25 JANUARY 1 FEBRUARY 2026

BRUSSELS EXPO | HEYSEL

Artworks

This section will be available this Autumn.

Galleries
Galleries 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
 

MassModernDesign

max ingrand

Max Ingrand (Bressuire 1908-1969 Paris) Chandelier model 2128, 1960 Brass and glass. Produced by Fontana Arte H 93 x W 80 x D 28 cm Provenance: private collection, Torino Literature: Fontana Arte catalogue ca. 1960

 

VKD Jewels

Giampaolo Babetto (Italy, 1947) Pair of geometric earclips, circa 2009 24k yellow gold with niello and red pigment Each clip is composed of four square plates in brushed gold: one coated with red pigment and the other with niello Signed Babetto

 

Bernier/Eliades

thomas schütte

Thomas Schütte (Germany, 1954) Iroquois Double Head 7.10.24, 2024 Glazed ceramic, watercolours Sculpture: H 45 x W 28 x D 40 cm Framed watercolours: 49.5 x 38.5 cm Steel pedestal: H 120 x W 43 x D 30 cm

 

Pron

fausto melotti

Fausto Melotti (Rovereto 1901-1986 Milan) Il meridiano delle campane, 1979 Brass H 97.5 x W 74 x D 38 cm Literature: Milan, Galleria Stendhal, Cascella Consagra Melotti, 1980; Padua, Stevenson Arte Contemporanea, Fausto Melotti. Sculture, tecniche miste e incisioni, 1982; Intra, Galleria Corsini, Fausto Melotti. Sculture e Acquarelli. Un'opera d'arte è un'oasi, 1982; Busto Arsizio, Galleria Il Punto Sette, Fausto Melotti, 1984; Parma, Galleria La Sanseverina, Fausto Melotti, 1986, pp. 29, 47, n° 29, ill. Exhibitions: Gianni Cavazzini, Poetiche sosprese di Fausto Melotti, in Gazzetta di Parma, May 23rd, 1986, ill.; Germano Celant, Melotti, Catalogo generale, Tomo secondo, Sculture 1973-1986 e Bassorilievi, Milan 1996, p. 512, 1979 n° 21, ill.

 

De Jonckheere

lucas van valckenborch

Lucas van Valckenborch (Leuven 1535/6-1597 Frankfurt am Main) The Kermesse of St. George, 1595 Oil on panel 22.5 x 38.5 cm Signed and dated 1595 LVV on the fountain Provenance: collection of Charles Theodore of Bavaria (1724-1799), Elector of the Palatinate and Bavaria, Munich, inv. n° 138 (according to a label in brown ink on the back dating from 1799, n° 138); collection of Maximilian de Beauharnais, Duke of Leuchtenberg (1835-1852) (fragmentary label); Almas Gallery, Munich, 1941; private collection, South Germany Literature: Pantheon, September 1941, supplement V, repr.; Bernt, Walter, Die niederländischen Maler des 17. Jahrhunderts, Munich, 1948, n° 865 (1960 edition, n° 1216, repr.); Wied, Alexander, Lucas und Marten van Valckenborch. Das Gesamtwerk mit kritischem Oeuvrekatalog, Freren, Luca Verlag, 1990, pp. 176-77, n° 81, repr. Lucas van Valckenborch was undoubtedly introduced to painting by his father Laureys van Valckenborch, before being accepted as a master of the Mechelen painters' guild in 1564. Following the religious persecution inflicted by the Duke of Alba's troops on supporters of the Reformation, he fled the city in 1567 to take refuge in Liège, then in Aachen from 1570 to 1573, where he was reunited with his brother Marten and Hans Vredeman de Vries (1527-1609). He settled temporarily in Antwerp from 1575 to 1577. He was then employed in Brussels by Matthias, the then Governor-General of the Netherlands. In 1581, he accompanied the latter to Austria, staying in Vienna and Prague, as well as in Linz and Nuremberg. As of 1593, he shared his workshop in Frankfurt am Main with his brother Marten; he was granted citizenship on 10 January, 1594, encouraged by Archduke Ernest of Austria (1553-1595). He worked actively in the family workshop until his death in 1597. Considered one of the greatest landscape painters of the 16th century, Lucas van Valckenborch's concept of landscape was derived from Joachim Patinir and Pieter Bruegel the Elder. His very detailed portrayals of the seasons, village kermesses, romantic scenes and townscapes, stand out owing to the meticulous care employed in their execution and the precise structure of the planes leading to the horizon. His panoramic landscapes are a careful observation of the Meuse valley; his anecdotal scenes are painted with the delicacy of a miniaturist, while his landscapes are presented with topographical accuracy. At the end of his life, his deep landscapes with their luminous, refined nuances, bear witness to a creative approach that sought to go beyond the Bruegelian concept, which was never surpassed by his contemporaries.

