25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galleries
Galleries Galerie bei der Albertina ▪ Zetter Franck Anelli Fine Art W. Apolloni - Laocoon Gallery Argento Gallery Ars Antiqua d'Arschot & Cie Artimo Fine Arts Galerie Ary Jan Galerie BA - Berthet Aittouarès HELENE BAILLY MARCILHAC Véronique Bamps Galleria Barovier&Toso F. Baulme Fine Arts Beck & Eggeling International Fine Art Galerie Berès Bernardini Milano Bernier/Eliades Galeria Bessa Pereira Galerie BG Arts Boon Gallery Galerie Alexis Bordes Bernard Bouisset Galerie Boulakia Galerie Nicolas Bourriaud Brame & Lorenceau Brun Fine Art Burzio Cabinet of Curiosities - Honourable Silver Objects Galerie Capazza Caretto & Occhinegro Guillaume Castellano Galerie Jean-François Cazeau Galerie Cento Anni Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM) CKS Gallery Collectors Gallery COLNAGHI Costermans Couck Art Gallery Dalton Somaré De Brock De Jonckheere 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 Christophe Gaillard Galerie des Modernes Grusenmeyer-Woliner Galerie Hadjer Galerie Haesaerts-le Grelle Heutink Ikonen Galerie Hioco Huberty & Breyne Galerie Hurtebize rodolphe janssen Francis Janssens van der Maelen Kunsthaus Kende Harold t’Kint de Roodenbeke Florian Kolhammer Labellov Alexis Lartigue Lemaire Galerie Lowet de Wotrenge LUDORFF Francis Maere Fine Arts Maison D'Art 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 Spazio Nobile Gallery Nosbaum Reding Dr. Nöth kunsthandel Objects With Narratives Opera Gallery 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 Van Pruissen Asian Art Maison Rapin Almine Rech Stéphane Renard Fine Art Repetto Gallery robertaebasta Rueb Modern and Contemporary Art Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Anthony Short Antiques Edouard Simoens Gallery Herwig Simons Fine Arts Snackers Antiques & Fine Art Stems Gallery Marjan Sterk Fine Art Jewellery Stern Pissarro Gallery Stone Gallery Stoppenbach & Delestre Galerie Taménaga TASCHEN TEMPLON Galerie Tiago The old Treasury Galerie Patrice Trigano unforget Decorative Arts Univers du Bronze Galerie Uzal Vagabond Antiques Gallery Sofie Van de Velde Van Herck-Eykelberg Galerie Raf Van Severen Samuel Vanhoegaerden Gallery Maurice Verbaet Collection (MVC) Verdini Antiques Galerie von Vertes Axel Vervoordt VKD Jewels Galerie Florence de Voldère N. Vrouyr Waddington Custot Floris van Wanroij Fine Art Galerie Watteeu by Edouard & Andrea de Caters Victor Werner WHITFORD Willow Gallery
 

Galerie la Ménagerie

Georges Collard (1881-1961) Scimitar Oryx Bronze with dark brown patina and gold rims. Signed and dated " Georges Collard 1926 " on the base Foundry stamp "Batardy Bruxelles cire perdue" sur la terrasse. Model created and cast circa 1926. 31 x 54 x 21 cm

 

Desmet Fine Arts

Egidius Van den Vliete, called Egidio della Riviera (Mechelen, circa 1535-1602, Rome) (Workshop of) Allegory of Sleep (Morpheus, Phobetor and Phantasos, the Oneiroi of Greek myth) Rome, late 16th - early 17th century Marble H 25,4 x W 64,8 x D 59,7 cm Provenance: the Estate of Stanley Moss, New York; Related versions: Galleria Borghese, Rome, inv. n° CLXXXIV (acquired by Cardinal Scipione Borghese by 1609); Formerly Giustiniani collection, Rome; Formerly Palazzo Colonna, Rome A further group of this subject, photographed under the same title in the Palazzo Pitti, Florence

