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 Cabinet of Curiosities 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 Dries Criel 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 Art 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 Philippe Heim Heutink Ikonen Galerie Hioco Huberty & Breyne Galerie Hurtebize Pauline Janssen 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 Nosbaum Reding Dr. Nöth kunsthandel Objects With Narratives Opera Gallery Galeria Jordi Pascual Galerie La Patinoire Royale Bach 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 Sceners Gallery Laurent Schaubroeck Serge Schoffel - Art Premier Segoura Fine Art Anthony Short Antiques Ltd. Edouard Simoens Gallery Herwig Simons Fine Arts Snackers Antiques & Fine Art Spazio Nobile 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
 

Anthony Short Antiques Ltd.

Very Fine Mid 18th Century George II Period Burr Walnut Secretaire Chest-on-Chest or Tallboy A very fine mid 18th century George II period burr walnut secretaire chest-on-chest, also known as a Tallboy. This stunning piece of early Georgian furniture is cross and feather banded throughout, showcasing matched veneers of exceptional colour and patina. The Tallboy is divided into two sections by a cross-grain moulding. The upper section features a complex cross-grain cornice over three short drawers and three long, graduating cockbeaded, cross banded, and feather banded oak lined drawers, all flanked by reeded canted corners. The lower section boasts a secretaire drawer above three long graduating drawers, also cockbeaded, cross banded, and feather banded, with beautiful oak lining. It stands proudly on its original shaped bracket feet. All drawers are fitted with the original swan neck brass handles and escutcheons, enhancing its historical authenticity. This piece is a testament to exceptional craftsmanship and is a stunning example of early Georgian design, making it an ideal addition to any refined interior. Height 192cm (75.6in) Width 103cm (40.6in) Depth 55cm (21.7in)

 

WHITFORD

Clive Barker (Luton, 1940) Meat Safe, 1978 Polished and painted steel, and polished aluminium 36.5 x 42.5 x 29 cm Unique Literature: Fermon, An Jo and Marco Livingstone, Clvie Barker sculpture, Catalogue Raisonne 1958-2000, cat. n° 169, p. 118, ill. and plate number 24

 

Galerie Capazza

GOUDJI (1941-) Rhyton au zébu argent 1er titre (1st title silver) : 1 946 g, agate Poids total (total weight) : 2 376 g Poinçon de maître (master's mark) Atelier de l'artiste (artist's studio) Exposé à la galerie Capazza - Exhibited at galerie Capazza

 

Segoura Fine Art

Charles Ronot (Belan-sur-Ource 1820-1895 Dijon) Lions at the Edge of the Woods, 1866 Oil on canvas 185 x 232 cm (with frame) Signed and dated 'Ronot 1866'

 

Desmet Fine Art

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

 

Klaas Muller

Maarten Rijckaert (Antwerp, 1587-1611) Forest landscape with hunters, 17th century Oil on panel 32.4 x 49.5 cm This beautiful painting is a typical example of Maarten Ryckaert’s talent for creating atmospheric woodland scenes. The painting presents a dense forest filled with tall trees,a river, rough terrain and rocks. Soft light filters through the branches, creating contrasts between illuminated clearings and darker shadowed areas. In the foreground, a group of hunters on the left- and rightside accompanied by dogs: their small scale compared to the towering trees highlights the dominance of nature over human activity. The hunters add a sense of narrative and movement to the otherwise peaceful setting. Ryckaert uses earthy tones such as deep greens, browns, and golden highlights to create a rich and natural atmosphere. Fine details in the foliage, rocks, and tree trunks demonstrate his close observation of nature and his skill as a landscape painter. The scene evokes both tranquility and mystery, inviting the viewer to imagine the sounds and silence of the forest. The painting reflects the Baroque interest in dramatic natural scenery while also expressing a calm, contemplative mood. Through the balance of light, composition, and detail, Ryckaert transforms an ordinary hunting scene into a poetic vision of the natural world. Maarten Ryckaert was born in Antwerp and became especially known for his imaginative woodland scenes, rocky landscapes, and peaceful rural settings filled with travelers, hunters, and small groups of figures. Ryckaert studied painting in Antwerp and was strongly influenced by earlier Flemish landscape artists such as Joos de Momper and Jan Brueghel the Elder. Unlike many painters of his time who focused on religious or historical themes, Ryckaert specialized in landscapes, giving nature the leading role in his compositions. His works often combine realism with fantasy, creating dramatic forests, winding paths, and mysterious mountainous scenery.

