Dein Suchergebnis zum Thema: Brüssel

This superb early work by Claesz, in pristine condition, was long considered to date from 1623 until the question was revisited in 1982 at the request of Martina Brunner-Bulst, whose monograph of 2004 and the Claesz exhibition of 2004–5 now make clear that in style and subject matter the painting is typical of the late 1620s
) 1640 A Woodland Road with Travelers Jan Brueghel the Elder (Netherlandish, Brussels

Inscription: (on each corner and center): A [image of a knot] E [reversed] (unidentified)(on dog collar; twice): AE(on dog collar bearing arms; twice): AMarking: Arms (on dog collar on right): Quarterly, 1 and 4, barry of six or and azure, the first two bars debruised by three roses gules, seeded proper; 2 and 3, or, three escutcheons gules
Tapestries, as the group of seven is known, were probably designed in Paris but woven in Brussels

The Artist: Joachim Patinir was born in the southern Lowlands, either in Dinant or Bouvignes (southeastern Belgium). Although the date of his birth is unknown, it was probably around 1480 or 1485
nder, Early Netherlandish Painting, vol. 9, 1931; vol. 9, part 2, 1973, Leiden and Brussels

The son of a London barber and wigmaker, Turner dominated English landscape and marine painting in the first half of the nineteenth century. He studied in the Royal Academy schools from 1789 and first showed a painting at the Royal Academy exhibition in 1796; he was elected an academician in 1802 and continued to exhibit until 1850
Paris, 1857, p. 425 [reprinted as "Trésors d’art en Angleterre," Brussels, 1860,

There is no record of this picture prior to its purchase between 1882 and 1884 by William Graham (1817–1885), a Glasgow merchant, major supporter of the Pre-Raphaelites, and notable collector of early Italian paintings
Brussels, 2006, pp. 222, 227 n. 45, sees the tenderness of this painting as stemming

This box is composed of the top, front, and back of an ivory box made in Paris the first half of the fourteenth century. The left and right sides are modern replacements. It was originally composed of six panels of ivory, including a now-missing bottom
Brussels: P. Weissenbruch, 1888. no. 1180, p. 222.

The Artist: For a biography of Petrus Christus, see the Heilbrunn Timeline of Art History.The Painting: This mesmerizing image of Christ derives from the Gospels of Mark (15: 17–18) and John (19: 1–5) wherein Jesus was beaten, crowned with thorns, and dressed in a purple robe, subsequently to be presented by Pilate to the jeering crowd of Jews with the words „Ecce Homo“ (Behold the man)
Brussels, 2006, p. 207 n. 11. Edith Gabrielli.

This altarpiece depicts Saint Roch (ca. 1348–1376/79), known as a plague saint for his miracles in curing the sick. He became a popular figure in art following the Black Death in the fourteenth century and the Italian plague outbreak of 1477–79
Paris, 1857, p. 50 [reprinted as "Trésors d’art en Angleterre," Brussels, 1860,

On the back of this rectangular ivory panel, a raised rim surrounds a smooth, recessed compartment, displaying the vertical orientation of the ivory grain. The recessed field provided an area for the panel to receive a thin sheet of wax that could be used as an erasable writing surface
posthumous sale, Hôtel Drouot, Paris (June 2-4, 1880, no. 31); Charles Léon Cardon, Brussels

Alfred Robaut, Paris (until 1899; sold on February 21 for Fr 6,000 to Durand-Ruel); [Durand-Ruel, Paris, 1899; stock no. 5026, as „Italienne“; sold on December 8, 1899 or January 25, 1900 to Durand-Ruel, New York]; [Durand-Ruel, New York, 1899/1900–1903; stock no
Brussels, 1958, pp. 138, 145, calls it "L’Italienne".