 

TASCHEN

marc newson

Marc Newson (Australia, Sydney 1963) America’s Cup This limited edition unfurls the story of America’s Cup and celebrates its skippers, owners, defenders, and challengers. Packed with previously untold tales and unseen photographs, it features a case designed by Marc Newson, crafted from cotton sailcloth, and a custom-made closure by Louis Vuitton, the official partner of the 37th America's Cup. Copies 1-175 come with a numbered carbon fiber bookstand also designed by Newson.

 

Huberty & Breyne

nicolas de crécy

Nicolas de Crécy (Lyon, 1966) Brouillard, vers plan glacier, 2024 Watercolour, acrylic and gouache on paper 80 x 120.5 cm

 

Bernard Bouisset

Boucheron Brooch-clip in 18K (750/1000) gold representing a 'bear' with paws and ears highlighted by cabochon turquoises, ruby eyes, a snout set with sapphires and diamonds, and a ribbon adorned with calibrated emeralds Signed by Maison Boucheron Circa 1960

 

Florian Kolhammer

joseph maria olbrich

Joseph Maria Olbrich (Czech Republic 1867-1908 Germany) & Josef Hoffmann (Czech Republic 1870-1956 Austria) Secessionist side table, circa 1900 Solid maple, inlaid ebony and white metal H 70 x W 56 x D 56 cm Provenance: private collection, Austria Literature: Josef Maria Olbrich, Ideen von Olbrich, 2nd edition, Leipzig 1904, p. 67; Association of Austrian Visual Artists (ed.), Ver Sacrum.Vereinigung Bildender Künstler Österreichs (Hrsg.), Ver Sacrum. Mittheilungen der Vereinigung Bildender Künstler Österreichs, 1900, 1st issue, pp. 4, 9 & 15 Exhibition: displayed at the fifth exhibition of the Vienna Secession 1899 This elegant Secessionist side table was created around 1900 through the collaboration of two influential artists of Viennese Modernism: Joseph Maria Olbrich and Josef Hoffmann. The design of the table's body by Olbrich was first published in 1899 in 'Ideen von Olbrich'. The characteristic ornament was originally designed by Hoffmann as a decorative frieze for the fifth Secession Exhibition and documented in the magazine 'Ver Sacrum' (1900). It is highly probable that this furniture piece was specially created for this exhibition. Particularly noteworthy are the original design drawing by Olbrich and the ornament by Hoffmann. The exceptional quality and characteristic fittings strongly suggest production by the renowned Viennese art furniture workshop Portois & Fix, famous for numerous designs associated with the Vienna Secession, predominantly by Hoffmann.

 

Galerie La Forest Divonne

jeff kowatch

Jeff Kowatch (Los Angeles, 1965) Holy wholly, 2024 Oil on linen 180 x 126 cm Provenance: the artist's studio

 

TEMPLON

Omar Ba (Senegal, 1977) Orbite, 2025 Acrylic, pencil, oil, Indian ink and Bic pen on canvas 209.5 x 156.5 cm (unframed) 214 x 162 x 4.5 cm (framed) Unique Provenance: the artist’s studio Courtesy of the artist and TEMPLON, Paris-Brussels-New York

 

De Brock

alan charlton

Alan Charlton (Sheffield, 1948) Triangle, 2012 Acrylic on canvas H 162 x W 162 x D 4.5 cm Provenance: the artist's studio, Hatfield, UK; De Brock, Knokke, Belgium

 

NARDI VENEZIA

nardi venezia

'Ad Orientem' collection Pair of earrings crafted in gold and horn, set with diamonds and pink sapphires. Cherry blossoms, secret gardens… Jewels that conjure up a world of alluring beauty, where East meets West in perfect harmony

 

Nosbaum Reding

stefaan de croock

Stefaan De Croock (Belgium, 1982) Portrait F I , 2025 Recycled wood Sculpture 155 x 88.5 cm

 

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

 

Philippe Heim

Griet van Malderen Collodion The Legend, Tribute To Tim Composition of 12 collodions (65 x 65 cm) 280 x 280 cm

 

