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<p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/11561957@N06/55622446005/" title="Bas-relief and Writing Desk"><img src="https://live.staticflickr.com/65535/55622446005_9ea1e147b2_m.jpg" width="180" height="240" alt="Bas-relief and Writing Desk" /></a></p> <p>Le Saute mouton ou le Coupe-Tête : Jeux de nymphes, de bergers et de satyres (Leapfrog or &quot;Head-Chopper&quot;: Games of Nymphs, Shepherds, and Satyrs), after 1785<br /> Bas-relief <br /> Antoine François Gérard, Jean Guillaume Moitte<br /> <br /> <br /> Petite table à écrire à pupitre (Small writing desk with a sloping top), c1784<br /> François Rémond, <br /> Atelier de Adam Weisweiler<br /> <br /> From the private study at the Château de Saint-Cloud.<br /> The lacquer panels once adorned a close-stool (commode chair) that had belonged to the Siamese embassy received at Versailles in 1686. Deemed exceptional, the panels were later removed and repurposed by Adam Weisweiler for two pieces of furniture: a table for Marie-Antoinette’s private study (OA 5509) and a secretary desk intended for Louis XVI’s study (in the collection of Prince Al-Thani). The table was supplied by Daguerre for Queen Marie-Antoinette’s (1755–1791) private study at the Château de Saint-Cloud; it later passed into the collection of the Prince de Beauvau, from which it was sold in 1865. It was subsequently acquired by Empress Eugénie (1826–1920) for her &quot;blue drawing room&quot; at the Tuileries Palace, and was eventually deposited at the Louvre Museum following a decision by the Commission for the Civil List and Private Domain on September 12, 1870.*<br /> <br /> <br /> In Salle 628 - Cabinet de Marie-Antoinette<br /> <br /> <br /> For the exhibition<br /> <br /> Louvre Couture - Art and Fashion: Statement Pieces<br /> (January – August 2025)<br /> <br /> Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br /> In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br /> Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br /> The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br /> <br /> Taken in Musée du Louvre <br /> <br /> The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br /> In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br /> [*Musée du Louvre]</p> <p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/11561957@N06/55622231484/" title="Versace Turquerie"><img src="https://live.staticflickr.com/65535/55622231484_eb2113fbb0_m.jpg" width="240" height="180" alt="Versace Turquerie" /></a></p> <p>Versace<br /> Donatella Versace<br /> Collection Prêt-à-Porter, Automne/Hiver 2002-2003<br /> Brocade minidress with a gold lace hem<br /> <br /> The floral brocade motifs on this strapless dress pop against a bright yellow background that matches a turquerie pattern created for the Comte d'Artois, Louis XVI's brother. These Orientalist-influenced decorations, popular with the rich interiors of the 18th century, feature camels, sphinxes (winged lions with women's heads), and figures dressed in caftans and turbans. The way the garment echoes the décor can be seen even in its lace hem, which recalls the fabrics that would line the seats of the chairs and frame mirrors, as if in a fantasy version of an oriental tent.*<br /> <br /> <br /> In Salle 630 - Cabinet turc<br /> <br /> <br /> For the exhibition<br /> <br /> Louvre Couture - Art and Fashion: Statement Pieces<br /> (January – August 2025)<br /> <br /> Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br /> In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br /> Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br /> The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br /> <br /> Taken in Musée du Louvre <br /> <br /> The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br /> In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br /> [*Musée du Louvre]</p> <p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/11561957@N06/55622163663/" title="Cuir de salle"><img src="https://live.staticflickr.com/65535/55622163663_f3a0ff83aa_m.jpg" width="180" height="240" alt="Cuir de salle" /></a></p> <p>Christian Dior<br /> John Galliano<br /> Collection Haute Couture Printemps/Eté 2005<br /> Embroidered 'Cuir de soie' satin coat<br /> <br /> The collection was created under the very pop banner of a quote from Bob Dylan: 'Andy Warhol is Napoleon in rags', John Galliano decided to draw a parallel between Edie Sedgwick, an eccentric socialite and the pop art painter's muse, and Joséphine de Beauharnais, who went from an elegant 'Merveilleuse' to the Empress of the French, merging the two into one. What's more, he drew his inspiration from this version of Marie-Antoinette, nearly swallowed up by her dress, evoking the precious fabrics that blossomed on the walls and furniture in the late 18th century.