NIEUWS DEELNEMERS
14/11/2025
Galerie Hadjer - Dossier de Presse
Ces tapisseries, tissées à Aubusson dans les ateliers d’exception qui ont accompagné les plus grands artistes du XXᵉ siècle, incarnent un moment clé de l’histoire de l’art moderne : celui où la peinture quitte le mur pour devenir espace, texture et lumière. Après le succès de l’exposition « La tapisserie d’Aubusson : La fabrique des icônes », présentée à Paris, la galerie poursuit son exploration d’un sujet fascinant : comment la tapisserie a façonné les icônes de la modernité. Dans un monde où l’image est devenue instantanée et dématérialisée, ces oeuvres rappellent la beauté d’un art lent, physique, tissé dans le temps. Ici, chaque fil est un trait de pinceau, chaque noeud une respiration. Entre la main du peintre et celle du lissier, entre le geste et la matière, s’est inventé un art total - à la fois populaire, monumental et profondément humain...
12/11/2025
HELENE BAILLY MARCILHAC - Highlights BRAFA 2026
The HELENE BAILLY MARCILHAC Gallery is delighted to take part in the 71st edition of BRAFA for the fourteenth consecutive year.
On this occasion, the gallery will present a selection of Post-Impressionist, Fauvist, and Modern works, bringing together some of the most significant names from these pivotal artistic periods.
Among the major works exhibited will be an exceptional painting by Émile Othon Friesz, dating from 1907, a vibrant testament to Fauvism at its height; an intimate Fauvist canvas by Henri Manguin from 1908, depicting a woman undressing; and a luminous work by Théo Van Rysselberghe, also from 1908, exemplifying the radiant Neo-Impressionist aesthetic of the time.
The presentation will also feature a compelling dialogue between Francis Picabia and Victor Brauner, two leading figures of Surrealism. The works, coming from a private collection held within the same family for over thirty years, reveal the deep friendship and artistic affinity between the two artists. Picabia’s portrait of Brauner resonates with one of Brauner’s own compositions, forming a coherent and profoundly engaging ensemble.
Completing this presentation is a poetic and monumental “Arbre à Cocons” by Charles Macaire. In this hand-crafted paper sculpture, the artist celebrates the beauty of gesture and the nobility of craftsmanship. Entirely shaped by hand, the piece embodies the meeting of artistic creation and artisanal savoir-faire, extending the dialogue between nature, material, and poetry.
On this occasion, the gallery will present a selection of Post-Impressionist, Fauvist, and Modern works, bringing together some of the most significant names from these pivotal artistic periods.
Among the major works exhibited will be an exceptional painting by Émile Othon Friesz, dating from 1907, a vibrant testament to Fauvism at its height; an intimate Fauvist canvas by Henri Manguin from 1908, depicting a woman undressing; and a luminous work by Théo Van Rysselberghe, also from 1908, exemplifying the radiant Neo-Impressionist aesthetic of the time.
The presentation will also feature a compelling dialogue between Francis Picabia and Victor Brauner, two leading figures of Surrealism. The works, coming from a private collection held within the same family for over thirty years, reveal the deep friendship and artistic affinity between the two artists. Picabia’s portrait of Brauner resonates with one of Brauner’s own compositions, forming a coherent and profoundly engaging ensemble.
Completing this presentation is a poetic and monumental “Arbre à Cocons” by Charles Macaire. In this hand-crafted paper sculpture, the artist celebrates the beauty of gesture and the nobility of craftsmanship. Entirely shaped by hand, the piece embodies the meeting of artistic creation and artisanal savoir-faire, extending the dialogue between nature, material, and poetry.
10/11/2025
Galerie Lowet de Wotrenge - A rediscovered masterpiece by Gillis Mostaert
While peasants sleep in the foreground of this jewel-like panel, a pointy-eared devil strides purposefully through their field, scattering weeds among the wheat. At first glance, Gillis Mostaert's
recently rediscovered painting appears to be a straightforward biblical illustration - a parable from Matthew about good and evil. Yet in the religious turmoil of 1560s Antwerp, this small work carried a dangerously progressive message: a call for tolerance in an age of persecution.
