25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galerijen
Galerijen 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
 

Van Herck-Eykelberg

Yayoi Kusama (Japan, Matsumoto 1929) Nets 61, 1998 Acrylic on canvas 38 x 45 cm Certificate of authenticity from the Yayoi Kusama Foundation

 

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

 

COLNAGHI

Hendrik van der Haert (Leuven 1790-1846 Ghent) Head study of a man in profile Oil on panel 31 x 30 cm Inscribed on the reverse: “D’après nature / Vander Haeght Louvain / Directeur de l’académie à Gand.”

 

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 Flak

Yup'ik shaman mask Coastal Yup’ik - Eskimo, St Michael or Yukon river Delta, Alaska, 19th century Carved wood, pigments H 19.5 cm Provenance: Karin & Leo (1937-1987) Van Oosterom collection, The Hague, acquired in 1980 Yup’ik shamanic masks (from the Indigenous culture of the Arctic region of Alaska) bear witness to a spirituality and artistic power of remarkable depth. Exceptionally rare today - as most were destroyed or discarded after their ceremonial use - these works are imbued with mystery and poetry. Their evocative force and symbolism of metamorphosis deeply inspired Surrealist masters such as Max Ernst and Leonora Carrington, who discovered in them a new visual language of the unconscious. This striking mask represents a tunghak spirit - a powerful celestial being linked to the moon, the sun, and the balance between humans and nature.

 

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

 

Gilden's Art Gallery

Gino Severini (Italy, Cortona 1883-1966 Paris, France) The dancer, 1959 Tempera painting on wove paper 39.5 x 28.5 cm Signed lower right 'G. Severini' and dedicated in pencil ‘al caro vecchio amico Raffaele Carrieri, affectuoso riccordi di Gino Severini’ [to a dear old friend Raffaelle Carrieri, with affectionate memories, Gino Severini] in the lower right corner The work comes with a photo-certificate of authenticity by Romana Severini Brunori dated 13 May 2025 Provenance: the celebrated poet Raffaele Carrieri (1905-1984); private collection, Milan

 

QG Gallery

georg karl pfahler

Georg Karl Pfahler (Emetzheim, 1926-2002) DA-OBG, 1967-68 Acrylic on canvas 180 x 160 cm Provenance: estate of the artist

 

Francis Maere Fine Arts

eugène dodeigne

Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Untitled, 1987 Charcoal on paper 107 x 74 cm

 

Art et Patrimoine - Laurence Lenne

Reliquary 'in the form of a sarcophagus with a hinged roof' Limoges, mid-13th century Gilt copper plates, champlevé enamels H 11.8 x W 27.5 x D 9.5 cm Literature: Inventaire général des monuments et des richesses artistiques de la France. Emaux limousins du Moyen Age. Correze/Creuse/Haute-Vienne, under the direction of Paul-Édouard Robinne, Éditions de l’Inventaire, Images du Patrimoine, 1995; Emaux de Limoges XIIè-XIXè siècle, under the direction of Jacques Toussaint, Museum of Ancient Arts of Namur, 1996; Valérie & Thomas Becket, De l'influence des princes Plantagenêt dans l'Oeuvre de Limoges, Municipal Museum of the Bishop’s Palace-Museum of Enamel, Limoges, 1999 A reliquary, without a wooden core, taking the shape of a sarcophagus with a hinged roof. It is made of gilt copper plates and decorated with champlevé enamels depicting sixteen half-length angels emerging from clouds against a white enamel background. The decoration consists of two superimposed registers of three engraved gilt angels set within round medallions. The medallions stand out against a blue enamel ground adorned with gilded Gothic foliage and interlace patterns. This reliquary belongs to a series of standardised reliquaries known from the Limousin region, all dating from the 13th century. Its dimensions make it one of the largest examples of this 'sarcophagus with movable roof' type. It is closely related to the exceptional large reliquary of Saint-Yrieix-la-Perche, classified as part of the Treasure of the French Historic Monuments.

 

Patrick Derom Gallery

günther förg

Günther Förg (Füssen 1952-2013 Freiburg) Untitled, 2003 Acrylic on canvas 140.5 x 160.5 cm Signed and dated upper right ‘Förg 03’ This work is registered in the archives of the Günther Förg Estate under number WVF.03.B.0242 Provenance: Alcalá Subastas, Madrid, 12 May 2011; private collection, Madrid; private collection; sale Christie’s Amsterdam, 8 April 2014, lot n° 74; private collection, Belgium Exhibition: 2003-2004, Galerie Heinrich Ehrhardt, Madrid, 18 November 2003-30 January 2004, Günther Förg

 

