FINE ARTS PARIS – 5th Edition





Andrea Locatelli (1695-1741)
Hagar and Ishmael saved by an angler who show them a source
Oil on canvas, 122 x 175 cm, in its original frame
Former collection of Louis-François de Bourbon, prince of Conti (1717-1776)
Drawn by Gabriel de Saint-Aubin on the catalog of the sale of his paintings in 1777.


For its 5th édition, FINE ARTS PARIS is hosting some 60 galleries at the Carrousel du Louvre from 6 to 11November 2021. Although intimate in dimensions, the young fair is nevertheless ambitious, bringing together the best dealers in the fields of painting, drawing and sculpture but also opening to new specialties like tribial arts, jewellery, Asian art and rare books. Alongside its habitual exhibitors – Steinitz, Xavier Eeckhout, La Présidence and Marianne Rosenbergthis year’s edition of FINE ARTS PARIS is hosting new dealers like De Jonckheere, Christian Deydier, Librairie Clavreuil, Royal Provenance, Tanakaya, Patrick & Ondine Mestdagh, Robilant + Voena, Laocoon-Apolloni, as well as the jewellers Véronique Bamps and Walid Akkad.






The Months – Rare decoration, Manufacture Joseph Dufour, 1808 – Drawing by Evariste Fragonard – Plank printed in stitched papers – 100 x 56 cm – Mounted on canvas and stretcher in excellent condition, never installed. Provenance: Collection Francoise and Jacques Subes – (son of Raymond Subes) Château des Evêques, Saint Pandelon, France – CAROLLE THIBAUT-POMERANTZ




Jacques Garcia has added his sober and elegant touch to the fair’s scenography by transforming the entrance under the famous glass Pyramid. From the start, visitors will find themselves in a strangely oneiric world. The famous decorator and interior designer has taken inspiration from the 14th century (Charles V) defence system discovered when the Carrousel was being built. The result is a Contemporary theatrical atmosphere involving 14 mineral and vegetable ‘elements’



Jean-Léon Gérome (1824 -1904)
Dollar, portrait of a horse
Oil on canvas – 38 x 46.5 cm
Signed “JL Gérome” lower left
Inscription in capitals, upper right, “DOLLAR”



One of FINE ARTS PARIS’s strong points is its strong links between collectors, dealers and institutions. Apart from attracting numerous museum curators, FINE ARTS PARIS organises the Semaine des Beaux-Arts (Fine Arts Week), an external itinerary offering private visits to around twenty partner museums including the Victor Hugo House, the Condé Museum, The Army Museum (Musée de l’Armée), the Artists Foundation, the Château de Fontainebleau, Paris’s School of Fine Arts (Beaux-Arts de Paris) and the Emile Hermès Collection.


FINE ARTS PARIS  also is  hosting two scientific symposiums at the Petit Palais: one devoted to Watteau and his entourage, marking the 300th anniversary of the death of this central figure in 18th century French art. The other discuss the research conducted by Geneviève Bresc-Bautier into 16thand 17thcenturysculpture, in collaboration with Sophie Jugie, Director of the Louvre Sculpture Depart.



Hilaire-Germain-Edgar Degas – (1834-1917)
Étude de portrait équestre
36 x 22 cm – Graphite sur papier
Cachet Nepveu Degas
Provenance : Edgar Degas, par descendance à Jean Nepveu-Degas. Vente Nepveu Degas, 6 mai 1976, lot 20. Collection particulière, Paris.



After its successful launch in 2020 (20,000 visits and 2,500 connections for the opening), FINE ARTS PARIS ONLINE will be facilitating a higher level of online interactivity between dealers and clients unable to travel.



Highlights  2021



Simone di Filippo, known as SIMONE DEI CROCIFISSI
Triptych – 1355-1360
Tempera and gold on panel – 29.5 x 39.5 cm (when open)


Old Master paintings are one of the best-represented segments at FINE ARTS PARIS. The Jonckheere gallery is offering a spectacular painting by Frans Francken the Younger, its first ever market appearance, and for their first presence at FINE ARTS PARIS, the Florence de Voldère gallery is offering a fine collection of Flemish paintings from the 16th to the 18th century.