The parable's critical verse - "Let both of them grow together until the harvest" - became a rallying cry for moderate theologians arguing against the execution of heretics. By depicting this subject, Mostaert and his contemporaries (including Pieter Bruegel the Elder) were making a subtle but radical statement: only God, not earthly authorities, should separate the righteous from the damned. In a decade that would see the outbreak of the Dutch Revolt and waves of religious violence, such calls for coexistence were as urgent as they were controversial.
Today, as debates over religious freedom, pluralism, and ideological division dominate global discourse, Mostaert's message resonates with uncomfortable immediacy. The painting asks: who decides what is wheat and what is weed? And what damage do we cause when we try to root out what we perceive as evil before its time? .... Read thie press release.
recently rediscovered painting appears to be a straightforward biblical illustration - a parable from Matthew about good and evil. Yet in the religious turmoil of 1560s Antwerp, this small work carried a dangerously progressive message: a call for tolerance in an age of persecution.
The parable's critical verse - "Let both of them grow together until the harvest" - became a rallying cry for moderate theologians arguing against the execution of heretics. By depicting this subject, Mostaert and his contemporaries (including Pieter Bruegel the Elder) were making a subtle but radical statement: only God, not earthly authorities, should separate the righteous from the damned. In a decade that would see the outbreak of the Dutch Revolt and waves of religious violence, such calls for coexistence were as urgent as they were controversial.
Today, as debates over religious freedom, pluralism, and ideological division dominate global discourse, Mostaert's message resonates with uncomfortable immediacy. The painting asks: who decides what is wheat and what is weed? And what damage do we cause when we try to root out what we perceive as evil before its time? .... Read thie press release.
10/11/2025
Maison Rapin - Dans l’intimité d’un collectionneur - BRAFA 2026
Pour l’édition 2026 de la BRAFA, Maison Rapin investit le stand 16 : un espace repensé et agrandi pour accueillir une scénographie inédite imaginée comme l’intérieur d’un collectionneur. Conçu comme une véritable immersion, le stand se déploie en un parcours à travers les espaces de vie d’un collectionneur, où pièces historiques et créations contemporaines du XXe siècle se répondent et s’entrecroisent. Du jardin d’hiver à la salle à manger, jusqu’à la chambre, chaque espace révèle l’éclectisme et la vision singulière qui caractérisent Maison Rapin.
Fidèle à son esprit, Maison Rapin propose ici une lecture vivante des arts décoratifs et du design du XXe siècle, transposée dans l’univers intimiste d’un collectionneur, dont chaque espace reflète le goût, la curiosité et la sensibilité.
Fidèle à son esprit, Maison Rapin propose ici une lecture vivante des arts décoratifs et du design du XXe siècle, transposée dans l’univers intimiste d’un collectionneur, dont chaque espace reflète le goût, la curiosité et la sensibilité.
05/11/2025
Galerie Jean-François Cazeau - Communiqué de presse
For its ninth participation in BRAFA, the gallery is presenting a display that highlights the post-war School of Paris, while remaining true to the eclecticism that defines it.
Works by Pierre Soulages, Zao Wou-Ki, Gérard Schneider, and André Lanskoy will be featured. The presentation will bring together two major movements of the post-war School of Paris: lyrical abstraction, which dominated the 1950s and 60s, and figuration, represented by the groups of the New Realists and the artists of Narrative Figuration.
Works by Pierre Soulages and Zao Wou-Ki will echo current museum exhibitions. Paintings by Gérard Schneider, André Lanskoy, Serge Charchoune, Eugène Leroy, and Chu Teh-Chun will complete this panorama of post-war French abstraction.
The New Realism movement has benefited from genuine institutional reevaluation in recent years. The gallery is pleased to present at BRAFA 2026 a selection of works by the group, ranging from César’s welded iron pieces from 1955 (unique works) to Niki de Saint Phalle’s exuberantly colored Nanas from the 2000s, including a 1964 painting-relief by Martial Raysse, sculptures by Yves Klein from 1962, and a 1968 resin relief by César - a quadruple self-portrait of the artist.
Works by Eduardo Arroyo, Jean Hélion, and Alain Jacquet will round out the presentation, offering a broader vision of French figuration infused with a pop art spirit.
