Alphonse KIABELUA [LUBA (DRC) 1927-?] Sans titre, (Le paysage de brousse). Oil on canvas. 62 x 50 cm. Signed lower right. Kiabelua, in the 50s he became a member of the Stanley Pool School under the artist and teacher Laurent Moonens.

Frédéric MUVUMA NGOIE, (Lubumbashi, DRC, 1938) Feu de brousse. Oil on panel. 39 x 25 cm. Signed lower right, circa 1960, framed. His universe reflects all kinds of landscapes and refers to a kind of lost Eden. Since 1964, he has exhibited his work internationally. Signée en bas à droite, vers 1960, encadrée. His universe reflects all kinds of landscapes and refers to a kind of lost Eden. Since 1964, he has exhibited his work internationally.

Moussa DIOUF (1935 - 1982) Scène de marché. Oil on canvas. 48.5 x 64.8 cm. Signed lower right, framed. He is an important name in the early Congolese and Zambian painting world, and as such, deserves greater recognition. Diouf began his career as an illustrator for UNESCO He left Congo because of censorship and went to live in the slums of Lusaka, Zambia, in 1974. Earned his living by selling simple art to tourists at the airport and in the city but signed these works "Muntu" His work signed Diouf, or Moussa Diouf, was his personal, serious art. Undoubtedly one of the greats of Congolese art.. Signée en bas à droite, encadrée. He is an important name in the early Congolese and Zambian painting world, and as such, deserves greater recognition. Diouf began his career as an illustrator for UNESCO He left Congo because of censorship and went to live in the slums of Lusaka, Zambia, in 1974. Earned his living by selling simple art to tourists at the airport and in the city but signed these works "Muntu" His work signed Diouf, or Moussa Diouf, was his personal, serious art. Undoubtedly one of the greats of Congolese art..

NGOMBE (1942-1990) Sans titre. Oil on canvas. 82 x 42.5 cm. One of the greatest self-taught painters, Ngombe developed a scratchy style his art presents beautiful characters defending ancestral tributes.

NGOMBE (1942-1990) Sans titre. Oil on canvas. 82 x 42,5 cm. One of the greatest self-taught painters, Ngombe developed a scratchy style His art presents beautiful characters defending ancestral tributes..

NGOMBE (1942-1990) Dame drapée. Oil on canvas. 68 x 22 cm. Signed and dated lower right. One of the greatest self-taught painters, Ngombe developed a scratchy style His art presents beautiful characters defending ancestral tributes. Signé et daté en bas à droite.

NGOMBE (1942-1990) Maternité. Oil on canvas (Matadi flour mill canvas). 92 x 44 cm. Signed lower right and dated 1980, framed. One of the greatest self-taught painters, Ngombe developed a scratchy style His art presents beautiful characters defending ancestral tributes.. Signé en bas à droite et daté 1980, encadré.

NKUTU A ZOWA (Matadi, 1939 – DRC, 2009) Sans titre. Oil on canvas mounted on cardboard. 44 x 30 cm. Signed upper right and dated 65, framed. Nkutu a Zowa, born on November 8, 1939, in Matadi, studied at the Academy of Fine Arts in Kinshasa. After teaching drawing from 1964 to 1968, he has been fully dedicated to painting since 1969. His work, characterized by original lines, colors, and forms, expresses deep emotions with minimal visual elements.He showcases two opposing trends: one explores inner expression, while the other focuses on external forms. His themes are primarily human, with a marked presence of femininity. Although he demonstrates perseverance, he risks stagnation without renewing his inspiration. Once a member of the avant-garde, he now seems distanced from debates about Zairian art, likely concerned with his basic needs.. Signé en haut à droite et daté 65, encadré. Academician of Fine Arts from Kinshasa, where he studied painting for seven years. From 1964 to 1968, he taught drawing in several schools in the capital. Since 1969, he has dedicated himself entirely to his art.Nkutu a Zowa has participated in numerous exhibitions in the country and abroad. His painting style is characterized by originality in lines, colors, and forms. Whether it's the form or the ingredients that enhance the values, everything is expressed simplistically on his canvases. Within his style, two distinct tendencies can be observed: one that seeks expression from within and another that focuses on external forms and movements. Landscapes are virtually absent. Most themes relate to the human being and indicate a predominance of femininity..

