De Jonckheere

Stand:   342

Old master paintings

7, rue de L'Hôtel de Ville
1204 Geneva
Switzerland
T  +41 22 310 80 80
geneve@dejonckheere-gallery.com
www.dejonckheere-gallery.com
27 avenue Princesse Grace
Monaco
France
T  + 377 92 16 71 17
www.dejonckheere-gallery.com

Gallery Information

  • Georges & François De Jonckheere Directors

De Jonckheere was founded in Brussels in 1976, specialising in the study and sale of Flemish paintings from the 16th to the 17th centuries. In 1984, De Jonckheere decided to establish a gallery in Paris, 100, rue du Faubourg-Saint-Honoré. Appreciated by the most demanding collectors and museums worldwide, the paintings are presented at the main antique and fine art fairs such as the Biennale des Antiquaires in Paris, Masterpiece in London and TEFAF in Maastricht and New York. The De Jonckheere Gallery has opened in April 2011 a brand new space in the heart of the historical part of Geneva and recently in Monaco.

Artists Exhibited at the fair:

  • HENDRICK AVERCAMP

    HENDRICK AVERCAMP

    Biography : In 1586, Barent Avercamp became a pharmacist in the city of Kampen where he settled with his family and his son Hendrick, who had been mute since birth and who, after his father’s death in 1602, continued to live there with his mother. Hendrick, dubbed the "Mute of Kampen" , learned the profession of painting in Amsterdam from Pieter Isaacsz, where he was influenced by the exiled Flemish landscape painters such as Gillis van Coninxloo and David Vinckboons. Avercamp’s early winter landscapes (from before 1608) are very Flemish in technique and composition: a very high horizon, many figures and a composition set up something like theatrical scenery. Between 1610 and 1620, however, the horizon in his paintings drops lower and lower, the scenery-like elements are thinned out and the figures become more grouped within the composition. Around 1615, the theme of "Winter landscape with skaters" was gradually transformed into a depiction of the "Joys of winter", with the accent clearly on the figures. After 1620, he absorbed the influence of Esaias van den Velde and Jan van Goyen, and his compositions became more enclosed, with the figures melting somewhat into the landscape. Exhibition : In 1586, Barent Avercamp became a pharmacist in the city of Kampen where he settled with his family and his son Hendrick, who had been mute since birth and who, after his father’s death in 1602, continued to live there with his mother. Hendrick, dubbed the "Mute of Kampen" , learned the profession of painting in Amsterdam from Pieter Isaacsz, where he was influenced by the exiled Flemish landscape painters such as Gillis van Coninxloo and David Vinckboons. Avercamp’s early winter landscapes (from before 1608) are very Flemish in technique and composition: a very high horizon, many figures and a composition set up something like theatrical scenery. Between 1610 and 1620, however, the horizon in his paintings drops lower and lower, the scenery-like elements are thinned out and the figures become more grouped within the composition. Around 1615, the theme of "Winter landscape with skaters" was gradually transformed into a depiction of the "Joys of winter", with the accent clearly on the figures. After 1620, he absorbed the influence of Esaias van den Velde and Jan van Goyen, and his compositions became more enclosed, with the figures melting somewhat into the landscape. Detailed Description : Winter landscape with skaters Round panel: 18.4 cm Provenance Private collection. The back of the frame shows a wax stamp with an unidentified coat of arms. Literature C.J. Welcker, Hendrick Avercamp, 1585-1634; Barent Avercamp, 1612-1679, Schilderg tot Campen, Davaco Publishers, the Netherlands, 1979. When temperatures drop below freezing in Holland, everyone, young and old, heads for the ice. Hendrick Avercamp is the most vivid and witty narrator of such joys of winter in the 17th century. On this small circular panel, a whole town skates side by side on a frozen river, from the dignified burghers to the poor folk. They are seen pushing sleighs, and playing Pall-mall, and making the best possible use of these impromptu play fields. The composition of this panel resembles theatrical scenery with the low farmhouses and boats stuck in the ice, placed to the right and left, the slanting masts of which lead the eye into the distance. It is a highly similar arrangement to the equally theatre-like presentation of two other small, round panels of identical dimensions, both known by the title "Winterlandschaft" in the collection of the Kunsthalle in Hamburg. Avercamp sets this scene of country life on a vast expanse of ice in the flat Dutch landscape, bringing it to life with the picturesque crowd. His palette, with its subdued range of cool, silvery greys, is practically monochromatic, but beautifully captures the gentle harmony in which the viewer’s gaze moves from plane to frosty plane out to the distant horizon line, lingering on ever tinier groups of brightly clad figures which stand out against the delicate greys of the background. Apparently unfazed by all the hustle and bustle, the serene skaters are heading for the middle-ground in which the ice widens. Further still, there appear to be the buildings of a city, scarcely visible in the mist. Couples skate hand in hand. Just beyond the immediate foreground, two friends have
  • Pieter BRUEGHEL