Works by Pierre Soulages, Zao Wou-Ki, Gérard Schneider, and André Lanskoy will be featured. The presentation will bring together two major movements of the post-war School of Paris: lyrical abstraction, which dominated the 1950s and 60s, and figuration, represented by the groups of the New Realists and the artists of Narrative Figuration.
Works by Pierre Soulages and Zao Wou-Ki will echo current museum exhibitions. Paintings by Gérard Schneider, André Lanskoy, Serge Charchoune, Eugène Leroy, and Chu Teh-Chun will complete this panorama of post-war French abstraction.
The New Realism movement has benefited from genuine institutional reevaluation in recent years. The gallery is pleased to present at BRAFA 2026 a selection of works by the group, ranging from César’s welded iron pieces from 1955 (unique works) to Niki de Saint Phalle’s exuberantly colored Nanas from the 2000s, including a 1964 painting-relief by Martial Raysse, sculptures by Yves Klein from 1962, and a 1968 resin relief by César - a quadruple self-portrait of the artist.
Works by Eduardo Arroyo, Jean Hélion, and Alain Jacquet will round out the presentation, offering a broader vision of French figuration infused with a pop art spirit.
05/11/2025
Stern Pissarro Gallery - Curated selection for BRAFA 2026
Stern Pissarro Gallery is pleased to present a carefully curated selection of impressionist, modern and contemporary works at BRAFA 2026. Spanning the late nineteenth century to today, the presentation reflects the gallery’s focus on established international artists.
Among the highlights is Confidence, les enfants Bernheim au salon by Édouard Vuillard, an exceptional domestic interior from a pivotal moment in his career that captures the intimate atmosphere of the Bernheim family home. Louis Hayet’s Sur les Champs-Élysées (1888) offers a vibrant example of early Pointillism, combining precise divided brushwork with a luminous palette.
Amedeo Modigliani’s Homme à la barbe, a fine work on paper published in Ceroni’s 1956 catalogue raisonné, exemplifies the artist’s elegant economy of line, while Marc Chagall’s L’hiver procession de Noël (Les quatre saisons) connects directly to his celebrated mosaic for Chicago’s Chase Tower Plaza.
Works on paper by Henry Moore and Paul Delvaux reveal each artist’s mastery of form and composition on an intimate scale. Contemporary highlights include Chiharu Shiota’s Endless Line, a two-dimensional work made using her signature red thread, and Yayoi Kusama’s Visionary Wave Crest (1978), a striking Infinity Net painting from 1978, combining enamel and acrylic to create a fascinating texture.
Among the highlights is Confidence, les enfants Bernheim au salon by Édouard Vuillard, an exceptional domestic interior from a pivotal moment in his career that captures the intimate atmosphere of the Bernheim family home. Louis Hayet’s Sur les Champs-Élysées (1888) offers a vibrant example of early Pointillism, combining precise divided brushwork with a luminous palette.
Amedeo Modigliani’s Homme à la barbe, a fine work on paper published in Ceroni’s 1956 catalogue raisonné, exemplifies the artist’s elegant economy of line, while Marc Chagall’s L’hiver procession de Noël (Les quatre saisons) connects directly to his celebrated mosaic for Chicago’s Chase Tower Plaza.
Works on paper by Henry Moore and Paul Delvaux reveal each artist’s mastery of form and composition on an intimate scale. Contemporary highlights include Chiharu Shiota’s Endless Line, a two-dimensional work made using her signature red thread, and Yayoi Kusama’s Visionary Wave Crest (1978), a striking Infinity Net painting from 1978, combining enamel and acrylic to create a fascinating texture.
04/11/2025
Univers du Bronze - Highlights BRAFA 2026
The 2026 UDB selection presents an exceptional overview of 19th–20th century sculpture, combining museum-level quality with decorative elegance.
A highlight is Antonin Mercié’s Gloria Victis, shown in its rare chief model - an exceptional half-life-size bronze, the original matrix used for reproductions, with only about a dozen known examples including one in Toulouse. Documented in a 1912 Barbedienne note, this piece marks an important stage in Mercié’s collaboration with the foundry.
The transition to modernity is illustrated by Auguste Rodin’s Tête de Balzac, an early Griffoul cast around 1890, notable for its vibrant texture and expressive modeling.
