25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galerijen
Galerijen Galeries AB & BA Ars Antiqua d'Arschot & Cie Art et Patrimoine - Laurence Lenne Artimo Fine Arts Galerie Ary Jan HELENE BAILLY Paris-Genève J. Baptista Barbara Bassi Galerie de la Béraudière Galerie Berès Bernier/Eliades Gallery Galerie BG Arts Boon Gallery Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Cabinet of Curiosities-Honourable Silver Objects Galerie Capazza Giammarco Cappuzzo Fine Art Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) Claes Gallery Collectors Gallery COLNAGHI Cortesi Gallery 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 Gallery Desmet DIE GALERIE Douwes Fine Art b.v. Epoque Fine Jewels Galerie Flak A&R Fleury Galerie La Forest Divonne Galerie Christophe Gaillard Galerie des Modernes Gilden's Art Gallery Gokelaere & Robinson Galerie Hadjer Philippe Heim Marc Heiremans 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 Sylvia Kovacek – Vienna Kunstconsult 20th century art I objects DYS44 Lampronti Gallery Alexis Lartigue Lemaire Galerie Lowet de Wotrenge Francis Maere Fine Arts Galerie Marc Maison MARUANI MERCIER Galerie Mathivet Mearini Fine Art Meessen Montagut Gallery Galerie Montanari Jan Muller Antiques Klaas Muller Gioielleria Nardi New Hope Gallery Nosbaum Reding Dr. Nöth kunsthandel + galerie Galerie Nathalie Obadia, Paris/Brussels Objects With Narratives Galeria Jordi Pascual Galerie La Patinoire Royale Bach Pauline's Jewellery Box Galerie Alexis Pentcheff Christophe Perlès Guy Pieters Gallery Gallery de Potter d’Indoye Galerie de la Présidence QG Gallery Maison Rapin Stéphane Renard Fine Art Repetto Gallery robertaebasta Romigioli Antichità Rueb Modern and Contemporary Art Galerie Sophie Scheidecker Serge Schoffel - Art Premier Segoura Fine Art Selected by BRAFA, designed by Gert Voorjans Edouard Simoens Gallery Herwig Simons Fine Arts Stern Pissarro Gallery Stone Gallery Stoppenbach & Delestre Galerie Taménaga TEMPLON Galerie Patrice Trigano Valerio Turchi Univers du Bronze Gallery Sofie Van de Velde Van der Meij Fine Arts 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 Victor Werner Whitford Fine Art Willow Gallery
 

Bernard Bouisset

Cartier ring Gold, platinum, turquoise and diamonds Circa 1965

 

Galeries AB & BA

joan miró

Joan Miró (Barcelona 1893-1983 Palma de Mallorca) Untitled, 1949 Oil, watercolour, pastel crayon and charcoal on paper 32.5 x 25 cm Signed and dated on reverse, 1949 Provenance: Pierre Matisse Gallery, New York; J. Reiss collection, Wisconsin; private collection, Paris Literature: J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings II, Editions Daniel Lelong – Successió Miró, 2010, vol. II, p. 185, n° 1184 Exhibition: Milwaukee Art Center, Wisconsin Collects, 24 September-25 October 1964, p. 15, cat. 132

 

Galerie Cento Anni

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Abstract composition, 1961-1962 Oil on canvas 73 x 100 cm Signed Lanskoy Certificate of the Comité Lanskoy-Paris This work will be included in the artist's catalogue raisonné Provenance: Galerie E. Smith, Paris; Galerie Ivana de Gavardie, Paris

 

rodolphe janssen

sanam khatibi

Sanam Khatibi (Belgian with Iranian heritage, 1979) A few more crimes, 2018 Oil, pastel and pencil on panel 24 x 31 cm Sanam Khatibi (b. 1979, Belgium, of Iranian heritage) is a Belgian artist whose multifaceted practice spans painting, tapestry, sculpture, and installation. Based between Brussels and Paris, Khatibi’s work explores the delicate and complex balance between beauty, violence, and vulnerability. Her practice engages with themes of human imperfection, the tension between domination and submission, and the chaotic forces that shape our lives. Through a distinctive use of color and form, she draws attention to the fragility of the human experience and the unspoken violence that often lies beneath surface appearances. In her work, Khatibi delves into the darker aspects of human nature, exploring our struggles with excess, control, and the breakdown of social and moral boundaries. These explorations are framed in landscapes that juxtapose natural beauty with underlying violence and destruction, invoking a timeless tension between civilization and primal instincts. Her figures -whether human, animal, or mythical-are often presented as fragile, vulnerable, and engaged in various states of conflict, emphasizing the stark realities of human survival and the consequences of unchecked desire. These small-scale vanitas paintings from the 'murders serie' are introspective works, conceived as protection charms, invite the viewer into an intimate reflection on life's transience and human vulnerability.