NKUTU A ZOWA (Matadi, 1939 – DRC, 2009) "2 femmes". Oil on canvas. 80 x 55 cm. Signed lower right, illegibly dated. Nkutu a Zowa, born on November 8, 1939, in Matadi, studied at the Academy of Fine Arts in Kinshasa. After teaching drawing from 1964 to 1968, he has been fully dedicated to painting since 1969. His work, characterized by original lines, colors, and forms, expresses deep emotions with minimal visual elements.He showcases two opposing trends: one explores inner expression, while the other focuses on external forms. His themes are primarily human, with a marked presence of femininity. Although he demonstrates perseverance, he risks stagnation without renewing his inspiration. Once a member of the avant-garde, he now seems distanced from debates about Zairian art, likely concerned with his basic needs.. Signé en bas à droite, daté illisible.

NKUTU A ZOWA (Matadi, 1939 – DRC, 2009) "Silhouette verte et orange". Oil on canvas. 80 x 60 cm. Signed lower right and dated 84. Nkutu a Zowa, born on November 8, 1939, in Matadi, studied at the Academy of Fine Arts in Kinshasa. After teaching drawing from 1964 to 1968, he has been fully dedicated to painting since 1969. His work, characterized by original lines, colors, and forms, expresses deep emotions with minimal visual elements.He showcases two opposing trends: one explores inner expression, while the other focuses on external forms. His themes are primarily human, with a marked presence of femininity. Although he demonstrates perseverance, he risks stagnation without renewing his inspiration. Once a member of the avant-garde, he now seems distanced from debates about Zairian art, likely concerned with his basic needs.. Signé en bas à droite et daté 84.

Marcel GOTENE [Congo, 1939–2013 Rabat (Maroc)] Sans titre, (le tambour, la danseuse et le guerrier assis). Set of three paintings. Gouache on paper. 12 x 8, 8 x 12.5, 8 x 12 cm. Signed lower right. Marcel Gotene was a renowned Congolese painter. He is celebrated for his distinctive artistic style, which seamlessly blends African traditions with contemporary techniques. Recognized for his exceptional talent, Gotene created a diverse array of works, including paintings, silk-screen prints, and tapestries. Throughout his illustrious career, he garnered significant acclaim and is often regarded as one of Africa’s leading contemporary artists. His artworks embody a profound connection to his cultural heritage, and they have been showcased in numerous prestigious exhibitions worldwide.. Signé en bas à droite.

Jacques ZIGOMA [congo, 1936-1987] Sans titre, (Scène du marché). Oil on canvas. 53 x 170 cm. Signed lower right, slight craquelure. Jacques Zigoma was a notable Congolese painter. He is primarily associated with the École de peinture de Poto-Poto, an influential art school in Brazzaville, Congo.. Signé en bas à droite, légères craquelures.

Mwenze KIBWANGA [Kilumba (DRC), 1925–1999, Lubumbashi (DRC)] Retour de chasse. Oil on canvas laid down on panel. 56.5 x 82 cm. Signed lower right and dated 1953, craquelure and loss in the upper middle. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation.. Signé en bas à droite et daté 1953, présence de craquelures et pertes au mileu en haut..

Mwenze KIBWANGA [Kilumba (DRC), 1925–1999, Lubumbashi (DRC)] Retour de marché. Oil on canvas. 80 x 100 cm. Signed and dated 63 lower right. Interesting frame engraved with fish, snakes, etc (several holes and tears).. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation.. Signé et daté 63 en bas à droite. Intéressant cadre gravé de poissons, serpents, etc (plusieurs trous et déchirures).

Mwenze KIBWANGA [Kilumba (DRC), 1925–1999, Lubumbashi (DRC)] Sans titre, (le repas). Oil on panel. 40 x 35. Signed lower right. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation.. Signé en bas à droite.

Mwenze KIBWANGA [Kilumba (DRC), 1925–1999, Lubumbashi (DRC)] Le transport. Oil on paper. 39 x 50 cm. Signed lower right and dated 57. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation.. Signé en baas à droite et daté 57.

Mwenze KIBWANGA [Kilumba (DRC), 1925–1999, Lubumbashi (DRC)] Sans titre (Chasseur). Oil on paper. 48 x 63 cm. Unsigned. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation.. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation..

