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
 

The old Treasury

van cleef & arpels

Van Cleef & Arpels necklace 18k yellow gold France, circa 1990

 

DIE GALERIE

johannes heisig

Johannes Heisig (Leipzig, 1953) Großes Stillleben, 2025 Oil on canvas 200 x 170 cm Monogrammed and dated lower right Provenance: the artist's studio Exhibition: Johannes Heisig - Weltgefühl, DIE GALERIE Frankfurt am Main, 2025

 

Arte-Fact Fine Art

Domenico Puligo (Florence, 1492-1527) Madonna and Child with the young Saint John the Baptist Oil on panel 95 x 72 cm

 

Douwes Fine Art b.v.

emanuel de witte

Emanuel de Witte (The Netherlands, Alkmaar circa 1616-1691/2 Amsterdam) Interior of the Oude Kerk in Amsterdam, the transept seen from the South Oil on canvas 64 x 71.5 cm Signed 'E. De. Witte' (c.r.) Provenance: Abraham Dijkman, Amsterdam; his deceased sale, Amsterdam, de Bosch/ Yver, 17-18 July 1794, lot 47; sale, London, Foster, 25 March 1931 (as 'unknown'); acquired at the above sale by Asscher & Welker, London; with D. Katz, Dieren; Dr. A. Welker, London, 1935; with J.D. Klaasen Jr., Rotterdam; P.M. Kerdel, Scheveningen, 1963; with Hans Cramer, The Hague by 1990; acquired by a Dutch Foundation, in 1998 Literature: Noach, 'Het Material tot de Geschiedenis der Oude kerk te Amsterdam', Amsterdam 1937, p. 81; E. Trautscholdt, in U. Thieme and F. Becker, 'Algemeines Lexikon der Bildenden Künstler' Vol. 36, Leipzig, 1947, p. 125; I. Manke, 'Emanuel de Witte', Amsterdam, 1963, p. 92, n° 62 with ill. fig. 31; F. Duparc et al., 'Masterpieces of the Dutch Golden Age', exhibition catalogue, Atlanta, 1985, p. 132-3, n° 60 with ill.; H.R. Leppien, 'In Blickfeld: Holländische Kirchenbilder', exhibition catalogue, Hamburg, 1995, pp. 56-7, 66-8, n° 20 Exhibitions: Rotterdam, Museum Boymans Van Beuningen, 'Vermeer, oorsprong en invloed Fabritius, de Hooch, de Witte, 9 July-9 October 1935, n° 116; Rotterdam, Museum Boymans Van Beuningen, Tentoonstelling van schilderijen, beeldhouwwerken en teekeningen uit particuliere verzamelingen in Nederland: onder auspiciën van de 'Stichting Museum Boymans' , December 1939-January 1940, n° 59; Atlanta, High Museum of Art, Masterpieces of the Dutch Golden Age, 24 September-10 November 1985, n° 60, p. 132-3; Hamburg, Kunsthalle, In Blickfeld: Holländische Kirchenbilder, 1995/96, n° 20

 

Meessen

benoît platéus

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

 

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.

 

Giammarco Cappuzzo Fine Art

Jacopo Carucci, called Pontormo (Empoli 1494-1557 Florence) Man of Sorrows Oil on panel 66 x 51 cm Expertise by Philippe Costamagna

 

Gilden's Art Gallery

Andy Warhol (Pittsburgh 1928-1987 New York) Campbell's Chicken Noodle Soup Box, 1986 Acrylic and ink on canvas 50.8 x 50.8 cm Signed in felt tip pen 'Andy Warhol' and dated '86' [1986] on the upper canvas overlap, verso Stamped by the Andy Warhol Authentication Board and numbered in ballpoint pen A104.056, on the lower canvas overlap, verso Provenance: Michael Kohn Gallery, Los Angeles; private collection, Arizona; Van de Weghe Fine Art, New York; Demisch Danant, New York; private collection, Atlanta; Sotheby’s New York, May 13th, 2010, lot 191; private collection, Hong Kong; Christie’s Shanghai, September 21st, 2019, lot 310; private collection, Asia Literature: exh. cat. (1986), Warhol. Campbell’s Soup Boxes 1986, Michael Kohn Gallery, Los Angeles, reference n° 153, pp. 19, 30, ill. in colour

 

Francis Maere Fine Arts

eugène dodeigne

Eugène Dodeigne (Belgium, Rouvreux 1923-2015 Bondues, France) Untitled, 1987 Charcoal on paper 107 x 74 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.

