EXHIBITORS NEWS
01/08/2025
Galerie Oscar De Vos - Landscapes along the Golden River
Landscapes along the Golden River
12 July - 14 September 2025
Saturday & Sunday 2-6 PM
Latemstraat 20
9830 Sint-Martens-Latem, Belgium
During this summer, Galerie Oscar De Vos presents a carefully curated selection of forty landscapes of the Lys region, painted between 1880 and 1940. Works by, among others, Emile Claus, Valerius De Saedeleer, Albert Saverys, and Léon De Smet reveal how the picturesque surroundings of the Lys inspired generations of artists. The exhibition features both iconic masterpieces and surprising discoveries by their contemporaries. A unique opportunity to rediscover the soul of Latem art.
oscardevos.be/event/50199
12 July - 14 September 2025
Saturday & Sunday 2-6 PM
Latemstraat 20
9830 Sint-Martens-Latem, Belgium
During this summer, Galerie Oscar De Vos presents a carefully curated selection of forty landscapes of the Lys region, painted between 1880 and 1940. Works by, among others, Emile Claus, Valerius De Saedeleer, Albert Saverys, and Léon De Smet reveal how the picturesque surroundings of the Lys inspired generations of artists. The exhibition features both iconic masterpieces and surprising discoveries by their contemporaries. A unique opportunity to rediscover the soul of Latem art.
oscardevos.be/event/50199
30/07/2025
De Brock - Keith Coventry Gastro - Constructivism
Keith Coventry
Gastro Constructivism
02 August — 07 September, 2025
Zeedijk 758, Knokke
De Brock is pleased to present its third solo exhibition with Keith Coventry, opening on August 2nd.
There is a beauty to Suprematism and its vision to fashion an understanding of a new multi-dimensional, non-Newtonian, world of purity without objects, a non-objective world in flux. This is a world without commodities and philosophy whose attachment to the shape-shifting fourth dimension could never have imagined any association with the birth of globalist deregulationary neo-liberalism. This, however, is just the sort of connection that Keith Coventry – the history painter of the late 20th and early 21st century – brings to bear. If his Junk Paintings harnessed fragments of the Golden Arches of McDonald’s to Suprematism to reveal the tarnished implications of its pure vision, his Gastro-Constructivism deploys its poor relation Burger King to similar ends.
The spark for Coventry’s subjects is found, more often than not, as a part of his daily life – for instance, the particular milieu he inhabits or his leisured walking around a city – and with his current paintings a visit to a Burger King in his hometown Burnley, when its degraded screen-printed schematic renderings of a burger on the walls, sparked his imagination. The constituent parts of a burger were just printed blocks of colour on the wall, each denoting ingredients: bun, cheese, beef, ham, lettuce, onion, gherkin, chicken, meat substitute, fish, relish, sauce, mustard, pickle … the list is endless, a list defining the plenitude of consumerist desire and demands. The blocks of colour in Coventry’s painting define not just the ingredient but also challenge the pathetic belief in control of destiny – that the demand to ‘supersize me’ or ‘hold the mayo’, or any other instruction levelled at the server to construct your perfect burger, is a form of empowerment on behalf of the individual (can belief in one’s own destiny really be realised through placing an order at a fast-food bar?) or is it just an indication of an engaged, relational, individualist enslavement to fast food, globalised, brand power.
Unlike the cheaply printed imagery on the walls of the Burnley Burger King, each of Coventry’s paintings – the colour, touch, facture, impasto and gestured mark making that they reveal – express an aesthetic sensibility and individualist beauty that fruitfully reconstitutes or rearranges Malevich’s geometries. We never see an image of a complete burger with Coventry’s paintings, just a half. He has transformed the disintegrating Burger King imagery, he had at first encountered, into a play of fragments, elements, and traces that are in many ways not unlike a transactional relic, the significance of which is accelerated by its untouchability, framed, and venerated behind glass.
The opening reception will be held in presence of the artist on Saturday 2 August from 5 till 8 pm, please email us for more information.
24/07/2025
Boon Gallery - MASTERS OF ART
BOON GALLERY - MASTERS OF ART
25 July -24 August 2025
Kustlaan 197 - 8300 Knokke
Click here for the virtual tour
25 July -24 August 2025
Kustlaan 197 - 8300 Knokke
Click here for the virtual tour
19/07/2025
MARUANI MERCIER, Master of Surrealism, Group Show
August 2 – September 7, 2025
Zeedijk-Het Zoute 759, 8300 Knokke & Kustlaan 90, 8300 Knokke
Public Opening: August 9, 2025 from 11 am – 7 pm
Joan Miró, Le numéro de Music-Hall, 1938
pencil and gouache on paper
drawing: 25 x 19 cm, 10 x 8 in
framed: 69 x 63 cm, 27 x 25 in
Zeedijk-Het Zoute 759, 8300 Knokke & Kustlaan 90, 8300 Knokke
Public Opening: August 9, 2025 from 11 am – 7 pm
This summer, MARUANI MERCIER’s annual homage to the icons of modern art turns its lens to Surrealism, not as a single vision, but as a shifting terrain shaped by artists like Salvador Dalí, Paul Delvaux, Max Ernst, René Magritte, Man Ray, Joan Miró, Francis Picabia and Yves Tanguy, each of whom made the movement unmistakably their own. Far from a fixed style, Surrealism emerged as a field of tension between collective ideals and radical individuality. Rooted in dreams, desire, and psychic liberation, and rising from the ashes of Dada, its influence has long outlasted the conditions that gave rise to it. Officially inaugurated with André Breton’s 'Manifesto of Surrealism' in 1924, the movement sought to free thought from the shackles of reason and morality. Inspired by Freud and Marx, its adherents, poets, philosophers, and painters, ventured into the irrational, the erotic, and the fantastic. Together, these visual artists forged a shared language of dreamscapes, unconscious impulses, and uncanny juxtapositions, each in radically individual terms.