Mwenze KIBWANGA [Kilumba (DRC), 1925–1999, Lubumbashi (DRC)] Les chasseurs. Oil on canvas. 40 x 29 cm. Signed lower right and dated Elizabethville 57 on the back. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation..

Mwenze KIBWANGA [Kilumba (DRC), 1925–1999, Lubumbashi (DRC)] Retour de chasse. Oil on canvas. 56 x 80 cm. Signed lower right, before 1960. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation..

Mwenze KIBWANGA [Kilumba (DRC), 1925–1999, Lubumbashi (DRC)] Sans titre, (la pirogue). Oil on panel. 40 x 35 cm. Signed and dated 60 lower right. Mwenze Kibwanga, born in 1925 in Kilumba, Katanga province In 1934, he started attending classes at the Protestant mission in Mwanza, where he also took drawing lessons. He left the village in 1942 to settle in Elisabethville and continued his basic education with the Methodists, In 1950, Kibwanga was admitted to the «l’Atelier du Hangar» founded by French painter, Romain-Desfossés There, he developed his style, bringing his subjects to life through a technique of hatching and parallel lines alternating between light and dark tones that follow the shapes of people, animals, and vegetation..

Nkusu FELELO (Bas-Congo, 1914 – 1995, Kinshasa, DRC) Joueur de guitare. Oil on panel. 54.5 x 36 cm. Signed lower left. 2nd half 20th century. Nkusu Felelo, one of the pioneers of modern Zairian painting, was born in 1914 in the enclave of Kabinda, Bas-Zaire. He completed his primary education at the Christian Brothers’ School in Tumba but did not pursue further studies. He began working in customs in Matadi until 1943, after which he was employed in the Information Department in Kinshasa. In 1945, a meeting with a European painter profoundly ignited his already sensed and irresistible calling to art. His natural talents quickly compensated for the deficiencies in his training. He held several exhibitions in Matadi, including one alongside Mavinga.In 1958, he contributed to the Brussels World Expo with his artwork. By 1966, his works were showcased at the First World Festival of Negro Arts in Dakar. In 1970, he participated in the Zairian Art Exhibition in Brussels. He organized several other solo exhibitions in his home country, notably at the Academy of Fine Arts in Kinshasa on the occasion of his sixtieth birthday, during the awarding of the AICA/Zaire gold palette in 1978, at the BCZ under the auspices of AICA in 1980, at Creation 3 Gallery in 1981, and at Van Bever Gallery in 1983.Artist Nkusu is a captivating figure. As a father of many children and a grandfather several times over, he dedicates himself entirely to his family, sometimes at the expense of his artistic work..

Nkusu FELELO (Bas-Congo, 1914 – 1995, Kinshasa, DRC) Sans titre (Les danseuses). Oil on panel. 60 x 40 cm. Framed, signed lower right, circa 1960. Nkusu Felelo, one of the pioneers of modern Zairian painting, was born in 1914 in the enclave of Kabinda, Bas-Zaire. He completed his primary education at the Christian Brothers’ School in Tumba but did not pursue further studies. He began working in customs in Matadi until 1943, after which he was employed in the Information Department in Kinshasa. In 1945, a meeting with a European painter profoundly ignited his already sensed and irresistible calling to art. His natural talents quickly compensated for the deficiencies in his training. He held several exhibitions in Matadi, including one alongside Mavinga.In 1958, he contributed to the Brussels World Expo with his artwork. By 1966, his works were showcased at the First World Festival of Negro Arts in Dakar. In 1970, he participated in the Zairian Art Exhibition in Brussels. He organized several other solo exhibitions in his home country, notably at the Academy of Fine Arts in Kinshasa on the occasion of his sixtieth birthday, during the awarding of the AICA/Zaire gold palette in 1978, at the BCZ under the auspices of AICA in 1980, at Creation 3 Gallery in 1981, and at Van Bever Gallery in 1983.Artist Nkusu is a captivating figure. As a father of many children and a grandfather several times over, he dedicates himself entirely to his family, sometimes at the expense of his artistic work..

