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
 

Galerie Taménaga

Maurice Denis (Granville 1870-1943 Paris) Les Bergers, à la chèvre noire, circa 1918 Oil on canvas 45.2 x 62.2 cm Signed lower left 'Maurice Denis' Provenance: Lang; Galerie Druet; Hirschler; private collection Literature: Paris, Galerie Druet, Exposition Maurice Denis, 1918, n° 27; Ploëzal, Château de la Roche-Jagu, Maurice Denis et la Bretagne. Les étés de Silencio, 2009, n° 59, repr. p. 157

 

Galerie Bernard De Leye

Umbilicated dish and gadrooned basin in enameled copper Venise, circa 1500-1530 Ø 33 cm Provenance: collection Messel, Darmstadt; collection Ludwig and Anne Messel, London; collection Leonard and Maud Messel, London until 1953; Galerie Kugel, Paris; private collection, Switzerland Literature: Les cuivres émaillés dits Vénitiens, Corpus des œuvres en collections publiques et privées, Silvana Editoriale, 2018, Volume II, n° 34, p. 92 Twelve convex, curved white gadroons with blue highlights on a green background. This enamel production in Venice spans over a very short period within Venetian Decorative Arts. The basin is adorned with two rows of 24 concave, curved gadroons, then with scale-like motifs. The entirely blue reverse is richly decorated with gilded patterns.

 

HELENE BAILLY MARCILHAC

raoul dufy

Raoul Dufy (Le Havre 1877-1953 Forcalquier) Le Pêcheur, 1907 Oil on canvas 46 x 55 cm Dedicated and signed lower right, to André Robert, Raoul Dufy Certificate of authenticity issued by Madame Fanny Guillon-Laffaille, dated December 17th, 2003 Provenance: private collection Literature: M. Laffaille, Raoul Dufy, Catalogue Raisonné de l'Oeuvre Peint, vol. I, Geneva, 1972, ill. n° 152, p. 136

 

Jan Muller Antiques

Netherlandish School, circa 1500 Triptych with the Crucifixion and scenes from the Passion Oil on panel 51 x 36.5 cm (closed) 51 x 73 cm (open) The gallery is grateful to Dr. Didier Martens for his expertise The Crucifixion with Saint Jerome and Saint Dominic and Scenes from the Passion, Original frame. This triptych depicts Christ on the Cross, flanked by the sorrowful figures of the Virgin Mary and Saint John the Evangelist. Kneeling at the foot of the Cross are Saint Jerome and Saint Dominic, the latter holding a rosary. In the landscape beyond unfold several scenes from Christ’s Passion, culminating in the Crucifixion. This version follows the composition preserved in the Scottish National Gallery, Edinburgh, which originally formed one half of a diptych. Its companion panel, depicting The Coronation of the Virgin, is held in the Museum Boijmans Van Beuningen, Rotterdam. The distinctive iconography is closely associated with the Dominican devotion to the Rosary. Surrounding the central Crucifixion are smaller narrative scenes illustrating key moments from the Passion of Christ: • Christ in the Garden of Olives: Following the Last Supper, Christ withdraws to the Garden of Gethsemane on the Mount of Olives. In deep anguish, he prays to be spared his suffering, while ultimately submitting to God’s will. • The Circumcision: According to the Gospel of Luke, this event occurred eight days after Christ’s birth, during the Brit Milah ceremony at which he received his name. • The Flagellation: This scene depicts the scourging ordered by Pontius Pilate, the customary prelude to crucifixion under Roman law. • Christ on the Cold Stone: The pensive Christ sits, crowned with thorns and bearing the marks of his scourging, his head resting in contemplation. This image reflects the influence of the Devotio Moderna, a movement that emphasized Christ’s human suffering as a model for personal devotion.