Victor Werner

constant permeke

Constant Permeke (Antwerp 1886-1952 Ostend) Head of farmer, 1926 Oil on canvas 80 x 55 cm Signed 'Permeke' lower right Bears a label on the reverse that likely indicates the artwork was part of an exhibition organised with the support or involvement of the Belgian Ministry of Public Education at the time

 

Finch & Co

Turned standing cup and cover on knopped foot Germany, late Renaissance, first half 17th century Rhinoceros horn and ivory, old smooth patina, age cracks to foot H 33 cm - Ø 11 cm Belgium CITES: 2025/BE01678/CE Provenance: Finch and Co, item n° 77, catalogue n° 20, summer 2013; private collection Comparative literature: a cup and cover of similar shape engraved with the inscription ‘the exalted Roman Emperor Rudolf II’s goblet which protects against poison – the unconquerable Emperor’s hand shaped this ingenious goblet’ D 406.766 / 339 Royal Danish Kunstkammer, Copenhagen, National Museum A fine and large late Renaissance turned standing cup and cover on knopped foot of impressive size The Milanese master instructor of turning Giovanni Ambrogio Maggiore visited Bavaria on various occasions between 1574 and 1593 to teach the Duke Wilhelm this newly invented form of art, creating marvellous objects from natural substances. Maggiore also trained the artist Georg Wecker who went on to become Dresden’s ‘court turner for life’ to the elector Augustus of Saxony in 1578. Regarded at the time as a form of advanced mechanical technology, the art of turning in ivory, ebony and rhinoceros horn became a princely pastime for ‘Drechselnder souverän’. Rhinoceros horn objects were regarded as items of great rarity and prestige in Renaissance Europe, but they had been seen as objects of great value with inherent magical properties for well over one thousand years before this time in China, and by the early 17th century Chinese cups and vessels of carved rhino horn were being exported to Europe to meet the demand for exotic curiosities for the cabinets of wealthy collectors.

 

VKD Jewels

Tank bracelet 18k yellow and rose gold French, circa 1940s Makers mark and French assay mark for 18k gold Total weight 113.8 gr

 

Galerie Hioco

standing buddha

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

 

Epoque Fine Jewels

rené lalique

René Lalique (Ay 1860-1945 Paris) Detail of Art Nouveau thistle necklace Paris, circa 1905 Gold, diamond, enamel and glass Signed: Lalique Provenance: private collection, France

 

Almine Rech

vivian springford

untitled

Vivian Springford (USA, Wisconsin 1913-2003 New York) Untitled, circa 1973 Acrylic on canvas 182.9 x 183.5 x 3.2 cm Provenance: estate of the artist Exhibition: Almine Rech, 'Gesture & Form: Women in Abstraction', May 3rd - June 15th, 2024, New York, Upper East Side Vivian Springford’s 'Untitled', circa 1973, encapsulates the American painter’s expressive, vibrant style. During the late 1960s, Springford had come into her own as an artist. She had developed a signature visual vocabulary and a technique of stain painting to go with it, working with thinned paint to create kaleidoscopic, gestural works.

 

Galerie Lowet de Wotrenge

jan pieter van baurscheit (wormersdorf 1669 - 1728 antwerp)

Jan Pieter van Baurscheit (Wormersdorf 1669-1728 Antwerp) Allegory of Hearing Terracotta H 92 cm Provenance: private collection, Antwerp

 

Galerie AB - Agnès Aittouarès

Sam Francis (California, 1923-1994) SF63-046, 1963 Acrylic on paper 90 x 63 cm Signed, dated and located Los Angeles on reverse Listed in the online catalogue raisonné of the artist under n° SF63-046 Provenance: Jean Fournier collection; private collection, Paris Exhibition: Paris, Galerie Jean Fournier, Sam Francis de 1947 à 1988 sur papier, October-November 1988

 

Mearini Fine Art

Capital with column from a Ciborio or Pergula Rome, late 8th-early 9th century White marble H 41 x Ø 20 cm Provenance: formerly in the collection of Elda Francia Gasparrini in Rome Literature: U. Broccoli, Marmi tardo antichi di una collezione privata a Roma, LV 1979, pp. 183-199, ill. p. 193 fig. 10

 