Nkusu FELELO (Bas-Congo, 1914 – 1995, Kinshasa, DRC) Sans titre, (l'imploration). Oil on canvas. 69 x 47 cm. Signature lower left, framed. Nkusu Felelo, one of the pioneers of modern Zairian painting, was born in 1914 in the enclave of Kabinda, Bas-Zaire. He completed his primary education at the Christian Brothers’ School in Tumba but did not pursue further studies. He began working in customs in Matadi until 1943, after which he was employed in the Information Department in Kinshasa. In 1945, a meeting with a European painter profoundly ignited his already sensed and irresistible calling to art. His natural talents quickly compensated for the deficiencies in his training. He held several exhibitions in Matadi, including one alongside Mavinga.In 1958, he contributed to the Brussels World Expo with his artwork. By 1966, his works were showcased at the First World Festival of Negro Arts in Dakar. In 1970, he participated in the Zairian Art Exhibition in Brussels. He organized several other solo exhibitions in his home country, notably at the Academy of Fine Arts in Kinshasa on the occasion of his sixtieth birthday, during the awarding of the AICA/Zaire gold palette in 1978, at the BCZ under the auspices of AICA in 1980, at Creation 3 Gallery in 1981, and at Van Bever Gallery in 1983.Artist Nkusu is a captivating figure. As a father of many children and a grandfather several times over, he dedicates himself entirely to his family, sometimes at the expense of his artistic work..

Nkusu FELELO (Bas-Congo, 1914 – 1995, Kinshasa, DRC) "Christ". Oil on panel. 57 x 38 cm. Signed lower left. Nkusu Felelo, one of the pioneers of modern Zairian painting, was born in 1914 in the enclave of Kabinda, Bas-Zaire. He completed his primary education at the Christian Brothers’ School in Tumba but did not pursue further studies. He began working in customs in Matadi until 1943, after which he was employed in the Information Department in Kinshasa. In 1945, a meeting with a European painter profoundly ignited his already sensed and irresistible calling to art. His natural talents quickly compensated for the deficiencies in his training. He held several exhibitions in Matadi, including one alongside Mavinga.In 1958, he contributed to the Brussels World Expo with his artwork. By 1966, his works were showcased at the First World Festival of Negro Arts in Dakar. In 1970, he participated in the Zairian Art Exhibition in Brussels. He organized several other solo exhibitions in his home country, notably at the Academy of Fine Arts in Kinshasa on the occasion of his sixtieth birthday, during the awarding of the AICA/Zaire gold palette in 1978, at the BCZ under the auspices of AICA in 1980, at Creation 3 Gallery in 1981, and at Van Bever Gallery in 1983.Artist Nkusu is a captivating figure. As a father of many children and a grandfather several times over, he dedicates himself entirely to his family, sometimes at the expense of his artistic work..

KANIEMBA, Kanyemba (Lubumbashi, DRC, early 20th) Scène animalière. Oil on canvas. 97 x 130 cm. Signed and dated 87 lower right. Kaniemba, whose full name is Kaniemba Louis Timothée, is a Congolese artist born in 1937. He is known for his vibrant and distinctive artworks that often depict African scenes and themes. Kaniemba began his education in art in Lubumbashi, where he developed his unique style, which showcases the cultural and natural beauty of the Congo..

KANIEMBA, Kanyemba (Lubumbashi, DRC, early 20th) Sans titre, (La pêche et le crocodile). Oil on canvas. Signed lower right. Kaniemba, whose full name is Kaniemba Louis Timothée, is a Congolese artist born in 1937. He is known for his vibrant and distinctive artworks that often depict African scenes and themes. Kaniemba began his education in art in Lubumbashi, where he developed his unique style, which showcases the cultural and natural beauty of the Congo..

BELA SARA (Tchad, 1940-1968, Brazzaville) Scène de chasse. Oil on panel, digitalism. 61 x 72.5 cm. Framed, signed lower right, before 1960. Bela is one of the best-known members of the Lubumbashi painting studio. The studio was founded by artist-patron Pierre Romain-Desfossés in the late 1940s, as a workshop called «Le Hangar» at the Indigenous Native Art Academy. His originality is achieved by painting with his finger, without using a pencil. This gives freshness and the spontaneity that makes the charm in Bela’s art. In addition, such a technique has a decorative effect. The artist’s favorite themes are incredible fish and aquatic scenes. Animals from the wilderness are also often depicted: whether peacefully grazing or hunted by man. There are also the initiation scenes sometimes with some fantasy, depicting nocturnal and sometimes humorous scenes, always with animals that conjure up complete freedom. Towards the end of his life, he abandoned the finger technique in favor of the brush..