Making its market debut via the De Jonckheere gallery, The Triumph of Neptune and Amphitrite is one of Frans Francken II’s favorite subjects and he painted several versions of it during his career. In the 19th century, this particular painting version was part of one of the most prestigious Neapolitan collections, the De Sangro collection. Two similar versions are now kept in the Palatine Gallery in Florence and in the Konstmuseum in Göteborg. Painted for the first time by Francken II in 1607 (a version now kept in Manchester), this subject contributed to the establishment of his status as a talented painter. The representations of Neptune and Amphitrite were particularly appreciated by the people of Antwerp, flattering their fame in maritime trade.



Frans Francken The Younger (1581 – 1642)
The Triumph of Neptune and Amphitrite
Panel: 53.6 x 75.2 cm
Signed lower right: f · franck · iN F fe


Intended for private devotion, this triptych (Above) presented by the G. Sarti gallery is a precious testimony to the training of Simone di Filippo, a major figure in Bolognese painting of the second half of the 14thcentury. In a relaxed tone, characteristic of his style, we find a successful synthesis between the rigor inspired by the polyptych produced by Giotto in Bologna* (architecture of the aedicula on the side panels, posture of the characters) and the visionary visual language of his master Vitale da Bologna (nonchalant pose of the Child with one leg hanging, typically Gothic elegance of the fall of the Virgin’s mantle).



Adrian van Stalbemt (Anvers 1580 – 1662)
Paradise with Orpheus charming the animals
Circa 1625/28. Oil on panel 38 x 48 cm


Recognized during his lifetime as a great artist, Stablemt is very close to Jan Brueghel the Elder with whom he collaborated, the works of the two artists being still often confused. Brueghel de Velours’ first Paradise, which inspired this one presented by the Florence de Voldère gallery, was painted for Cardinal Borromeo and dates from 1594. This painting is at the origin of many humanist subjects such as the Four Elements, the Five senses or the bird concerts… where such ‘paradises’ are treated in a naturalistic spirit.



Nicolas Bertin (1668 -1736)
“Apotheosis of France / or Apotheosis of the city of Lyon”
Oil on canvas – 194 x 126 cm
Signed and dated lower left ‘N. Bertin 1720 ‘
Provenance: Italy, private collection
F. BAULME Fine Arts


Nicolas Bertin was part of that pivotal generation of painters from the Trianon, between Louis XIV and Louis XV, who promoted easel painting and small paintings, thus attracting a new generation of clients and patrons. Bertin also produced large formats, often official commissions, as evidenced by the large canvas presented by the F. Baulme Fine Arts gallery.

Considerable in size and by the mere fact that it is signed and dated 1720, it is an important and characteristic work of Bertin’s later works. Presented in the catalog raisonné of Thierry Lefrançois (Nicolas Bertin, Arthena, 1981) as an Allegory of the Apotheosis of France, the presence of two river figures can be understood as the allegory of the two rivers of Lyon, the Rhône and the Saône, allowing an alternative interpretation of the painting: the apotheosis of the city of Lyon.



Jacques de Lajoüe (1686-1761) – Four Elements of the Décor in the Duc de Picquigny’s Curiosity Cabinet, Rue du Bac, then at his town house, the Hôtel de Vendôme Botany – Eloquence (photos) The Sea – Painting – 4 oils on canvas in curving shapes Slightly varying formats, about 48 x 62 cm – GALERIE DIDIER AARON


The Didier Aaron gallery is presenting four decorative elements created by Jacques de Lajoüe – one of France’s most prominent artists during the decade 1730-1740 – for the ‘curiosity cabinet’ of Duke of Picquigny. A high-ranking soldier, friend of Madame de Pompadour, but also an astronomer and physicist, Picquigny initially created his ‘cabinet’ – an extraordinary collection of rare and curious objects – in the rue du Bac, but subsequently moved it to the Hôtel de Vendôme. The four decorative elements by Jacques de Lajoüe presented at FINE ARTS PARIS illustrate Painting, Botany, The Sea and Eloquence and were created to hang over four sections of the Duke’s library. Their iconography reflects the Duke’s principal areas of interest and are emblematic of the Rocaille tastes of that era. Until the rediscovery of these four canvases, only two of the thirteen decorative elements produced by Lajoüe were known to have survived, and belonged to Karl Lagerfeld, a major enthusiast of Lajoüe’s work.