 

COLNAGHI

Attributed to the Menzies group Red-figure epichysis in terracotta with Hermaphroditos and a woman Greek, Apulian, circa 330-310 B.C. H 21 cm Provenance: Eugène Piot collection (1812-1890); his sale, 3 May 1870, lot n° 21; private collection, France; purchased from the above, 2022 Literature: F. Lenormand, Collection d’Antiquités Grecques recueillies dans la Grande-Grèce, l’Attique et l’Asie Mineure par M. Eug. P., Paris 1870, p. 16, n° 21 This epichysis is noteworthy for its provenance, as it was once part of the prestigious collection of Eugène Piot (1812–1890) - the French art critic, journalist, publisher, collector, and photographer - and it still bears his collection label. The present example also stands out for its above-average size and exceptional quality. It is in excellent condition and is typical of 4th-century BC Apulian Greek pottery. This vessel, characterized by its elegant neck surmounting a coiled body, was probably used to contain precious liquids intended for sparing use. Its delicate mouth seems ill-suited for serving wine, as has sometimes been suggested in the past, with some even describing such vases as “low-shaped oinochoai with flat bottoms.” Rather, they were most likely used for oil or perfume. The dropper-like mouth is flanked by two small, stylized masks in relief. The wide, disc-like shoulder of the vase has been decorated with particular attention to detail and form. The border is adorned with a frieze of eggs. A hermaphroditic Eros kneels and presents a mirror to a seated young woman, who also holds a mirror and a crown. On the reverse, an elegant arrangement of palmettes unfolds from the base of the handle and frames the central scene. The concave sides of the body are decorated with a vegetal frieze, overpainted in white and incised. Comparable examples are held at the Getty Museum in Malibu and the Musée Saint-Raymond in Toulouse; both have been attributed to the Menzies Group, active during the third quarter of the 4th century BC.

 

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

 

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.

 

Laurent Schaubroeck

George Nakashima (USA, Washington 1905-1990 Pennsylvenia) Cushion chair with arms, 1960s Black American cherry, upholstery 77.5 x 74.3 x 86.4 cm Produced by George Nakashima Studio Includes a digital copy of the order card Provenance: Craighead family Produced by the Nakashima Studio in the 1960s, this lounge chair exemplifies George Nakashima’s refined craftsmanship and harmony between form and material. Its spindled back recalls Windsor traditions, while the tapered legs and clean geometry express his modern sensibility. Upholstered in white linen, the chair combines warmth and elegance, standing as a rare and timeless piece from one of the most influential American designers of the 20th century.

 

Nosbaum Reding

melanie loureiro

Melanie Loureiro (Cologne, 1994) Where Hummed Intentions Drift, Ancient Bonds Persist, 2024 Oil on canvas 160 x 140 cm

 

Stone Gallery

Native Copper Map of Holland Weight: approx. 55 kg 38 x 28 x 18 cm Origin: Michigan, USA This large native copper specimen from Michigan shows a striking similarity with The Netherlands.

 

Serge Schoffel - Art Premier

Sitting male figure Timoto-Cuica, 900-1300 AD Trujillo State, Venezuela Terracotta, pigments H 29 x W 23 x D 17.5 cm Datation: TL test n° 481z12 by the Research Laboratory for Archaeology, Oxford University, United Kingdom, on 7 May 1991 Provenance: Galerie Ferrero, Geneva, 1968; collection Barbier-Mueller, Geneva, Inv. n° 530-2; Sotheby's auction, Paris, collection Barbier-Mueller-Art Précolombien, on 22 and 23 March 2013, n° 265 Literature: Paz, Octavio, Butor, Michel, Barbier, Jean-Paul, Stierlin, Henri, Lavallée, Danièle, Conceição G., Corrêa, Barry, Iris, 1992, Art millénaire des Amériques : de la découverte à l'admiration, 1492-1992, Arthaud, fig. 130, p. 178 & 179; Conceição G., Corrêa, Barry, Iris, 2002, Amazonie précolombienne, Museo Barbier-Mueller de Arte Precolombino, Barcelona, 5 Continents, fig. 4, p. 17; Benson, Elizabeth P., 2003, Trésors de la céramique précolombienne du Museo Barbier-Mueller de Arte Precolombino de Barcelona, Musée Barbier-Mueller et Somogy éditions d’art, fig. 44, p. 52