BELA SARA (Tchad, 1940-1968, Brazzaville) Sans titre. Oil on panel, digitalism. 61 x 74 cm. Signed lower right, before 1960. Bela is one of the best-known members of the Lubumbashi painting studio. The studio was founded by artist-patron Pierre Romain-Desfossés in the late 1940s, as a workshop called «Le Hangar» at the Indigenous Native Art Academy. His originality is achieved by painting with his finger, without using a pencil. This gives freshness and the spontaneity that makes the charm in Bela’s art. In addition, such a technique has a decorative effect. The artist’s favorite themes are incredible fish and aquatic scenes. Animals from the wilderness are also often depicted: whether peacefully grazing or hunted by man. There are also the initiation scenes sometimes with some fantasy, depicting nocturnal and sometimes humorous scenes, always with animals that conjure up complete freedom. Towards the end of his life, he abandoned the finger technique in favor of the brush..

BELA SARA (Tchad, 1940-1968, Brazzaville) Sans titre. Oil on canvas, digitalism. 35 x 45.5 cm. Signed lower right and dated 55. Bela is one of the best-known members of the Lubumbashi painting studio. The studio was founded by artist-patron Pierre Romain-Desfossés in the late 1940s, as a workshop called «Le Hangar» at the Indigenous Native Art Academy. His originality is achieved by painting with his finger, without using a pencil. This gives freshness and the spontaneity that makes the charm in Bela’s art. In addition, such a technique has a decorative effect. The artist’s favorite themes are incredible fish and aquatic scenes. Animals from the wilderness are also often depicted: whether peacefully grazing or hunted by man. There are also the initiation scenes sometimes with some fantasy, depicting nocturnal and sometimes humorous scenes, always with animals that conjure up complete freedom. Towards the end of his life, he abandoned the finger technique in favor of the brush..

KABINDA Kunkulu Victor (Luda, DRC, 1927) Sans titre, (antilopes et crocodiles). Oil on canvas. Signed and dated 1960 lower right (Elizabethville). Kabinda is one of the great Congolese painters, influenced by the Elisabethville School. He was inspired by nature and offers us magnificent scenes with vivid colors perfectly combined to form compositions as harmonious as nature itself.. Signé et daté 1960 en bas à droite (Elizabethville).

KABINDA Kunkulu Victor (Luda, DRC, 1927) Sans titre, (les poissons). Oil on canvas. 56 x 78 cm. Signed lower right, framed, broken glass, label 351. Kabinda is one of the great Congolese painters, influenced by the Elisabethville School. He was inspired by nature and offers us magnificent scenes with vivid colors perfectly combined to form compositions as harmonious as nature itself..

KABINDA Kunkulu Victor (Luda, DRC, 1927) Sans titre. Oil on canvas. 54 x 138 cm. Signed Kabinda E/Ville and dated 1959. Original oak pegged frame. Kabinda is one of the great Congolese painters, influenced by the Elisabethville School. He was inspired by nature and offers us magnificent scenes with vivid colors perfectly combined to form compositions as harmonious as nature itself..

KABINDA Kunkulu Victor (Luda, DRC, 1927) La poule, le crocodile et les poissons. Oil on panel. 46 x 48 cm. Signed and dated 57. Kabinda is one of the great Congolese painters, influenced by the Elisabethville School. He was inspired by nature and offers us magnificent scenes with vivid colors perfectly combined to form compositions as harmonious as nature itself..

KABINDA Kunkulu Victor (Luda, DRC, 1927) Poule d'eau. Oil on canvas mounted on isorel panel. 66 x 47 cm. Signed and dated 59 Elizabethville. Kabinda is one of the great Congolese painters, influenced by the Elisabethville School. He was inspired by nature and offers us magnificent scenes with vivid colors perfectly combined to form compositions as harmonious as nature itself..

KABINDA Kunkulu Victor (Luda, DRC, 1927) Les 4 poules. Oil on panel. 44 x 56 cm. Signed and dated 57. Kabinda is one of the great Congolese painters, influenced by the Elisabethville School. He was inspired by nature and offers us magnificent scenes with vivid colors perfectly combined to form compositions as harmonious as nature itself..

KABINDA Kunkulu Victor (Luda, DRC, 1927) Les porteurs. Oil on canvas. 38 x 52 cm. Signed and dated. Kabinda is one of the great Congolese painters, influenced by the Elisabethville School. He was inspired by nature and offers us magnificent scenes with vivid colors perfectly combined to form compositions as harmonious as nature itself..

