24 - UARY 31 JANUARY RUARY 2027

BRUSSELS EXPO | HEYSEL

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Artworks

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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
 

robertaebasta

Max Ingrand for Fontana Arte (Bressuire 1908-1969 Neuilly-sur-Seine) Pair of wall lamps, Italy, 1950s Tapered brass fitting, blue beveled glass, frosted glass H 41.5 x W 17.5 x D 10 cm (each)

 

Laurent Schaubroeck

Sergio Rodrigues (Rio de Janeiro, 1927-2014) Mucki bench, 1960s Jacaranda, Brazilian rosewood H 29 x W 300 x D 80 cm Produced by Oca Provenance: private home, Brazil First conceived in 1958 and produced by Oca, the Mucki bench is among Sergio Rodrigues’ most versatile and emblematic designs. Its low, rectangular structure with latitudinal slats and rhythmically placed wooden buttons reflects the refined balance between simplicity and sophistication that characterises Rodrigues’ work. This exceptional example, measuring three metres in length and an unusual 80 cm in depth, was made to measure in the 1960s - an extremely rare proportion that highlights the adaptability of Rodrigues’ design to specific commissions. Crafted in solid rosewood, the bench showcases the rich tonal variations and expressive veins of the wood, underscoring its sculptural quality. A remarkable and rare original, it remains in excellent vintage condition, bearing witness to the enduring relevance of Rodrigues’ vision.

 

Galerie de la Présidence

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Composition, 1947 Charcoal on paper 108 x 74 cm Signed lower right Provenance: Galerie Louis Carré & Cie, Paris; Galerie Renou & Poyet, Paris; private collection, The Netherlands

 

Herwig Simons Fine Arts

Large Siena marble models from the Roman Forum Rome, circa 1800 H 87 cm Provenance: former noble collection, The Netherlands Fine and unusual large grand tour Siena marble models of the Temple of Castor and Pollux,
and the Temple of Vespasian, from the Roman forum. Made as souvenirs for visitors on the Grand Tour in the eighteenth and nineteenth centuries.

 

Desmet Fine Arts

Two fragments of a wooden sarcophagus corner post of the Priest Horudja re-united after 50 years Wood Egypt, late Dynastic period, 26th Dynasty, circa 664-525 BC H 92 x W 15 x D 5.5 cm Accompanied by Art Loss Register certificates: S00238635 & S00238636 Provenance: Fragment A: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977). Fragment B: Chakib Slatine, Paris (acquired 1975); private collection, Paris (acquired 1977); Ede Gallery, London (of which acquired in 2020)

 

Martos Gallery

keith haring

growing suite, 1988

Screen print on Lenox Museum board Signed and dated with edition in graphite along right edge of sheet; retains Martin Lawrence Limited Edition and printer's blind stamps lower left edge of sheet 40 x 30 in: 101.6 x 76.2 cm 47 x 37 in; 119.4 x 94 cm (framed)

 

Galerie Christophe Gaillard

richard nonas

Richard Nonas (USA Brooklyn 1936-2021 New York) Unsigned, non dated Wood H 36.2 x W 44.5 x D 9.5 cm Provenance: the artist's studio, New York Exhibition: Richard Nonas, CAB, Brussels, 2024

 

Galerie Dina Vierny

aristide maillol

Aristide Maillol (Banyuls-sur-Mer, 1861-1944) Léda, 1901-02 Bronze H 28.3 cm Artist's monogram (on the back of the base) Ambroise Vollard edition from 1902 Foundry Florentin Godard, executed between 1907 and 1937 Provenance: private collection, New York; private collection, London: Galerie Dina Vierny, Paris (acquired from the above in 2025) Litrature: W. George, Les albums d'art Druet, vol. II, Maillol, Paris, 1927, another cast illustrated; J. Rewald, Maillol, Paris, 1939, p. 166 and another cast ill. pp. 110-111 (dated 'circa 1902'); W. George, Aristide Maillol, Berlin, 1965, pp. 137 & 232, another cast ill. p. 137; W. George, Maillol et l'âme de la sculpture, Neuchâtel, 1977, p. 128, another cast and terracotta version ill. pl. 139; B. Lorquin, Aristide Maillol, London, 1995, p. 52, another cast ill. p. 53

 