 

Valerio Turchi

Torso of Mercury 1st-2nd century AD Marble H 29 x W 21 x D 13 cm Accompanied by Art Loss Register certificate: S00217924 Provenance: English private collection, acquired in 1988; Bonhams, London, 21 April 2005, lot 203; Axel Vervoordt Gallery, Belgium; American private collection, acquired from the above

 

Cabinet of Curiosities-Honourable Silver Objects

Art deco writing desk Probably Paris, circa 1920-1930 Macassar ebony with inlays of various woods and mother-of-pearl H 122 x W 60 x D 10 cm Provenance: private collection, Paris

 

DIE GALERIE

kwan young chun

Chun Kwan Young (South Korea, Hongcheon 1944) Aggregation21-SE134, 2021 Mixed media relief with Korean mulberry paper H 170 x W 98 x D 35 cm Provenance: the artist's studio

 

Philippe Heim

abie loy kemarre

Abie Loy Kemarre (Australia, 1972) Bush Hen Dreaming, 2019 Acrylic on canvas 122 x 183 cm Provenance: Utopia, Central Desert, Northern Territory, Australia Collections: The Metropolitan Museum, New York; Bridgestone Museum of Art, Tokyo; Seattle Art Museum, Seattle; Musée des Confluences, Lyon; The Art Gallery of South Australia, Adélaïde; The Adelaide University Art Collection, Adélaïde; The National Gallery of Victoria, Melbourne, etc. The 'Bush Hen Dreaming', for which Abie Loy Kemarre has custodial rights inherited from her grandfather, was the first story Abie was allowed to paint. The bush hen, also referred to as a bush turkey or Australian bustard (Ardeotis australis), is Abie’s Dreaming Ancestor, an association commonly but erroneously referred to as a ‘totem’. These paintings refer to women’s sacred ceremonies, including a sacred waterhole site, and narrative elements from the peripatetic habits of the bush hen as it searches for food. The geometry in Abie’s Bush Hen Dreaming compositions is generated from her intimate familiarity with the hen, its habitat, and what we would recognise as the science of ethology - the study of animal behaviour.

 

De Wit Fine Tapestries

Fox and hare on a floral ground Southern Netherlands, possibly Sint-Truiden (Saint-Trond) Second quarter of the 16th century Wool and silk 103 x 236 cm In this composition, four abundant plants fill the space, all covered in flowers. From left to right: a tricolor violet (viola tricolora), a blue iris (iris germanica), a rose and a columbine (aquilegia vulgaris). A seated fox looks over at a hare, possibly his intended prey, and two pigeons fly above them. The borders are also decorated with flowers; marigolds, violets, lantern plants and vines. This splendidly decorative weaving refers to the many 'millefleurs' tapestries produced in Bruges and Enghien over several decades in the sixteenth century. These ancient tapestries, however, always present a varied background of flowers, where some animals occasionally appear. They were certainly highly valued for their decorative aspect, but probably also for a hidden symbolic meaning. A universe of flowers, where animals of all species live peacefully together, refers to the happiness of paradise before the Fall of Adam and Eve. But this peace could be disturbed at any moment: the fox is ready to attack and kill the hare, the pigeons are possibly warning the hare of the impending danger. The scheme of representing flowers in a row, as seen on this piece, is rarely applied in such weavings from the sixteenth century. A parallel can nevertheless be drawn with a contemporary 'millefleurs' Armorial with Arms by Christine de Lechy/ Lexhy, abbess of the convent of Herkenrode (private collection). She was born around 1440 in the nearby town of Sint-Truiden, Saint Trond, where several workshops were active during that period. Only a few weavings can be attributed to that provincial centre. The rather coarse aspect of the weaving may point to that production.