Francis Picabia, Le Viol, 1948
oil on cardboard
painting: 105 x 75 cm, 41 x 30 in
framed: 138 x 110 cm, 54 x 43 in
oil on cardboard
painting: 105 x 75 cm, 41 x 30 in
framed: 138 x 110 cm, 54 x 43 in
Joan Miró, Le numéro de Music-Hall, 1938
pencil and gouache on paper
drawing: 25 x 19 cm, 10 x 8 in
framed: 69 x 63 cm, 27 x 25 in
19/07/2025
A & R Fleury, Temporalité du Geste
Temporalité du geste
June 21st - July 25th 2025
Pablo Atchugarry, Olivier Debré, Jorge Eielson, Lucio Fontana, Simon Hantaï, Mao Lizi, Pierre Soulages, Claude Viallat
Temporalité du geste (Temporality of gesture) gathers major abstract artists around the same question: what remains of the artist’s gesture, form and creative breath once time has passed? Folding, twisting, stamping, superimposing, perforating… so many actions that reveal a singular approach to painting, conceived here as a sensitive archive of time. This visual dialogue brings together works that represent the culmination of plastic research initiated from the 1960s to the 1980s.
These works of art are reflections of life, in which each testimony speaks of time acting, erasing and revealing. They remind us that abstraction is not completely detached from the world, but is a deep mirror in which existence is exposed by the artist’s intuition, making it tangible.
June 21st - July 25th 2025
Pablo Atchugarry, Olivier Debré, Jorge Eielson, Lucio Fontana, Simon Hantaï, Mao Lizi, Pierre Soulages, Claude Viallat
Temporalité du geste (Temporality of gesture) gathers major abstract artists around the same question: what remains of the artist’s gesture, form and creative breath once time has passed? Folding, twisting, stamping, superimposing, perforating… so many actions that reveal a singular approach to painting, conceived here as a sensitive archive of time. This visual dialogue brings together works that represent the culmination of plastic research initiated from the 1960s to the 1980s.
These works of art are reflections of life, in which each testimony speaks of time acting, erasing and revealing. They remind us that abstraction is not completely detached from the world, but is a deep mirror in which existence is exposed by the artist’s intuition, making it tangible.
18/07/2025
Samuel Vanhoegaerden Gallery - Histoire d'Une Amitié - Papiers -
DE GESCHIEDENIS VAN EEN VRIENDSCHAP/L’HISTOIRE D’UNE AMITIÉ
Pierre Alechinsky & Christian Dotremont
From August 2 until September 19, 2025
“Pierre Alechinsky & Christian Dotremont: de geschiedenis van een vriendschap”
De zomertentoonstelling in de galerij van Samuel Vanhoegaerden zet de unieke relatie tussen PierreAlechinsky (°1927) en Christian Dotremont (1922–1979) in de schijnwerpers. De expositie belicht niet alleenhet veelzijdige oeuvre van Alechinsky, maar ook de artistieke synergie en vriendschap die hij deelde met Dotremont, medeoprichter van de COBRA-beweging.
Papier speelt een centrale rol in het werk van Alechinsky. Zijn tekeningen, gravures, lithografieën en schilderijen zijn diep doordrongen van respect voor het materiaal. Elk vel papier – van Japans rijstpapier tot historische documenten – fungeert als een betekenisvolle drager van expressie. Zijn affiniteit met oosterse kalligrafie, verdiept tijdens een reis naar Japan in 1955, is zichtbaar in zijn vloeiende lijnvoering en de bewuste omgang met witruimte.
De vriendschap tussen Piette Alechinsky en Christian Dotremont begon in 1949 tijdens de eerste COBRA-tentoonstelling in Brussel. Beiden waren jonge kunstenaars, verbonden door hun drang naar experiment en samenwerking. Samen creëerden ze schilderij-gedichten, waarin beeld en taal samensmolten.
Dotremonts logogrammen, waarin poëzie wordt geschilderd, vormden een unieke kruisbestuiving van schrift en beeld –iets wat Alechinsky enorm waardeerde.
Na een tijdelijke breuk in de jaren ’60 vonden de twee elkaar terug, werkten opnieuw “met vier handen” en hervatten hun artistieke dialoog. Alechinsky bleef Dotremonts werk steunen en verzamelen, tot aan diens dood in 1979 – en ook lang daarna, met tentoonstellingen zoals die in het Centre Pompidou.
“Pierre Alechinsky & Christian Dotremont: de geschiedenis van een vriendschap” toont niet enkel kunstwerken op papier, maar ook een intieme geschiedenis van vriendschap, wederzijdse inspiratie en het blijvende belang van de handgetekende lijn in een digitale wereld.
Deze tentoonstelling gaat gepaard met een publicatie onder dezelfde titel: Alechinsky Papiers.
