Flemish painting and De Jonckheere Gallery's old master paintings


Flemish painting is present in the world's greatest museums and has always aroused a special interest and passion among collectors.

Old master paintings, landscapes, portraits, vedute and Italian views: we can assess all the paintings in your collection.


Isaac Soreau

Still life with basket of grapes, bowl of brambles and bunch of flowers on a table

Still life with basket of grapes, bowl of brambles and bunch of flowers on a table
Panel - 49.2 x 65.7 cm
Still lifes, XVIIth Paintings

Provenance :

  • Private collection, Bordeaux, 1840;

  • Private collection, England, 1974 - 1984;

  • Sale Speelman, London, 1987;

  • Private collection, United States.


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Literature : BOTT G., "Stillebenmaler des 17 Jahrhunderts: Isaak Soreau, Peter Binoit", in Kunst in Hessen un dam Mitterlrhein, Darmstadt, 1962. BOTT G., Die Stille benmaler Soreau, Binoit, Codino und Marell in Hanau und Frankfurt 1600-1650, Hanau, 2001, p.177. GREINDL E., Les peintres flamands de nature morte au XVIIe siècle, Sterrebeek, 1983, pp. 69 and 383.
Exhibitions : The Inspiration of Nature, John Mitchell & Sons, London, 27 October – 13 November 1976, pp. 50 – 51.

More informations

1604 - Hanau – ca. 1638

The son of painter Daniel Soreau, Isaac was born in the little German town of Hanau. His father managed a studio where Sebastian Stosskopf (1597—1657) and Joachim von Sandart (1606 – 1688) did their apprenticeship. The Soreau family had left Tournai to join supporters of the Reformation. Alongside his brothers Pieter and John, Isaac learnt the profession by drawing inspiration from his father’s magnificent still lifes.


His paintings are characterised by his search for balance and front-facing objects, reminiscent of the style of his contemporary from Antwerp, Jacob van Hulsdonck (1582 – 1647). Gifted with a particularly developed sense of observation, Soreau transcends the objects by exalting their natural beauty. Exhibiting a rarely-equalled dexterity, his technique is exceptional, clear and of a rare sharpness. Unknown to art historians until the mid-1900s, he is now admired by connoisseurs and unquestionably ranks alongside the best Flemish still-life painters of the Golden Age.

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