24 - UARY 31 JANUARY RUARY 2027

BRUSSELS EXPO | HEYSEL

APPLY TO EXHIBIT
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
 

Franck Anelli Fine Art

claude corneille de lyon

Claude Corneille de Lyon (The Netherlands, The Hague 1500-1575 Lyon, France) Portrait of a wealthy merchant wearing a fur-lined coat and gold chain, circa 1560 Oil on panel 15 x 18 cm Certificate from Dr. Alexandra Zvereva This painting will be included in the supplement to the artist's forthcoming Catalogue Raisonné This unpublished small portrait fits naturally into the later works of one of the most illustrious portraitists of the French Renaissance. Referred to in contemporary documents by the name of his hometown, La Haye, he later became known simply as 'Corneille' until André Félibien, who believed him to be from the banks of the Rhône, added the name 'Lyon' in the index of his Entretiens. Born and trained in the Netherlands, probably in Flanders, the artist settled in Lyon as early as 1533. There, he succeeded Jean Perréal, the portraitist of Charles VIII and Louis XII, renowned for his intimate portraits with coloured backgrounds. By the mid-1530s, Corneille had gained such fame that he found himself painting the courtiers accompanying the king to Lyon, as well as the Sons and Daughters of France. However, unlike Perréal, his career was not that of a royal artist following the court. He never left Lyon, and his titles of "painter to the Dauphin" and later "painter and ordinary valet to the king" were purely honorary, primarily granting him the privileges of royal officers. The prominent citizens of Lyon, wealthy French and foreign merchants, high-ranking royal officers, well-to-do bourgeois, and magistrates made up the bulk of his clientele. Corneille created small-scale portraits for them, painted in just a few sitting sessions directly onto panels. Intended for family and close associates, these works had no official circulation and existed in only one unique copy, unlike portraits of the nobility, of which Corneille often made replicas that were widely circulated. The subject of this portrait is not a nobleman, despite his evident wealth. His attire is simple, a dark brown-black without any ornamentation, slashing, or jewels. The white ruff of his shirt is not starched. His high cap, fashionable in the 1550s-1560s, lacks a plume, a privilege reserved for the nobility, as it was associated with the feathers adorning knights' helmets. However, the man does possess a certain fortune, as evidenced by his fur-lined cloak of marten with wide lapels and a large gold chain with three rows of links, favoured by the Flemish. The medallion on the chain is cropped by the frame. This is almost certainly a prosperous merchant, eager to demonstrate his success and preserve the memory of his features for his family. The absence of any inscription on the reverse, giving the name of the subject, makes identification impossible, since no replica or engraving exists. Despite previous restorations, particularly to the face and background, the distinctive characteristics of Corneille’s art are clearly visible here, such as the rough sketching of the ear, the sloping shoulders that make the head appear slightly disproportionate to the torso, the treatment of the hair with individual strands, the brilliant irises crossed by an oblique ray of light, and the broader brushstrokes in the clothing.

 

Galerie La Forest Divonne

christian renonciat

Christian Renonciat (Paris, 1947) Carton Paysage, 2024 Sculpture in lime wood H 80 x W 118 x D 6 cm Provenance: the artist's studio

 

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

 

Francis Maere Fine Arts

eugène dodeigne

Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Untitled, 1990 Oil on canvas 195 x 97 cm

 

Galerie la Ménagerie

jacques froment-meurice

Jacques Froment-Meurice (Paris 1864-1946 Maisons-Lafitte) Bucking donkey, circa 1904 Model from 'Les gestes d'Ânes' Bronze A. A Hébrard foundry H 14.5 x W 18 x D 9 cm Signed on the base Provenance: collection New York, USA Literature: A strong love of all animals, but particularly of domestic breeds, especially donkeys, is evident in the character that Froment-Meurice captures in all his intimate portraits. Cast by Hebrard, they are always of the highest quality, Edward Horswell, Sculpture of Les Animaliers, 1900-1950, Scala Arts and Heritage Publishers Ltd, 2019, p. 136

 

Axel Vervoordt

Jef Verheyen (Belgium, Itegem 1932-1984 Apt, France) Untitled Matt lacquer on round board 100 x 100 cm - Ø 80 cm Provenance: private collection, Belgium; collection Axel Vervoordt, 2003; private collection, Belgium Exhibition: Jef Verheyen, Lux est Lex, Wijnegem, 2004, cat. n° 60, ill. p. 93