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14/07/2025
The Belgian Antiquarian Booksellers’ Association (CLAM-BBA) organises Salon du Mont des Arts
Salon du Mont des Arts, Square, 2 rue Ravenstein, Brussels
Thursday 18 September 2025, 5 pm – 8 pm, private viewing
Friday 19 September 2025, 11 am – 8 pm
Saturday 20 September 2025, 11 am – 7 pm
Thursday 18 September 2025, 5 pm – 8 pm, private viewing
Friday 19 September 2025, 11 am – 8 pm
Saturday 20 September 2025, 11 am – 7 pm
The Belgian Antiquarian Booksellers’ Association cordially invites you to the 6th edition of the Salon du Mont des Arts, Belgium’s leading event for antiquarian book and print lovers. Organised under the auspices of the International League of Antiquarian Booksellers (ILAB), the fair brings together Belgian and international booksellers and print dealers. This popular fair welcomes with great conviviality both bibliophiles and iconophiles, and the general public who can discover a panorama of the literary and artistic production of the last six centuries along the aisles. ARA BELGICA will be the guest of honour and will hold an exhibition of designer bookbindings. To coincide with this year’s celebrations around the 1925 Paris Exposition, we will also host a finely curated exhibition, ART DECO AND THE GRAPHIC ARTS, with the support of the BRUSSELS ART DECO SOCIETY. Admission is free. List of exhibitors: Blanche Buffet, Eric Grangeon, Laurent Coulet, Michel Bouvier, Galerie Christian Collin, Rootenberg Rare Books, Demian Books, Librairie Koegui, Librairie Sur le Fil de Paris, François Roulmann, Galerie Le Tout Venant, Ma Maison de Papier, Antiquariat Neidhardt, Pierre-Adrien Yvinec, Anne Lamort, Antiquariat Banzhaf, Le Manuscrit Français, Antiquariaat Marc Van de Wiele, Librairie De la Terre à la Plume (Christophe Briot), Pascal de Sadeleer, Antiquariaat De Slegte, Bouquinerie Aurore, Erik Tonen Books, Antiquariaat Tanchelmus, Hans Lindner, Librairie Calliope, Lex Antiqua (Rob Camp), Pierre Coumans.
20/06/2025
Ingert - Charles-Élie Delprat | Quelques endroits de la terre et du ciel
Charles-Élie Delprat | Quelques endroits de la terre et du ciel / Solo show, 20 June - 1 August 2025
46 rue Madame, 75006 Paris, France
+33 (0)1 42 79 84 57
ingert.fr
Charles-Élie Delprat (born in 1987) is a travelling painter, and precisely a walking painter. He represents landscapes but also crosses them, roams them, lets them mold him. His landscapes, or rather his views, are pictures chosen by a gaze which, at a certain point, stops, held back by a light, attracted by a perspective. This gaze, whose presence and quest are immediately felt, has retained something of its initial training: the work of an architect who studies buildings and spaces, sketching them tirelessly to assimilate the laws of constructions and perspective. A meteorological dimension can also be seen: a meticulous attention paid to the quality of the light, to the sky and shadow tint, to the degree of dryness or humidity in the air. This apprehension of the world is the one of someone who confesses ‘a small guilty passion for clouds’, for a certain daydream, something more flowing and ethereal. The artist has a rigorous technique, using traditional mediums, as close as possible to craft, in order to understand and explore all the combinations and possibilities. This explains a particular attention paid to the choice of the paper and to the preparation of the backgrounds, which have become essential in his work. Charles-Élie Delprat talks about an ‘exploratory dimension’. Therefore, each work of art tends to become a spiritual exercise of the gaze, the emergence of a deep connection with a place. This often takes the form of a process of images transformation which, as they are reworked or remembered, change, intersect and come together to form a landscape with the intense reality of a memory, without being, strictly speaking, real. Uninhabited, this world may be seen without projecting any other affect than one’s in order to ‘confront it on site, without preexisting value judgment, and simply represent them as a component of the contemporary world’.
Picture: Charles-Élie Delprat
Le Petit Nice, bassin d'Arcachon — 2024
Fusain, pierre noire et pastel sur papiers teintés et collés
59,5 x 91 cm | 23.4 x 35.8 in.
IngertPicture: Charles-Élie Delprat
Le Petit Nice, bassin d'Arcachon — 2024
Fusain, pierre noire et pastel sur papiers teintés et collés
59,5 x 91 cm | 23.4 x 35.8 in.
46 rue Madame, 75006 Paris, France
+33 (0)1 42 79 84 57
ingert.fr
19/06/2025
Stern Pissarro Gallery - Carlos Nadal, Joie de Vivre
Stern Pissarro Gallery is pleased to announce Carlos Nadal: Joie de Vivre, an exuberant exhibition celebrating the vision of the French-born Spanish painter Carlos Nadal (1917-1998).
Private View: 19 June, 6-8pm - To mark the occasion, Alessandro Nadal, the artist’s son, will give a talk at the opening, offering insight into his father’s life.