Maurice Verbaet Gallery

paul van hoeydonck

Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) Untitled, 1958 Oil on unalit 80 x 80 cm Provenance: Maurice Verbaet collection, Belgium Literature: Jan Ceuleers, Paul Van Hoeydonck, Antwerpen, Pandora Publishers, 2011, p. 160 & p. 287 Exhibition: KMSKA, Antwerp, Belgium, Fallen Astronaut. Hommage aan Paul Van Hoeydonck, 12 September 2025-12 October 2025

 

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

 

Galerie Christophe Gaillard

claude viallat

Claude Viallat (Nîmes, 1936) 199/1975, 1975 Mixed media on canvas 188 x 208 cm Provenance: Galerie Jean Fournier; the artist's studio, Nîmes (FR)

 

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

 

Van Pruissen Asian Art

tokuda yasokichi iii

Tokuda Yasokichi III alias Kutani Masahiko (Japan, 1933-2009) Porcelain vase Japan, late 20th century H 29.5 cm Signed ‘Kutani Masahiko’ on the base Literature: Yosai - Tokuda Yasokichi Sakuhinshu (The works of Tokuda Yasokichi), Kodansha 1995, Japan This elegant Kutani porcelain vase by Tokuda Yasokichi III - designated a Living National Treasure in 1997 - exemplifies his groundbreaking approach to traditional ceramic art. The slender, tapering body is enveloped in a rich aubergine glaze, punctuated by a single iridescent blue stripe flowing vertically from the mouth to the base. This striking effect was created using Yasokichi’s innovative saiyū (polychrome overglaze) technique, which brought new luminosity and abstraction to Kutani ware. Born Masahiko, Yasokichi III redefined the possibilities of Kutani ceramics, elevating them into a modern art form. Today, his works are held in leading international museum collections, including the Metropolitan Museum of Art and the British Museum.

 

Nosbaum Reding

stefaan de croock

Stefaan De Croock (Belgium, 1982) Portrait F I , 2025 Recycled wood Sculpture 155 x 88.5 cm

 

Galerie Bernard De Leye

Enamel basin 'Adam and Eve Mourning the Death of Abel' L 47.5x W 38.7 cm Provenance: sale Tajan 17 juin 1977, n° 127; former collection of Henry Kravis, New York; gallery 'à la Façon de Venise', Paris; former private collection, Switzerland Most Limoges enamel pieces were created over a very short period, between 1540 and 1580, marking the peak of Limoges enameling art. They reflect the French Renaissance and the Fontainebleau School. These secular objects were cherished by court dignitaries and the wealthy bourgeoisie. Too precious and fragile to be used, they adorned the sideboards of reception rooms or the cabinets’ display shelves. Comparative pieces: Musée du Louvre, Paris, eight plates from 1540/1560 by Jean Miette in Limoges enamel; Victoria & Albert Museum, London, a closed cup and two plates, circa 1560 by Jean Miette in Limoges enamel; British Museum, London, three plates, circa 1570 by Jean Miette in Limoges enamel; State Hermitage Museum, Saint Petersbourg, five plates, mid-16th century by Jean Miette in Limoges enamel

 

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

 

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

 

Klaas Muller

paul de vos

Paul De Vos (Hulst 1595-1678 Antwerp) Deer hunt, circa 1645 Oil on canvas 203 x 215 cm Authenticated by Prof. F.G. Meijer as an original painting by Paul de Vos

 