 

d'Arschot & Cie

An early German bowl Aachen, ca. 1620 Johann Christoph Walch (active between 1620 and 1647) Silver Diam : 10,7 cm 103 gr

 

Galerie von Vertes

Upright Motive, Maquette No. 4 1955 (conceived and cast between 1956 and 1962) Bronze with brown patina (cast h) 12.1 × 2.5 × 3.1 in., 30,8 × 6,4 × 7,9 cm Casts: 9 + 1 A.P. Fiorini Ltd, London Provenance: · Zabriskie Gallery, New York City · B.C. Deane Collection, US · D.J. Rosenthal Collection, US · Dr. Phillip Cohen Collection, Washington, D.C. · Private collection, Washington, D.C. (by descent from the above) · Bonhams, New York, 20 November 2025, lot 119 · Private collection, Switzerland Expertise: · This work is recorded in the Henry Moore Foundation archives. Literature: · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: Sculpture 1955-64, London 1965, no. 381 (another cast illustrated pl. 15b) · Alan Bowness (ed.), Henry Moore, Sculpture and Drawings, vol. III: 1955-1964, London 1986, no. 381 (another cast illustrated p. 21) · Henry Moore Foundation (eds.), The Henry Moore Artwork Catalogue, online catalogue, no. LH 381 Background information: Upright Motive was the first in a series of narrow vertical sculptures by Moore, which he compared to totem poles. The Upright Motives were part of a large commission for the courtyard of the new Olivetti building in Milan. When he visited the site, "a lone Lombardy poplar growing behind the building convinced me that a vertical work would act as the correct counterfoil to the horizontal rhythm of the building. This idea ultimately grew into the 'Upright Motifs'."

 

Galerie Lowet de Wotrenge

NICOLAAS STRUYCK (AMSTERDAM 1686 - 1769) INSECT STUDIES bodycolour, watercolour and pencil on laid paper 445 x 282 mm PROVENANCE "Verschyden Uyt-lansche Insecten, getekeent na het cabinet van Hn. Seba, J. ten Kate, & C, versamelt door N. Strüyck, Junior", 1719 (an album of drawings by Struyck, disassembled in the XIXth century); Private collection, Belgium.

 

Galerie Hioco

Buste monumental de Yakshī Grès beige Inde centrale Circa IXᵉ siècle H. 50 cm

 

Pelgrims de Bigard

Barend Avercamp (Kampen 1612-1679) Winter landscape with people playing ‘kolf’ on the ice oil on panel, 22.5 x 43 cm Provenance: - Auction, Sotheby’s, New York, 30 January 2014, lot 28. - With Kunsthandel Koetser, Zürich, March 2014, - Private collection, The Netherlands.

 

rodolphe janssen

Thomas Lerooy (B., 1981, Roeslaere) Sneak peak, 2026 Oil on wood panel 22.8 x 16.8 cm (unframed) 9 x 6 5/8 in 23.8 x 17.8 cm (framed) 9 3/8 x 7 in Provenance: Artist Studio

 

Cabinet of Curiosities - Honourable Silver Objects

Hemmerle München 2000-2010 Oorbellen : 18 k goud met gele saffier en naturel yellow diamant . Broche : 18 k goud en naturel yellow en white diamant .

 

Cabinet of Curiosities - Honourable Silver Objects

Cartier, Aldo Cipullo 1971 New York 18 k goud , carneool en onyx

 

Edouard Simoens Gallery

Pierre Alechinsky Le trou du souffleur , 1997 Signed and dated on the back Acryl and ink on paper laid on canvas 146 x 113 cm 57 1/2 x 44 1/2 in Provenance "Pierre Alechinsky: Olie, acryl, aquarel, ets, litho..." Atelier 22, Schilde 2004 Literature/Press Wordt opgenomen in de oeuvrecatalogus in voorbereiding door de heer Frédéric Charron onder nr. 3216

 