Running from 19 June to 26 July, the show gathers thirty works - many never before seen - drawn from an important private collection alongside pieces previously exhibited internationally. Born in Montmartre to Spanish parents, Nadal grew up under the easy camaraderie of the Parisian avant-garde. Frequent visitors to his father’s studio included Braque, Léger, Dufy, Picasso and Utrillo, whose encouragement shaped his earliest paintings. After serving in the Spanish Civil War, Nadal returned to Barcelona, remaining in close contact with Picasso, who continued to mentor the younger artist throughout his career. An eminent critic coined Nadal 'the last of the Fauves' in 1996, a testament to his direct lineage from that radical circle of early-20th-century Expressionists. His work—whether riotous interiors, sun-drenched landscapes or animated coastal scenes—radiates a naïve-expressionist immediacy. Viewers will recognise affectionate nods to Matisse, Léger or Picasso tucked inside his lively salons, yet Nadal’s inimitable palette and sweeping lines deliver pure, unfiltered joy.
Read the press release for more information or view the e-catalogue here. The online catalogue showcases all thirty works from the exhibition, drawn from a significant private collection alongside pieces previously displayed internationally.
www.pissarro.art
Picture: Salon Rojo, 1992, oil on canvas, 89 x 116 cm (35 x 45 ⁵/₈ inches)
Private View: 19 June, 6-8pm - To mark the occasion, Alessandro Nadal, the artist’s son, will give a talk at the opening, offering insight into his father’s life.
Running from 19 June to 26 July, the show gathers thirty works - many never before seen - drawn from an important private collection alongside pieces previously exhibited internationally. Born in Montmartre to Spanish parents, Nadal grew up under the easy camaraderie of the Parisian avant-garde. Frequent visitors to his father’s studio included Braque, Léger, Dufy, Picasso and Utrillo, whose encouragement shaped his earliest paintings. After serving in the Spanish Civil War, Nadal returned to Barcelona, remaining in close contact with Picasso, who continued to mentor the younger artist throughout his career. An eminent critic coined Nadal 'the last of the Fauves' in 1996, a testament to his direct lineage from that radical circle of early-20th-century Expressionists. His work—whether riotous interiors, sun-drenched landscapes or animated coastal scenes—radiates a naïve-expressionist immediacy. Viewers will recognise affectionate nods to Matisse, Léger or Picasso tucked inside his lively salons, yet Nadal’s inimitable palette and sweeping lines deliver pure, unfiltered joy.
Read the press release for more information or view the e-catalogue here. The online catalogue showcases all thirty works from the exhibition, drawn from a significant private collection alongside pieces previously displayed internationally.
www.pissarro.art
Picture: Salon Rojo, 1992, oil on canvas, 89 x 116 cm (35 x 45 ⁵/₈ inches)
14/06/2025
Axel Vervoordt, Shi Zhiying, All Things in Kinship - Curated by Dr. Shen Qilan
Terrace Gallery, Kanaal, June 14 - September 6, 2025
Opening in presence of the artist on Saturday, June 14 from 11 a.m. until 6 p.m. Axel Vervoordt Gallery is pleased to present the first solo exhibition in Europe by Chinese artist Shi Zhiying (b. 1979, Shanghai) titled, All Things Kinship. Shi Zhiying’s seascapes and intricate depictions of rocks and gemstones convey the philosophical tension between emergence and concealment. Drawing inspiration from both Eastern and Western art tradition, she adeptly captures the life-movement of the spirit through the rhythm of things and the inner logic of breath emphasised in Chinese painting, utilizing colour, texture, and brushstrokes. In the recent years, she has focussed on colour experimentation to explore concepts of ephemerality and permanence through the interplay of abstraction and figuration.
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Opening in presence of the artist on Saturday, June 14 from 11 a.m. until 6 p.m. Axel Vervoordt Gallery is pleased to present the first solo exhibition in Europe by Chinese artist Shi Zhiying (b. 1979, Shanghai) titled, All Things Kinship. Shi Zhiying’s seascapes and intricate depictions of rocks and gemstones convey the philosophical tension between emergence and concealment. Drawing inspiration from both Eastern and Western art tradition, she adeptly captures the life-movement of the spirit through the rhythm of things and the inner logic of breath emphasised in Chinese painting, utilizing colour, texture, and brushstrokes. In the recent years, she has focussed on colour experimentation to explore concepts of ephemerality and permanence through the interplay of abstraction and figuration.
13/06/2025
Helene Bailly Gallery - Montparnasse & L'Ecole de Paris, histoires d'ateliers
Du 13 juin au 06 septembre 2025, la galerie HELENE BAILLY présente un dialogue artistique entre plusieurs générations, en rendant hommage à Paris, capitale des arts, et à ses ateliers emblématiques, du Montparnasse historique à la scène contemporaine actuelle. Sous le commissariat d’Armand Camphuis, cette exposition s’intéresse à ces lieux iconiques de l’histoire de l’art moderne et contemporain. L’exposition met en lumière les grandes figures de l’École de Paris qui ont fait de Montparnasse un véritable foyer de la modernité artistique au XXème siècle.
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La Ruche, la Grande Chaumière, la Cité Falguière… autant de lieux de vie et d’ébullition où naissent les chefs-d’œuvre de Kisling, Léger, Modigliani, et bien d’autres. Ces artistes venus du monde entier ont partagé ateliers, idées et amitiés, dans un élan créatif sans précédent.
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En dialogue avec ces icônes de la modernité, la galerie invite quatre artistes contemporaines de POUSH à investir l’espace de la galerie. Valentina Canseco, Juliette Minchin, Lisa Ouakil et Dune Varela incarnent cette nouvelle génération inspirée et audacieuse.