 

Galerie Greta Meert

Pieter Vermeersch Untitled 2026 oil on marble 58,7 x 34,9 x 2 cm

 

Galerie Boulakia

Georges Mathieu Louis VII épouse Eléonore d'Aquitaine, 1958 oil on canvas 97 x 162 cm 38 3/16 x 63 3/4 in signed bottom left This artwork is referenced among the authentic artworks of the « Archives by Jean-Marie Cusinberche on Georges Mathieu ». An attestation of the « Archives by Jean-Marie Cusinberche on Georges Mathieu » will be provided to the buyer. Provenance Galerie Europe, Paris

 

Philippe Heim

Jean Bouchaud (Saint-Herblain 1891-1977 Nantes) Les pintades bleues Oil on canvas 82 x 100 cm Signed lower right 'Jean Bouchaud' Exhibition: Jean Bouchaud, Musée des Années 30, October 2021 - January 2022

 

Mearini Fine Art

Master of Torcello (Venetian Master active circa 1450-1500) Crucifix Popolar wood with polychromy H 40 x W 38 x D 3.5 cm An exceptional masterpiece of the Venetian Renaissance, this small, carved, polychrome wooden Crucifix is ​​certainly attributable to the Master of Torcello, active in Venice in the second half of the 15th century. Work created for private use and devotion, certainly to be included in an 'Altarolo', but absolutely similar to the larger known Crucifixes of the same manufacture, such as the one on the island of Torcello (Venice) in the Basilica of Santa Maria Assunta.

 

Laurent Schaubroeck

Paul Evans (USA, Newtown 1931-1987 Nantucket Island) & Phillip Lloyd Powell (USA, Germantown 1919-2008 New Hope) Monumental Wall Unit, circa 1960 Steel, wood, gold leaf H 282 x W 236 x D 51 cm Unique piece Provanance: Martin Brooks, Doylestown Extraordinary wall-mounted cabinet by Paul Evans and Phillip Lloyd Powell, two key figures in American postwar design. This one of a kind piece combines carved wood, torch-cut and enameled metal, and gold leaf. Features four floating shelves and a two-door lower cabinet with concealed storage. Rare in both scale and collaboration.

 

Vagabond Antiques

After the antique, Chiurazzi Foundry (Attributed to) Naples, second half of the 19th century Bronze head of a man (possibly Dionysus) Bronze on original Rosso Antico marble socle H 70 cm Provenance: private collection at Chateau De Pesselières, France Literature: Fonderia Chiurazzi, Napoli, catalogue n° 1 'Dionisio o Platone-Bronzo da Ercolano 1741' A finely cast bronze by the Chiurazzi Foundry, Naples, after the celebrated antique excavated at Herculaneum in 1741 and now preserved in the Museo Nazionale di Napoli (inv. 5618). The model is recorded in the Chiurazzi Foundry catalogue as 'n° 1 - Dionisio o Platone - Bronzo da Ercolano 1741', indicating both the foundry’s internal model number and the Naples museum inventory of the original. The figure’s soft modelling, elaborate curls and bound taenia are characteristic of Hellenistic representations of Dionysus, though early scholars, struck by the introspective expression, also proposed identifications with Plato or other philosophers. Modern scholarship accepts the Dionysian attribution. Chiurazzi held exclusive rights to reproduce works from the Naples collections, issuing casts directly from museum models for export to collectors and institutions across Europe and America. This example, with its even dark patination and original Rosso Antico marble socle, reflects the exceptional quality for which the foundry became renowned.

 

Martos Gallery

Keith Haring Untitled 1988 black ink on paper 38 1/8 x 50 in; 96.8 x 127 cm

 

W. Apolloni - Laocoon Gallery

Philippe Jacques Van Bree (Antwerp 1786-1871 Saint-Josse-ten-Noode) Nerva's bakery (Hommage to Raphael's Fornarina) Oil on panel 99 x 74.5 cm Signed 'P. Van Bree Rome'

 

Maison Rapin

Pair of silver-plated bronze vases 'Polar Exploration' Scandinavia, mid-19th century H 36 x W 24 x D 27 cm

 

Epoque Fine Jewels

René Lalique (Ay 1860-1945 Paris) Art Nouveau dragonfly brooch, Paris circa 1903 18 k yellow gold, 'plique-à-jour' enamel and polychrome enamel, old mine cut diamonds, citrine and pearls 11.6 x 4.4 cm Signed Lalique Accompanied by its original fitted case marked R. Lalique, 40, Cours-la-Reine, Paris, monogrammed 'E.A.' An important Art Nouveau dragonfly brooch by René Lalique, in 18-karat gold, designed as two opposing dragonflies with delicate wings of translucent plique-à-jour enamel, accented with old mine-cut diamonds. At the centre, the dragonflies clasp a cushion-shaped orange citrine, their bodies and legs enhanced with polychrome enamel. Graduated pearls trace the extremities of the wings, lending the composition a graceful sense of movement and lightness, characteristic of Lalique’s jewellery at the height of the Art Nouveau period.

