Fausto Melotti, in Gazzetta di Parma, May 23rd, 1986, ill.; Germano Celant, Melotti, Catalogo generale, Tomo secondo, Sculture 1973-1986 e Bassorilievi, Milan 1996, p. 512, 1979 n° 21, ill.

 

The old Treasury

van cleef & arpels

Van Cleef & Arpels necklace 18k yellow gold France, circa 1990

 

VKD Jewels

Giampaolo Babetto (Italy, 1947) Pair of geometric earclips, circa 2009 24k yellow gold with niello and red pigment Each clip is composed of four square plates in brushed gold: one coated with red pigment and the other with niello Signed Babetto

 

MARUANI MERCIER

ross bleckner

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

 

Galerie Cento Anni

philippe wolfers

Philippe Wolfers (Brussels, 1858-1929) Fiançailles (Engagement), circa 1911 Bronze with brown patina and original marble base H 50.5 cm Signed Ph. Wolfers Lost-wax cast n° 1 Provenance: private collection, France Literature: La Dynastie Wolfers–de l’Art nouveau à l’Art déco, Werner Adriaenssens & Raf Steel, p. 396

 

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.

 

COLNAGHI

Nicolaas Struyck (Amsterdam, 1686-1769) A rose with garden whites, circa 1715 With partial Fleur-de-lis watermark Bodycolour and watercolour on paper with period black and gold ruled beige card mount 23.8 x 19.2 cm Provenance: private collection, Germany until 2023

 

Stone Gallery

Native Copper Map of Holland Weight: approx. 55 kg 38 x 28 x 18 cm Origin: Michigan, USA This large native copper specimen from Michigan shows a striking similarity with The Netherlands.

 

Artimo Fine Arts

charles-auguste fraikin

Charles-Auguste Fraikin (Herentals 1817-1893 Brussels) Emerging from the Sea Bath White Carrara marble H 123 x W 37 x D 33 cm Provenance: Francis Meyer collection, Switzerland Literature: Fraikin, Charles-Auguste. Catalogue de la galerie. Musée Fraikin de Herenthals offert par l'artiste à sa ville natale l'an 1891. Herentals: Typ. L. Bongaerts-Verbeeck, 1891; Engelen & Marx. La sculpture en Belgique à partir de 1830. Tome III: Devreese-Hecq. Bruxelles : Éditions Ars 2006, pp. 1550-1557 With this work, Charles-Auguste Fraikin celebrates feminine beauty captured in the intimacy of a daily gesture: that modest and natural act of a young woman emerging from the water and wringing out her long hair. The sculptor excels here in the art of suggestion rather than revelation. The delicately fitted drapery clings to the body’s contours whilst gracefully concealing them, playing on the translucency of the marble and the softness of the volumes. The work bears witness to the dual influence of classical ideals and the romantic taste for a sensitive evocation of femininity. Through his treatment of surfaces - silken, clean, almost vibrant - Fraikin achieves a remarkable degree of refinement whilst preserving a clear narrative: that of a moment suspended in time, poised between genre scene and allegory. Emerging from the Sea Bath brilliantly illustrates Fraikin’s ability to combine modesty with sensuality, simplicity with virtuosity, in a sculpture that speaks both to the eye and to the imagination.

 

Pron

carla accardi

Carla Accardi (Trapani 1924-2014 Rome) Colori misti, 1967 Varnish on sicofoil 35 x 30 cm Signed, titled and dated on the reverse

 

Galerie AB - Agnès Aittouarès

Sam Francis (California, 1923-1994) SF63-046, 1963 Acrylic on paper 90 x 63 cm Signed, dated and located Los Angeles on reverse Listed in the online catalogue raisonné of the artist under n° SF63-046 Provenance: Jean Fournier collection; private collection, Paris Exhibition: Paris, Galerie Jean Fournier, Sam Francis de 1947 à 1988 sur papier, October-November 1988

 

Harold t’Kint de Roodenbeke

pierre alechinsky

Pierre Alechinsky (Brussels, 1927) Le Nid, 1965 Oil on canvas 130 x 91 cm Signed lower right Signed and titled on reverse Certificate of authenticity by Pierre Alechinsky dated 14 March 1995 Provenance: Lefebre Gallery, New York; private collection, Monaco

 

Dalton Somaré

Female figure Baule, atelier of Essankro, Ivory Coast, late 19th century Wood 51 cm Provenance: private collection, Germany; private collection, Paris

 

Pelgrims de Bigard

joachim beuckelaer

Joachim Beuckelaer (Antwerp, circa 1533-1574/75) and studio A young female seller at a fish market Oil on panel 103 x 76 cm Certificate of authenticity by Dr. Fred Meijer Provenance: possibly Christie’s sale London, 25 November 1966, lot 12; sale London, Bonhams Knightsbridge, 31 October 1996, lot 354; private collection, Spain, until 2023

 

Galerie Alexis Pentcheff

Regency period frame France, 18th century Carved oak, gilded with gold leaf 112.5 x 146 cm (sight size) Provenance: Montanari collection Sand-textured background decorated with acanthus scrolls, small flowers, drops, shells, and padded cartouches. Openwork acanthus leaves overflowing with playful movement in the corners.

 

DIE GALERIE

pierre alechinsky

Pierre Alechinsky (Brussels, 1927) Le Point du Jour, 1966 Oil on canvas 130 x 81 cm Signed lower right 'Alechinsky'; signed, dated and entitled verso Certificate by the artist from 19 March 2012 Provenance: Galerie Birch, Kopenhagen; DIE GALERIE, Frankfurt am Main Literature: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA. Una grande avanguardia europea 1948-1951, exh. cat. Fondazione Roma Museo, Palazzo Cipolla, Rome 2015, p. 211 Exhibitions: Pierre Alechinsky, Galerie Birch, Kopenhagen 1966; CoBrA international – Momente einer Utopie, Museum für aktuelle Kunst, Sammlung Hurrle, Durbach, 2012-2013; CoBrA – Una grande avanguardia europea 1948-1951, Fondazione Roma Museo, Palazzo Cipolla, Rom, 2015-2016; 70 Years of CoBrA, DIE GALERIE, Frankfurt am Main, 2018; Pierre Alechinsky and his artist friends, DIE GALERIE, Frankfurt am Main, 2025

 
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