 

Marc Heiremans

reinhilde van grieken

Reinhilde Van Grieken (Herentals, 1958) Heartache, 2022 Assembled hand-thrown elements covered with white underglaze H 28 x W 28 x D 21 cm Provenance: the artist's workshop, Herentals

 

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

Pieter Bruegel the Elder (Brussels, 1525-1569) 'Everybody', 'Elck' or 'Nemonon', circa 1558 Engraving by Pieter van der Heyden (1530-1572) Published by Hiëronymus Cock (Antwerp, 1518-1570) 23.2 x 30 cm References: New Hollstein Dutch 35 1(2), first state. Text version C Lex Antiqua, Antiquarian bookseller

 

Galerie Ary Jan

charles camoin

Charles Camoin (Marseille 1879-1965 Paris) The Port of Ajaccio, 1906 Oil on canvas 65 x 81 cm Signed lower left This work is listed in the Camoin archives and will appear in the catalogue raisonné that is currently being prepared Provenance: private collection, France

 

Mearini Fine Art

Fragment with protome of a cleric or a monk Probably from a stoup or source Apuan marble Western Tuscan workshop, circa mid-13th century 24 x 33 cm Provenance: private collection, Italy

 

Galerie Taménaga

pierre bonnard

Pierre Bonnard (Fontenay-aux-Roses 1867-1947 Cannet) Femme nue à la lampe, circa 1900 Oil on cardboard 53 x 33 cm Stamp of the signature at the lower right 'Bonnard' Provenance: Bonnard estate; private collection Literature: Jean et Henry Dauberville, Bonnard, catalogue raisonné de l’œuvre peint, supplément 1887-1947, n° 01830 repr. p. 207 Exhibitions: Musée de Lodève, Bonnard, guetteur sensible du quotidien, 20 June-1 November 2009, n° 14, p. 103; Musée national des Beaux-Arts de Quebec, Pierre Bonnard, La couleur radieuse, 6 October 2016-15 January 2017, édition Skira, ill. p.87

 

Galerie Cento Anni

gaston le borgeois

Gaston Le Bourgeois (France, 1880-1956) Pigeon voyageur, circa 1924 Dark brown patinated bronze H 20.5 x W 28.5 x D 10 cm Model created in 1924, old-fashioned cast, most probably by Colin, foundryman Signed with the monogram stamp GLB and numbered 12/20 (in the monogram) on the left leg With thanks to Noël Cailly, the artist's grandson and successor, for confirming the authenticity of this piece Provenance: Lucienne Lazon (1910-2007) collection Lucienne Lazon was a painter, engraver and jeweller, the creator of the first Golden Palm at the Cannes Film Festival in 1955. Lucienne Lazon and Gaston Le Bourgeois both lived in Rambouillet. In addition to their professional encounters at exhibitions, notably those of the Société des Artistes Décorateurs, of which they were members, they saw each other regularly in Rambouillet, and the sculptor gifted some of his work to the jeweller on several occasions.

 

Rueb Modern and Contemporary Art

geer van velde

Geer van Velde (Lisse 1898-1977 Cachan) Composition, circa 1962 Oil on canvas 100 x 100 cm Signed Certificate of authenticity by Pierre François Moget on 10 November 2023 in Paris

 

Selected by BRAFA, designed by Gert Voorjans

mario buccellati

Mario Buccellati (Italy, 1891-1965) Bracelet in 18K yellow gold Length 20.7 cm Weight 114 gr. Stamped with the maker's mark, the Italian gold assay hallmark and signed 'M. Buccellati' Sophie Derom

 

Galerie Cento Anni

edouard marcel sandoz

Edouard Marcel Sandoz (Basel 1881-1971 Lausanne) Fennec assis, circa 1922 Bronze H 13 cm Signed Ed. Sandoz, foundry stamp Susse frères, Paris Lost wax Provenance: private collection, Belgium Literature: Félix Marcilhac, Sandoz sculpteur figuriste et animalier, Les Éditions de l'Amateur, Paris, 1993. Model repr. p. 365

 

Segoura Fine Art

armand cambon

Armand Cambon (Montauban, 1819-1885) Diana and her Nymphs surprised by Actaeon, 1861 Oil on canvas 95.5 x 135.5 cm Signed lower right Exhibition: Salon de Paris 1861