 

Pron

carla accardi

Carla Accardi (Trapani 1924-2014 Rome) Colori misti, 1967 Varnish on sicofoil 35 x 30 cm Signed, titled and dated on the reverse

 

Segoura Fine Art

ferdinand loyen du puigaudeau

Ferdinand Loyen du Puigaudeau (France, 1864-1930) Brière at Sunset Oil on canvas 65 x 81 cm Signed lower left

 

Carlucci Gallery

Monumental mirror Carved and gilded wood Rome, 17th century 200 x 175 cm Provenance: private collection Literature: Alvar Gonzales-Palacios, Arredi e ornamenti alla corte di Roma 1560-1795, Electa, 2004, pp. 98-99

 

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 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

 

Barbara Bassi

afro, berrocal, bury, cesar

Afro: Bracelet in yellow gold 18 kt, red coral, diamonds and rubies, unique piece 1960's Miguel Berrocal: Microdavid - 1969/71 - Pendant/sculpture in bronze - Signed and numbered 17388 - cm. 6,5 x 2 Pol Bury: Ring hexagonal in silver - 2005 - Signed and numbered 3/8 - Silver 925 - gr. 20 ca - cm. 3 x 3,5 César: Brooch/pendant in yellow and white gold 18 kt - 1980's - Signed and numbered 1/4 PA - gr. 19 - cm. 5,3 x 4,5

 

Van Pruissen Asian Art

nagai ikka

Nagai Ikka (Japan, 1869–1940) Pair of six-panel folding screens with crows, 1930s Ink on paper H 137 x W 268 cm (each) Signed in the bottom corner Provenance: private collection, Japan Nagai Ikka (also known by the art names Zuiunan and Hanpo) was born in 1869 in Suibara, Niigata Prefecture, during the early Meiji period. He trained under leading masters of the Maruyama and Shijō schools, including Suzuki Shōnen, Nakano Kimei, and Hirafuku Hoan, and later absorbed stylistic influences from Kawanabe Kyōsai. This grounding in careful observation and naturalistic rendering provided the foundation for a personal style that balanced precision with expressive freedom. He began painting crow paintings after helping Ernest Francisco Fenollosa create 'One Hundred Crows', a painting he had commissioned from Kyosai. The late Meiji and Taishō periods were marked by profound change in Japanese art, as artists navigated between traditional aesthetics and the growing influence of Western naturalism. Ikka embraced this dialogue, drawing on classical ink painting techniques whilst expanding his horizons abroad. From 1903 to 1908, he lived in the United States, exhibiting at international events such as the Portland Expo, where he won a silver medal, and later at the Italian Expo. His crow paintings, admired both in Japan and overseas, earned him the affectionate nickname 'Doctor of Crows' from statesman Ōkuma Shigenobu. The crow (karasu) has a long symbolic tradition in Japanese culture, appearing in classical poetry, Buddhist imagery, and Shintō cosmology, most famously as Yatagarasu, the mythical three-legged crow. Ikka revitalised this motif, transforming it from a minor decorative element into the central subject of bold, dynamic compositions. This pair of six-panel folding screens demonstrates his command of movement and atmosphere. Painted in ink with sparing touches of colour, the crows appear in varied postures—perched, in flight, or interacting—creating a rhythm that guides the viewer’s eye across the expansive surface. Bold, calligraphic brushstrokes define wings and feathers, while softer washes evoke wind, mist, and shifting light. The result is a scene that is both naturalistic and poetic, combining the restraint of traditional ink painting with a striking modern vitality. Ikka’s crows are not static symbols but living presences, conveying alertness, intelligence, and social energy. His lifelong study of corvid behavior, informed by travels across Japan, Korea, China, Taiwan, and the United States, gave his work an observational depth rare among his contemporaries. At the same time, his art reflects a broader ambition: to elevate the ordinary into the emblematic, merging natural accuracy with expressive force. Today, Ikka’s crow paintings are prized by collectors and studied as important examples of Meiji-period nihonga, where fidelity to nature combines with enduring Japanese aesthetic ideals. These folding screens stand as a testament to his originality and his ability to transform a humble subject into a powerful symbol of vitality and freedom.

 

Florian Kolhammer

louis c. tiffany

Louis C. Tiffany (New York 1848-1933 New York) Jack-in-the-pulpit vase Tiffany, 1906 Yellow glass H 44 x 23.5 x 12.5 cm Marked 'L.C.T.' and '2210A' underneath Provenance: Christie's sale The 'Jack-in-the-pulpit' vases represent a special design category within the production of the Louis Comfort Tiffany company. These glasses were modeled after the Arisaema Triphyllum plant and are among the most iconic designs of this famous manufacturer. Our example shines in pure gold. It was made in 1906 and received as a wedding gift at the time.