Pili Pili Mulongoy [Ngolo, Katanga, 1914–2007, Kinshasa (DRC)] Sans titre "Trois antilopes sous un arbre". Oil on canvas. 63 x 97. Signed lower right and dated 85, framed. Signed lower right and dated 85, framed. Pili Pili was born into a family of fishermen in Ngolo, in the province of Katanga, in the former Belgian Congo. In 1947, he managed to enter the young “Academy of Indigenous Art”, the official name of the Hangar Workshop created by the former officer Pierre Romain-Desfossés. Later, Pili Pili joined the Academy of Fine Arts in Lubumbashi as a teacher. Signée en bas à droite et daté 85, encadrée. Signed lower right and dated 85, framed.

Pili Pili Mulongoy [Ngolo, Katanga, 1914–2007, Kinshasa (DRC)] Sans titre. Oil on panel. 44 x 34.5 cm. Framed, signed lower middle. Pili Pili was born into a family of fishermen in Ngolo, in the province of Katanga, in the former Belgian Congo. In 1947, he managed to enter the young “Academy of Indigenous Art”, the official name of the Hangar Workshop created by the former officer Pierre Romain-Desfossés. Later, Pili Pili joined the Academy of Fine Arts in Lubumbashi as a teacher..

françois amisi [lusangi (DRC), 1935-2024, lubumbashi] Sans titre, "les danseurs". Oil on panel. 36 x 25 cm. Signed lower right. François Amisi is an academician at the root of different painting styles. For instance, in the “flame” style, the shape of human beings, animals and various objects is slightly distorted by the glow generated by flames. In the years 1955-56, he refined the “bled” style where shapes are altered by stained window glass.Always on the lookout for innovative and new techniques and creations, he also perfected in his workshop the “chopped” and “cross” patterns. The painter also discovered what experts called the “whirlwind” style that symbolised through movements the liveliness of the daily life of men and women. Therefore, we also find in the painter’s work dancing or hunting scenes or even the bustle of crowded markets. Moreover, he also depicts free range animals and objects such as masks, whose diversity of expression recalls the supernatural dimension of ancestral cults.Amisi’s colourful universe gives life to sparkling works, full of charm, intensity and movements, giving life to the multiple facets of Congo. In his vibrant work, he succeeds in making tradition universal through his unique and timeless style..

Floribert MWEMBIA [lubumbashi, 1939-1989] Femme cuisinant. Oil on isorel panel. 69 x 26 cm. Signed lower left. Mwembia, born in Elisabethville in 1939, was an acclaimed artist who studied at the Académie des Beaux-Arts d’Elisabethville. In 1955-56, he participated in a European tour showcasing his work in various cities, including Liège and Brussels. He contributed to the decoration of the Belgian Congo and Ruanda-Urundi pavilion at the 1958 Universal Exhibition in Brussels and earned a diploma from the Academy. Known for his versatility, Mwembia transitioned between decorative styles, humorous figures, and abstract compositions. His later works focused on the human figure, often featuring dark backgrounds and vibrant tones. His career, unfortunately, was cut short by illness in 1989..

TSHIBOKO Mputu Kabongo (Kasaï Occidental, DRC, 1948) Sans titre. Oil on canvas. 51.5 x 34.5 cm. Signed lower right and dated 78, framed. TSHIBOKO Mputu Kabongo graduated from the Institute of Fine Arts in Kinshasa. In 1975, he became a teacher at the Academy and finally a curator in 1982 for the Academy exhibition. He truly is an inescapable name among Kinshasa’s academic artists..

TSHIBOKO Mputu Kabongo (Kasaï Occidental, DRC, 1948) Sans titre. Gouache on paper. 11 x 15 cm. Signed lower right, annotated on the back ‘Tshiboko, Zaïre, 1985). TSHIBOKO Mputu Kabongo graduated from the Institute of Fine Arts in Kinshasa. In 1975, he became a teacher at the Academy and finally a curator in 1982 for the Academy exhibition. He truly is an inescapable name among Kinshasa’s academic artists..

MWILA [lubumbashi (DRC), 20th] Sans titre, (les danseurs). Oil on canvas. Signed and dated 59 lower right (Elizabethville). Mwila was a student there during the mid-20th century. The style of painting that emerged from l’Atelier du Hangar.. Signé et daté 59 en bas à droite (Elizabethville).