 

Galerie Jean-François Cazeau

andré masson

André Masson (Balagny-sur-Thérain 1896-1987 Paris) Fête (Festival), 1956 Oil on canvas 90 x 81 cm Signed lower left ‘André Masson' Provenance: the artist’s studio; Galerie Louise Leiris, Paris, 1956; Galerie Beyeler, Basel; Galerie Cleto Polcina, Rome; private collection, Paris (since 1996) Literature: André Masson, une mythologie de l’être et de la nature, éd. Silvana, Musée d’art moderne de Céret, 22 June-27 October 2019, p 197; André Masson, 29 January-19 April 2004, Musée National de la Reina Sofia, éd Armero, Madrid, 2004, p 250 Exhibitions: XXIX Exposition biennale internationale des Beaux-Arts, Venice, 1958; 5th International Art Exhibition, Japan, 1959; Madrid, André Masson, Armero Ediciones, Nacional Centro de Arte Reina Sofia, 29 January-19 April 2004, cat. n° 250

 

Meessen

Namsal Siedlecki (USA, 1986) Interrotto, 2024 Silver, wax, epoxy H 32.5 x W 25.5 x D 16.5 cm Exhibition: Anneal Soak, Meessen, Brussels, 2024

 

Gallery de Potter d’Indoye

Pair of Empire period candelabras Attributed to Claude Galle (France, 1759-1815) Gilt and patinated bronze H 81 x W 31 x D 21 cm These candelabras from the Empire period, in the shape of winged figures of Victory carrying candlesticks in the hands and on the head, probably derive from the famous drawing in an album by Percier and Fontaine at the Metropolitan New York Museum of Art. The bronze stems take the form of women, who stand on tall plinths. These plinths are covered with a light brown patina and are decorated with gilt winged female figures, carrying baskets of fruit on their heads. Each woman strokes the heads of two dogs, who stand on their hind legs and lean against her. The sides and backs of the plinths are ornamented with gilt scrolled foliate motifs, topped by palmettes. The plinths are each set on four ormolu paw feet, placed on shaped, square gilt bronze bases. Above, patinated winged bronze women serve as the stems for the candelabra. They adopt monumental poses, reminiscent of ancient Egyptian or archaic sculpture. The winged women wear sheer dresses, which cling to their bodies. Each winged woman holds two gilt bronze lights in her outstretched hands and supports four more on her head. Those held in the women’s hands are conical shaped and are decorated around their tops with palmettes. The lights carried on their heads are raised up on slim stems and are crescent shaped in their arrangement. Three of the lights have cornucopia-shaped arms, which extend from open-mouthed dogs’ heads, and finish in urn-form palm leaf capitals. Stylised, curling leaves decorate the space above the dogs’ heads. On each, a cylindrical central light directly tops the stem, ending in a simple leafy capital. Claude Galle One of the foremost bronziers and fondeur-ciseleurs of the late Louis XVI and Empire periods, Claude Galle was born in Villepreux near Versailles. He served his apprenticeship in Paris under the fondeur Pierre Foy, and in 1784 married Foy’s daughter. In 1786 he became a maitre-fondeur. After the death of his father-in-law in 1788, Galle took over his workshop, soon turning it into one the finest. Galle moved to Quai de la Monnaie (later Quai de l’Unité), and then in 1805 to 60 Rue Vivienne. The Garde-Meuble de la Couronne, under the direction of sculptor Jean Hauré from 1786-88, entrusted him with many commissions. Galle collaborated with many excellent artisans, including Pierre-Philippe Thomire, and produced the majority of the furnishing bronzes for the Château de Fontainebleau during the Empire. He received many other Imperial commissions, including light fittings, figural clock cases, and vases for the palaces of Saint-Cloud, the Trianons, the Tuileries, Compiègne, and Rambouillet. He supplied several Italian palaces, such as Monte Cavallo, Rome and Stupinigi near Turin. In spite of his success, and due in part to his generous and lavish lifestyle, as well as to the failure of certain of his clients (such as the Prince Joseph Bonaparte) to pay what they owed, Galle often found himself in financial difficulty. Galle’s business was continued after his death by his son, Gérard-Jean Galle (1788-1846). Nowadays, his work can be found in the world’s most important museums and collections, those mentioned above, as well as the Musée National du Château de Malmaison, the Musée Marmottan in Paris, the Museo de Reloges at Jerez de la Frontera, the Residenz in Munich, and the Victoria and Albert Museum in London.