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De Montparnasse à Aubervilliers, de l’École de Paris aux expériences contemporaines, cette exposition met en lumière l’importance des ateliers d’artistes pour les avant-gardes parisiennes d’hier et d’aujourd’hui.
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La galerie HELENE BAILLY est heureuse de présenter ce dialogue entre deux générations, de souligner les ruptures et les intuitions communes qui jalonnent un siècle de création. De 1900 à 2025, l’histoire de l’art s’écrit toujours dans les ateliers parisiens.
www.helenebailly.com
www.helenebailly.com
12/06/2025
Galerie Hadjer, From Metal to Wool: Calder’s Tapestries Rise Again
Galerie Hadjer sets Calder’s Tapestries in the spotlight
Alexander Calder, a pioneer of modern art, is gaining renewed recognition for his vibrant textile works. Long overshadowed by his mobiles, his tapestries -created with the Aubusson workshops - are now featured in top museums and international art fairs. At the Norton Museum of Art, Calder’s Art Car was recently shown beneath a monumental tapestry, highlighting his cohesive vision across mediums. The Bechtler Museum of Modern Art also showcases key pieces, affirming the importance of Calder’s textile legacy. Galerie Hadjer, a longtime advocate of Calder’s tapestries, continues to promote their artistic significance at global fairs like Art Basel, TEFAF and BRAFA-Brussels, revealing the bold, graphic beauty of his woven masterpieces.
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Picture from the Betchler Museum
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Alexander Calder - ICE RINK , Collection HADJER
05/06/2025
Galerie Nicolas Bourriaud - Les 10 ans du faubourg
Jeudi 5 juin à partir de 18h pour le vernissage de notre exposition "Les 10 ans du faubourg "
Galerie Nicolas Bourriaud, 205, rue du Faubourg Saint Honoré, 75 008 Paris
Exposition : vendredi 6 juin au samedi 12 juillet 2025
CARPEAUX Jean-Baptiste (1827-1875), Le Prince impérial et son chien Néro (1865)
Bronze à patine brun nuancé, signé « JBte Carpeaux ». Numéroté « 1 »
Fonte au sable sans marque de fondeur. Porte le cachet au « F » couronné
H. 45.5 x L. 22 x P. 20 cm
Circa 1870
DESBOIS Jules (1851-1935), Léda étendue sur le cygne (avant 1915)
Terre cuite d’édition signée « J. Desbois »
H. 18 x L. 25,5 x P. 22 cm
Circa 1915
SEGOFFIN Victor (1867-1925), La suppliante
Bronze à patine brun nuancé, signé « V Segoffin » et daté « 1899 »
Fonte de Alexis Rudier, porte l’inscription « .ALEXIS. RUDIER.Fondeur.Paris. », porte le monogramme de l’artiste et le numéro « 15 »
H. 58,5 x L.18 x P. 18,7 cm
Circa 1910
SANDOZ Édouard-Marcel (1881-1971), Hibou
Bronze à double patine brun rouge et brun vert nuancé signé « Ed. M. Sandoz »
Fonte de Susse, porte la marque du fondeur « Susse Frs Edts Paris »
H. 11,5 x L. 4,5 x P. 5,5 cm Socle en bronze à patine noir nuancé
Circa entre mai 1922 et mars 1927.
PRINCE Paul TROUBETZKOY (1866-1938), La Pensée
Bronze à patine vert antique nuancé, signé et daté « Paul Troubetzkoy »
Fonte d’Attilio Valsuani, porte le cachet du fondeur « CIRE PERDUE A. VALSUANI »
Porte une plaque en bronze « La Pensée / cire perdue / par Paul Troubetzquoy / San-Francisco 1928 ».
H. 45 x L. 38 x P. 24 cm
Socle en plâtre et plaques de marbre brèche d’Alep
Circa avant 1928
BOUCHARD Henri-Louis (1875-1960) Le sculpteur (1924)
Bronze à patine brun noir nuancé, signé « H. BOUCHARD »
Fonte de Bisceglia, porte le cachet du fondeur « BISCEGLIA CIRE PERDUE »
H. 72 x L. 30 x P. 21 cm
Circa 1930
www.galerienicolasbourriaud.com
Galerie Nicolas Bourriaud, 205, rue du Faubourg Saint Honoré, 75 008 Paris
Exposition : vendredi 6 juin au samedi 12 juillet 2025
CARPEAUX Jean-Baptiste (1827-1875), Le Prince impérial et son chien Néro (1865)
Bronze à patine brun nuancé, signé « JBte Carpeaux ». Numéroté « 1 »
Fonte au sable sans marque de fondeur. Porte le cachet au « F » couronné
H. 45.5 x L. 22 x P. 20 cm
Circa 1870
DESBOIS Jules (1851-1935), Léda étendue sur le cygne (avant 1915)
Terre cuite d’édition signée « J. Desbois »
H. 18 x L. 25,5 x P. 22 cm
Circa 1915
SEGOFFIN Victor (1867-1925), La suppliante
Bronze à patine brun nuancé, signé « V Segoffin » et daté « 1899 »
Fonte de Alexis Rudier, porte l’inscription « .ALEXIS. RUDIER.Fondeur.Paris. », porte le monogramme de l’artiste et le numéro « 15 »
H. 58,5 x L.18 x P. 18,7 cm
Circa 1910
SANDOZ Édouard-Marcel (1881-1971), Hibou
Bronze à double patine brun rouge et brun vert nuancé signé « Ed. M. Sandoz »
Fonte de Susse, porte la marque du fondeur « Susse Frs Edts Paris »
H. 11,5 x L. 4,5 x P. 5,5 cm Socle en bronze à patine noir nuancé
Circa entre mai 1922 et mars 1927.