*<br /> <br /> <br /> In Salle 632 - Marie-Antoinette<br /> <br /> <br /> For the exhibition<br /> <br /> Louvre Couture - Art and Fashion: Statement Pieces<br /> (January – August 2025)<br /> <br /> Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br /> In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br /> Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br /> The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br /> <br /> Taken in Musée du Louvre <br /> <br /> The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br /> In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br /> [*Musée du Louvre]</p> <p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/11561957@N06/55622019591/" title="Sedgwick as Beauharnais"><img src="https://live.staticflickr.com/65535/55622019591_1a592b020f_m.jpg" width="180" height="240" alt="Sedgwick as Beauharnais" /></a></p> <p>Christian Dior<br /> John Galliano<br /> Collection Haute Couture Printemps/Eté 2005<br /> Embroidered 'Cuir de soie' satin coat<br /> <br /> The collection was created under the very pop banner of a quote from Bob Dylan: 'Andy Warhol is Napoleon in rags', John Galliano decided to draw a parallel between Edie Sedgwick, an eccentric socialite and the pop art painter's muse, and Joséphine de Beauharnais, who went from an elegant 'Merveilleuse' to the Empress of the French, merging the two into one. What's more, he drew his inspiration from this version of Marie-Antoinette, nearly swallowed up by her dress, evoking the precious fabrics that blossomed on the walls and furniture in the late 18th century.*<br /> <br /> <br /> In Salle 632 - Marie-Antoinette<br /> <br /> <br /> For the exhibition<br /> <br /> Louvre Couture - Art and Fashion: Statement Pieces<br /> (January – August 2025)<br /> <br /> Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br /> In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br /> Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br /> The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br /> <br /> Taken in Musée du Louvre <br /> <br /> The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br /> In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br /> [*Musée du Louvre]</p> <p><a href="https://www.flickr.com/people/bbonthebrink/">bbonthebrink</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/bbonthebrink/55622535870/" title="261030a17"><img src="https://live.staticflickr.com/65535/55622535870_3fd20fee0c_m.jpg" width="180" height="240" alt="261030a17" /></a></p> <p><a href="https://www.flickr.com/people/bbonthebrink/">bbonthebrink</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/bbonthebrink/55622110501/" title="261030a2"><img src="https://live.staticflickr.com/65535/55622110501_9ef70fe953_m.jpg" width="180" height="240" alt="261030a2" /></a></p> <p><a href="https://www.flickr.com/people/bbonthebrink/">bbonthebrink</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/bbonthebrink/55622322044/" title="261030a16"><img src="https://live.staticflickr.com/65535/55622322044_11f894fbbc_m.jpg" width="180" height="240" alt="261030a16" /></a></p> <p><a href="https://www.flickr.com/people/clydehouse/">ClydeHouse</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/clydehouse/55621082882/" title="Cimetière de Montparnasse"><img src="https://live.staticflickr.com/65535/55621082882_07c9c4811f_m.jpg" width="180" height="240" alt="Cimetière de Montparnasse" /></a></p> <p>Cimetière de Montparnasse, Paris, 75009, France</p> <p><a href="https://www.flickr.com/people/david-roussel/">nikonaute777</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/david-roussel/55622419520/" title="Gare du nord - Paris"><img src="https://live.staticflickr.com/65535/55622419520_4f63eeb249_m.jpg" width="160" height="240" alt="Gare du nord - Paris" /></a></p> <p><a href="https://www.flickr.com/people/11561957@N06/">failing_angel</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/11561957@N06/55622077324/" title="Artisanal Collection"><img src="https://live.staticflickr.com/65535/55622077324_f4c8d2ebbc_m.jpg" width="180" height="240" alt="Artisanal Collection" /></a></p> <p>Maison Margiela<br /> Collection Artisanal, Haute Couture, Automne/Hiver 2014-2015<br /> Ensemble, bodysuit in Louis XV-era lampas, silk brocade with a 'river of flowers' pattern, sillk chiffon skirt embroidered with antique silver, brass and nickel coins, lace mask<br /> <br /> Maison Margiela's Haute Couture collections, also known as the Artisanal Collections, bring new life to textiles, objects and garments through the use of traditional craftsmanship. This bodysuit is made from a pre-existing silk lampas, a precious fabric with an embossed pattern from the 18th century. <br /> With its mix of ribbons, bouquets and rivers of flowers, the pattern is a direct echo of upholstery textiles and the motifs depicted on many 18th-century decorative art pieces.