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
 

Douwes Fine Art b.v.

rembrandt van rijn

Rembrandt van Rijn (Leiden 1606-1669 Amsterdam) Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed, 1630 Etching and drypoint on laid paper 5.4 x 4.6 cm Signed in monogram and dated lower centre: RHL 1630 Plate not in existence – with Nowell-Usticke (1967): RRR – a very rare little plate Provenance: private collection, Germany; private collection, The Netherlands Literature: Bartsch 320; Hind 32; The New Hollstein Dutch n° 69: Second state (of II) This is a small masterpiece of Rembrandt's early etchings. The expression of this physiognomic study made by his etching needle could not be more livelike as the facial expression (perhaps "astonishment") is in perfect harmony with the round shape of the face. Rembrandt knows exactly how to hit every tonal gradation with fine, arching strokes. Of all the self-portraits in which Rembrandt depicts emotions, this one is probably the most engaging. He looks startled here, with pursed lips and wide-open eyes. You see him slightly from below, so that he seems to be recoiling. The etching is clearly executed and clever, with the contours of the shoulders and the cap fading into the edges. During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within but also beyond the borders of the Netherlands. Rembrandt's etchings are remarkable for their high number of self-portraits (over 30 out of about 290). These are particularly collectible, perhaps due to the smaller number of states as well as the artist's compelling and powerful presence. Unlike his stately religious scenes, or regal, posed portraits of others, which exhibit his careful and calculating brilliance as an etcher, Rembrandt's self-portraits reveal him as an artist and a man. In them he assumes the role of the experimenting artist, approaching the most difficult of subjects - himself. These self-portraits are often described as ethereal and wistful for their notable contrasting areas of high and low etched space. A very fine impression of this famous small portrait in the second (final) state, printing clearly, just beginning to show a little wear on the tip of the nose, with narrow margins.

 

Collectors Gallery

ettore sottsass

Ettore Sottsass (Austria, Innsbruck 1917-2007 Milan, Italy) 18ct gold ring, 1984-1986 Ring with a long rectangular table featuring a black onyx disc and diamonds Designed by Sottsass for Cleto Munari, Milan Produced in an edition of 9 Provenance: private collection, London Literature: Radice 1987, p. 78; Vezzosi 1990, p. 105

 

Galerie Boulakia

Joan Miró (Barcelona 1893-1983 Palma) Untitled, 1946 Pen and India ink, coloured pencils, and pencil on paper 30 x 24 cm Signed, dated and inscribed 'Miró. 23-7-1946 à mon cher Joan Gomis, le jour de son anniversaire' (to my dear Jean Gomis on the day of his birthday) Provenance: Pierre Matisse Gallery, New York; Joaquim Gomis i Serdañons, Barcelone Literature: Jacques Dupin, Ariane Lelong-Mainaud, Joan Miro : catalogue raisonné, Volume II, 1931-1941, Editions Maeght-Lelong, Paris, 2000, n° 1. 1078, ill. p. 144

 

Beck & Eggeling International Fine Art

max ernst

Max Ernst (Brühl 1891-1976 Paris) Un Caprice de Neptune, 1959 Oil on canvas 27 x 35 cm Signed lower right 'max ernst' Provenance: Paolo Marinotti; Lawrence Rubin Greenberg Van Doren Fine Art, New York; private collection, Germany Literature: W. Spies, S. and G. Metgen: Max Ernst. Oeuvre-Katalog, Werke 1954-1963, Cologne, 1998, p. 194, n° 3425 (ill.) Exhibitions: 1961, June-July, Paris, Max Ernst sculptés, Galerie au Pont des Art Weill; 1966, 17 June-2 October, Venice, Max Ernst, Oltre la pittura, Palazzo Grassi, cat. n° 7 (ill.); 1979, Munich, Max Ernst, Retrospektiv, Haus der Kunst, cat. n° 296, ill. III (colour ill. n° 30, ill. 331)

 

