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
 

Stone Gallery

Quartz crystal cluster Weight: 350 kg 87 x 135 x 75 cm Origin: quarries of Mount Ida, Arkansas, USA, discovered in 1993 Provenance: Paul Membrini collection until 2023 Rock crystal is the crystallised, colourless variety of quartz, also known as clear quartz. All the crystals with their countless facets are 100% natural. With its transparent and colourless appearance, it is revered for its purity and clarity. This giant group of quartz crystals weighs approximately 350kg and is 87 x 135 x 75 cm. It displays remarkably perfect and water-clear crystals on all sides. Discovered in one of the famous crystal quarries of Mount Ida, Arkansas, USA, in 1993. The piece was once part of the Membrini Collection from Switzerland, a phenomenal museum-quality crystal collection, meticulously assembled over the years by Membrini Kristall, a firm based in Chur, Switzerland. Founder Paul Membrini was a renowned “strahler,” a professional crystal hunter who explored the Alps. Stone Gallery acquired the Membrini Collection in early 2023. Martin Garrix Stone Gallery proudly announces that the larger sibling of this piece, a great cluster weighing an impressive 4500 lbs, is now on display at the Naturalis Biodiversity Center in Leiden, in part thanks to Dutch DJ Martin Garrix.

 

Galerie des Modernes

mark tobey

Mark Tobey (USA, Centerville, Wisconsin, 1890-1976 Basel, Switzerland) Untitled (Abstract composition) or 'Tout le Monde', 1956 Tempera on paper 20.2 x 24.9 cm Signed and dated lower right 'Tobey 56' The Mark Tobey Project LLC, under the identification n° MT (456-05-15-25). Authentication letter signed by Achim Moeller for Moeller Fine Art Projects dated May 15th, 2025 Provenance: private collection, Belgium Exhibitions: Exhibited at Kunsthalle Basel under n° 0131 (label on back of montage annotated: ‘Tout le monde’)

 

Mulier Mulier Gallery

andy warhol

Andy Warhol (USA, Pennsylvania 1928-1987 New York) Shoe, circa 1956 Ink, tempera and gold flake on paper 45.9 x 60.6 cm Stamped twice by the estate of Andy Warhol, with number of the estate

 

MARUANI MERCIER

von wolfe

Von Wolfe (London, 1966) Bound by Steam and Silence, 2025 Oil on canvas 180 x 180 cm

 

Franck Anelli Fine Art

Marcellus Coffermans (active in Antwerp, 1549-1578) Deposition of Christ, circa 1570 Oil on panel 32.7 x 21 cm Provenance: anonymous sale, Amsterdam, Christie's, 15 May 2002, lot 97 (as Marcellus Coffermans); private collection, Europe; from 2020, private collection, California Literature: M. Leeflang, Gemaakt in Antwerpen, bestemd voor Spanje? in Catharijne, Magazine van Museum Catharijneconvent Utrecht 2 (2010), repr. p. 11 Exhibition: Utrecht, Museum het Catherijneconvent, long-term loan, 2010-2020 Marcellus Coffermans deserves credit for bringing together a unique composition, the great deposition and the descent from the cross.

 

Finch & Co

Ivory crucifix figure of Christ South Netherlandish, circa 1690-1700 Rosewood cross, carved ivory, silver halo, giltwood Small chips to fabric of hanging Perizonium, old smooth creamy patina H 109 x W 41.5 x D 22 cm (cross) H 40 x W 24 x D 6 cm (Christ) Belgium CITES: 2025/BE00989/CE Provenance: Finch and Co, circa 2005; English private collection; Irish collection Comparative reference: a similar example in the collections of the Victoria and Albert Museum inv. n° A.73-1920 A finely carved ivory figure of Christ mounted on a rosewood cross, adorned with a silver halo and a sacred motto. The cross is embellished with giltwood details and set on its original scallop-shaped rosewood base. At Christ’s feet rests an ivory skull and crossbones, symbolising Golgotha. His legs remain uncrossed, with hands and feet affixed by iron nails. In this image of the Passion, Christ is shown alive, his eyes open looking upwards to his right, his teeth visible with his mouth open in his call to God. Imagery based on the Passion of Christ became increasingly popular from the 13th century. The mix of emotions which well up in the devout upon looking at such a human image, a blend of guilt and gratitude, sorrow and sympathy, is a very powerful combination. The Carthusian monk, Ludolph of Saxony (died 1378) expressed this attraction, without seeking to explain it, in his ‘Life of Christ’: ‘I know not for sure…. how it is that you are sweeter in the heart of one who loves you in the form of flesh than as the word…. It is sweeter to view you as dying before the Jews on the tree, than as holding sway over the angels in Heaven, to see you as a man bearing every aspect of human nature to the end, than as God manifesting divine nature, to see you as the dying Redeemer than as the invisible Creator.’