Kamba LUESA, Kamba Luesa Kanyunyu [Kasaï (DRC), 1944–1995] Sans titre. Oil on canvas. 57 x 84 cm. Signed lower left and dated 76. Initially working as a professional practice instructor at the Academy, he left teaching in 1981 to join the archive department of the Institute, which he later abandoned to become a freelance artist. Kamba gained early recognition for his unique style and began creating postcards before his studies in Kinshasa. Notably, he was the sole student to participate in a 1972 exhibition organized by his professors for René Berger’s visit to Zaire..

LEMA KUSA [Kinkenge (Bas-Congo), 1944, lives & works in kinshasa] Sans titre. Oil on canvas. 99 x 94 cm. Poor condition. Signed lower left and dated 75. Lema Kusa was a former student of Fine Arts in Kinshasa, where he became a professor and director of the Graphic Arts Department. His paintings are often realistic and sometimes abstract, depicting everyday life with the subconsciousness of a photographer. Women are the prominent figures in his work, portrayed as mothers, wives and children whom men must love at all costs and protect from violence. In addition, he creates paintings that are strong and moral. Kusa’s work contains paintings of drunkards, prostitutes, market figures, beggars and idlers with a strong expressionist palette and a distinctive and subtle humor. His various works are remarkably vivid, colorful, symbolic, and sometimes abstract..

BERS GRANDSINGE, Jean-Pierre BERS MBALAKA, Jean-Pierre BERS (Bandundu, DRC, 1955. Lives and works in Brussels, Belgium) Sans titre. Oil on canvas. 50 x 80 cm. Dated 1979, certificate. Jean-Pierre Mbalaka is one of the first artists to settle in Belgium to defend contemporary Congolese art.In fact, he undertook this mission on the advice of Jean-Michel Basquiat, whom he had met in Harlem in 1985, where the latter had nicknamed him «the greatest ape in Africa» Later, the artist adapted this nickname to «Grandsinge» and evolved into a multi-faceted artist with a passion for art and an inexhaustible creativity that he developed in different artistic fields: visual and digital art, photography, textile design and music His work translates a very singular vision of humanity in which the human being is in perpetual movement, experiencing a constant mutation in a changing universe Beings trapped in their spirit, in their feelings. The deepest human forces come to light..

BERS GRANDSINGE, Jean-Pierre BERS MBALAKA, Jean-Pierre BERS (Bandundu, DRC, 1955. Lives and works in Brussels, Belgium) "L'investissement du don". Oil and païlettes on canvas. 50 x 50 cm. Signed lower right and dated 2012 on the back, framed. Jean-Pierre Mbalaka is one of the first artists to settle in Belgium to defend contemporary Congolese art.In fact, he undertook this mission on the advice of Jean-Michel Basquiat, whom he had met in Harlem in 1985, where the latter had nicknamed him «the greatest ape in Africa» Later, the artist adapted this nickname to «Grandsinge» and evolved into a multi-faceted artist with a passion for art and an inexhaustible creativity that he developed in different artistic fields: visual and digital art, photography, textile design and music His work translates a very singular vision of humanity in which the human being is in perpetual movement, experiencing a constant mutation in a changing universe Beings trapped in their spirit, in their feelings. The deepest human forces come to light..

BERS GRANDSINGE, Jean-Pierre BERS MBALAKA, Jean-Pierre BERS (Bandundu, DRC, 1955. Lives and works in Brussels, Belgium) Sans titre. Oil on paper. 70 x 100 cm. Signed lower right and dated 2024, framed. Jean-Pierre Mbalaka is one of the first artists to settle in Belgium to defend contemporary Congolese art.In fact, he undertook this mission on the advice of Jean-Michel Basquiat, whom he had met in Harlem in 1985, where the latter had nicknamed him «the greatest ape in Africa» Later, the artist adapted this nickname to «Grandsinge» and evolved into a multi-faceted artist with a passion for art and an inexhaustible creativity that he developed in different artistic fields: visual and digital art, photography, textile design and music His work translates a very singular vision of humanity in which the human being is in perpetual movement, experiencing a constant mutation in a changing universe Beings trapped in their spirit, in their feelings. The deepest human forces come to light..