 

Huberty & Breyne

philippe geluck

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

 

Finch & Co

Ivory crucifix figure of Christ South Netherlandish, circa 1690-1700 Rosewood cross, carved ivory, silver halo, giltwood Small chips to fabric of hanging Perizonium, old smooth creamy patina H 109 x W 41.5 x D 22 cm (cross) H 40 x W 24 x D 6 cm (Christ) Belgium CITES: 2025/BE00989/CE Provenance: Finch and Co, circa 2005; English private collection; Irish collection Comparative reference: a similar example in the collections of the Victoria and Albert Museum inv. n° A.73-1920 A finely carved ivory figure of Christ mounted on a rosewood cross, adorned with a silver halo and a sacred motto. The cross is embellished with giltwood details and set on its original scallop-shaped rosewood base. At Christ’s feet rests an ivory skull and crossbones, symbolising Golgotha. His legs remain uncrossed, with hands and feet affixed by iron nails. In this image of the Passion, Christ is shown alive, his eyes open looking upwards to his right, his teeth visible with his mouth open in his call to God. Imagery based on the Passion of Christ became increasingly popular from the 13th century. The mix of emotions which well up in the devout upon looking at such a human image, a blend of guilt and gratitude, sorrow and sympathy, is a very powerful combination. The Carthusian monk, Ludolph of Saxony (died 1378) expressed this attraction, without seeking to explain it, in his ‘Life of Christ’: ‘I know not for sure…. how it is that you are sweeter in the heart of one who loves you in the form of flesh than as the word…. It is sweeter to view you as dying before the Jews on the tree, than as holding sway over the angels in Heaven, to see you as a man bearing every aspect of human nature to the end, than as God manifesting divine nature, to see you as the dying Redeemer than as the invisible Creator.’

 

Victor Werner

constant permeke

Constant Permeke (Antwerp 1886-1952 Ostend) Head of farmer, 1926 Oil on canvas 80 x 55 cm Signed 'Permeke' lower right Bears a label on the reverse that likely indicates the artwork was part of an exhibition organised with the support or involvement of the Belgian Ministry of Public Education at the time

 

Axel Vervoordt

Ptah-Sokar-Osiris figure Egypt, Ptolemaic period, circa 332-30 BC Painted wood and gesso H 53 cm Provenance: private collection Jean Martin-Roch, France, acquired before 1936; thence by descent; Rouillac Cheverny, 13 June 2014, lot 15; Sotheby's, New York, 8 December 2015, lot 32

 

Maurice Verbaet Gallery

francis dusépulchre

Francis Dusépulchre (Seneffe 1934-2013 La Louvière) Relief, 1970 Synthetic lacquer on masonite 122.50 x 98 cm Provenance: estate of the artist

 

WHITFORD

bram bogart

Bram Bogart (Delft 1921-2012 Sint-Truiden) Le chapeau de Rubens, 1983 Mixed media on canvas 200 x 220 cm Signed and dated on verso Certificate of authenticity by Bram Bogart Jr, n° 20 Provenance: corporate collection, UK Literature: Bram Bogart, Schilderijen 1950-1983. exh. cat., Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Ghent, 1984, ill. p. 2 and p. 36; Legrand, Francine-Claire; Bram Bogart, Tielt, 1988, ill. p. 97; Paquet, Marcel, Bram Bogart, Turin, 1990, ill. p. 241; Hermans, Nicole, Bram Bogart in Amerika, Beelding, maandblad voor Kunsten, p. 16; Bogart, Bram, Hoet, Jan, Lemesre, Marion, Paquet, Marcel and Gilbert Perlein, Bram Bogart, Fête de la matière, exh. cat., Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice, 1999, ill. p. 43 Exhibitions: 1984, Bram Bogart: Schilderijen 1950-1983, Museum Boijmans-Van Beuningen, Rotterdam and Museum van Hedendaagse Kunst, Gent, cat. n° 67; 1999, Bram Bogart, Fête de la matière, Hôtel de Ville de Bruxelles, Brussels and Musée d'Art Moderne et d'Art Contemporain de Nice

 

