La Gabrielle Fine Arts SA

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La Gabrielle Fine Arts SA

La Gabrielle Fine Arts SA stands out for its enthusiasm, curiosity, dynamism, and professionalism.

Our company offers a wide range of personalized services to each of its clients. From expertise to buying or selling, as well as collection management and the numerous questions that come with it, La Gabrielle Fine Arts SA works with passion, rigor, and discretion. The company specializes in old masters works, in particular illuminated manuscripts and miniatures from the Middle Ages to the Renaiss

ance. La Gabrielle Fine Arts SA acts as an intermediary dealer for all private transactions by acquiring or selling artworks in its name or for third parties.

23/06/2026

📸 Installation view

Spanish Painter
A portable triptych with the Crucifixion between Saint Francis and Saint Joseph, c. 1600. Oil on panel, 32.5 x 36.2 x 4.5 cm (open), 32.5 x 18.2 x 4.5 cm (closed)

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18/06/2026

📸 Installation view

Master of Foljambe
Saint Luke at his desk, c. 1465-1470
Illuminated leaf from a large Book of Hours, tempera, ink and gold on parchment, 240 x 163 mm (framed: 40.5 x 32 cm)

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16/06/2026

This remarkable illuminated leaf depicts Saint Luke, identified by his symbol, the winged bull, writing his Gospel within a study rich in books and everyday objects.

Originally part of an as yet unidentified, richly illuminated Book of Hours, this leaf appears to be the only surviving example from the manuscript. The presence of the arms of France and Dauphiné suggests a patron based in the Dauphiné region, most likely in Grenoble - an attribution reinforced by stylistic analysis.

Marked by a confident brushstroke, expressive handling of light, and a distinctive rendering of facial features, this miniature is painted by the Master of Foljambe, a still enigmatic illuminator active in the Dauphiné region during the second half of the 15th century. His work remains rare, with only a handful of manuscripts and isolated miniatures known today.

12/06/2026

🎨 Leonaert Bramer
A set of twelve scenes of the life of Christ, Delft, c. 1660-1670
All watercolor and gouache on parchment, mounted on laid papers with identified watermark, approx. 125 x 97 mm each (framed: 74 x 83.5 x 1.4 cm)

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09/06/2026

Leonaert (or Leonard) Bramer (Delft, 1596–1674) is one of the most fascinating figures of the Dutch Golden Age. Early in his career, he travelled extensively through France and Italy, notably in Rome, where his evocative nocturnal scenes earned him the nickname “Leonardo della Notte.” Upon returning to Delft in 1628, he joined the Guild of Saint Luke and formed a close relationship with Johannes Vermeer.

Executed circa 1660–1670, the present series of twelve watercolours offers a compelling insight into Bramer’s draughtsmanship. Characterised by rapid, energetic brushwork, a rich palette, and a highly expressive treatment of light and shadow, the compositions are both dynamic and theatrical.

Leonaert Bramer
A set of twelve scenes of the life of Christ, Delft, c. 1660-1670
All watercolor and gouache on parchment, mounted on laid papers with identified watermark, approx. 125 x 97 mm each (framed: 74 x 83.5 x 1.4 cm)

02/06/2026

The Master of the Orsoy Altarpiece: five medallions from a lost painting

The five present medallions depict the Five Sorrowful Mysteries and all come from a lost painting of Our Lady of the Rosary painted in Brussels c. 1500 by the Master of the Orsoy Altarpiece, perhaps for a convent of the Dominicans in Brussels. The history of the now lost painting and of its fragments is fascinating and illustrates, in an exceptional way, the art of collecting, the impact of the taste for fragments, as well as the history of the art market.

The painting was dismembered before 1928, when all the fragments were sold at auctions. From the time when the painting was dismantled, a photograph survives showing a curious arrangement of the various fragments, all framed together and mounted on velvet. This arrangement is all the more curious because it places the various fragments alsmost in the same positions as in the original painting: a rare photograph, dating from shortly before 1928 at the latest, shows the painting in its original state, and now serves as the only archival piece that shows the original work.

The comparison of the image showing the original painting with the photograph showing all the fragments together is as traumatizing (illustrating the practice of dismemberment) as it is ambitious (it offers hope that the fragments could be reunited today).