 

De Brock

ethan cook

Ethan Cook (USA, Texas 1893) Untitled, 2014 Hand woven cotton canvas and industrial canvas, framed 193 x 193 cm Provenance: the artist's studio, Brooklyn, NY, USA; T293 Gallery, Rome, Italy; private collection, Europe; Phillips, London, 26 June 2018, lot 276; private collection, UK; Phillips, London, 5 December 2018, lot 71; De Brock, Knokke, Belgium (acquired at the above sale)

 

Heutink Ikonen

Christ, the fiery eye Russia, Moscow Early 16th century 32 x 25.5 cm The name 'Christ, the fiery eye' is based on a text from Mark: 'He looked at them angrily, but also deeply saddened by their stubbornness.' Whether you, as a viewer, think that this Christ really looks grim is not only dependent on what the painter wanted to emphasise in the icon. It also has to do with the viewer's relationship to the person of Christ. There are several explanations for the origin of this iconography, for example that a mosaic from the Chora Church in Constantinople (Istanbul) served as its source.

 

Galeria Bessa Pereira

Carlo Hauner (Brescia 1927-1996 Salina) & Martin Eisler (Vienna 1913-1977 São Paulo) Coffee table, 1960s Jacarandá wood and glass H 46 cm - Ø 89 cm Origin: Brasil Provenance: private collection, Rio de Janeiro; Galeria Bessa Pereira collection, 2025 Literature: Vicente, A., & Vasconcellos, M. (Comps.), Móvel moderno brasileiro (1st edition), São Paulo: Olhares, 2017, p. 231

 

Francis Maere Fine Arts

eugène dodeigne

Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Angèle | Hommage à Michel-Ange, 1964 Soignies stone H 210 x W 60 x D 60 cm Provenance: studio Eugène Dodeigne, Bondues (France); private collection, Basel Literature: G. Hirselj, B. Gaudichon & A. Massé; 'Eugène Dodeigne - une rétrospective'; Musée la Piscine, Roubaix, 2020

 

Galerie Hioco

Head of Buddha Black stone Thailand, Môn-Dvaravati era, 8th-9th century AD H 25 cm Provenance: private collection, USA, before 1974

 

Costermans

pierre-philippe thomire

Pierre-Philippe Thomire (Paris, 1751-1843)(Attributed to) Pair of table centrepieces Empire period, early 18th century Chiselled and gilded bronze H 57 x W 22 cm

 

Galerie BG Arts

René Lalique Vase 'Deux Anneaux Pigeons', 1919 Made in opalescent glass with grey patina H 33 cm Engraved signature Provenance: private collection, France Literature: Félix Marcilhac, René Lalique - Catalogue Raisonné de l'Œuvre de Verre, Les Éditions de l'Amateur, Paris, 2011, n° 880

 

WHITFORD

paul van hoeydonck

Paul Van Hoeydonck (Antwerp 1925-2025 Wijnegem) White New World, 1966 Mixed media H 91.5 x W 61 x D 20 cm Signed and dated on verso Whitford reference PVH068 Provenance: acquired directly from the artist

 

Meessen

benoît platéus

Benoît Platéus (Liège, 1972) Italian mushrooms, 2025 Oil and collage on canvas 80 x 90 cm

 

Grusenmeyer-Woliner

flute stopper Wunear Biwat (Mundugumor), Yuat River, late 19th - early 20th century Papua New Guinea Wood, feathers, shell H. 64 cm ( 85 cm including the base) Provenance: Charles Ratton; Kamer Gallery, acquired in 1966 by Emiel Veranneman; Emiel Veranneman; Thence by descent Literature: Rotary Club Sint-Niklaas, Oude Kunst uit Afrika en Oceanie, Exhibition catalogue, Sint-Niklaas, May 5-20, 1979, n° 31; Veranneman Emiel, Visie & Passie, 2002, pp. 72-73 Exhibition: Oude Kunst uit Afrika en Oceanië, Ex-Libriscentrum, Sint-Niklaas, 5–20 May 1979, Rotary Club Sint-Niklaas