*<br /> <br /> <br /> In Salle 617 - De Louis XIV à Louis XVI <br /> <br /> <br /> For the exhibition<br /> <br /> Louvre Couture - Art and Fashion: Statement Pieces<br /> (January – August 2025)<br /> <br /> Although we have known since the days of Paul Cézanne that ‘the Louvre is the book from which we learn to read’, this inexhaustible wellspring of inspiration has also nourished one of contemporary art’s liveliest domains: the world of fashion. More and more, research and monographs dedicated to the greats of fashion have boldly begun to trace aesthetic family trees, establishing these figures in a historical and artistic context. The pattern is not merely one of disruptions, with various degrees of radical innovation, or of seasonal changes, but also one of echoes and evocations. The threads weaving their way between the work of great fashion figures and the world of art are almost endless, and the history of art as expressed by the Musée du Louvre, in the depth of its collections and in the ways it reflects the tastes of days gone by, is an equally vast terrain of influences and sources.<br /> In consideration of the Louvre’s encyclopaedic immensity, this exhibition follows a methodological approach geared towards exploring the history of decorative styles, art professions and ornamentation through the galleries of the Department of Decorative Arts, where textiles are omnipresent – though generally in tapestries and other décor items rather than in articles of clothing.<br /> Over a nearly 9,000-square-metre space, 65 designs are displayed, along with a number of accessories, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department’s greatest masterpieces, from Byzantium to the Second Empire. Each of these garments and accessories is on special loan from the most iconic fashion houses, both long-standing and recent, in Paris and throughout the world.<br /> The pieces will not be displayed aimlessly throughout the Department of Decorative Arts, but rather will serve as an occasion to highlight existing parallels: the department owes part of its collection to the generosity of great fashion figures, from Jacques Doucet to Madame Carven. These countless connections embrace common methodological ground in the fields of art history and fashion: knowledge of ancestral techniques, visual culture and the subtle interplay of references, from the catalogue raisonné of the museum to the moodboard of the fashion world. ‘Louvre Couture’ offers a new perspective on decorative arts through the prism of contemporary fashion design.*<br /> <br /> Taken in Musée du Louvre <br /> <br /> The Louvre began as a fortress with thick defensive walls, built in 1190 during the reign of Philippe Auguste. It became a royal residence in 1364 and was modified over the centuries according to changing styles and royal preferences. The Grande Galerie was built between 1595 and 1610, during the reign of Henri IV.<br /> In 1791, during the French Revolution, it was decreed that the Louvre should become a museum of the arts. The Muséum Central des Arts was inaugurated in 1793, and thereafter the palace was increasingly given over to the museum collections and their display to the public. From 1981 to 1989, the Pyramid project focused on putting visitors at the heart of the museum and its collections. The Department of Islamic Art was inaugurated in 2012. The opening of the new rooms of the Department of Byzantine and Eastern Christian Art is scheduled for 2028.<br /> [*Musée du Louvre]</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55621856733/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55621856733_11ae75aabe_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55620709792/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55620709792_9d7b44f4ef_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55621923654/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55621923654_50851a2d58_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55621708931/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55621708931_8b1818f7a3_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55621923674/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55621923674_32e3f80197_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55620709027/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55620709027_c0fae88792_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55621708786/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55621708786_abe1e45346_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55621708186/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55621708186_cd93c192cd_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55621708961/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55621708961_4002963369_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p> <p><a href="https://www.flickr.com/people/oecdtax/">OECDtax</a> posted a photo:</p> <p><a href="https://www.flickr.com/photos/oecdtax/55621855238/" title="18e réunion du Cadre inclusif sur le BEPS"><img src="https://live.staticflickr.com/65535/55621855238_cb0da49de7_m.jpg" width="240" height="160" alt="18e réunion du Cadre inclusif sur le BEPS" /></a></p> <p>26 October 2026 : 18e réunion du Cadre inclusif sur le BEPS<br /> <br /> OECD Headquarters, Paris</p>

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Mark Hazleton has been active in Information Services delivery for over 20 years. Reach Mark at [email protected]

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