Master of the Orsoy Altarpiece, The Five Sorrowful Mysteries, from a lost painting of Our Lady of the Rosary, Brussels, c. 1500. Oil on panel, Ø 11.1 cm each (framed together: 25 x 95 x 2.5 cm)

Price upon request

01/06/2026

The Master of the Orsoy Altarpiece: five medallions from a lost painting

The name “The Master of the Orsoy Altarpiece” appears first in 1922 (more exactly, the artist was named “Maître Bruxellois du Retable d’Orsoy”). This artist takes his name from the double-winged altarpiece in Sankt Nikolauskirche (Orsoy, Germany), that Max Friedländer attributed, in 1908, to an anonymous master closely working with Colijn de Coter (who is responsible for the outer wings of the same altarpiece). Max J. Friedländer also attributed to the Master the Nativity with a donor and the Circumcision in Brussels (Musées royaux des Beaux-Arts de Belgique) and the Meeting of Saint Romuald and Saint Gummarus (altarpiece of the Life of Saint Romuald, Mechelen Cathedral). In 1924, Friedrich Winkler attributed the wings of the Praust Passion Altarpiece (Warsaw, Museum Narodowe) to the Master of the Orsoy Altarpiece.

The Master of the Orsoy Altarpiece shows great proximity with Colijn de Coter, who undoubtedly influenced him. The Master of the Orsoy Altarpiece's formulas and vocabulary demonstrate a continuity with the tradition of the Flemish masters - a continuity passed down by Colijn de Coter. The way both Colijn de Coter and the Master of the Orsoy Altarpiece render the texture effects, with heightened plastic effects, is very close. However, the Master of the Orsoy Altarpiece shows a more monumental aesthetic, with particular attention paid to a solid arrangement of the elements within the composition, and a vibrant use of the colors.

See, for example, the clever way in which the space is designed to arrange the figures within the composition (Christ in Gethsemane), the rich, opaque colors and textural effects (the Flagellation of Christ, and the Mocking and Crowning with Thorns of Christ), the heavy drapery of Christ (Christ carrying the cross), and the clear symmetrical composition (the Crucifixion).

Master of the Orsoy Altarpiece, The Five Sorrowful Mysteries, from a lost painting of Our Lady of the Rosary, Brussels, c. 1500. Oil on panel, Ø 11.1 cm each (framed together: 25 x 95 x 2.5 cm)

Price upon request

29/05/2026

📸 Installation view

🎨 Nikolaus Glockendon (follower of)
Stunning illuminated choirbook leaf with the Trinity, 1550
Illuminated leaf from a choirbook, tempera, ink and gold on parchment, 506 x 365 mm (framed: 60 x 46.8 x 2.5 cm)

📜 This beautiful initial "B" opens the chant Benedicat nos deus, which was recited on the first Sunday after Pentecost, to celebrate the Trinity, itself illustrated in the initial "B". The painting follows the iconographic tradition known as the Throne of Grace: God the Father, wearing a crown, is seated in the sky, on a throne. He supports the Cross bearing the body of Christ, while the upper part is occupied by the Holy Spirit, represented as a white dove from which rays emanate. This illuminated leaf is further adorned with large floral decorations gracefully entwined, with putti playing: in the lower margin, two naked putti play together, while in the left margin, the naked putto climbs the floral decoration, the dressed putto in the center supports a cartouche bearing the date, and the dressed putto at the top of the same border supports the initial "B". The stylistic study of this high-quality page, characterized by saturated colors, a lively, and masterful brushstroke, as well as a pronounced taste for exuberant forms, places our illuminated leaf in southern Germany. Stylistic elements of our page recall the works of the famous Nikolaus Glockendon (active in Nuremberg, d. 1534), important German illuminator active in Nuremberg during the first half of the 16th century, and his workshop.

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28/05/2026

🙌 This splendid painting depicts the Resurrection of Christ: at the heart of the composition, standing on his open tomb, Christ emerges, raising his right arm and holding in his left hand the Resurrection banner. He is set against a vivid yellow light that disperses the dark clouds to either side. In the foreground, around Christ’s tomb, Roman soldiers are dazzled by the risen Christ and startled by the rays of light bursting forth. The light is particularly intense, the soldiers’ poses are carefully rendered, and the attention given to Christ’s body - appearing both victorious and imposing - is remarkable.

🎨 Gaspare Venturini (?)
The Resurrection, c. 1590-1600
Oil on panel, 70 x 85 cm (framed: 85 x 100 x 3.5 cm)

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27/05/2026

🙏 This poignant painting depicts the Crucifixion: in a dramatic dark landscape with a city in the background, Christ, at the center, is crucified on the cross. He is accompanied by the Virgin, on the left, praying while looking downwards, and by Saint John the Baptist, on the right, pointing to Christ with his right hand. The elegant body of Christ is remarkably modeled and stands out through its whiteness, which serves as the painting’s source of light, while the pink of the Virgin’s and Saint John’s draperies enlivens the composition and brightens the scene.

🎨 Gaspare Venturini (?)
The Crucifixion, c. 1590-1600
Oil on panel, 70 x 85 cm (framed: 85 x 100 x 3.5 cm)

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