 

Thomas Deprez Fine Arts

george minne

George Minne (Ghent 1866-1941 Sint-Martens-Latem) Baigneuse I, 1899 Boxwood (composite) H 40 cm Signed on the base: ‘G. MINNE’ Provenance: private collection by family descent, Belgium Exhibitions: La Libre Esthétique, Brussels, 1902, cat. 139, as: ‘Figure de femme. boxwood.' Related literature: Arthur Roesler, George Minne, in: Deutsche Kunst und Dekoration, 1910, 14th year, IV, 2, ill. article frontispiece, p. 240 (cf. Waerndorfer marble); Léo Van Puyvelde, George Minne, Brussels : Edition 'Cahiers de Belgique', 1930, cat. n° 31, p. 78, ill. pl. 31 (bronze); Robert Hoozee et al., George Minne en de kunst rond 1900, Gent: Museum voor Schone Kunsten, 1982, cf. cat. 95 & 96 (bronze and alabaster). Related exhibitions: Berliner Secession V, Berlin, 1902, cat. 319, as: ‘Badende’ (plaster); Wiener Secession XIV, Vienna, 1902, as: ‘Badendes Mädchen’ (plaster); Tento. Jozef Israëls & George Minne, Rotterdam, 1903, as: ‘Badende vrouw’ (marble); Berliner Secession XI, Berlin, 1906, cat. 332, as: ‘Junge Frau’ (plaster); Mücsarnok, Teli, Nemzetkozi Kiallitas, Budapest, 1908-09, cat. 285 (marble); Esposizione Internazionale d’Arte, Venice, 1909, cat. 3, as: ‘Bagnante’ (marble); Sonderbund westdeutscher K., Dusseldorf, 1910, cat. 237, as: ‘Die Badende’ (marble); Leipziger Jahresaustellung, Leipzig, 1912, cat. 895c, as: ’Baigneuse’ (bronze); Sonderbund internationale Kunstaustellung Köln, 1912, cat. 611, as: ‘Badende’ (marble). Related works: It has been said that George Minne, with the present sculpture, directly influenced Gustav KLIMT (1862-1918) for the painting 'Wasserschlangen I' (1904/07), cf. Hoozee. Its appeal, however, has never faded, as can be seen in several variations on the pose which have been an integral part of the famous Belgian contemporary choreographer Anne Teresa De Keersmaeker’s so-called 'Attitudes'. Note on versions: Van Puyvelde mentions editions in marble, wood and bronze. In addition, several fine plaster casts with family provenances can be identified, amongst others at the MSK Gent and at the Museum Gevaert-Minne. Among the early collectors of bronze versions we find Hélène Kröller-Müller and Karl Ernst Osthaus, partly due to the fact that Minne’s ‘Baigneuse I’ has been a favourite for the inclusion in decorative settings designed by Henry Van de Velde (1863-1959). Versions in marble are held at the Royal Museums of Art & History and at the Belvedere in Vienna. We have been unable to find records of any other versions of Minne’s ‘Baigneuse I’ in wood. Executed in a fine composite of boxwood, it is likely a unique piece in the material and can therefore be identified as entry n° 139 at La Libre Esthétique in 1902; where both a bronze version and a version in boxwood of Minne's 'Baigneuse' were exhibited under the title 'Figure de femme'. Interestingly, the 1902 exhibition of La Libre Esthétique in Brussels also marked the model's public debut, ranking the present version as one of the earliest in existance and one of the first two shown publicly.

 

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

 

Kunsthaus Kende

Pair of George I Britannia silver tea caddies John Farnell, London, 1720 Engraved sterling silver H 12.5 cm 240.3 g and 237.4 g Provenance: private collection, North America The smooth, octagonal body merging into the correspondingly smooth shoulder. The lid finished with a twisted baluster. The base, which can be pulled out for filling, is only marked with a maker’s mark, the lid is unmarked. The bodies are hallmarked on the underside of the back. The contemporary coat of arms engraved on the front commemorates the marriage of a gentleman of the Dove family (who were based in East Burgholt in the county of Suffolk) and a lady of the Pierse family (whose family was based in Alston in the county of Warwickshire). An attractively preserved, early Britannia silver pair of tea caddies with a beautifully preserved, original surface.