N. Vrouyr

Kinheim rug Dutch rug produced in the workshops of Kinheim (Beverwijk), circa 1930, after 1926 Handknotted wool 530 x 405 cm Signed at the back 'KON. KINHEIM BEVERWYK' Provenance: Beverwijk, Holland Kinheim rugs, Beverwijk workshops, Holland (1910-1973) According to the trade register, Hendrik Godefridus Polvliet founded the carpet workshop “Kinheim” on September 1, 1910, at Zeestraat 104 in Beverwijk. The company was originally located on Vondellaan in Beverwijk, which at the time was called Spargielaan. His wife, Mrs. C.M. Polvliet–Van Hoogstraaten (1883–1966), had already started the handwoven carpet workshop “Kinheim” there in 1909. At first, carpets were woven by hand on a small scale. The couple became interested in carpet weaving during a stay in Morocco, where they lived for some time due to Mr. Polvliet’s health problems. Because of recurring asthma attacks, he had been advised to stay for extended periods in warm, dry climates. During this time, Mrs. Polvliet taught herself knotting and weaving techniques and drew many patterns. Initially, the carpets were sold to family and friends. Orders soon began to pour in, and thanks to Mrs. Polvliet–Van Hoogstraaten’s skill, the business grew rapidly. After just a year, in 1911, it moved to Zeestraat and employed about twelve girls. A major commission for 15 carpets for the Peace Palace in 1913 required a larger workshop. The couple had a 144-meter-long wooden workshop built behind their house at Zeestraat 104. This made it possible to weave large hand-knotted carpets behind the residence. Within ten years, the company was well known throughout the Netherlands for its quality and artistic originality. Their own designs, inspired by Oriental motifs, quickly found their way into ships, palaces, city halls, and council chambers. On May 19, 1926, the company was granted the title “Royal.” The founder did not live to see this honor, as he had died on June 17, 1923. His widow, Cornelia Maartina Polvliet–Van Hoogstraaten, continued the business under the new name “Royal Handwoven Carpet Workshop Kinheim.” In addition to private commissions, the company produced many carpets for Dutch passenger ships, such as the Johan de Witt (designed by Lion Cachet), the Nieuw Amsterdam, and many others. Municipal and provincial governments also commissioned important works. For instance, Kinheim carpets can be found in the council chamber of Amsterdam and in the council houses of Den Bosch, De Bilt, Enschede, Uithoorn, and Beverwijk, as well as in the provincial government buildings of Maastricht and Haarlem. In the latter, stair runners designed by Jo de Jong are among the works. Carpets were also supplied to offices such as those of the Netherlands Trading Society and the Shipping House. Highlights for the workshop included commissions from the Royal House. Kinheim made a dining room carpet for Soestdijk Palace designed by Mrs. Brom-Fischer and carpeting for the royal yacht Piet Hein. Notably, the Sultan of Deli (in 1938) and the Shah of Persia also placed orders with Kinheim. After an initial period of prosperity, the workshop suffered a setback due to World War I, but it flourished again in the 1920s. At that time, the many commissions provided employment for around 60 women and girls. During the economic crisis of the 1930s, the company survived by focusing on simpler techniques, producing the cheaper “konkit carpet,” woven with coarse knots and undyed materials. During World War II, the business, which had in 1941 passed into the hands of Mr. Keizer from Hilversum, came to a standstill. Work resumed after 1945 under the leadership of Mr. and Mrs. Mastenbroek. Many large commissions were once again completed for government buildings, ships, and businesses. The company then employed between 30 and 40 women on average, sometimes as many as 60. Later, changes in taste and economic conditions, particularly the decline in orders from shipping companies, caused a sharp drop in demand for hand-knotted carpets made with special patterns. These and even plain rugs were increasingly replaced by much cheaper, machine-made carpets. Kinheim completed its final commission in early 1973, and in April of that year, the Beverwijk workshop closed. Well-known designers who worked for Kinheim included Jac. van den Bosch, C.A. Lion Cachet, Theo Nieuwenhuis, and Dirk Verstraten. Kinheim was the only company in the Netherlands where carpets were knotted following the classical Oriental method. Each carpet required a vast number of working hours. The size of the carpet determined how many girls worked on it: a narrow runner or cushion cover was made by one girl, but a large carpet could involve 8 to 10 workers. The women ranged in age from 15 to 60. A carpet with 40 knots per square centimeter and a size of 2 by 3 meters contained about two and a half million knots. A skilled knotter made 5,000 to 8,000 knots a day, meaning that such a carpet required around 350 working days. The early carpets of the Kinheim Carpet Workshop (before 1926) were marked on the back with the words “Kinheim” and “Beverwijk,” along with an image of a swastika. After the company received the “Royal” title in 1926, the swastika mark was replaced by a crown or the abbreviation ‘KON.’.

 

Jan Muller Antiques

theobald michau

Theobald Michau (Tournai 1676-1765 Antwerp) A busy town near the river Oil on copper 33 x 45 cm (framed) 46 x 58 cm (framed) Part of a pair, both signed lower left 'T. Michau' Provenance: collection of Baron R. Gendebien

 

Galerie Greta Meert

carla accardi

Carla Accardi (Trapani 1924-2014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm Frammenti, a work from 1984, ‘Fragments’; the work affirms Carla Accardi’s place as a voice of innovation in an Italian art scene dominated by male voices. In this 50 x 60 cm painting using only black paint on the untreated material of the canvas, the artist constructs a rhythmic interplay of signs animating recognition and illegibility, an evocation of a writing that dissolves into abstraction. The work embodies the tension that characterises her oeuvre: a subtle intertwining of classical painterly discipline and the radical openness of the avant-garde, resulting in a visual language that is as rigorous and experimental as it is personal.

