Adriaen Brouwer (Oudenaarde, 1605 - Antwerp, 1638)

"Fight of birds" Chinese interior scene, 19th century Oil on canvas, mounted on panel.

A pair of watercolors of Vicenzo Caprile (Naples 1856-1936) A couple of young Neapolitans peasants dressed in typical costumes Signed by Vicenzo ...

Louis XIV on horseback. Engraved by Gerard Edelink after Charles Lebrun, circa 1680. Engraving on two sheets pasted together and glued on canvas. With frame and glass of the time.

Victoire Cathalan Bosca I 2024 Oil on canvas 200 x 130 cm

This late 19th-century Belgian oil painting captures a dusky scene at the Antwerp port, encapsulating the industrial vigor of the era. Mounted in a simple wooden frame, the canvas co...

Jan Frans van Bloemen called Orizzonte (Antwerp 1662-Rome 1749). A Late 17th early 18th century Italian landscape with figures of the Roman Campagna. ...

This powerful hunting scene is closely associated to the work of Antwerp-born seventeenth century painter and draughtsman Frans Snyders, widely considered the “progenitor of Flemish Baroque still-life and animal painting.” Having grown up surrounded by artists, Snyders was initially apprenticed to Pieter Brueghel the Younger (1564-1637/38), scion of a well-established family of painters. Like many of his contemporaries in Northern Europe, to complete his education he then travelled to Italy, staying mainly in Rome and Milan (1608-09). Once back in Flanders, his profile as a skilled young painter – who had refined his craft by studying the masters of Italian art – came to the attention of Sir Peter Paul Rubens (1577-1640), in whose Antwerp studio Snyders entered as an assistant in about 1610, and with whom he would go on to collaborate on a number of important commissions for years to come. In 1611, Snyders further strengthened his ties with the local community of painters by marrying Margaretha de Vos, sister to Cornelis and Paul de Vos, two artists with whom he would also regularly collaborate. Thanks to the lessons learned in Italy and in Rubens’ studio, Snyders soon achieved the ability to create rhythmic and dynamic compositions, infused with vibrant colours and powerful naturalistic effects. Centred on the theme of the still life, his market scenes and representations of richly stocked pantries and larders embodied the buoyant and confident spirit of seventeenth-century Antwerp, a trading port with a wealthy merchant class and aristocracy (Still Life with Dead Game, Fruits, and Vegetables in a Market, 1614, The Art Institute of Chicago; Still-Life with Fowl and Game, 1614, Wallraf-Richartz Museum, Cologne). Flowers from all seasons and dead game are portrayed alongside baskets overflowing with fruit, precious gilt vessels and Chinese Wanli porcelain...

500 Years of Collecting in Antwerp, A Story of Passions. Rare copy. From the Personal Library of Herbert Kasper. 1st Ed hardcover with dust jacket. The book was Published by: Davidsfonds, Leuven, 2013. Accompanied by a personal note to Herbert Kasper from Thomas Leysen. Leysen was the Chairman of KBC Group between 2011-2020 and wrote the foreword to this book. The KBC, is a banking and insurance group with activities mainly in Belgium, Central Europe and Ireland. Herbert Kasper was an American fashion designer known as "Kasper." He studied English and advertising at New York University and fashion at The Parsons School of Design in New York from 1951–53 and l'Ecole de la Chambre Syndicale de la Couture Parisienne in 1953. He left NYU to serve in the US Army in Europe. After WW II he enrolled at Parsons, where he became a protégé of milliner Fred Frederics. After graduating, he returned to Paris for two years developing his skills in design while working for Jacques Fath, Christian Dior, and Marcel Rochas. When he returned to the US, he worked for Frederics at Mr. John. He was an avid art collector with a famous art collection, and in 2011, the Morgan Library and Museum devoted an exhibition, called “Mannerism and Modernism: The Kasper Collection of Drawings...