Raimondo Trentanove (1792- 1832)
Antonio Canova, 1817
Marble 60.5 x 23.5 x 29 cm


Old and Modern sculpture has always been very well represented at FINE ARTS PARIS. This year, two major dealers are joining the fair for the first time, Laocoon-Apolloni and Robilant + Voena, with the latter creating, for the occasion, an exhibition of Italian art bringing together mainly 19th century paintings and sculpture. The Malaquais gallery is hosting an exhibition dedicated to Aristide Maillol ahead of the major retrospective at the Musée d’Orsay in 2022. Xavier Eeckhout will notably be showing works by Roger Godchaux, whose Catalog Raisonné he has just completed.



Aristide Maillol (1861-1944)
Femme au crabe, 1904 or before
Bronze Sand cast by Florentin Godard
Monogrammed twice
16 x 14 x 13 cm
Photo©: Galerie Malaquais / photo Frédéric Fontenoy


For Fine Arts Paris, the Malaquais gallery is presenting an exceptional set of fifteen sculptures by Aristide Maillol, which the artist created in his early days, notably for the exhibition at Ambroise Vollard’s gallery in 1902. These works convey all of Maillol’s artistic approach and epitomise everything that the major collectors and museums appreciated from the start of his career. The presentation is the result of 15 years of research by the gallery into the work of an exceptional trio, the sculptor Aristide Maillol, the dealer Ambroise Vollard and the bronze founder, Florentin Godard.

The presentation coincides with the publication of Maillol (RE)découvert (Maillol re-discovered) produced with the assistance of art historians Ursel Berger and Elisabeth Lebon.



Roger Godchaux (1878-1958)
Lion Cub Seated – 1930
30 x 37 x20 cm – Lost wax bronze – Susses Frères
Signed Roger Godchaux on the plinth


Xavier Eeckhout has just published his first catalog raisonné on Roger Godchaux whose work he has been promoting for 20 years. A great admirer of Barye, Godchaux was quite marginal in his time, not being part of the group of Twelve around the sculptor François Pompon. Since then, Godchaux’s work has become much more popular and its value potential is substantial.



Henri Laurens (1885-1954)
La chevelure (1946)
Bronze with light golden brown patina
Height 34.8 cm, Length 20.7 cm, Depth 20.6 cm
Old proof signed “HL”, numbered 1/6, cast and stamped “Claude Valsuani lost wax Paris”


This sculpture of a woman with generous shapes was made in the artist’s last years of production. From a very limited edition, this copy exhibited by Univers du Bronze has a very beautiful light golden brown patina which enhances the soft shapes of the model. The Museum of Modern Art in Paris holds a large number of sculptures by this artist, including a copy of this work.



Charles Samuel (1862-1938)
Couple of dancers
Plaster – 31 x 29 x 9 cm
Signature on the base: Ch. Samuel


The Belgian artist Charles Samuel, presented by Lancz Gallery, designed fountains, funeral monuments, and obtained numerous public commissions. He also carved portraits of his friends, not only making statues in marble and bronze, but also working in stone, ivory, gold, enamel, onyx and wood. From this statue, Charles Samuel made replica.



School of Mantua
Renaissance 1500-1520
Bronze – H. 35 cm


Presented by the Sismann gallery, this piece is a work by a master in the School of Mantua who very likely frequented the court of Isabelle d’Este, a great patron of Renaissance art and of Leonardo da Vinci. The artist was adept at appropriating the classicism of Antiquity and translating it into a more modern visual language. A single second version is listed by the Victoria and Albert Museum.