Collectors Gallery

René Julien (1937–2016) "Phaeton" Unique necklace of impressive proportions and exceptional presence in 18-karat yellow and white gold and ceramic Ca 70 Provenance: Artist’s family

 

Galerie des Modernes

Geer Van Velde (Lisse 1898-1977 Cachan) Composition, circa 1950 Oil on canvas 80 x 85 cm Signed lower right with the artist’s initials Provenance: artist’s studio, Cachan; private collection, The Netherlands; private collection, France Certificate of authenticity by Pierre-François Moget To be included in the forthcoming Catalogue Raisonné of the works of Geer van Velde currently in preparation by Pierre-François Moget.

 

Maison Rapin

KAM TIN, « Dolmen » dining table in Traonyx, 2026, H 73 x W 230 x D 90 cm

 

Galerie Taménaga

Jean Fautrier (1898–1964) Tête 1927 Oil on canvas 35 x 27 cm Signed upper right: “Fautrier” Provenance Jean-Paul Ledeur, Paris Exhibitions Hamburg, Kunstverein, Jean Fautrier, 19 May–17 June 1973, no. 16. Amsterdam, Stedelijk Museum / Zurich, Kunsthaus, Jean Fautrier, 11 January–4 May 1986, no. 35, illustrated p. 25. Paris, Galerie Jeanne Castel, 1986. Bibliography Marcel-André Stalter, Recherches sur la vie et l'œuvre de Jean Fautrier (1898–1964) de leurs commencements à 1940. Essai de catalogue méthodique et d'interprétation, doctoral thesis, Université de la Sorbonne, Paris IV, 1982, no. 319. Marie-José Lefort, Fautrier. Catalogue raisonné de l'œuvre peint, Éditions Norma, Paris, 2023, no. 256, illustrated p. 199.

 

Galerie Taménaga

Pierre ROY-CAMILLE (b.1979) Ancinel 2026 Acrylique sur toile - Acrylic on canvas 182 x 99 cm Artist's studio

 

Galerie von Vertes

Patty Raynes and son 1985 Acrylic and silkscreen ink on canvas 40.2 × 40.2 in., 102 × 102 cm Verso signed and dated 'Andy Warhol 85' Provenance: · Patty Raynes, USA (1985 directly acquired from the artist) · Private collection, USA (2022 acquired from the above) Background information: In 1985, Patty Raynes commissioned two works, this one with a yellow background and a second one with a white background. ‘Patty Raynes and Son’ from 1985 is one of a series of portraits in which Warhol no longer exclusively depicted global celebrities, but increasingly portrayed members of his social environment - individuals whose social position exerted a symbolic aura, even if they remained outside the pop-cultural canon. Patty Raynes came from a respected family of American industrialists, socialite and daughter of oil tycoon Marvin Davis, a fact that inevitably lends the work the character of a status portrait. Warhol, who was always concerned with the relationship between appearance and identity, addresses the portrait here as an expression of social affiliation. The subject, the depiction of a mother and child, is immediately reminiscent of the archetypal motifof the Madonna and Child. Warhol adopts this traditional pictorial form but transforms it into a contemporary icon: the sacred content isdisrupted by the screen-printing technique, giving the scene a cool, distanced character. · Patty Haynes and son emerge from this mature period in Warhol’s oeuvre, when the artist extended his repertoire of subjects to include his panoply of famous friends, artists, actors, and socialites. A collection idolizing the who’s who of New York, Warhol intended for the 40 by 40-inch series to be exhibited together in a “Portrait of Society,” a dream eventually realized at the artist’s retrospective Andy Warhol—From A to B and Back Again at the Whitney Museum in New York in 2018.