Galerie BA - Berthet Aittouarès

henri michaux

Henri Michaux (Namur 1899-1984 Paris) Untitled, 1964 Ink on paper 75 x 105 cm Monogrammed on the lower right This work is registered in the Henri Michaux archives under the number HM5891 Provenance: Galerie Daniel Cordier, Paris; private collection, France Exhibition: Henri Michaux, Musée national d'Art Moderne, Paris, 1965

 

Hoffmans Antiques

Chandelier in the 'Retour d’Égypte' style Paris, early 19th century Attributed to Benjamin Ladouèpe-Dufougerias and the 'Manufacture de Cristaux de Montcenis' Ormoulu, patinated and fire-gilt bronze for twelve candles H 130 cm - Ø circa 80 cm Provenance: private European collection This magnificent chandelier exemplifies the short-lived yet influential 'Retour d’Égypte' style, which emerged in the wake of Napoleon’s Egyptian campaign (1798–1801). At its centre stands an amphora-shaped patinated urn, crowned with a flaming finial and surmounted by a pinecone. From the urn’s body spring twelve elegantly curved candle arms arranged in two tiers, richly ornamented with foliage motifs and set between four stylised Egyptian masks. The chandelier is suspended by four chains leading to an imposing corona adorned with leonine masks and voluted floral decoration. The style was largely shaped by the architects Charles Percier and Pierre François Léonard Fontaine, whose neoclassical designs laid the foundation for this decorative vocabulary. It endured only briefly before giving way to the Empire style with the establishment of Napoleon and the First French Empire. Provenance and Comparanda: A closely related chandelier for twelve lights, attributed to the Manufacture de Cristaux de la Reine, is preserved in the collections at Versailles, formerly installed in Marie-Antoinette’s inner cabinet at the Petit Trianon.

 

Meessen

léa belooussovitch

Léa Belooussovitch (Paris, 1989) Langue de Barbarie (Sénégal), 2025 Drawing with coloured pencil on wool felt 56.5 x 46.5 cm (framed)

 

Arte-Fact Fine Art

chen yanning

Chen Yanning (Guangzhou, 1945) Portrait of two cheerful girls, 1994 Oil on canvas 81 x 65 cm Provenance: commissioned via Portraits Inc., Park Avenue, New York; private collection, USA; private collection, Belgium Chen Yanning is internationally celebrated; his works have been shown at the Guggenheim, the Paris Salon and beyond. In 1999, he painted Queen Elizabeth II, a portrait so well-received that it was later chosen for a postage stamp to mark the Queen’s Golden Jubilee in 2002. This tender and joyful portrait of two young sisters, commissioned in New York, is rendered with sparkling realism and warmth. The painting illustrates Yanning’s extraordinary international career and ability to infuse his portraits with life: a Chinese-born artist building a global reputation, bringing his distinctive sensitivity to subjects across cultures.

 

Dalton Somaré

figure with raised arms

Dogon, Mali 15th century circa Wood H 46 cm Provenance: Arturo Schwarz Collection, Milano Private Collection, Paris Literature: Published on "Il Fabbro Celeste", Ed. Liguori, Napoli, 1982, fig. 7

 

MARUANI MERCIER

ross bleckner

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

 

Samuel Vanhoegaerden Gallery

Bram Bogart (Delft 1921-2012 Sint Truiden) Topgroen, August 1963 Mixed media on canvas laid on wooden panel 161 x 201 cm Signed, dated and titled on reverse Provenance: private collection, London In August 1963, Bram Bogart created a powerful and iconic work: Topgroen (August 1963). The painting – executed with homemade paint on a board/canvas made by the artist himself – measures approximately 161 x 201 cm and testifies to Bogart's radically innovative approach to matter and colour. The work Topgroen is at the heart of Bogart's most highly regarded period, in which he experimented with imposing layers of paint, sculptural reliefs and a colour palette that transcends the surface and becomes almost tangible. In this work, he combines powerful fields of colour with monumental texture: an intense red surface is directly framed by thick, almost architecturally shaped green and yellow accents. The paint is hardly imagination anymore, but matter – as if the paint itself is the object. Topgroen marks a turning point in Bogart's oeuvre: colour and volume become one, the painting resists classical painting through an enormous physical presence of the matter. The work invites tactile viewing: the depth of the paint layers, the shadow effects between reliefs, and the tension between surface and volume make it a masterpiece of material painting. Bogart thus confirms his pioneering role in European post-war abstraction.