 

Univers du Bronze

Hubert Le Gall (Lyon, 1961) Parade, 2024 Couple of grues - cabinet Bronze, gilt and brown patina, glass shelf Cast in 2025 H 210 x W 120 x D 55 cm Original artist edition monogramed, numbered and signed 'le Gall'

 

Galerie Hurtebize

pierre-auguste renoir

Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Composition, Paysages et Fleurs, circa 1910 Oil on canvas 15 x 25.5 cm Initial R bottom left Certificate of authenticity from the Wildenstein Institute n°24.05.29/21585 dated 12 June 2024 Provenance: private collection, France

 

Christophe Perlès

 

Nosbaum Reding

nat meade

Nat Meade (USA, Greenfield 1975) Tide Pool, 2024 Oil on jute 63.5 x 71.1 cm

 

Galerie Oscar De Vos

emile claus

Emile Claus (Waregem 1849-1924 Astene) Villa Zonneschijn (Sunshine) and the Lys, 1893 Oil on canvas 83 x 73 cm Signed lower left: Emile Claus Dated and monogrammed on reverse: Juli 1893 / E.C. Provenance: private collection, Belgium Literature: Buysse, C., Emile Claus. Mijn broeder in Vlaanderen (1925); De Smet, J., Retrospectief Emile Claus (1997); De Smet, J., Emile Claus en het landleven (2009); De Smet, J., Emile Claus. Prins van het luminisme (2024); Lemonnier, C., Emile Claus (1908)

 

Thomas Deprez Fine Arts

franz binjé

Franz Binjé (Liège 1835-1900 Brussels) Le feu, circa 1894 Watercolour and gouache on paper 42 x 27.5 cm Signed l.l.: 'F. Binjé'. Provenance: private collection, Belgium Exhibitions: Exposition Universelle des Beaux-Arts, section Société Royale belge des Aquarellistes, Antwerp, World Fair, 1894, cat. nr. 699, as: 'Le feu'; Internationale Kunst-Ausstellung, Berlin, World Fair, 1896, Gemälde cat. nr. 228, as: 'Das Feuer. Aquarell.'

 

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 Capazza

éric antoine

Éric Antoine (France, 1974) Tidy V, 2024 Ambrotype 40 x 40 cm Provenance: the artist's studio Exhibition: La Fabrique des Éléments, 4 October-7 December 2025, Galerie Capazza, France In the Cerveaux (Brains) series, from which Tidy V originates, layers of leaves and stacked documents tell stories of real or imaginary lives. The ambrotype, one of the earliest photographic processes using a camera obscura, is created using wet collodion applied to a glass plate, resulting in a unique piece. With a contemporary approach, Eric Antoine uses wet collodion for its precision, deep blacks and silvery density. His work is closely linked to his place of residence and his memories. In the landscapes of the Alsatian Vosges, he developed a fascination for trees, which he studies in anthropomorphic portraits. Through a stationary journey, Eric Antoine often returns to the same places to capture their slow evolution. His work is organised into series in which destinies are recounted using layered still lifes, drowned flowers and accumulations of objects/symbols. These photographs without subjects challengethe very essence of this medium: light, optics, chemistry. The question of the materiality of the image remains at the heart of the artist's research. Far from any nostalgia, the wet collodion process here is an emancipatory discipline. In an almost sculptural approach, Eric Antoine delivers true photograph-objects, shimmering and silvery.

 

Kunsthaus Kende

Pair of Queen Anne tazze John Bache, London, 1703 Engraved Britannia silver Ø 23 cm, H 7 and 6.9 cm 513.1 gr and 504.8 gr Provenance: private collection, North America Standing on a central round foot, with moulded rim to the top side. The centre depicting an engraved coat of arms commemorating a marriage between two noble families. Outstandingly preserved and rare pair of Queen Anne tazze without repairs and showing their original preserved surface.

 
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