 

Beck & Eggeling International Fine Art

manolo valdés

Manolo Valdés (Valencia, 1942) Perfil sobre fondo azul, 2016-2017 Collage, mixed media on canvas 122 x 93 cm Signed, dated and titled on reverse Provenance: the artist's studio

 

Galerie Dina Vierny

aristide maillol

Aristide Maillol (Banyuls-sur-Mer, 1861-1944) Léda, 1901-02 Bronze H 28.3 cm Artist's monogram (on the back of the base) Ambroise Vollard edition from 1902 Foundry Florentin Godard, executed between 1907 and 1937 Provenance: private collection, New York; private collection, London: Galerie Dina Vierny, Paris (acquired from the above in 2025) Litrature: W. George, Les albums d'art Druet, vol. II, Maillol, Paris, 1927, another cast illustrated; J. Rewald, Maillol, Paris, 1939, p. 166 and another cast ill. pp. 110-111 (dated 'circa 1902'); W. George, Aristide Maillol, Berlin, 1965, pp. 137 & 232, another cast ill. p. 137; W. George, Maillol et l'âme de la sculpture, Neuchâtel, 1977, p. 128, another cast and terracotta version ill. pl. 139; B. Lorquin, Aristide Maillol, London, 1995, p. 52, another cast ill. p. 53

 

Herwig Simons Fine Arts

Large Siena marble models from the Roman Forum Rome, circa 1800 H 87 cm Provenance: former noble collection, The Netherlands Fine and unusual large grand tour Siena marble models of the Temple of Castor and Pollux,
and the Temple of Vespasian, from the Roman forum. Made as souvenirs for visitors on the Grand Tour in the eighteenth and nineteenth centuries.

 

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

 

Romigioli Antichità

giuseppe piamontini

Giuseppe Piamontini (Florence, 1664-1744) Small Faun playing with a Satyr, 1710 Carrara marble H 79 cm Signed and dated 1710 Provenance: private collection, Florence Literature: Sandro Bellesi, I marmi di Giuseppe Piamontini, ed. Polistampa 2008 Ideal pendant 'Eros and Anteros' at the Money Museum in Palazzo Pitti, Florence

 

Meessen

evariste richer

Evariste Richer (Montepellier, 1969) Saint-François, 2025 Ink on paper 112 x 112 cm

 

Galerie Hadjer

alexander calder

Alexander Calder (USA, Pennsylvania 1898-1976 New York) IXE, 1970 Wool and silk 170 x 280 cm Aubusson tapestry by the Pinton workshop Edition of 6 + 2 AP Provenance: Atelier Pinton; private collection, France

 

Guy Pieters Gallery

fernando botero

Fernando Botero (Medellin 1932-2023 Monaco) Man with walking stick, 1987 Bronze H 140 x W 48 x D 28 cm Provenance: Veranneman-Kruishoutem foundation, private collection, Belgium Literature: Galerie Beyeler-Basel, Botero (exh. cat.), Basel, 1988, ill. in colour of another cast from same edition; Marlborough Gallery, Botero: Recent Sculpture (exh. cat.), New York, 1990, n° 24, p. 49, ill. in colour of work from same edition; Vittorio Sgarbi, Botero, Dipinti, Sculture, Disegni, Milan, 1991, p. 103, ill. in colour of the monumental version; Botero al Forte Belvedere di Firenze (exh. cat.), Florence, 1991, p. 31, ill. of the monumental version

 

De Zutter Art Gallery

christo

Christo (Bulgaria 1935-2020 New York) and Jeanne-Claude (Casablanca 1935-2009 New York) The Umbrellas, 1990 Diptych Collage and mixed media on panel 78.2 x 67.2 cm and 78.2 x 31.2 cm Provenance: artist's studio; private collection Literature: S. Philippi, ed., Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984-91, Cologne, 1998, pp. 694-695 (illustrated)

 

Huberty & Breyne

milan jespers

Milan Jespers (Brussels, 1992) Delft Woman MKII, 2020 Watercolour on paper 47.2 x 52.5 cm Signed bottom right

 

Serge Schoffel - Art Premier

Litxókó figure Karajá tribe, early 20th century Rio Araguaia valley, Brazil Wood, pigments and vegetal fibers H 52 cm

 

Galerie Flak

Yup'ik shaman mask Coastal Yup’ik - Eskimo, St Michael or Yukon river Delta, Alaska, 19th century Carved wood, pigments H 19.5 cm Provenance: Karin & Leo (1937-1987) Van Oosterom collection, The Hague, acquired in 1980 Yup’ik shamanic masks (from the Indigenous culture of the Arctic region of Alaska) bear witness to a spirituality and artistic power of remarkable depth. Exceptionally rare today - as most were destroyed or discarded after their ceremonial use - these works are imbued with mystery and poetry. Their evocative force and symbolism of metamorphosis deeply inspired Surrealist masters such as Max Ernst and Leonora Carrington, who discovered in them a new visual language of the unconscious. This striking mask represents a tunghak spirit - a powerful celestial being linked to the moon, the sun, and the balance between humans and nature.

 
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