 

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

 

Galerie Cento Anni

andré lanskoy

André Lanskoy (Moscow 1903-1976 Paris) Un cas suspect, 1964 Oil on canvas 97 x 146 cm Signed and dated 'Lanskoy 64' Provenance: Galerie de Seine; private collection, Paris Certificate of authenticity from the Comité Lanskoy dated 4 April 2025 This work will be included in the forthcoming catalogue raisonné currently in preparation

 

Barbara Bassi

franco cannilla

franco cannilla

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

 

Heutink Ikonen

Week Icon (Sedmitsa) Russia, Palekh Late 18th century 44.5 x 36 cm This icon depicts a rare iconography showing the seven days of the week. Each feast represents a day of the week, starting with Sunday. In order: the Anastasis, Synaxis of the Archangel Michael, the Beheading of John, the Annunciation, the Last Supper and the Crucifixion of Christ. The large image at the bottom is All Saints' Day. The icon's refined details, bright colour palette and complex composition make it a very fine example of Palekh icon painting.

 

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 Hioco

standing buddha

Standing Buddha Schist Ancient Gandhāra region, 2nd-3rd century AD H 103 cm Provenance: private collection, France

 

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 Perrin

oskar bergman

Oskar Bergman (Stockholm 1879-1963 Saltsjöbaden) The Lagan from Laholm, 1925 Watercolour and gouache on paper 19 x 30.5 cm Signed and dated lower right: Oskar Bergman, Lagan Fran Lahollni, April 1925 Provenance: private collection There are artists who throw themselves wholeheartedly into the various currents during the course of their lives, following the frenetic rhythm of fashions, becoming the icons of an historical moment or a particular group. Others, conversely, take a vow of fidelity to their nature, far removed from the ephemeral unfolding of art, working and meditating as if in a kind of reclusion on a subject to which they devote their entire work. Oskar Bergman belongs to the latter category. His long and prolific career was nothing more than a variation on the theme of landscape, interpreted in a highly personal style that is instantly recognisable, the result of his self-taught training and few outside influences.

 

Brame & Lorenceau

marie laurencin

Marie Laurencin (Paris, 1883-1956) Jeune fille au bouquet de fleurs, circa 1935-1940 Oil on canvas 61 x 50 cm Signed upper left Provenance: private collection Literature: Daniel Marchesseau, 'Marie Laurencin, Catalogue raisonné de l’Œuvre Peint', 1986, Éditions du Musée Marie Laurencin, Japan, 1986, n° 1150, repr. B&W

 

Galerie La Forest Divonne

ronan barrot

Ronan Barrot (France, 1973) Paysage Blessé, 2024 Oil on canvas 162 x 97 cm Provenance: the artist's studio

 

Citadelles & Mazenod

L'art du dessin A synthesis and a dive into an essential part of the history of art, retracing the genesis of artworks from sketches to final projects H 31.5 x W 25 cm Published by Citadelles & Mazenod in 2025

 