PRINCE Paul TROUBETZKOY (1866-1938), La Pensée
Bronze à patine vert antique nuancé, signé et daté « Paul Troubetzkoy »
Fonte d’Attilio Valsuani, porte le cachet du fondeur « CIRE PERDUE A. VALSUANI »
Porte une plaque en bronze « La Pensée / cire perdue / par Paul Troubetzquoy / San-Francisco 1928 ».
H. 45 x L. 38 x P. 24 cm
Socle en plâtre et plaques de marbre brèche d’Alep
Circa avant 1928
BOUCHARD Henri-Louis (1875-1960) Le sculpteur (1924)
Bronze à patine brun noir nuancé, signé « H. BOUCHARD »
Fonte de Bisceglia, porte le cachet du fondeur « BISCEGLIA CIRE PERDUE »
H. 72 x L. 30 x P. 21 cm
Circa 1930
www.galerienicolasbourriaud.com
05/06/2025
DIE GALERIE is delighted to show Pierre Alechinsky and his artist friends
Pierre Alechinsky and his artist friends: Pierre Alechinsky, Karel Appel, Corneille, Constant, Jacques Doucet, Karl Otto Götz, Lucebert, Reinhoud, Christian Dotremont, Theo Wolvekamp
DIE GALERIE, Frankfurt am Main
5. Juni – 10. September 2025 ∙ June 5 – September 10, 2025
Vernissage ∙ Opening: 5. Juni 2025 ∙ June 5, 2025
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Based on personal friendships and connections, DIE GALERIE has long been committed to the artists of the CoBrA group. To this day, there is a particularly strong bond between gallery owner Peter Femfert and Pierre Alechinsky, one of the most influential networkers of CoBrA and, at 97 years of age, the last living representative of this group.
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DIE GALERIE
Grüneburgweg 123, DE-60323 Frankfurt am Main
t. +49 (0)69 971 47 10 | m. +49 (0)171 81 33 125
info@die-galerie.com | www.die-galerie.com
DIE GALERIE, Frankfurt am Main
5. Juni – 10. September 2025 ∙ June 5 – September 10, 2025
Vernissage ∙ Opening: 5. Juni 2025 ∙ June 5, 2025
On 6 June 2025, DIE GALERIE will ring in the summer with an exhibition that is diverse, colourful, spontaneous and a little loud. This is how CoBrA, the mid-20th century artists' group, was - young, wild, immediate and impulsive. Although the group quickly disbanded and its members went on to important international careers, CoBrA's ideas were enduring and groundbreaking. Many of the artists remained friends and collaborators for decades.
Pierre Alechinsky, Vin versé, 1957, Oil on canvas, 80 x 126 cm, Signed, entitled and inscribed verso
Based on personal friendships and connections, DIE GALERIE has long been committed to the artists of the CoBrA group. To this day, there is a particularly strong bond between gallery owner Peter Femfert and Pierre Alechinsky, one of the most influential networkers of CoBrA and, at 97 years of age, the last living representative of this group.
Born in Brussels in 1927, he became the youngest member of the CoBrA group in 1949, after studying book illustration and typography in his home town. As a young painter, Pierre Alechinsky embraced CoBrA's ideas of spontaneity and direct expression; after the group disbanded in 1951, he quickly developed his own style, concentrating on drawing and studying Asian calligraphy. He travelled to Japan for the first time in 1955. Since then, his work has oscillated between East Asian art and aesthetics and Western visual understanding... Read more in press release.
Grüneburgweg 123, DE-60323 Frankfurt am Main
t. +49 (0)69 971 47 10 | m. +49 (0)171 81 33 125
info@die-galerie.com | www.die-galerie.com
05/06/2025
Objects With Narratives - Solo Show by KRJST Studio and Middernacht & Alexander
Solo show by KRJST Studio,There is always something left to love
Solo show by Middernacht & Alexander, Terra Atlas
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Picture: KRJST Studio
www.objectswithnarratives.com
KRJST Studio, a Belgian artist duo founded in 2012, transitioned from fashion to art and design in 2015 to refocus on creativity and artistic expression. Since then, they have become known for creating large-scale, hand-embroidered tapestries that blend storytelling, emotion, and technical mastery. The pieces, intended for architectural settings and art collectors, are rich in narrative and serve as emotional landscapes woven in color and texture. In 2020, they expanded into collectible design with Simon Tentoon, using their textiles in new ways. The studio formed by Justine de Moriamé and Erika Schillebeeckx functions as a unified force exploring memory, time, and transformation through weaving. Their work fuses classical and modern art influences with advanced technologies, embodying a dialogue between traditional craftsmanship and contemporary experimentation.