Antoine Bourdelle is represented with a Head of Beethoven à la colonne, linked to his correspondence with the writer Henriette Charasson, revealing a personal and literary connection.
A symbolist marble by Naoum Aronson, a Belarusian sculptor active in Paris, demonstrates his mastery of direct carving in Thasos marble.
The animal sculpture section centers on Roger Godchaux’s Retour de Chasse avec cornac, a monumental bronze limited to fifteen lifetime casts.
Furniture and design play a major role in the exhibition’s scenography. Philippe Hiquily’s Table Femme in hammered brass and glass embodies elegant surrealism. Belgian favorite Jivko contributes a light, poetic Ceremonial Console depicting a heron among water lilies. Hubert Le Gall’s playful, animal-themed furniture adds a contemporary, whimsical tone.
Together, these works illustrate the evolution from academic to modern sculpture. The display highlights both historical significance and aesthetic refinement. It promises a dialogue between sculpture, design, and artistic innovation.
A highlight is Antonin Mercié’s Gloria Victis, shown in its rare chief model - an exceptional half-life-size bronze, the original matrix used for reproductions, with only about a dozen known examples including one in Toulouse. Documented in a 1912 Barbedienne note, this piece marks an important stage in Mercié’s collaboration with the foundry.
The transition to modernity is illustrated by Auguste Rodin’s Tête de Balzac, an early Griffoul cast around 1890, notable for its vibrant texture and expressive modeling.
Antoine Bourdelle is represented with a Head of Beethoven à la colonne, linked to his correspondence with the writer Henriette Charasson, revealing a personal and literary connection.
A symbolist marble by Naoum Aronson, a Belarusian sculptor active in Paris, demonstrates his mastery of direct carving in Thasos marble.
The animal sculpture section centers on Roger Godchaux’s Retour de Chasse avec cornac, a monumental bronze limited to fifteen lifetime casts.
Furniture and design play a major role in the exhibition’s scenography. Philippe Hiquily’s Table Femme in hammered brass and glass embodies elegant surrealism. Belgian favorite Jivko contributes a light, poetic Ceremonial Console depicting a heron among water lilies. Hubert Le Gall’s playful, animal-themed furniture adds a contemporary, whimsical tone.
Together, these works illustrate the evolution from academic to modern sculpture. The display highlights both historical significance and aesthetic refinement. It promises a dialogue between sculpture, design, and artistic innovation.
04/11/2025
Almine Rech at BRAFA 2026
For its first participation at BRAFA, Almine Rech will present a curated selection of modern and contemporary works that reflect the gallery’s cross-generational approach, bringing together historical figures and leading contemporary voices.
At the center of the presentation stands Crow (2025), a new kinetic sculpture by Belgian artist Hans Op de Beeck. Suspended in space, the life-size crow flaps its wings in a slow, rhythmic motion, evoking the illusion of flight. Combining mechanical precision with a quiet sense of melancholy, Crow embodies Op de Beeck’s poetic exploration of stillness, solitude, and the passage of time.
The booth will also feature a group of historical works by key modern masters: Pablo Picasso, with unique engravings (bons à tirer) from 1968 and rare ceramic pieces; Tom Wesselmann, represented by Smoker Study (for Smoker #11) (1972); and Vivian Springford, with a vibrant painting from 1973.
The presentation will also include significant works by Heinz Mack - including a 1959 relief and a series of ceramics - Johan Creten, with the ceramic Odore di Femmina, and works by Christopher Le Brun, Minjung Kim, and Ha Chong-Hyun, among others.
Through this selection, Almine Rech highlights its ongoing dialogue between modern and contemporary creation, and between established masters and artists shaping the language of our time.
At the center of the presentation stands Crow (2025), a new kinetic sculpture by Belgian artist Hans Op de Beeck. Suspended in space, the life-size crow flaps its wings in a slow, rhythmic motion, evoking the illusion of flight. Combining mechanical precision with a quiet sense of melancholy, Crow embodies Op de Beeck’s poetic exploration of stillness, solitude, and the passage of time.