    Pieter BRUEGHEL

    Biography : In 1570, one year after Brueghel the Elder’s death, Hieronymus Cock made a series of four engravings representing the Seasons. This was a commission made to Brueghel the Elder five years previously of four drawings that Cock would have carved. But the artist, then established in Brussels did not have the time to finish the work and only delivered the first two drawings: the drawing ‘The Spring’ held at Albertina in Vienna, signed BRVEGEL and dated 1565 ; ‘The Summer’ held at Kunsthalle in Hamburg, also bearing [B]RVEGEL (the B is missing following a gash ) and dated 1568. With the death of Brueghel the Elder, Cock asked Hans Bol to quickly send him the drawings of the Autumn and the Winter so that the series of the four plates could be finished in 1570. Exhibition : In 1570, one year after Brueghel the Elder’s death, Hieronymus Cock made a series of four engravings representing the Seasons. This was a commission made to Brueghel the Elder five years previously of four drawings that Cock would have carved. But the artist, then established in Brussels did not have the time to finish the work and only delivered the first two drawings: the drawing ‘The Spring’ held at Albertina in Vienna, signed BRVEGEL and dated 1565 ; ‘The Summer’ held at Kunsthalle in Hamburg, also bearing [B]RVEGEL (the B is missing following a gash ) and dated 1568. With the death of Brueghel the Elder, Cock asked Hans Bol to quickly send him the drawings of the Autumn and the Winter so that the series of the four plates could be finished in 1570. Artist's Objects:
  • pieter BRUEGHEL

    pieter BRUEGHEL

    Biography : The eldest son of Pieter Bruegel the Elder, Pieter Brueghel the Younger settled promptly in Antwerp where he was trained in the workshop of the landscape painter Gillis van Coninxloo. He became a Master in 1585. He was not yet five years old when his father died in 1569, so that the latter was unable to initiate him into painting. His mother, the daughter of the artist Pieter Coecke van Aalst, and also a painter herself, then died when he was barely in his adolescence, but she does appear to have played a role in his training. In 1588 he married Elisabeth Goddelet and they had seven children. He has been dubbed the Hell Brueghel because the outstanding paintings of infernos among his oeuvre.Pieter Brueghel the Younger’s work underwent two different orientations. Initially, he adopted numerous compositions by his father and developed various versions of them. He adds a personal touch through the variation that he introduces, for example, the attention he gave to the rendering of the landscape, as well as his own palette, which is more lively and purer than those of his father and grandfather. The second period began around 1615-1620. He affirms his own personality through the creation of original compositions, which met with tremendous success and were enthusiastically copied. The famous painter of still lives and animals Frans Snyders and his son Pieter Brueghel III were his students. In addition to the continuation of his father's body of work, Pieter Brueghel II holds a remarkable place in seventeenth-century painting, specifically for the extremely high quality of his craftsmanship and the purity of his palette, which would influence Flemish painting as a whole during his century. Pieter Brueghel the Younger’s career was particularly fruitful, extending over nearly a half-century and generating great success during his lifetime. The wedding celebrations that were central to the lives of common folk in the sixteenth century became a favourite theme for Exhibition : The eldest son of Pieter Bruegel the Elder, Pieter Brueghel the Younger settled promptly in Antwerp where he was trained in the workshop of the landscape painter Gillis van Coninxloo. He became a Master in 1585. He was not yet five years old when his father died in 1569, so that the latter was unable to initiate him into painting. His mother, the daughter of the artist Pieter Coecke van Aalst, and also a painter herself, then died when he was barely in his adolescence, but she does appear to have played a role in his training. In 1588 he married Elisabeth Goddelet and they had seven children.
    He has been dubbed the Hell Brueghel because the outstanding paintings of infernos among his oeuvre.Pieter Brueghel the Younger’s work underwent two different orientations. Initially, he adopted numerous compositions by his father and developed various versions of them. He adds a personal touch through the variation that he introduces, for example, the attention he gave to the rendering of the landscape, as well as his own palette, which is more lively and purer than those of his father and grandfather.
    The second period began around 1615-1620. He affirms his own personality through the creation of original compositions, which met with tremendous success and were enthusiastically copied. The famous painter of still lives and animals Frans Snyders and his son Pieter Brueghel III were his students. In addition to the continuation of his father's body of work, Pieter Brueghel II holds a remarkable place in seventeenth-century painting, specifically for the extremely high quality of his craftsmanship and the purity of his palette, which would influence Flemish painting as a whole during his century.
    Pieter Brueghel the Younger’s career was particularly fruitful, extending over nearly a half-century and generating great success during his lifetime.
    The wedding celebrations that were central to the lives of common folk in the sixteenth century became a favourite theme for
  • Jan Brueghel The Elder