 

Floris van Wanroij Fine Art

rombout ‘pauli’ pauwels

Rombout ‘Pauli’ Pauwels (Mechelen circa 1625-1692 Ghent) The Virgin and Child Terracotta, sculpted on full round (contains restorations) H 52.5 x W 24 x D 23.5 cm Provenance: the Hulshoff Pol collection, Wassenaar, The Netherlands Literature: Neeffs, E. (1879), Histoire de la peinture et de la sculpture à Malines, Ghent, Vol. II, pp. 193-200; Nieuwdorp, H. (1977), De beeldhouwkunst in de eeuw van Rubens in de Zuidelijke Nederlanden en het prinsbisdom Luik, Brussels: KMKG, pp. 325-327 nrs. 294-298, p. 140, n° 103; Jacobs, A. & Vézilier, S. (2011), Fascination baroque: la sculpture baroque flamande dans les collections publiques françaises, Paris, pp. 116-121

 

Artimo Fine Arts

charles-auguste fraikin

Charles-Auguste Fraikin (Herentals 1817-1893 Brussels) Emerging from the Sea Bath White Carrara marble H 123 x W 37 x D 33 cm Provenance: Francis Meyer collection, Switzerland Literature: Fraikin, Charles-Auguste. Catalogue de la galerie. Musée Fraikin de Herenthals offert par l'artiste à sa ville natale l'an 1891. Herentals: Typ. L. Bongaerts-Verbeeck, 1891; Engelen & Marx. La sculpture en Belgique à partir de 1830. Tome III: Devreese-Hecq. Bruxelles : Éditions Ars 2006, pp. 1550-1557 With this work, Charles-Auguste Fraikin celebrates feminine beauty captured in the intimacy of a daily gesture: that modest and natural act of a young woman emerging from the water and wringing out her long hair. The sculptor excels here in the art of suggestion rather than revelation. The delicately fitted drapery clings to the body’s contours whilst gracefully concealing them, playing on the translucency of the marble and the softness of the volumes. The work bears witness to the dual influence of classical ideals and the romantic taste for a sensitive evocation of femininity. Through his treatment of surfaces - silken, clean, almost vibrant - Fraikin achieves a remarkable degree of refinement whilst preserving a clear narrative: that of a moment suspended in time, poised between genre scene and allegory. Emerging from the Sea Bath brilliantly illustrates Fraikin’s ability to combine modesty with sensuality, simplicity with virtuosity, in a sculpture that speaks both to the eye and to the imagination.

 

Brame & Lorenceau

george condo

Georges Condo (USA, Concord 1957) Composition, 1983 Oil on canvas 122 x 92 cm Provenance: private collection

 

Dalton Somaré

Guardian figure Kota Ndassa, Gabon, 19th century Wood, copper, brass, iron 46 cm Provenance: collected in situ between 1902 and 1923 by a French officer; thence by descent

 

Galerie Greta Meert

carla accardi

Carla Accardi (Trapani 1924-2014 Rome) Frammenti, 1984 Acrylic on canvas 50 x 60 cm Frammenti, a work from 1984, ‘Fragments’; the work affirms Carla Accardi’s place as a voice of innovation in an Italian art scene dominated by male voices. In this 50 x 60 cm painting using only black paint on the untreated material of the canvas, the artist constructs a rhythmic interplay of signs animating recognition and illegibility, an evocation of a writing that dissolves into abstraction. The work embodies the tension that characterises her oeuvre: a subtle intertwining of classical painterly discipline and the radical openness of the avant-garde, resulting in a visual language that is as rigorous and experimental as it is personal.

 

Claes Gallery

Reliquary Figure 'Mbulu-ngulu' Kota Kota-Obamba People Gabon, presumed late 19th-early 20th century Wood, copper and brass H 43 cm Provenance: private collection, Los Angeles, until 1979; private collection, Geneva Literature: L’Art Kota. Les figures de reliquaire, Chaffin, Meudon, 1979, pp. 234-235, fig. 133 (written height: 43.5 cm)

 

Galerie Nathalie Obadia, Paris/Brussels

sophie kuijken

Sophie Kuijken (Bruges, 1965) S.A.F., 2025 Oil and acrylic on chipboard panel 122 x 60 cm Provenance: the artist's studio

 

Heutink Ikonen

Anastasis Russia, circa 1600 32.5 x 26.5 cm The Anastasis (resurrection) of Christ and the victory over the realm of death are central to this icon. Christ, surrounded by a radiant mandorla, tramples the gates of the underworld and pulls Adam up from a stone coffin by his wrist. Behind Adam stands John, pointing to Christ with his hand and addressing a group of Old Testament prophets and forefathers. To the right of Christ are Eve, Kings David and Solomon, and the prophet Daniel, amongst others. At the bottom right, Christ can be seen rising from his own tomb

 

Serge Schoffel - Art Premier

Brag mask Ramu/Lower Sepik cultural area, 19th century (pre-contact) Papua New Guinea Wood, pigments and rattan H 48 cm Provenance: Toni Stadler, Munich, Germany; American private collection

 

Galerie Mathivet

François-Xavier Lalanne (Agen 1927-2008 Ury) Lamp sculpture 'Grand Echassier', 1990 Glass, patinated copper and bronze H 68 x W 61 x D 35 cm Monogrammed FXL, numbered 60/900 Figini foundry stamp and Artcurial publisher's mark

 

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.