Galerie BA - Berthet Aittouarès

pierre tal coat

Pierre Tal Coat (Clohars-Carnoët 1905-1985 Saint-Pierre-de-Bailleul) Untitled, 1968-1969 Oil on paint tube lid H 18.5 x W 9.5 x D 4.5 cm This work is listed in Tal Coat's online catalogue raisonné under number XD-1969-017 Provenance: private collection Literature: Rodari Florian, Pierre Tal Coat Biographie commentée par les textes, edited by the Domaine de Kerguéhennec, Département du Morbihan, 2017; Marc Donnadieu, Anne de Staël, Pierre Tal Coat - Surgissement de la peinture, exhibition's catalogue, Galerie Berthet-Aittouarès, 2023 Exhibitions: Pierre Tal Coat - Surgissement de la peinture, Galerie Berthet-Aittouarès, Paris, 2023; Tal Coat - L'image est émergence, 21 bis Mirabeau, espace culturel départemental, Aix-en-Provence, 2025

 

Arte-Fact Fine Art

Domenico Puligo (Florence, 1492-1527) Madonna and Child with the young Saint John the Baptist Oil on panel 95 x 72 cm

 

Galerie Patrice Trigano

mel ramos

Mel Ramos (California, 1935) Tammy Time, 1997 Watercolour on paper 76 x 48 cm

 

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

 

Galerie Alexis Pentcheff

maurice utrillo

Maurice Utrillo (Paris 1883-1955 Dax) Belle Gabrielle, Montmartre, circa 1912-1914 Oil and gesso on cardboard mounted on panel, signed lower right 41 x 55.5 cm Provenance: London, Christie’s sale, 23 June 2004, lot n° 267; European private collection; Galerie Alexis Pentcheff; private collection, France Literature: Jean Fabris and Cédric Paillier, L’œuvre complet de Maurice Utrillo, Paris, 2009, repr. n° 332, p. 396; Maurice Utrillo, exhibition catalogue, Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, 2010, n° 1, p. 142 (ill. in colour in the section 'Works reproduced as archives') Exhibitions: Centenary of the Birth of Maurice Utrillo, Musée Jacquemart-André, Paris, May-August 1983, n° 13 (travelling exhibition to Liège, Musée Saint-Georges, and to Lille, Fondation Septentrion in Marcq-en-Barœul, until 15 January 1984); Maurice Utrillo, Tokyo, then Osaka, Kyoto, and Yamaguchi, Japan, 1 November 1985-5 May 1986, n° 17 (ill. cat. in colour); Maurice Utrillo: Solitude Urbaine, Galerie Alexis Pentcheff, Marseille, 22 September-4 November 2017, n° 3 (ill. cat. in colour)

 

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.

 

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

 

Gallery de Potter d’Indoye

Mantel clock depicting the fall of Phaeton Ormoulu bronze France, Consulat period, circa 1800 H 80 x W 53 x D 19 cm Provenance: collection of Robert de Balkany, Paris Literature: Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich, 1986, pp. 354-355, n° 5.9.4.; Marie-France Dupuis-Baylet, L’Heure, le Feu, la Lumière, les Bronzes du Mobilier National 1800-1870, 2010, Ed. Faton, p. 26 n° 1; Marie-France Dupuy-Baylet, Napoléon 1er et les Arts décoratifs. Trésors des palais impériaux, exh. cat. 2013, Macao, Museum of Art, n° 1, pp. 34-35; Thierry Sarmant, Palais disparus de Napoléon : Tuileries, Saint-Cloud, Meudon [exhibition, Paris, Galerie des Gobelins, 15 September 2021 to 15 January 2022], Paris : In fine, 2021; Adrien Goetz, Ambroise Tézenas, Résidences présidentielles, Paris : Flammarion, 2021, p.173 The subject of this clock illustrates the episode in which Jupiter strikes Phaeton with a thunderbolt. Phaeton wanted proof that he was the son of the Sun, (Helios). Phaeton then asked his father to let him drive his chariot. Terrified by the height and the sky, Phaeton veered off course and descended so low that he scorched the Earth. The maddened stars complained to Jupiter, who struck the chariot and Phaeton. 'The terrified horses leap in a large circular movement with pin-wheel escapement mounted on the backplate, the pendulum crutch with fine-screw beat adjustment, and outside countwheel strike on a bell, the canthmechanism showing seconds with original hands'. The bronzier Pierre-Etienne Romain (1765- after 1821) deposited the drawing of a Clock representing the same subject in the cabinet of drawings of the National Library in March 1800. Related works: The Mobilier National keeps three clocks representing this subject: one found at the Tuileries Palace in 1809, another at Ministry of Foreign Affairs, and the third at the Palace of Saint Cloud in 1818, then at the Elysée Palace.