 

Florian Kolhammer

Seating ensemble (pair of chairs and table) Moritz Herrgesell (Vienna, 1853-1952) School of Koloman Moser, Vienna, circa 1902 Lacquered beech Table H 77 x W 50.5 cm Chairs H 96 x W 55 x D 55 cm Provenance: private collection Vienna, Austria Literature: Hochschule für angewandte Kunst in Wien (ed.), Koloman Moser 1868–1918, exh. cat., Vienna 1979, p. 203; Leopold Museum (ed.), Koloman Moser 1868-1918, exh. cat., Prestel 2007, pp. 204-205, 206; Hochschule für angewandte Kunst (ed.), Koloman Moser. Graphik Kunstgewerbe Malerei, Salzburg and Vienna 1984, p. 163, 241; Christian Witt-Dörring (ed.), Koloman Moser. Designing Modern Vienna 1897–1907, Prestel Verlag, München, London, New York 2013, pp. 138, 144, 159, 185, 193 Moritz Herrgesell studied architecture at the Vienna School of Arts and Crafts from 1901 to 1905. His famous teacher was none other than Josef Hoffmann. Herrgesell benefited above all from the fact that the ties between the Vienna Secession, artisans and the School of Arts and Crafts were particularly close at this time and that there was frequent creative exchange between individual classes and their teachers. This special situation also brought Moritz Herrgesell into contact with other renowned artists during his studies. The most influential role model here was the famous Viennese universal artist Koloman Moser. Hoffmann attested to Herrgesell's 'great talent and taste' and recommended him 'as completely capable and skillful in all these tasks'. Moritz Herrgesell's particular style can already be seen in his early design from 1903. The influence of his teachers is initially omnipresent and clearly noticeable. In the years that followed, however, his personal interpretation of furniture design became tangible. Herrgesell also regularly took part quite successfully in exhibitions and competitions. After completing his studies, he worked in his parents' carpentry business and showed his designs with great success at national and international exhibitions and competitions. The seating group shown here can be regarded as one of Moritz Herrgesell's first completely independent works from his early creative period. The influences of his mentor Koloman Moser are clearly evident, but it is the fine details that clearly set Herrgesell's design apart. This ensemble from the heyday of Viennese furniture art around 1900 is a rare museum piece from the circle of the most important artists of the time.

 

d'Arschot & Cie

Basin Engraved silver Fully marked, Gérard de Bèche (Liege, 1573-1629) Liege, 1720-1721 38 x 28 cm

 

Costermans

Mazarin desk Attributed to Renaud Gaudron (Paris, ?-1727) Ebony and other inlay woods, tin, ormolu bronze Paris, France, circa 1700 H 82 x W 118 x D 69 cm

 

Stern Pissarro Gallery

tom wesselmann

Tom Wesselmann (Cincinnati 1931-2004 New York) Study for bedroom painting #31, 1972 Oil on canvas 20.3 x 26 cm Signed, dated twice and titled on the reverse This work is registered under n° 72-9 in the archive of the Tom Wesselmann Estate, New York Provenance: Sidney Janis Gallery, New York; private collection, USA, acquired from the above Exhibitions: Paris, Galerie Des 4 Mouvements, Tom Wesselmann: Peintures, 7-31 March 1974, n° 13 (ill.)