The booth will also feature a group of historical works by key modern masters: Pablo Picasso, with unique engravings (bons à tirer) from 1968 and rare ceramic pieces; Tom Wesselmann, represented by Smoker Study (for Smoker #11) (1972); and Vivian Springford, with a vibrant painting from 1973.
The presentation will also include significant works by Heinz Mack - including a 1959 relief and a series of ceramics - Johan Creten, with the ceramic Odore di Femmina, and works by Christopher Le Brun, Minjung Kim, and Ha Chong-Hyun, among others.
Through this selection, Almine Rech highlights its ongoing dialogue between modern and contemporary creation, and between established masters and artists shaping the language of our time.
03/11/2025
MassModernDesign - Press release BRAFA 2026
For its first participation at Brafa Art Fair in January 2026, the gallery will present a curated dialogue between Brazilian modern furniture and Italian lighting and decorative arts. The presentation will bring together the organic warmth of Brazil’s mid-century masters with the refined luminosity of Italian postwar design, creating a vivid counterpoint to the European winter.
At the center of the exhibition stands a selection of exceptional Brazilian works by José Zanine Caldas, Jorge Zalszupin, Joaquim Tenreiro, and Carlo Hauner, among others. These designers each represent a distinct chapter in Brazil’s design history, combining artisanal craftsmanship with a modernist sensibility rooted in tropical materials and natural forms. Their work captures the essence of mid-century Brazil, tactile, expressive, and profoundly human.
To complement this ensemble, the gallery will showcase lighting by Max Ingrand for Fontana Arte and Angelo Lelii, two of Italy’s most celebrated figures in glass and light design. Their poetic compositions in brass, opaline glass, and crystal embody the refined sophistication that defined Italy’s postwar design renaissance. The installation will be further enriched with artworks by Dedalo Montali and Christoph Bollinger, whose sculptural and painterly gestures bridge the space between art and design.
Together, these pieces create a dialogue between continents, a meeting of Brazil’s sensual modernism and Italy’s sculptural elegance. The presentation seeks to evoke the warmth, rhythm, and material richness of South America within the refined architectural context of Brafa, celebrating a cross-cultural harmony that feels both timeless and invigorating.
Our debut at Brafa marks a long-awaited milestone. Having admired the fair for many years, we chose to join only when our collection felt mature enough to fully represent our vision. In 2026, that moment arrives. We will bring the best of the best, a selection that embodies the spirit, sophistication, and vitality of twentieth-century design.
At the center of the exhibition stands a selection of exceptional Brazilian works by José Zanine Caldas, Jorge Zalszupin, Joaquim Tenreiro, and Carlo Hauner, among others. These designers each represent a distinct chapter in Brazil’s design history, combining artisanal craftsmanship with a modernist sensibility rooted in tropical materials and natural forms. Their work captures the essence of mid-century Brazil, tactile, expressive, and profoundly human.
To complement this ensemble, the gallery will showcase lighting by Max Ingrand for Fontana Arte and Angelo Lelii, two of Italy’s most celebrated figures in glass and light design. Their poetic compositions in brass, opaline glass, and crystal embody the refined sophistication that defined Italy’s postwar design renaissance. The installation will be further enriched with artworks by Dedalo Montali and Christoph Bollinger, whose sculptural and painterly gestures bridge the space between art and design.
Together, these pieces create a dialogue between continents, a meeting of Brazil’s sensual modernism and Italy’s sculptural elegance. The presentation seeks to evoke the warmth, rhythm, and material richness of South America within the refined architectural context of Brafa, celebrating a cross-cultural harmony that feels both timeless and invigorating.
Our debut at Brafa marks a long-awaited milestone. Having admired the fair for many years, we chose to join only when our collection felt mature enough to fully represent our vision. In 2026, that moment arrives. We will bring the best of the best, a selection that embodies the spirit, sophistication, and vitality of twentieth-century design.
03/11/2025
Dei Bardi Art - A Nottingham Alabaster with Museum Pedigree
Dei Bardi Art is delighted to present at Brafa 2026 an exquisite 15thcentury alabaster relief of The Resurrection of Christ, created by the celebrated Nottingham workshops - Europe’s leading centre for devotional alabaster sculpture.
Christ rises triumphantly from the tomb, his figure softly modelled with the luminous warmth unique to English alabaster. At his feet, soldiers lie sleeping, their armour and expressions carved with remarkable precision.