De Wit Fine Tapestries

victor vasarely

Victor Vasarely (Hungary 1906-1997 Paris) WA-4, circa 1970 Wool 156 x 156 cm Signed lower right corner Aubusson, atelier Pinton (Monogram lower left corner) Edition 1/6 The WA-4 tapestry consists of a large square divided into four squares, on top of which a fifth square is placed, itself divided into four squares. The inside of each of these squares is filled with rhombuses whose colour change from dark blue to purple and then to light beige. These rhombi are arranged on backgrounds of varying colours, ranging from charcoal grey to purple and pink, then from aqua green to pale pink and dark green. The different colour areas are clearly distinct from one another when viewed up close on the tapestry's very fine fabric. But when you step back and view the tapestry from a distance, the planes and shapes seem to interact with each other, and the colours appear to move. The optical effects are particularly striking here. Our gaze is captured by the illusion of movement created by the brain. Vasarely experimented with this fascinating relationship between vision and perception in his paintings, which he then transposed into various media, including glass, ceramics, metal, goldsmithing and tapestry. Vasarely relied on science, because he believed it was the only common language available to humanity. He developed a pictorial system based on the logic of algorithms and binary codes, a square background, coloured and filled with simple geometric shapes. A champion of geometric abstraction, he is best known as the inventor of op-kinetic art (the adjective kinetic derives from the Greek word κίνησις (kinesis), meaning “movement”). Op art or optical art was revealed to the general public by the sensational exhibition ‘Le Mouvement’ (1955), which Vasarely initiated at the Denise René gallery in Paris. In this exhibition he brought together younger artists such as Bury, Jacobsen, Soto and Tinguely alongside the leading figures of Marcel Duchamp and Alexander Calder.  Alongside his work as a painter, Vasarely devoted a significant portion of his activity to transposing his art into other media. He promoted the reproduction of his works as tapestries, as he saw this as an opportunity for recreation, in contrast to the concept of a unique work. He envisioned a concept of art for all, based on a new aesthetic, leading to ‘the polychrome city of happiness’. He thought of his tapestries as prototypes, hand-woven in limited numbers and displayed in the comfortable homes of art lovers. He painted around a hundred tapestry cartoons, woven in various workshops. Furthermore, he played a pioneering role by inviting other artists to try their hand at this art form, including Léger, Jean Arp, Agam, Atlan, Dewasne and Josef Albers. This textile experimentation was the result of Vasarely's encounter with François Tabard, an Aubusson tapestry entrepreneur, and Denise René, an avant-garde gallery owner. According to the artist, kinetic art, often described as cold, is compatible with tapestry insofar as it results from a "technique that allows for flat areas to retain warmth. There is none of the monotony of flat areas applied with a brush to a surface." With Tabard, Vasarely developed a systematic method of creating cartoons, allowing infinite chromatic combinations to be obtained. Denise René was the publisher of these tapestries (1952-1970). From 1966 onwards, the national tapestry manufacturers of the Gobelins and Beauvais wove Vasarely's designs. Shortly afterwards, another industrialist from Aubusson, Olivier Pinton, began weaving Vasarely's designs. More than thirty cartoons were finely woven, including WA-4, created around 1970.

 

Hartford Fine Art - Lampronti Gallery

Francesco Fracanzano (Monopoli 1612-1656 Naples) The incredulity of Saint Thomas Oil on canvas 143 x 205 cm Literature: R. Causa, La pittura del Seicento a Napoli. Dal naturalismo al barocco, Naples, 1972, S. 976, n° 74; G. De Vito, Fracanziano’s periphrasis in XVII century Neapolitan studies, 2003/2004, pp. 104-105, fig. 2; N. Spinosa, XVII c. paintings in Naples, from Caravaggio to Massimo Stanzione, Naples 2010, p. 281 cat. n° 212; A. Della Ragione, Francesco Fracanzano, 2011, p. 10, fig. 23; N. Spinosa, Da Artemisia a Hackert. La collezione di un antiquario, exh. cat., Reggia di Caserta, Foligno 2019, cat. 9, pp. 18-19; N. Spinosa, Il Maestro degli Annunci ai pastori e i pittori del 'tremendo impasto' (Napoli 1625-1650), Rome 2021, cat. C5, p. 193 (quoting further literature: Cairo, 2011, pp. 203-210. Forgione, p. 233, fig. 12) Exhibition: Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 2019-2020

 

Philippe Heim

Jean-Jacques Darbaud (France, 1943) Homme Danakil, 2000 Bronze, nuanced brown patina Founder's mark: Fonte Fuentes Barcelone H 70 x W 50 x D 50 cm Signed ‘Darbaud’, and numbered 1/8

 

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.'

 

Véronique Bamps

castelleni .

Castellani Choker fringed with gold vine leaves and clusters of white grapes in glass paste Archaeological-style necklace, circa 1870

 
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