 

Galerie des Modernes

pablo picasso

Pablo Picasso (Malaga 1881-1973 Mougins) Moustachu, Paris, 1915 Graphite on paper 32 x 24 cm Pencil sketch on reverse Handwritten inscriptions on reverse Provenance: succession Picasso (Inv. 01666); Marina Picasso, granddaughter of the artist; Galerie Jan Krugier, Geneva (Inv. 1666), entrusted by Marina Picasso; Marina Picasso Literature: Christian Zervos, Pablo Picasso, vol. 6, Supplément aux volumes 1 à 5, Paris, Éditions Cahiers d'Art, Paris, 1954, described (with dimensions 31.7 x 23.7 cm) and reproduced p. 152 under n° 1276; Pablo Picasso Sammlung Marina Picasso, catalogue of the travelling exhibition in Germany and Switzerland, by Werner Spies with the collaboration of Eduard Beaucamp, Giovanni Carandente, Klauss Gallwitz, Siegfried Gohr, Reinhold Hohl and Günter Metken, Prestel-Verlag, Munich, 1981, described in the catalogue by Reinhold Hohl on p. 284 and reproduced on p. 285 under n° 103; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, exh. cat. of the Centro di Cultura di Palazzo Grassi, Venice, 1981, described (with the title Studio per un uomo seduto and the date Avignon 1914?) on p. 246 and reproduced on p. 247 under n° 123; Picasso, catalogue of the Australian exhibition, by Patrick Mc Caughey, Margaret Plant, Memory Holloway, Ruth Pullin, Judith Ryan, The International Cultural Corporation of Australia Limited, 1984, described and reproduced on p. 82 as n° 75 Exhibitions: Pablo Picasso Sammlung Marina Picasso, Eine Ausstellung zum hundertsten Geburtstag, travelling exhibition in Germany and Switzerland, under n° 103; Haus des Kunst München, Munich, February 14 to April 20, 1981; Joseph-Haubricht-Kunsthalle, Cologne, in cooperation with Museum Ludwig, Cologne, August 11-October 11, 1981; Städtische Galerie in the Städelschen Kunstinstitut, Frankfurt am Main, October 22, 1981-January 10, 1982; Kunsthaus, Zürich, January 29, 1982-March 28, 1982; Picasso: Opere dal 1895 al 1971 dalla Collezione Marina Picasso, Centro di Cultura di Palazzo Grassi, Venice, May-June 1981, under n° 123; Picasso. Works from the Marina Picasso Collection in collaboration with Galerie Jan Krugier, Geneva with loans from museums in Europe and the United States of America and private collections, in Australia, under n° 75; National Gallery of Victoria, Melbourne, July 28-September 23, 1984; Art Gallery of New South Wales, Sidney, from October 10 to December 2, 1984; Michel Charzat, Derain et ses amis. La Pléiade prodigieuse, Editions Gourcuff Gradenigo, Montreuil, 2024, described and reproduced in colour under the figure n° 11, p. 63

 

Maison Rapin

robert goossens

Robert Goossens (Paris, 1927-2016) Cristal and coral chandelier, circa 1980 Gilt bronze structure adorned with rock crystals H 145 cm x Ø 130 cm Signed

 

Selected by BRAFA, designed by Gert Voorjans

corneille

Corneille (Guillaume Cornelis Van Beverloo, Liege 1922-2010 Auvers-sur-Oise) Untitled, Abstract blue, red and grey, 1960 Mixed media on canvas 28 x 35 cm Signed and dated upper right corner 'Corneille 1960' Certificate of authenticity issued by Fondation Guillaume Corneille in Brussels on 15 November 2024 Couck Art Gallery - Lucie Couck

 

Floris van Wanroij Fine Art

jan mertens

Jan Mertens the Elder (active in Antwerp circa 1473-1509) Saint Anne Selbdritt, circa 1490-1500 Oak, carved in high relief H 85 cm Provenance: private collection, The Netherlands; anonymous sale, Christie’s, Amsterdam, 23 March 1983, lot 228, with ill.; With Limburg Antiquairs; Brouwershaven, Zierikzee and Düsseldorf, 1983-1984; private collection, Antwerp Literature: Stuurman-Aalbers, J & Stuurman, R., Internationaal Jaarboek Kunst en Antiek Veilingopbrengsten 1982, Utrecht/Antwerp, 1983, Spectrum, p. 180, n° 8, with ill.; Tableau (Dec 1983/Jan 1984). As Nether Rhine circa 1500, with ill.; Engelen, C., Jan Mertens en de laatgotiek, Confrontatie met Jan Borreman, Essay tot inzicht en overzicht van de laatgotiek, Leuven, 1993, p. 121, with ill. (chapter VII, Sint-Anna-Ten-Drieën, pp. 119-127). Reference literature: BRAFA catalogue, 2005, p. 362

 
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