This panel carries an exceptional provenance, having belonged to two major museum collections. Once in the renowned Hubert Wilm Collection in Munich, it then entered the Germanisches Nationalmuseum, Nuremberg, where it remained for nearly forty years. In the 20th century it joined the esteemed John & Johanna Bass Collection, before entering the Bass Museum of Art, Miami Beach in 1963. Historic museum numbers remain visible on the Stone - rare, tangible witnesses to its journey through major collections and institutional history.
Provenance :
– Collection Hubert Wilm, Munich (XIXᵉ siècle)
– Germanisches Nationalmuseum, Nuremberg (c. 1880–1920)
– Lamperts, Cologne, 1944
– Collection John & Johanna Bass, New York
– Bass Museum of Art, Miami Beach, 1963
Christ rises triumphantly from the tomb, his figure softly modelled with the luminous warmth unique to English alabaster. At his feet, soldiers lie sleeping, their armour and expressions carved with remarkable precision.
This panel carries an exceptional provenance, having belonged to two major museum collections. Once in the renowned Hubert Wilm Collection in Munich, it then entered the Germanisches Nationalmuseum, Nuremberg, where it remained for nearly forty years. In the 20th century it joined the esteemed John & Johanna Bass Collection, before entering the Bass Museum of Art, Miami Beach in 1963. Historic museum numbers remain visible on the Stone - rare, tangible witnesses to its journey through major collections and institutional history.
Provenance :
– Collection Hubert Wilm, Munich (XIXᵉ siècle)
– Germanisches Nationalmuseum, Nuremberg (c. 1880–1920)
– Lamperts, Cologne, 1944
– Collection John & Johanna Bass, New York
– Bass Museum of Art, Miami Beach, 1963
23/10/2025
Galerie Oscar De Vos - Persdossier BRAFA 2026
Tijdens BRAFA 2026 presenteert Galerie Oscar De Vos de tentoonstelling Herinneringen aan de Leiestreek, een hommage aan de kunstenaars die de rivier, de dorpen en het licht van de Leiestreek vereeuwigden. In de 20e eeuw werd het dorp in een internationale kunstenaarskolonie.
De selectie brengt hoogtepunten uit acht decennia kunst, van Xavier De Cocks Vlaamse kermis (1857) en Albijn Van den Abeele’s ingetogen Laatste zonnestralen, opkomende maan (1904) tot Emile Claus’ herontdekte Villa Zonneschijn aan de Leie (1893) en zijn iconische meesterwerk Na de oversteek (1899).
Daarnaast worden nooit eerder op de kunstmarkt verschenen werken van Jenny Montigny (Zomer, ca. 1905; De Leie te Deurle, 1934) en Maurice Sys (Nocturne, ca. 1905) gepresenteerd, naast expressionistische doeken van Frits Van den Berghe, Constant Permeke, Hubert Malfait en Albert Saverys.
De tentoonstelling weerspiegelt de seizoenen, de intieme interieurs en het dorpsleven van de Leiestreek en vormt zo een poëtische herinnering aan een landschap dat kunstenaars en kunstverzamelaars blijft inspireren...
Meer informartie in het Persdossier.
De selectie brengt hoogtepunten uit acht decennia kunst, van Xavier De Cocks Vlaamse kermis (1857) en Albijn Van den Abeele’s ingetogen Laatste zonnestralen, opkomende maan (1904) tot Emile Claus’ herontdekte Villa Zonneschijn aan de Leie (1893) en zijn iconische meesterwerk Na de oversteek (1899).
Daarnaast worden nooit eerder op de kunstmarkt verschenen werken van Jenny Montigny (Zomer, ca. 1905; De Leie te Deurle, 1934) en Maurice Sys (Nocturne, ca. 1905) gepresenteerd, naast expressionistische doeken van Frits Van den Berghe, Constant Permeke, Hubert Malfait en Albert Saverys.
De tentoonstelling weerspiegelt de seizoenen, de intieme interieurs en het dorpsleven van de Leiestreek en vormt zo een poëtische herinnering aan een landschap dat kunstenaars en kunstverzamelaars blijft inspireren...
Meer informartie in het Persdossier.