 

unforget Decorative Arts

fulvio bianconi

Fulvio Bianconi (Padua 1915-1996 Milan) 'Sirena' vase model 4201 Designed in 1950, manufactured by Venini Murano, Italy Blown glass in amber color, iridescent, decoration in white glass called lattimo H 30.5 x W 20 x D 10 cm Acid signed on the reverse on 4 lines 'venini murano MADE IN ITALY' Provenance: Sotheby's London, Design, 16 October 2018, lot 88 Literature: Marc Heiremans, Art Glass from Murano 1910-1970, Stuttgart, 1993, p. 270, fig. 223 Franco Deboni, VENINI GLASS: Its history, artists and techniques, Volume I, Turin, 2007, n.p. for a drawing of the model in the Venini ‘Red’ catalogue; Franco Deboni, VENINI GLASS: Catalogue 1921-2007, Volume II, Turin, 2007, pl. 193; Marino Barovier, ed., FULVIO BIANCONI AT VENINI, exh. cat., Le Stanze del Vetro, San Giorgio Maggiore, Venice, 2015, p. 16 for a sketch from the Venini ‘Black’ notebook, p. 25 possibly illustrates the present lot, pp. 130, 144, 156 In 1950, Bianconi created a series of glass sculptures, some representing marine subjects (mermaids and fish) in a playful manner, and others exploring the theme of the female body. Several of these pieces were successfully exhibited at the major traveling exhibition Italy at Work, organized in the United States between 1950 and 1953. Many of these sculptures are characterized by a technique of applying 'lattimo' threads that stand out on a transparent surface. Other sculptures feature Phoenician decorations which, like 'lattimo' decorations, are also used on vases with soft baselines.

 

Barbara Bassi

franco cannilla

franco cannilla

Franco Cannilla - Bracelet unique piece 1960's - Yellow gold 18 kt and diamonds - Ed Masenza Roma

 

Repetto Gallery

valerio adami

Valerio Adami (Bologna, 1935) La firma del muro antico, Odisseo (per E. Pound), 1977 Acrylic on canvas 204 x 152 cm Signed, dated and titled on the reverse: Adami 8.8.77 17.11.77 La firma del muro antico. Odisseo (per E. Pound) Label on the reverse by Galerie Rive Gauche Marcel Strouk, Paris Certificate of authenticity by Archivio Valerio Adami n° 878 Provenance: Galerie Maeght, Paris; private collection, France (acquired from the above) Exhibition: Valerio Adami, 7 October-12 November 1978, Palais des Beaux-Arts, Charleroi; Valerio Adami. Ripensando la realtà, Dep Art Gallery, Milan, 6 March-17 May 2025

 

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

 

CKS Gallery

Salvador Dalí (Spain, Figueras 1904-1989) Nude ascending the staircase, 1973 Brown patina bronze sculpture H 212 × W 139 × D 117 cm - Height with the base: 297 cm Signed & numbered 'Dalí 2/8', Foundry mark 'Fratelli Bonvicini, Italie' on the shell Certificate of authenticity by M. Robert Descharnes and listed in the Descharnes Archives under the n° 0-264 Provenance: private collection

 

Galerie Watteeu by Edouard & Andrea de Caters

claudio salocchi

Claudio Salocchi (Milan, 1934-2012) Rotating bookcase 'Centro', 1960s Patinated teak H 213 cm - ∅ 78 cm

 

Christophe Perlès

 

Galerie des Modernes

jean dubuffet

Jean Dubuffet (Le Havre 1901-1985 Paris) Terrain au Cheval 1, 1952 Indian ink (calame) on paper 30 x 22.5 cm Signed and dated lower right 'J. Dubuffet 52' Provenance: Pierre Matisse Gallery, New York, USA; Acquavella Modern Art, Reno, USA; Andrew and Christine Hall collection, Connecticut, USA; private collection, France; private collection, Belgium Literature: Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Les Éditions de Minuit, Lausanne 1979, descr. and repr. on p. 109, n° 169 Exhibitions: Miro: early drawings collages 1919-1949 - Dubuffet: early drawings collages 1943-1959, Pierre Matisse Gallery, New York, November-December 1981; Dubuffet-Miro: selections from the Acquavella collection, Nevada Museum of Art, Reno, July-September 1997

 

Alexis Lartigue

victor vasarely

Victor Vasarely (Pecs 1908-1997 Paris) Dell-Yell, 1972 Acrylic on panel 48 x 48 cm (in square) 68 x 68 cm (in diamond shape) Signed lower center, signed, dated and titled at the back Authenticity confirmed by the Vasarely Foundation Provenance: succession from the Paris region (in their collection since the early 70s)

 

MARUANI MERCIER

ross bleckner

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

 

Galerie Hioco

yukiya izumita

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

 

Dr. Nöth kunsthandel

henry martin

Henry Martin (Toulouse 1860-1943 Labastide-du-Vert) Street in Collioure, 1920 Oil on canvas 101 x 61 cm Signed lower left 'Henri Martin' Certificate of authenticity by Mme Marie-Anne Destrebecq-Martin Provenance: estate of Monsieur X, Paris, 6th arrondissement

 

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

 

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.’

 
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