Galerie Flak

Hemba ancestor figure Singiti (commemorative portrait of a chief) Democratic Republic of Congo-Upper Congo River 19th century or early 20th century Carved wood H 86.5 cm Provenance: Mia van Bussel collection, Amsterdam; Kevin Conru collection, Brussels; Adrian Schlag collection, Brussels; Guilhem Montagut collection, Barcelona Literature: Lexikon der Afrikanischen Kunst, Karl-Ferdinand Schaedler, Munich, 1994, p. 242

 

Patrick Derom Gallery

jean arp

Jean Arp (Strasbourg 1887-1966 Basel) Untitled, circa 1930 pencil and gouache on paper 30 x 25.8 cm Signed lower right on the reverse Certificate of authenticity of the Arp Foundation, Clamart, dated 24 March 2009 Provenance: Marguerite Arp-Hagenbach, Meudon (widow of the artist); Hans Arp and Sophie Taeuber-Arp Foundation, Remagen-Rolandswerth, Germany (since 1977); Galerie Mitchell-Innes & Nash, New York; private collection Exhibitions: 1990, Moscow, Puschkin Museum, Hans Arp 1886-1966: Sculpture, Reliefs, Drawings, Collages; 1994, Munich, Haus der Kunst, Elan Vital oder Auge des Eros; 1996, Rolandseck, Stiftung Hans Arp und Sophie Taeuber-Arp, Hans Arp/Sophie Taeuber-Arp, cat. 41 1997-2000, Saint-Petersburg, Hermitage Museum, Thessaloniki, Altes Archäologisches Museum, Mantoue, Palazzo Te, Toyota, Municipal Museum of Art, Krakow, Galerie Bunkier Sztuki, Heino, Stichting Hannema-de Stuers, Hans Arp und Sophie Taeuber-Arp; 2003, Palma de Majorque, Fundacion Sa Nostra, Diverse Explorations: Hans Arp and Sophie Taeuber-Arp

 

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)

 

Cabinet of Curiosities - Honourable Silver Objects

Cartier brooch Platinum, diamond, turquoise and onyx France, circa 1915 Signed and numbered Provenance: private collection, New York Exceptional Cartier brooch with an ingenious fastening mechanism.

 

Galerie Lowet de Wotrenge

jan pieter van baurscheit (wormersdorf 1669 - 1728 antwerp)

Jan Pieter van Baurscheit (Wormersdorf 1669-1728 Antwerp) Allegory of Hearing Terracotta H 92 cm Provenance: private collection, Antwerp

 

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

 

Maison Rapin

robert goossens

Robert Goossens (Paris, 1927-2016) Table centrepiece, circa 1970 Rock crystal and patinated bronze H 24 x W 86 x D 8.5 cm

 

robertaebasta

Alessandro Mendini (Milan, 1931-2019) 'Libreria scultura' prototype of modular bookcase/display for Swatch, Italy 1994 Lacquered wood, coloured, laminated, chromed and satin steel H 214 x W 250 x D 40 cm Unique piece Certificate of authenticity by Mrs Elisa Mendini and Mrs Fulvia Mendini Provenance: private collection, Italy

 

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

 

Galerie de la Béraudière

joan miró

Joan Miró (Barcelona 1893-1983 Palma de Majorque) Femme, oiseaux, 1976 Oil, gouache and oil stick on scratched board 65.1 x 50.2 cm Signed lower right 'Miró' Signed, dated and titled on the reverse:  MIRÓ., 20/IV/76., Femme, oiseaux Provenance: estate of Joan Miró; Sotheby's, Madrid, 42 works by Joan Miró, 9 December 1986, lot 4 (in aid of the Fundaciò Pilar i Joan Miró, Palma de Mallorca); Quitana Fine Arts, New York; Ramis Barquet Gallery, Mexico City; private collection; Christie's, New York, 9 November 2000, lot 460; Waddington Galleries, London; private collection, Portugal (acquired from the above in 2004); Phillips, New York, 8 November 2015, lot 14; private collection, Europe Literature: Jacques Dupin, Ariane Lelong, Joan Miró, Catalogue raisonné. Paintings, vol. VI: 1976-1981, Paris, Gallery Lelong and the Miró Succession, 2004, ill. n° 1737, p. 49 Exhibitions: 2018, Brussels, Galerie de la Béraudière, Calder, Miró et leurs rencontres parisiennes; 2017, Brussels, Galerie de la Béraudière, La figure animalière; 2016, Brussels, Galerie de la Béraudière, Chefs-d'oeuvre de la galerie et Surréalisme In Woman, Birds, Joan Miró unfolds a free and vibrant universe, where colour and line become forces in motion. Against a deep black background, reds, yellows and whites burst forth with an almost musical intensity. The artist condenses the essence of his language into this work: the spontaneity of gesture, the simplicity of form and the poetry of symbolism. The woman and the bird, emblematic motifs in his work, merge into a space that is both controlled and spontaneous. Created at the end of his life, this composition expresses the supreme freedom of an artist at the height of his powers.