 

Véronique Bamps

Articulated necklace a series of maillons in the shape of a navette, mounted in yellow 18 carats.. Signed Cartier London ,numbered L : 37 cm

 

Maison D'Art

Guilliam Walsgart or Gerhardt called Geronimo GERARDI (Antwerp, c. 1595 – Trapani, 1648) Saint Lucy Oil on canvas 47⅝ × 39 in (121 × 99 cm)

 

Stern Pissarro Gallery

PABLO PICASSO (1881 – 1973) Guitare Executed in 1923 Pastel on paper 21 x 14 cm Signed upper right, Picasso Provenance: Galerie István Schlégl, Zürich Private collection, acquired from the above in 1988 Literature: C. Zervos, Pablo Picasso Oeuvres de 1923 à 1925, Vol. V, Editions cahier d'art, Paris, 1952, no. 70 (illustrated in black and white)

 

Univers du Bronze

Rembrandt BUGATTI (1884-1916) DEUX ANTILOPES GOUDOU or "DEUX AMIS" (c. 1911) Bronze, richly dark brown patina à patine brun richement soutenu. H : 23.1 cm, L : 43.2 cm, D : 11.9 cm Signed "R. Bugatti", original cast and edition by "A.-A. Hébrard cire perdue Paris" (seal and inscribed in the wax "Fondu en 1925"), engraved "(13)". Cast in 1925.

 

robertaebasta

Mario Quarti ( 1901-1974) Large sideboard in italian walnut. Main body raised from the floor by three elements show on the fron six doors decorated with an inlaid diamond pattern in walnut of different shades, brass handles. Italy, around 1940. Dimensions:cm 322 x 50 x 97,5 H. Provenance: private collection, Italy.

 

Verdini Antiques

Vincenzo Raffaelli Rome, Via del Babuino 93 Performed between 1835 and 1845 ca. Round top in colored marbles "pebble" samples 200 ca. Diameter 91.2 cm = 3 Roman feet Thickness 5.2 cm = 2 Roman inches The round top in colored marble that we are dealing with, is a real "pebble" sample made of ancient "excavation" marble and modern marble, that is, used after the sixteenth century such as Malachite, Portoro or Napoleonic Orbicular Granite etc. The particularity and rarity of this table is given by the fact that the samples of marbles used, in addition to being rare then (and even more so today), were worked differently from all the other types of samples that were made between the eighteenth and nineteenth centuries. The sample tables of this period generally have a frame in black marble from Belgium or other fine marbles, which contains all the rare colored samples committed.

 

Galerie bei der Albertina ▪ Zetter

Vally Wieselthier Female Head with Green Flower, 1928 Manufactured by the Wiener Werkstätte, model number 494 Red pottery, polychrome glaze H 28.5 cm, W 13.5 cm, D 14.5 cm Marks: monogram VW, WW, MADE IN AUSTRIA, 494, I Hörmann WV-K 587 Minor chips professionally restored Exhibitions: Kaiserslautern, Museum Pfalzgalerie, "Vally Wieselthier - Golden Girls No. 2", 2022/23 New York, Austrian Cultural Forum, Vally Wieselthier, Sculpting Modernism, 15. 10. 25 - 09. 02. 26 Literature: cf WW-Archives, MAK Vienna, Photo-Archives WWF 110-42-3 cf Marianne Hörmann, Vally Wieselthier, Wien 1999, ill. p. 165, no 77f and p. 286, WV-K 587

 

Galerie Flak

Okvik “Madonna” An exceptional, large female figure Okvik culture, Old Bering Sea I Archaic Eskimo St. Laurent Island (Sivuqaq), Alaska Marine ivory 250 BC – 100 AD Height: 6 ¼ in. – 15.9 cm Provenance Collection Perry J. Lewis, USA Collection Galerie Flak, 2021 Private collection, acquired from the above Exhibition & Publication: “Espíritus del Agua”, Fundación La Caixa, Madrid & Barcelone, 1999 – 2000, planche 2, page 76 “Arctic Dreams”, Parcours des Mondes, 2021 (Galerie Flak)

 