Antonio d’Este (1754-1837)
Bust of Cardinal Fesch
Marble height 73.7 cm
Exhibition: “Lyon from the Revolution to the present day” in “Exhibition of the Bimillennium. Old Lyon, aspects of Lyon in 16th century, Lyon of the Revolution to the present day, town planning in Lyon”, Lyon, Published by De Audin, 1958, no. 46.


This bust of Cardinal Fesch, Napoleon’s uncle and a great art collector, was made by Antonio d’Este, a close friend and director of Canova’s workshop in Rome. Este was specialized in the realization of portraits – he also made one of Canova himself – whom he replaced, with considerable talent, when the master was not available.




Pair of very large yellow gold and silver ear clips, one set with a pear-cut tourmaline, the other with a pear-cut garnet, diamond prongs, and a recessed mount set with calibrated amethysts.
Signed JAR Paris, Collection Mme Lily Safra


One of the most “glamorous” surprises of the 2021 edition of FINE ARTS PARIS is the presence of three purveyors of fine jewelry. All three have different profiles but they all share a passion for jewelry as works of art. Véronique Bamps, presents some of the rarest antique jewelry on the market. Walid Akkad creates extraordinary collector’s jewelry with stones that only he knows how to select and Frédérique Mattei creates “sculptures to wear” from old pieces.



Ring “Volutes” in red gold,
and brown diamands
Limited edition


Walid Akkad creates jewelry and handles all of its stages, from the drawing and modeling to the sculpting. In fact, he treats his jewelry like works of sculpture, He likes atypical colors and has an infallible eye for selecting stones. Each of his jewelry creations has a symbolic or artistic sense and each one is a true collector’s item.



19th century Bohemian crystal, Himalayan rock crystal,
Rare zoomorphic pearls from Colombia called tumbaga

To create her sumptuous and sculptural jewelry, Frédérique Mattei  mixes eras, civilizations and materials: bronze, brass, cardboard, paper, Indian ink, batik … and for her rock crystal  Jewelry, precious stones, silver, gold, gilt silver, bronzepearls from different centuries, from archeological digs, some ancient, some contemporary… from India, the East, Africa, the Andes, Venice, Central Asia. Her compositions link and construct universes, creating a new harmony.




Kitagawa Utamaro (1753 – 1806)
Kinuta no Tamagawa (The Kinuta Crystal River ).
Oban tate format print (36.6 x 25 cm).
Date: Kansei 7-8 (1795-96)


Non-Western arts are also making their debut at FINE ARTS PARIS via the Christian Deydier, Tanakaya and Patrick & Ondine Mestdagh galleries. Christian Deydier will be presenting, notably, an exceptional bronze from the 16th century BC, considered by all specialists as one of the five most famous pieces outside China.



The Belgian gallery Patrick & Ondine Mestdagh will be presenting a very aesthetic cabinet d’amateurs, mixing pieces from four continents. The pendant shown here (heiin Maori) represents a human being (tiki) in a resting position. Worn around the neck, these were often made from nephrite (pounamuin Maori) or whalebone, with a vegetable fiber cord and a whalebone clasp.




Joseph Dufour (1754 -1827), Monuments of Paris,1815-1830, Part of the panoramic wallpaper, Plank printed in stitched papers,


Carolle Thibaut-Pomerantz, the world’s leading specialist in antique wallpapers, divides her time between the USA and France. She is participating in FINE ARTS PARIS for the first time, alongside Royal Provenance and the Rome-based gallery Dei Coronari. Antoine Béchet, the major specialist in old picture frames is also present at the fair.



Rare assiette impériale en porcelaine de Sèvres du service particulier de l’Empereur Napoléon 1er


The Emperor’s personal dinner service is certainly one of the most famous in the history of porcelain. Apart from the dessert plates painted with polychrome views called “Quartiers généraux” which are the most famous, it included 24 soup plates for the starter and 24 dessert plates called “à monter”, including the one presented by Royal Provenance. Manufactured in 1812, it comes from a re-stock but does not seem to have received a red stamp from the Imperial Manufacture of Sèvres, perhaps because it was never delivered.