Solo show by Middernacht & Alexander, Terra Atlas
Terra Atlas is a poetic mapping of what lies beneath. Middernacht & Alexander unearth forgotten materials - buried oil tanks, corroded metals, remnants of earth and tar - and lift them into the light. What was once discarded and contaminated is not erased, but transformed: preserved in translucent layers of epoxy, reshaped into functional objects that are also sculptural relics. Each piece carries its own soul. The rawness of the material is never hidden; it speaks. It tells stories of time, neglect, and transformation. The result is not just design, but a dialogue - between past and present, decay and renewal, utility and beauty. In embracing imperfection, the duo reveals a deeper emotional resonance: a reverence for what we usually overlook. Terra Atlas is part of How I Got Over, Middernacht & Alexander’s ongoing body of work that explores themes of memory, material, and soulful sustainability. The exhibition invites viewers into a self-contained universe where design becomes archaeology, and every object becomes a vessel for history and care. This is a quiet resistance against erasure.
Middernacht & Alexander
Picture: KRJST Studio
www.objectswithnarratives.com
26/05/2025
Francis Maere Fine Arts - Ooidonk Art Festival 2025 is open
The Ooidonk Art Festival 2025 opened last week, and we’re thrilled with the warm and enthusiastic responses we've received so far. Set against the stunning backdrop of Goed te Réables, right next to the iconic Ooidonk Castle in Bachte-Maria-Leerne, the festival runs from May 17 through August 31 and promises a summer filled with powerful artistic encounters. This fourth edition brings together over 40 contemporary artists, including renowned names such as Wim Delvoye, Jan Fabre, Tony Matelli, and Sofie Muller, alongside a new generation of emerging talent. Their work inhabits the historic interiors and natural surroundings of the 17th-century farmhouse, in a curated dialogue between contemporary art, heritage, and landscape.
Nature in Flux
The artworks at this year’s Ooidonk Art Festival are not static, they evolve throughout the summer, shaped by weather, light, time, and even living organisms. Visitors can expect installations that grow, transform, and surprise. Highlights include a living tree sculpture by Wim Delvoye, a poetic retrospective by Johan De Wit, a growing bee-cathedral by Isidoor Goddeeris, a full-scale scenic installation by Lieven Lefere, and an ever-changing canvas by Ruth Devriendt; alongside over 100 other remarkable works.
Picture: Kubach-Wilmsen
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Jan Fabre | Kris Martin
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Jan Fabre | Roeland Tweelinckx l Marco De Sanctis | Conrad Willems
2nd location: City Pavilion
This weekend marks the opening of our City Pavilion, a parallel exhibition in the Francis Maere Fine Arts Gallery, open every weekend throughout the summer. Here, the very same artists from the Ooidonk Art Festival present entirely different works in a radically contrasting gallery setting. The City Pavilion offers a more intimate, reflective counterpoint to the outdoor experience at Goed te Réables. Whether you're escaping a rainy day, completing a cultural city stroll, or seeking a deeper connection to the festival, this satellite exhibition is the perfect complement that brings two distinct worlds together under one vision.
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Randoald Sabbe | Maen Florin | Lieven Lefere | Stephan Balkenhol
Ooidonk Art Festival - www.OoidonkArtFestival.be
Goed Te Réables | Ooidonkdreef 5, 9800 Bachte-Maria-Leerne
Opening days: Thursday to Sunday, 11 AM – 6 PM
Tickets: €10 – Available at the door
City Pavilion - www.francismaerefinearts.be
Francis Maere Fine Arts | Kouter 172, 9000 Gent
Opening days: Saturday & Sunday, 11 AM – 6 PM
Tickets: FREE
Francis Maere Fine Arts | Kouter 172, 9000 Gent
Opening days: Saturday & Sunday, 11 AM – 6 PM
Tickets: FREE
26/05/2025
Kunsthaus Kende - Highlights of the artworks' range
Let us inspire you - for you or all those close to you. Here you will find a selection of exquisite objects.
Covered tankard
Silver, Nuremberg around 1618-1620
Christoff Kramer
Great George II
Tankard
Sterling silver, London 1758
John Wirgman
Mokume-gane vase
Silver, copper, Shakudo, Shibuichi, Kuromido
Okayama 2022,
Ryuhei Sako
Rare fish cutlery
Silver, Bremen 1905/06
Henry van de Velde
Pair of George I Tea Caddies
Britannia silver, London 1720
John Farnell
Rare small bowl
900 silver, Vienna 1918
Wiener Werkstätte
ABOUT US
What began with humble beginnings has become a permanent fixture in the international art trade over the years: as one of the few galleries specializing exclusively in silver objects, our focus is on antique silver and contemporary works by international artists, which we present at art fairs in Brussels, Munich and Salzburg, among others. As a member of the “Verband Deutscher Kunsthandel” and the “CINOA”, our name stands for the quality and originality of our objects.
t. +49 (0)163 26 79 746 I info@kunsthaus-kende.de | kunsthaus-kende.de
Covered tankard
Silver, Nuremberg around 1618-1620
Christoff Kramer
Great George II
Tankard
Sterling silver, London 1758
John Wirgman
Mokume-gane vase
Silver, copper, Shakudo, Shibuichi, Kuromido
Okayama 2022,
Ryuhei Sako
Rare fish cutlery
Silver, Bremen 1905/06
Henry van de Velde
Pair of George I Tea Caddies
Britannia silver, London 1720
John Farnell
Rare small bowl
900 silver, Vienna 1918
Wiener Werkstätte
ABOUT US
What began with humble beginnings has become a permanent fixture in the international art trade over the years: as one of the few galleries specializing exclusively in silver objects, our focus is on antique silver and contemporary works by international artists, which we present at art fairs in Brussels, Munich and Salzburg, among others. As a member of the “Verband Deutscher Kunsthandel” and the “CINOA”, our name stands for the quality and originality of our objects.