 

Galerie Capazza

GOUDJI (1941-) Coupe ovale à l'oiseau bleu à la crinière verte 2025 argent 1er titre : 1 976 g , sodalite, aventurine, serpentine, porphyre ( 1st title silver : 1 976 g, sodalite, aventurine, serpentine, porphyry) poids total (total weight) : 2 980 g 12 x 70 x 28 cm poinçon de maître (master's mark) atelier de l'artiste (artist's studio) Exposée à la galerie Capazza (exhibited at galerie Capazza)

 

The old Treasury

Frog brooch by Eva Segura France, circa 1980-2000 18k yellow gold, diamonds, tsavorite garnets, peridot, aquamarine, green sapphires Circa 7 x 5.5 cm

 

Van Pruissen Asian Art

Okazaki Sessei (Yamashiro 1858-1921 Tokyo) Bathing girl seated on rock Bronze Japan, 1854-1921, Meiji Period H 42 x W 12 x D 25 cm Signed Sessei Provenance: private collection, the Netherlands; private collection, Switzerland; private collection, Chile

 

MassModernDesign

Jorge Zalszupin (Warschau 1922-2020 São Paulo) L'Atelier, Brazil 1959 Bergere chair Hardwood, fabric H 92 x W 83 x D 93 cm

 

CKS Gallery

Anselm Kiefer (Donaueschingen, 1945) Weiß wie Gittertünche, 1989-2020 'I don't paint illusions, but real human situations.' Emulsion, acrylic, oil, charcoal, chalk, burned books and thread on canvas 280 x 380 x 33 cm Provenance: private collection, Paris

 

Francis Janssens van der Maelen

Luigi Genazzi (Milan, 1876-1946) Large Art Deco vase, 1930 Silver 800, 2.900 gr 35 x 32 cm Hallmarked and signed by the artist Large hammered silver vase or wine cooler, embellished with two geometric handles and enhanced by a finely detailed decorative design. A testament to Milanesità - the elegance and timeless character of Milanese silversmithing. Bearing the hallmarks of the silversmith Luigi Genazzi and his signature.

 

Galerie BG Arts

 

Univers du Bronze

François-Xavier Lalanne (Agen 1927-2008 Ury) Lampe pigeon, circa 1991 Copper with patinated bronze, polished glass H 21.1 x W 26.5 x D 13.5 cm Monogramed 'FXL' on the right side of the tail, stamped 'Artcurial' and numbered '539/900' on the left side of the tail Edition produced circa 2000

 

Cabinet of Curiosities

Cabinet of Curiosities objects, 17th century Engine collection

 

Beck & Eggeling International Fine Art

Gilles Dorin (born 1973 in Aix-en-Provence/France) "Histoire d’Ô, study no. 5" 2021 Platinum-palladium and pure gold leaves on Japanese gampi 35x35cm (framed 41x41cm) Edition of 8 Acquired directly from the artist's studio

 

Galerie Greta Meert

Lee Mullican Earth Rhythm 1963 oil on canvas 189,9 x 89,5 cm

 

DIE GALERIE

André Masson (Balagny-sur-Thérain 1896-1987 Paris) Les vieux souliers, 1944 Oil on canvas 60 x 73 cm Signed lower middle The authenticity is confirmed by the Comité André Masson on 7 October 2002 Provenance: Galerie Simon, Paris et. al. Literature: André Masson (1896-1987), Exhibition catalogue Museo National Centro de Arte Reina Sofia, Madrid, 2004, p. 240; André Masson. Petite rétrospective entre amis, Exhibition catalogue DIE GALERIE, Frankfurt am Main 2016, p. 67; André Masson. Zwischen Welten-Entremondes, Exhibition catalogue Kunstsammlungen Chemnitz, Köln 2019, p. 95; et. al. Exhibitions: Rétrospective Masson, Musée National d'Art Moderne, Paris, 1965; André Masson (1896-1987), Museo National Centro de Arte Reina Sofia, Madrid, 2004; André Masson. Zwischen Welten-Entremondes, Kunstsammlungen Chemnitz 2019/2020; Surreale Tierwesen, Max Ernst Museum Brühl, Brühl 2021/2022; André Masson. La mémoire du monde, DIE GALERIE, Frankfurt am Main 2024/2025 et. al.

 

Galerie Hurtebize

Henri Lebasque (Champigné 1865-1937 Le Cannet) Femme au chapeau fleuri dans un jardin, 1900 Oil on canvas 65 x 54.3 cm Signed lower right Certificate of authenticity by Denise Bazetoux

 

Galerie Nicolas Bourriaud

Raymond de Meester (Mechelen 1904-1995 Brussels) Yawning Leopard, circa 1928-1929 Bronze with a nuanced brown patina H 45.2 x W 41.6 x D 15.5 cm Signed ‘Rd de Meester de B’, titled ‘Yawning Leopard’ and dated ‘1928–29’ Batardy cast, numbered I/III, bearing the stamp ‘BATARDY CIRE PERDUE BRUXELLES’, and the inscriptions ‘Épreuve d’Artiste’ and ‘cire perdue’ Literature: Léonard Dieleman, Raymond de Meester de Betzenbroeck, Animal Sculptor, Gallery Dieleman, Brussels 1989, repr. n° 5; Xavier de Ghellinck Vaernewyck, ‘de Meester de Betzenbroeck’, Nouvelle Biographie Nationale, Part 6, Royal Academy of Belgium, Brussels, 2001, pp. 133–135

 
{image}

{dealerName}

{caption}