CKS Gallery

nicolas de stael

Nicolas de Staël (Saint Petersburg 1914-1955 Antibes) Composition, 1949 Oil on canvas 200 x 100 cm Provenance: private collection of the artist Literature: Françoise de Staël, Nicolas de Staël, Catalogue Raisonné de l'oeuvre peint, Paris, 1997, n° 203 Exhibitions: Hôtel de Caumont, Aix-en-Provence, 27 April-23 September 2018, Nicolas de Staël en Provence; Château Grimaldi d’Antibes, 17 May-7 September 2014, exhibition La figure à nu, hommage à Nicolas de Staël; MuMa – Musée d’Art Moderne André Malraux, Lumières du Nord, Lumières du Sud, 7 June-9 November 2014; Académie Royale des Beaux-Arts de Bruxelles, Belgium, 2012, for the 300th anniversary of the Académie Royale where de Staël studied from 1931 to 1934, 9 May-2 June 2012; Fondation Gianadda de Martigny, Switzerland, retrospective of the work of Nicolas de Staël, 18 June-21 November 2010; Centre Pompidou, Nicolas de Staël 1945-1955, Paris, 12 March-30 June 2003; Musée d'Art Moderne, Paris, Retrospective Nicolas de Staël, 15 September 2023-21 January 2024; Fondation de l’Hermitage, Lausanne, Nicolas de Staël Exhibition, 9 February-9 June 2024

 

Boon Gallery

kwang young chun

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

 

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

 

Stone Gallery

Quartz crystal cluster Weight: 350 kg 87 x 135 x 75 cm Origin: quarries of Mount Ida, Arkansas, USA, discovered in 1993 Provenance: Paul Membrini collection until 2023 Rock crystal is the crystallised, colourless variety of quartz, also known as clear quartz. All the crystals with their countless facets are 100% natural. With its transparent and colourless appearance, it is revered for its purity and clarity. This giant group of quartz crystals weighs approximately 350kg and is 87 x 135 x 75 cm. It displays remarkably perfect and water-clear crystals on all sides. Discovered in one of the famous crystal quarries of Mount Ida, Arkansas, USA, in 1993. The piece was once part of the Membrini Collection from Switzerland, a phenomenal museum-quality crystal collection, meticulously assembled over the years by Membrini Kristall, a firm based in Chur, Switzerland. Founder Paul Membrini was a renowned “strahler,” a professional crystal hunter who explored the Alps. Stone Gallery acquired the Membrini Collection in early 2023. Martin Garrix Stone Gallery proudly announces that the larger sibling of this piece, a great cluster weighing an impressive 4500 lbs, is now on display at the Naturalis Biodiversity Center in Leiden, in part thanks to Dutch DJ Martin Garrix.

 

Galerie la Ménagerie

roch vandromme

Roch Vandromme (Rosendaël, 1953) Sleeping goose, 1985 Bronze 62 x 72 x 32 cm Signed 'R. Vandromme' Edition of 8 + 4 AP

 

Galerie Cento Anni

Jean Després (Souvigny 1889-1980 Avallon) Pair of chandeliers, circa 1930-1935 Silver-gilt metal H 13.5 X W 33 cm Signed J.Deprés Master's mark JD Provenance: private collection, Belgium The model of this pair is the only one known to date

 

Grusenmeyer-Woliner

Portrait of a young boy Antonine Period, circa the end of the 2nd century Marble H 21 cm Provenance: Roger Peyrefitte (1907-2000) collection, Paris; sale of Roger Peyrefitte collection, Hôtel George V, Paris, 26 May 1977, lot n° 12; Art Market, 1978; Antiquities and Islamic Art, Sotheby’s, New York, 14 December 1993, lot n° 94; Dr. Anton Pestalozzi (1915-2007), Zurich, acquired from the previous owner; thence by descent Literature: Auction catalogue, Roger Peyrefitte Collection, Hôtel George V, Paris, May 26th, 1977, lot n° 12; Auction catalogue, Antiquities and Islamic Art, Sotheby’s, New York, December 14th, 1993, lot n° 94; I. Jucker, Skulpturen der Antiken-Sammlung Ennetwies, Mainz on the Rhine, 1995, Vol. 1, pp. 41-42, n° 24, pls. 49-50; K. Fittschen, Prinzenbildnisse Antoninischer Zeit, Mainz on the Rhine, 1999, p. 93, cat. n° 97

 

Martins&Montero

lina bo bardi

Lina Bo Bardi (Rome 1914-1992 São Paulo) Cadeira Sertaneja, 1960 Vegetable tanned 'Soleta' leather; solid pine wood 66 x 49 x 82 cm

 
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