René Buthaud (1886-1986)
‘Pomone’ 1937
H. 168,5 cm x L. 210,5 cm
Wall panel fixed under eglomised glass – (composed of 6 panels)
Signed lower left « R. Buthaud »


A ‘complete’ artist and teacher at Paris’s School of Fine Arts (to several future major signatures like Bonnard and Redon), Jean-Léon Gérôme enjoyed great success during his lifetime. Shown here is Gérôme’s portrait of the famous thoroughbred “Dollar”, offered by the De Bayser Gallery. The inscription of the horse’s name at the top right of the canvas suggests that the work was painted by the artist in situ in 1868, and not in his workshop. The work has a particular irony since the artist’s popularity in France was, at that time, in decline because of his hostility towards the Impressionists!



Henri Gervex (1852-1929)
The mirror – 1880s
Oil on canvas 65 x 54 cm
Signed lower right: H. Gervex


With Manet – who Henri Gervex met in 1876 Gervex shared a taste for subjects linked to the world of demi-mondaines. The most famous paintings in that vein: Nana in the case of Manet (1877) and Rolla in the case of Gervex (1878), caused considerable scandal. The first was refused at the Salon and the second was withdrawn the following year for indecency. Despite these setbacks, the subject fascinated and it became a recurring source of inspiration throughout the 1880s. In this painting presented by the Charvet gallery, the model in her night robe, with one bare shoulder, earrings and tied hair, looks at herself in a mirror as if checking her powers of seduction.



Alfred Dehodencq (1822-1882)
Moroccan riders on a bridge, circa 1853
Original oil on canvas. 32.5 x 41.5 cm
On the back, red wax stamp from Atelier Dehodencq


This painting by Alfred Dehodencq, presented by the Edouard Ambroselli gallery, constitutes an in-depth study of light and color. Dehodencq discovered Morocco in June 1853 and was fascinated by the country, like Delacroix a few years earlier in 1832. A quick, concise and steady brush depicts Moroccan horsemen dressed in shimmering colors crossing a bridge in a quasi- photographic frame. The work is an ‘alive’ painting of a scene very likely experienced by the artist.



André Devambez
Boulevard Bonne Nouvelle, le jour de l’Armistice – 1918
Oil on paper mounted on cardboard, 12.5 x 16.7 cm
Signed upper left and dedicated “A Albert Clémenceau/ Souvenir du 11 novembre /Affectueusement/ André Devambez (To Albert Clémenceau / Souvenir of November 11 / Affectionately / André Devambez)”


This charming and historic oil by André Devambez, presented by the Fabienne Fiacre Gallery, is dedicated to Albert Clémenceau (brother of French politician, Georges). A famous lawyer, Albert was one of the defense lawyers in the Dreyfus case. The work is currently on loan for the upcoming exhibition at the Musée des Beaux-Arts de Rennes and the Petit Palais in 2022.



Carl Moser (1873-1939)
Jeune Breton (Young Breton)
195 x 255 mm – Woodcut printed in color
Signed dated 1929 numbered 146


Carl Moser is famous in Germany but few are aware that he frequented many famous artists in Pont Aven including Paul Gauguin. Moser produced a number of wood engravings, including this one dating from 1929 presented by the Paul Prouté gallery, participating in FINE ARTS PARIS for the first time.



Francisco Goya y Lucientes
Los Caprichios – circa 1799
Small in-folio (300 x 202 mm) suite of 80 engravings (etching, drypoint, and aquatint). Sheepskin manuscript, gilt frame wheel, richly decorated flat spine, red morocco leather title piece (Spanish binding of that era).


For its first contribution to FINE ART PARIS, the Librairie Clavreuil is offering the original edition of Francisco de Goya’s masterpiece: a complete wet of his 80 engravings (etchings, drypoints and aquatints) with all the prints in their final state.








06 – 11 November 2021



Vase pot-pourri en porcelaine de Chine, monture aux dragons en bronze ciselé et doré d’époque Louis XV – vers 1745-1750
Hauteur: 22,5 cm – Largeur : 26,5 cm -Profondeur : 13,5 cm


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