 

Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)

Unique binding of incredible modernity, produced circa 1925 by the great architect and designer Josef Hoffmann (Pirnitz 1870-1956 Vienna), one of the founding members of the Wiener Werkstätte and the creator of the fabulous Palais Stoclet in Brussels. Large quarto, full fawn morocco on wooden boards with undulating decor, dark fuchsia silk doublure and endpapers, interior gilt signature Wiener Werkstätte with, above, Hoffmann's small gilt monogrammed mark. On: Henny Bauer & Wilhelm Kienzl, Sanctissimum (1924), first edition of the score for voice and piano. Signed by Josef Hoffmann Literature: Isabella Croÿ-Frick, Bookbinding and Leather in Christian Witt-Dörring & Janis Staggs, Wiener Werkstätte 1903-1932, The Luxury of Beauty, (2017), pp. 192-211; MAK Wien: Archiv der Wiener Werkstätte, Entwurfszeichnungen, Bucheinband, inventarnummer WWE 24-9; Yves Peyré, Histoire de la reliure de création, (2005), p. 138, p. 140; Ruperta Pichler, Wiener Werkstätte. Lederobjekte aus den Sammlungen des Österreichischen Museums für angewandte Kunst, (1992), pp. 77-92; Werner J. Schweiger, Wiener Werkstätte, art et artisanat, 1903-1932, (1982), p. 183 Pierre Coumans, Antiquarian bookseller

 

Thomas Deprez Fine Arts

jean delville

Jean Delville (Leuven 1867-1953 Brussels) Aveugle, 1888 Oil on canvas 65 x 81 cm Signed and dated l.l.: 'Jean Delville / 1888' Relined, with a fair amount of retouching Provenance: private collection, Brussels, since three generations. Exhibitions: Salon de Gand, XXXIVe Exposition Triennale, Ghent, 1889, cat. n° 166, as: 'Aveugle'; L'Essor, XIIIe exposition annuelle, Brussels, 1889, cat. n° 4, as: 'Aveugle' PRESS F.N., 'Chronique Artistique', dans: Journal de Bruxelles, 24/03/1889, p. 5 (Supplément au Journal de Bruxelles du 24 mars 1889): 'L'Aveugle, la femme si visiblement plongée en des pensées lourdes et étroites, qui se chauffe [...]'

 

Nosbaum Reding

melanie loureiro

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

 

Douwes Fine Art b.v.

henri fantin-latour

Henri Fantin-Latour (Grenoble 1836-1904 Buré) Vase de Pivoines, 1902 Oil on canvas 41 x 37 cm Signed lower left 'Fantin' The authenticity of this work has been confirmed by Sylvie Brame Provenance: Tempelaere, Paris; Tavernier, Paris; Colnaghi, London; Galerie Brame, Paris, 1978; Sotheby's London, 1978, lot 205; private collection, Europe; Sotheby’s London, 1989, lot 2; private collection, Europe; Sotheby’s London, 1996, lot 24; Noortman Master Paintings, Maastricht, bought at TEFAF 2004; private collection, Belgium; Douwes Fine Art, Amsterdam Literature: Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, n° 1937, p. 206

 

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

 

Citadelles & Mazenod

L'art du dessin A synthesis and a dive into an essential part of the history of art, retracing the genesis of artworks from sketches to final projects H 31.5 x W 25 cm Published by Citadelles & Mazenod in 2025

 

Romigioli Antichità

portrait of bona di savoia

Giovanni Cristoforo Ganti Detto Gian Cristoforo Romano (cerchia di) Roma ? 1460/5 – Loreto 1512 Portrait of a Lady (Bona di Savoia, Duchess of Milan?) 1490-5 White marble relief, diameter 50 cm Scientific profile by Alfredo Bellandi and Giancarlo Gentilini 2012 Published in A. Rinetti "The Duke's City, Ducal Portraits"

 

The old Treasury

van cleef & arpels

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

 

Galerie Patrice Trigano

arman

untitled

Arman (Nice 1925-2008 New York) Untitled, 1992 Accumulation of tea kettles Gouache, charcoal, and pencil on Mulberry paper 164.5 x 131.5 cm Provenance: acquired from the estate of the artist

 
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