 

Galerie Perrin

gustave moreau

Gustave Moreau (Paris, 1826-1898) The triumph of Bacchus, circa 1875-1876 Oil on panel 23.2 x 17.8 cm Signed lower left, Gustave Moreau Provenance: Auguste Donatis, acquired directly from the artist with Arnold and Tripp, Paris; Louise Joséphine Amélie de Saint-Alary (1863-1922), Comtesse de Roederer, Paris; Georges Wildenstein (1892–1963), Paris; confiscated from the above when stored in vault 6, Banque de France, Paris, by the Einsatzstab Reichsleiter Rosenberg, ERR n° W166; transferred to the Devisenschutzkommandos, October 30th, 1940; transferred to the Jeu de Paume, Paris; transferred to Fussen, Germany, January 15th, 1943; recovered by the Monuments, Fine Art and Archives Section from the 'Large Peter' salt mines, Alt Ausse, Austria, n° 206/36; transferred to the Central Collecting Point, Munich, n° 212/36, June 20th, 1945; repatriated to France, April 18th, 1946; restituted to the Wildenstein Collection, Paris; Daniel Wildenstein (1917–2001), Paris, by descent; private collection, since 1974 Literature: P.-L Mathieu, Gustave Moreau: sa vie, son oeuvre; catalogue raisonné de l'oeuvre achevée, Fribourg, 1976, ill. p. 314, n° 149; P.-L Mathieu, Gustave Moreau: Complete edition of the finished paintings, watercolours and drawings, Oxford, 1977, ill. p. 320, n° 149; P.-L Mathieu, Gustave Moreau, Monographie et nouveau catalogue de l’oeuvre achevé, Paris, p. 327, n° 171, ill. as Triomphe de Bacchus (dans un char tiré par des panthères) A prominent Symbolist, Gustave Moreau painted fantastic and mythological subjects in a pictorial and sensual style. Moreau was influenced by the romanticism of Eugène Delacroix and Théodore Chassériau (his teacher) but focused on the femme fatales and virgins often associated with Symbolist painting. Salome dancing before Herod (1876), one of Moreau's most famous works (fig.2), took the artist seven years to paint, slowly building the rich and encrusted surface of the painting. Moreau was also known for his semi-abstract watercolours, and as a professor at the École des Beaux-Arts, where his students included Albert Marquet, Henri Matisse and Georges Rouault. André Breton considered Moreau an important precursor of Surrealism. In 1876, Gustave Moreau made his triumphant return to the Salon, having not exhibited his work there since 1869. In the intervening years Moreau had remained at his home and studio in Paris and also fought in the Franco-Prussian War, where he had seen the horrors of the War and the Siege of Paris, the sudden fall of the Second Empire and the violence of the Paris Commune and its bloody repression firsthand. An extremely patriotic man, Moreau was deeply shaken by both the speed and brutality of modern warfare and by the savage inhumanity that he felt had lain waste to his ‘noble France,’ and went several years during this period without painting anything. By the mid-1870s, an idealist bent had begun to creep back into the artist’s work, which he intended to represent and inspire a rebirth, both spiritual and moral, in France. The triumph of Bacchus, painted by Gustave Moreau during this same period of optimism and idealism, represented no smaller idea for the artist than this very rebirth.

 

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

 

Guy Pieters Gallery

yves klein

Yves Klein (Nice 1928-1962 Paris) La Terre Bleue, 1957 IKB Pigment H 41 x Ø 29 cm Provenance: Galerie Bonnier, Geneva; private collection, Sweden Literature: P. Wember, Yves Klein, Cologne, 1969, p. 109, n° RP7 (another example ill.); P. Restany, Yves Klein, New York, 1982, p. 226 (another example ill.); J.P. Ledeur, Yves Klein: Catalogue of Editions and Sculptures Edited, Belgium, 1999, p. 242 (another example ill.); N. Charlet, Yves Klein, Paris, 2000, p. 230 (another example ill.); H. Weitemeier, Yves Klein: International Klein Blue, Cologne, 2001, p. 83 (another example ill.) Exhibitions: Paris, Centre Georges Pompidou Musée National d'Art Moderne, Yves Klein, March-May 1983, p. 109, n° 56 (another example exh.); Nice, Musée d'Art Moderne et d'Art Contemporain and Museo Pecci Prato, Yves Klein: Long Live the Immaterial!, April 2000-January 2001, p. 184 (another example exh. and ill.); Musée des Beaux-Arts d'Angers, Marie Raymond, Yves Klein, November 2004-February 2005, p. 190 (another example exh. and ill.)

 

Galerie Hioco

yukiya izumita

Yukiya Izumita (Japan, 1966) Laminate, 2025 Iwate clay W 35 cm

 

Claes Gallery

 

Artimo Fine Arts

Carlo Nicoli (1843–1915) Madame de Pompadour, 1889 White Carrara marble bust H 105 cm Signed and dated Anna Volkova (St Petersburg, 1974) Les Fleurs d'Amour, 2025 Hand-modelled biscuit porcelain flowers A contemporary floral homage by Anna Volkova to Madame de Pompadour

 
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