t. +49 (0)163 26 79 746 I info@kunsthaus-kende.de | kunsthaus-kende.de
23/05/2025
Dei Bardi Art, special focus on Burgundian sculpture
This intricately carved stone corbel from the 15th century exemplifies the refined naturalism and detail characteristic of the Burgundian Netherlands during the later Middle Ages. It portrays an angel's bust with delicately feathered wings and flowing hair, holding a triangular heater-shaped shield against his chest. The angel's hair and wings, rendered with skillful precision, showcase the talent of the anonymous sculptor. The angel's face, featuring almond-shaped eyes, full cheeks, a serene small mouth, and framed by a crown of tightly coiled locks that fall gracefully to the neck, reflects Northern European artistic style, softened by a Southern influence. The figure's square jaw, rounded chin, dense curling hair, and circumflex-accent-shaped eyes, with slightly swollen lower eyelids, strongly resemble Burgundian sculpture from the 15th century.
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Corbel with an Angel Holding a Shield, Burgundian Netherlands, 15th century, Limestone, On a modern metal stand
H 21 x W 16.5 x D 18.5 cm
H 21 x W 16.5 x D 18.5 cm
The angel's calm demeanor and the finely detailed curls and feathered wings indicate it was created in the Burgundian Netherlands - a region that included present-day Belgium, the Netherlands, Luxembourg, and northern France, governed by the dukes of Burgundy from the late 14th to the late 15th century. During the reigns of Philip the Bold, Philip the Good, and Charles the Bold, the area became a center of artistic innovation and elite support, with sculpture serving as a primary means to convey dynastic pride and religious devotion. Similar sculpted corbels and keystones are present in major institutional collections. Noteworthy examples include the keystone with an angel from the Zelem Charterhouse near Diest now showcased at the V&A and the Angel corbel with the Coat of Arms of Breda displayed at the Rijksmuseum.
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Jan Van Schayck, Roof Boos, 1497, Victoria and Albert Museum
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Angel corbel, Brabant, C. 1500, Rijksmuseum
Dei Bardi Art srl
12 rue Watteeu, 1000, Bruxelles
m. +32 (0) 476 74 05 57 I contact@deibardiart.com I www.deibardiart.com
22/05/2025
Galerie Hurtebize, Henri Moore, une nouvelle acquisition
We are delighted to present our latest acquisition, a drawing by the master of modern sculpture Henry Moore, which has now been added to our permanent collection.
Henry MOORE, Girl Seated in Armchair, 1955
22.4 x 17.4 cm
Signed and dated lower left
Literature : Ann Garrould, Henry Moore.
Complete Drawings 1950-76, vol. IV, Much Hadham, 2003, p. 92, n. AG 55-56.9.
The work in registered at the Henry Moore Foundation under n: HMF 2758.
Provenance: Private Collection, Italy
Henry MOORE, Girl Seated in Armchair, 1955
22.4 x 17.4 cm
Signed and dated lower left
Literature : Ann Garrould, Henry Moore.
Complete Drawings 1950-76, vol. IV, Much Hadham, 2003, p. 92, n. AG 55-56.9.
The work in registered at the Henry Moore Foundation under n: HMF 2758.
Provenance: Private Collection, Italy
This pencil and ink study, created in 1955, bears witness to Henry Moore's interest in the female figure, which he approaches here in an introspective posture. He explores the volumes of the body, its contained movement, its seated position and its inscription in space. This drawing continues the artist's sculptural reflection on the human form, its density and its relationship to the surrounding environment. This work is one of the drawings listed by the Henry Moore Foundation, a guarantee of its authenticity and historical importance. A celebrated artist in the world's leading museums, Henry Moore enjoys enduring recognition. His works are in sustained demand on the market, with excellent results at public sales.
21/05/2025
Galerie Nathalie Obadia Paris - Johan Van de Moortel
Joris Van de Moortel, Le poids du ciel illumine la terre
May 17 - July 26, 2025 at Paris
Opening Saturday, May 17 - 5pm - 8.30pm
With a performance at 7pm (duration 20mins)
3, rue du Cloître Saint-Merri, Paris 4e
May 17 - July 26, 2025 at Paris
Opening Saturday, May 17 - 5pm - 8.30pm
With a performance at 7pm (duration 20mins)
3, rue du Cloître Saint-Merri, Paris 4e
Galerie Nathalie Obadia is pleased to present Le poids du ciel illumine la terre, a solo exhibition by the Belgian artist Joris Van de Moortel. Following his major exhibition at the Stedelijk Museum Voor Actuele Kunst (S.M.A.K.) in Ghent which recently closed in March 2025, Van de Moortel unveils new works in a contrasting setting: the space of the Parisian gallery, made of alcoves and arches, that the artist has adorned with stained glass. Transformed by his works, the gallery’s architecture evokes a place of worship: its high ceilings seem to bring heaven and earth together. A profusion of celestial fragments is inflected with profane detail, freely circulating across oil paintings, watercolors, sculptures, mirrors, neon works and a video. Here, light becomes faith: it moves between works, and sometimes flows through them, revealing the singular vision of Joris Van de Moortel - a vision of a world which, although tormented, is adorned with a thousand and one colors. [...]
www.nathalieobadia.com
www.nathalieobadia.com