Galerie von Vertes

Repetition GL.A 1996 Collage and acrylic on canvas 16.1 × 12.5 in., 41 × 31,8 cm Verso signed, dated and titled Provenance: · Shinwa Auction, 23 November 2014, lot 145 · Private collection, Japan (acquired from the above) · Bonhams, Hong Kong, 11 June 2016, lot 26 · Private collection, Asia (acquired from the above) · Christie's, Hong Kong, 3 December 2020, lot 517 · Private collection, London (acquired from the above) Expertise: · Certificate of authenticity from the Yayoi Kusama Studio on 21 August 2012 Background information: Repetition or seriality would become her signature technique in everything that she created: “Repetition of the same patterns, an action which stems from my disease, is applied in my writing just as it is in my artwork. Dreams and hallucinations are actually occurring. This obsessional image is what I have transformed my disease into, and is therefore, to me, irreplaceable.”

 

Gallery Sofie Van de Velde

Victor Servranckx (1897 Diegem BE – 1965 Vilvoorde BE) Opus 20, (Calm Blocks Fallen from an Obscure Disaster), 1927 Signed and dated lower left: SERVRANCKX 1927 Oil on canvas 146 × 81 cm Thanks to a photograph showing the artist during his solo exhibition at the Palais des Beaux-Arts (Brussels) in January 1929, we know that the painting was exhibited there. Félix Carlier acquired the work at the group exhibition (featuring works by De Boeck, Flouquet, Gailliard, and Servranckx) at Galerie Le Centaure in Brussels in 1929. Provenance: Félix Carlier, Waermael-Boisfort (purchased from Galerie Le Centaure, Brussels, 1929) Galerie J.-P. Alaerts, Brussels London, Christie’s, 16 October 1990, lot no. 61 (illus.) Lokeren, De Vuyst, 6 October 2001, lot no. 489 Private collection, Brussels Galerie Ronny Van de Velde, Antwerp Exhibitions: Brussels, Palais des Beaux-Arts, 1929 (no catalogue) Brussels, Galerie Le Centaure, Exhibition De Boeck, Flouquet, Gailliard, Servranckx, 1929, no. 33 Brussels, Palais des Beaux-Arts, 1947, no. 45 “146 × 92 cm” Brussels, Musée d’Ixelles/Museum van Elsene, Retrospective Le Centaure. Homage to Walter Schwarzenberg, 1963, no. 117 Brussels, Musée d’Ixelles/Museum van Elsene, 1965, no. 107 Hasselt, Provinciaal Begijnhof, 1970, no. 57 (illus.) Literature: La Nation belge (Brussels), 12th year, no. 48, 17 February 1929, p. 3 (illus.) Le Peuple (Brussels), 5th year, no. 48, 17 February 1929, p. 1 (illus.)

 

Willow Gallery

André Lhote Bordeaux 1885 – Paris 1862 Pique-nique à Mirmande Oil on paper, laid down on canvas, signed. Painted in 1939 Paper size: 42 x 50in / 106 x 127cm Frame size: 50.5 x 58.5in / 128 x 149cm Provenance: Simone Lhote, Paris (wife of the artist). Suzanne Bermann, Paris (by descent from the above). Soufer Gallery, New York (acquired from the above, 1988). Acquired from the above by the late owner, March 1991. Private Collection, Chicago Exhibited: New York, Soufer Gallery, André Lhote: Cubism and Later Periods, April-May 1988 (illustrated in color; dated 1927). Literature: This work is accompanied by a certificate of authenticity from Dominique Bermann Martin and will be included in her forthcoming Lhote catalogue raisonné.

 

Guy Pieters Gallery

Jan Fabre The Man Who Cuts the Grass 2025 Silicon bronze H 60cm x 140 cm x 70 cm Jan Fabre, The Quiet Source Venezia, Scuola Grande di San Rocco

 

Galerie Raf Van Severen

Elena Laverón (1938, Ceuta) "Pareja Sentada" (Seating Couple), dated 1975 cast bronze with dark patina edition of 3 + 2 AP H 170 x W 193 x D 116 cm

 
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