La Gabrielle Fine Arts SA

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La Gabrielle Fine Arts SA

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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 Renaissance. 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.

10/10/2026

The Spanish Forger
The Ascent to Calvary, Paris, c. 1900-1920
Tempera, ink and gold leaf on 15th-century parchment, 190 x 130 mm (framed: 31.4 x 25 x 1.6 cm)

While his works were believed to be authentic 15th-c. Spanish paintings or illuminations, the Spanish Forger - a name derived from the nationality wrongly assigned to him - was unmasked in 1930 by Belle da Costa Greene, director of the Pierpont Morgan Library in New York. Having successfully deceived numerous experts and collectors until that date, the Spanish Forger is now recognized as one of the most talented and prolific forgers in history. Today, his works are studied, collected, and appreciated for what they truly are: fakes. The Spanish Forger’s art illustrates in a unique and remarkable way the history of the art of deception, the history of the art market, and the history of the taste for the Middle Ages.

The present illumination depicts the Ascent to Calvary within a large initial 'A', crowned with scrollwork and floral ornaments. Before an architecture intended to represent Jerusalem, from where Christ departs to begin his journey to the cross, Christ is placed at the center, supporting the cross on his right shoulder. He receives the sudarium, upon which the Holy Face has appeared, handed to him by Saint Veronica. Full of dynamism and movement, the illumination is enriched by the numerous figures: to the right, four holy figures, including the Virgin in blue and Saint John behind her; to the left, soldiers and executioners, one of whom, in the foreground dressed in red, pulls Christ by a rope. A soldier on horseback heads toward Golgotha, indicated by the small hill in the background.

07/10/2026

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.

Documented in Ferrara between 1576 and 1593, the year of his death, Gaspare Venturini was a painter of the Ferrarese mannerist school who remains enigmatic and about whom little is known. His short period of activity and the small number of works attributed to him make the study of the artist complex, hence the importance of the present panel. The style of Gaspare Venturini is characterized by a taste for nocturnal scenes illuminated by a single light source, ingenious compositions incorporating figures in elegant poses, a balanced handling of colors with a particular preference for orange tones, as well as a distinctive and recognizable treatment of draperies with sharp, metallic folds.

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

05/10/2026

Extracted from a Book of Hours produced in Bourges c. 1495–1500, this charming miniature is painted by the recently discovered Master of the Rochereau Hours. This anonymous artist takes his nickname to the Book of Hours preserved in Tours, which, in the 16th century, belonged to Denis Rochereau. Rooted in the artistic tradition of Bourges at the turn of the century, the Master of the Rochereau Hours was particularly influenced by Jean and François Colombe, the Master of Spencer 6, and above all by Jean de Montluçon.

This full-page illumination depicts Saint Matthew the Evangelist, identifiable by his symbol, the angel, as he writes his Gospel. Framed by a wooden architectural structure with lateral pilasters and surmounted by an arch flanked by two sculpted putti, the scene takes place in a paneled room enclosed by stone walls. One of these walls, adorned with three small columns, opens onto a landscape in the background. On the right, the Evangelist, clad in a flowing bright blue drapery, is seated on a bench before a desk covered with a pale-yellow cloth, on which a manuscript is placed. With his right hand, Saint Matthew raises his quill and carefully looks at it, ready to sharpen it with the penknife he holds in his left hand. On the opposite side of the desk stands the angel, dressed in a long white-and-blue robe. He clasps his hands and attentively watches the saint at work.

Master of the Rocherau Hours
Saint Matthew the Evangelist, Bourges, c. 1495-1500
One illuminated leaf from a Book of Hours, tempera, ink and gold on parchment, 188 x 127 mm (framed: 31.6 x 24 x 1.7 cm)

04/10/2026

"MEDIEVAL & RENAISSANCE: fragments of an enchanting past" | installation views.

Our current exhibition brings together exceptional works and forms a mosaic of memory, inviting us to bridge the distance between past and present and to rediscover the enduring fascination, refinement, and enchantment of Medieval and Renaissance art.

The exhibition is open until October 31, 2026, by appointment. Feel free to contact us and to visit our exhibition!

01/10/2026

Our current exhibition "MEDIEVAL & RENAISSANCE: fragments of an enchanting past" is open until October 31, 2026, by appointment. If you are in Geneva, feel free to contact us - we are looking forward to welcoming and to showing you the works featured in this exhibition!