 

Galeria Jordi Pascual

Victor Brauner (Romania, Piatra Neamt 1903-1966 Paris, France) Frémissement, 1956 Oil on canvas 54.5 x 46 cm Signed and dated lower right This work is accompanied by a photo-certificate of authenticity issued by Samy Kinge, Paris, in 2025 Provenance: Galleria Lorenzelli, Bergamo; private collection, Italy

 

Galerie Hadjer

fernand léger

Fernand Léger (Argantan 1881-1955 Gif-sur-Yevette) (after) & Yvette Cauquil-Prince (Belgium, Dampremy 1928-2005 Tresques, France) La parade sur fond rouge Created in 1975 Wool 280 x 400 cm Woven by Yvette Cauquil-Prince in Paris (pictogram lower right) Tapestry number 1/1 - Unique Piece Provenance: Yvette Cauquil-Prince; Paul Haim collection; private collection, USA Literature: Masters of the 20th century, KunstHausWien Exhibition: KunstHausWien, 10 February-14 May 2000, Vienna

 

Galerie von Vertes

pierre soulages

Pierre Soulages (Rodez, 1919-2022) Peinture 92 x 130 cm, 4 mai 2004 Acrylic on canvas 92 x 130 cm Verso signed and titled ‘SOULAGES 92 x 130 cm 4 Mai 2004’ On the stretcher, signed and inscribed 'soulages' Provenance: collection Essl, Klosterneuburg, Austria (acquired directly from the artist); Christie's, Paris, 23 October 2023, lot 358; private collection, Switzerland Literature: Pierre Encrevé, Soulages: l'œuvre complet, Peintures, vol. IV: 1997-2013, Paris, 2015, n° 1272, p. 148 (ill.)

 

Vagabond Antiques

Pair of Roman console tables Roman Neoclassical period, circa 1770 Veneer, Sienna marble, Breccia Africana marble H 90 x W 112 x D 56 cm Provenance: previously in the collection of Cardinal Vincenzo Vannutelli (1836-1930), Dean of the College of Cardinals; thence by descent; collection of the fashion designer Stefano Gabbana Each with a rectangular top butterfly veneer in richly figured Siena marble, edged in a contrasting band of Breccia Africana marble. The frieze is crisply carved with classical laurel swags, centres by rosettes and anthemion motifs and set against a punched ground to catch the light. The square corner blocks are decorated with stylised sunflowers. The tapering fluted legs are carved in three sections, with boldly gadrooned collars and stiff-leaf details above toupie feet. The carving is of sharp quality throughout, with well-preserved original gilding enhancing the architectural lines of the design.

 

Galerie Mathivet

maurice dufrene

Maurice Dufrene (Paris 1876-1955 Nogent-sur-Marne) Lamp with dahlias, circa 1913 Gilt bronze and glass H 70 cm - ∅ 49 cm Signed M DUFRENE

 

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

 

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 -

 

Herwig Simons Fine Arts

Game box with chess and backgammon Eger, 17th century 48 x 48 x 11.5 cm Provenance: Lothar Schmid (1928-2013), German chess Grandmaster Literature: publications World of Art: Art chamber games by the Kunsthistoriches Museum in Vienna Double-sided game box : one side shows a bas-relief depicting the meeting of Aeneas and Dido, accompanied by a Putto. The other side features a chessboard in finely executed marquetry. The interior reveals an elegant backgammon board decorated with double-tailed dolphins. Eger, a Bohemian Free City (now Cheb, Czech Republic), was well known in the 17th century for a specialised type of woodworking, particularly for intarsia panels. This set belonged to Lothar Schmid, the German chess Grandmaster and collector of chess books, boards and pieces. He is best known as the chief arbiter of the World Championship of chess in 1972 between Bobby Fisher and Boris Spassky in Reykjavik.

 
{image}

{dealerName}

{caption}