    Jan Brueghel The Elder

    Artist's Objects: Other Dealers:
    Also exhibited by:
    Richard Green
    Johnny van Haeften Ltd
    Salomon Lilian
    Koetser Gallery
    Colnaghi
  • Pieter Brueghel the Younger

    Pieter Brueghel the Younger

    Other Dealers:
    Also exhibited by:
    Koetser Gallery
    Salomon Lilian
  • Jan Brueghel the Younger

    Jan Brueghel the Younger

  • Jan and Hendrick Brueghel the Younger and van Balen

    Jan and Hendrick Brueghel the Younger and van Balen

    Detailed Description : Jan Brueghel the Younger (Antwerp 1601 – 1678) and Hendrick van Balen (Antwerp 1575 – Antwerp 1632) The Madonna and Child in a Floral Garland oil on copper 16 ½ x 12 3/4 inches (41.8 x 32.4 cm.) painted 1624 – 1626 Provenance Prince Vladislaus Sigismundus Vasa, Warsaw, 1626 Private Collection, Massacusetts, 1976 until the present time Literature James A. Welu, The Collector’s Cabinet, Flemish Paintings from New England Private Collections, exhibition catalogue Worcester Art Museum, Worcester, Massachusetts, November 6, 1983 – January 29, 1984, pp. 12 – 15, no. 1, illustrated in color Other Dealers:
    Also exhibited by:
    Lawrence Steigrad Fine Arts
  • FRANS DE MOMPER

    FRANS DE MOMPER

  • Abel Grimmer

    Abel Grimmer

    Artist's Objects: Other Dealers:
    Also exhibited by:
    Galerie Florence de Voldère
    Koetser Gallery
    Richard Green
  • Abel Grimmer

    Abel Grimmer

    Artist's Objects: Other Dealers:
    Also exhibited by:
    Galerie Florence de Voldère
    Koetser Gallery
    Richard Green
  • Abel Grimmer

    Abel Grimmer

    Artist's Objects: Other Dealers:
    Also exhibited by:
    Galerie Florence de Voldère
    Koetser Gallery
    Richard Green
  • Jan van Kessel The Elder

    Jan van Kessel The Elder

    Other Dealers:
    Also exhibited by:
    Koetser Gallery
    Richard Green
  • Jan Mandijn

    Jan Mandijn

  • Herri Met de Bles

    Herri Met de Bles

  • Roelandt Savery

    Roelandt Savery

    Other Dealers:
    Also exhibited by:
    Richard Green
  • Pieter Stevens

    Pieter Stevens

    Detailed Description : The Temptation of Saint Anthony Oil on panel : 56.5 x 99.7 cm
  • Pieter Stevens

    Pieter Stevens

  • Jan van Kessel

    Jan van Kessel