On view:
French Sculptor
Bust of a young man (Philip III the Bold?), Paris, c. 1304 (?)
Carved limestone, H. 49 cm, W. 45.5 cm, D. 24 cm

29/09/2026

Can you read what is written here? Part of our current exhibition is this Italian Book of Hours, particularly rare as it is signed and dated. In an elegant red Italian rotunda, the scribe left the following words: "Deo gracias Amen. Officium beate Marie Virginis et Septem Psalmis Penitentialibus et Officium Defunctorum, Sancti Spiritis et Sancte Crucis cm pluribus orationibus. Acuratissime scriptum per fratrem Johannem Francigenis ordinis minorum. Anno domini M.cccc L###xiiij Die V Martij" [Thanks be to God, Amen. The Office of the Blessed Virgin Mary and the Seven Penitential Psalms, and the Office of the Dead, of the Holy Spirit, and of the Holy Cross, with many prayers. Most accurately written by Brother John of France of the Order of Friars Minor. In the year of our Lord 1494, on the 5th day of March].

Johannes Francigena
Very rare Book of Hours (use of Rome, Franciscan use), signed and dated by the scribe, Italy (Rome?), March 5, 1494
Illuminated manuscript on parchment, in Latin and Italian; 142 ff. (complete), 176 x 122 mm; 8 illuminations (3 historiated initials; 4 decorated initials; one 19th-century frontispiece). 19th century Italian binding à la dentelle, 184 x 135 x 35 mm

23/09/2026

This remarkable illuminated leaf is a significant rediscovery for the history of manuscript illumination in Toulouse during the late 15th century and for the study of two fascinating artists: Liénard de Lachieze, painter of the Capitouls of Toulouse, and the Master à la devise “tout ce change”. Long unknown, this illuminated leaf originates from a Book of Hours known through a short list of single leaves.

Framed by inventive and colorful illuminated borders - painted by the Master à la devise “Tout ce change” - this leaf depicts the scene of the Crucifixion - painted by Liénard de Lachieze. At the center of the foreground, the crucified Christ dominates the scene; his muscular body takes exactly the same shape as the cross itself, while his head gently inclines to his right, toward the Virgin Mary, who, dressed in a blue gown and a pale pink mantle, prays while gazing sorrowfully at her son. To the right, Saint John, wrapped in a large pink-lilac drapery and holding a book in his left hand, raises his right hand and looks thoughtfully toward Christ. In the middle ground, a hill of brown earth, dotted with small green bushes, serves as a background for the figures of the Virgin and Saint John, who stand out in contrast to the pink tones of their garments, while the distant blue landscape of the background highlights Christ’s upper body. In the lower portion of the leaf, the opening words of the Hours of the Cross begin with a large gilded initial “D,” standing out against a blue background and adorned with a large flower at its center.

Liénard de Lachieze
The Crucifixion, Toulouse, c. 1490
One illuminated leaf from a Book of Hours, tempera, ink and gold on parchment, 180 x 130 mm (framed: 28.3 x 23 x 1.9 cm)

18/09/2026

More installation views of our current exhibition, "MEDIEVAL & RENAISSANCE: fragments of an enchanting past"!

Current exhibition
Open until october 31, by appointment
Contact us to book a private tour of the exhibition!

17/09/2026

Our exhibition "MEDIEVAL & RENAISSANCE: fragments of an enchanting past" is now open! Contact us to book a tour of the exhibition - we look forward to welcoming you!

Our current exhibition invites visitors to explore two of the most fascinating and influential periods in European history. Although often presented as distinct or even opposing eras, the Middle Ages and the Renaissance are profoundly interconnected, sharing artistic traditions, intellectual ambitions, and visual languages that continued to evolve across centuries. This exhibition brings together remarkable works that have survived the passage of time, offering precious glimpses into a world shaped by faith, power, beauty, and human creativity. Every surviving object serves as a witness to the past: some pieces are literal fragments, others survive intact, yet they too can be understood as fragments in a broader sense - fragments of a world that can never be fully recovered but which continues to speak through the objects it has left behind. Together, these artworks form a mosaic of memory, inviting us to bridge the distance between past and present and to rediscover the enduring fascination, refinement, and enchantment of Medieval and Renaissance art.

25/08/2026

Save the date! Our new exhibition "MEDIEVAL & RENAISSANCE: fragments of an enchanting past" opens next month. Designed as an itinerant exhibition, this exhibition will also present a curated selection of manuscripts and miniatures at the Château de Prangins, Swiss National Museum, for members of the International Association of Bibliophily (IAB) — stay tuned for further information!

Upcoming exhibition
September 17-October 31, 2026, by appointment
Private opening, talks, and other events, by personal invitation

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