1.
Landscape
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A landscape is the visible features of an area of land, its landforms and how they integrate with natural or man-made features. The character of a landscape helps define the self-image of the people who inhabit it and it is the dynamic backdrop to people’s lives. Landscape can be as varied as farmland, a landscape park, the activity of modifying the visible features of an area of land is referred to as landscaping. There are several definitions of what constitutes a landscape, depending on context, the term landscape emerged around the turn of the sixteenth century to denote a painting whose primary subject matter was natural scenery. Land may be taken in its sense of something to people belong. The suffix ‑scape is equivalent to the more common English suffix ‑ship, the roots of ‑ship are etymologically akin to Old English sceppan or scyppan, meaning to shape. The suffix ‑schaft is related to the verb schaffen, so that ‑ship, the word landscape, first recorded in 1598, was borrowed from a Dutch painters term. An example of this usage can be found as early as 1662 in the Book of Common Prayer, Could we but climb where Moses stood. Setting, In works of narrative, it includes the moment in time and geographic location in which a story takes place. Picturesque, The word literally means in the manner of a picture, fit to be made into a picture, and used as early as 1703, gilpin’s Essay on Prints defined picturesque as a term expressive of that peculiar kind of beauty, which is agreeable in a picture. A view, A sight or prospect of some landscape or extended scene, wilderness, An uncultivated, uninhabited, and inhospitable region. Cityscape, The urban equivalent of a landscape, in the visual arts a cityscape is an artistic representation, such as a painting, drawing, print or photograph, of the physical aspects of a city or urban area. Seascape, A photograph, painting, or other work of art depicts the sea. Geomorphology is the study of the origin and evolution of topographic and bathymetric features created by physical or chemical processes operating at or near Earths surface. Geomorphology is practiced within physical geography, geology, geodesy, engineering geology, archaeology and this broad base of interests contributes to many research styles and interests within the field. The surface of Earth is modified by a combination of processes that sculpt landscapes, and geologic processes that cause tectonic uplift and subsidence. Many of these factors are strongly mediated by climate, the Earth surface and its topography therefore are an intersection of climatic, hydrologic, and biologic action with geologic processes. Desert, Plain, Taiga, Tundra, Wetland, Mountain, Mountain range, Cliff, Coast, Littoral zone, Glacier, Polar regions of Earth, Shrubland, Forest, Rainforest, Woodland, Jungle, Moors
2.
Antwerp
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Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
3.
Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
4.
Guild of Saint Luke
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The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the saint of artists. One of the most famous such organizations was founded in Antwerp and it continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft, where members could sell paintings in the city or have a shop. The guild of Saint Luke not only represented painters, sculptors, and other artists, but also—especially in the seventeenth century—dealers, amateurs. In traditional guild structures, house-painters and decorators were often in the same guild, however, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made. In general, guilds also made judgments on disputes between artists and other artists or their clients, in such ways, it controlled the economic career of an artist working in a specific city, while in different cities they were wholly independent and often competitive against each other. Although it did not become an artistic center until the sixteenth century, Antwerp was one of, if not the first. It is first mentioned in 1382, and was given privileges by the city in 1442. The registers, or Liggeren, from the guild exist, cataloging when artists became masters, who the dean for each year was, what their specialities were, and the names of any students. Perhaps because of this link, for a period they had a rule that all miniatures needed a tiny mark to identify the artist, only under special privileges, such as court artist, could an artist effectively practice their craft without holding membership in the guild. Membership also allowed members to sell works at the guild-owned showroom, Antwerp, for example, opened a market stall for selling paintings in front of the cathedral in 1460, and Bruges followed in 1482. Guilds of St. Luke in the Dutch Republic began to reinvent themselves as cities there changed over to Protestant rule, many St. Luke guilds reissued charters to protect the interests of local painters from the influx of southern talent from places like Antwerp and Bruges. Many cities in the republic became more important artistic centres in the late sixteenth. Amsterdam was the first city to reissue a St. Lukes charter after the reformation in 1579, and it included painters, sculptors, engravers, for example, Gouda, Rotterdam, and Delft, all founded guilds between 1609 and 1611. On the other hand, these distinctions did not take effect at that time in Amsterdam or Haarlem, in the Haarlem Guild of St. Luke, however, a strict hierarchy was attempted in 1631 with panel painters at the top, though this hierarchy was eventually rejected
5.
George Villiers, 2nd Duke of Buckingham
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George Villiers, 2nd Duke of Buckingham, 20th Baron de Ros, KG, PC, FRS was an English statesman and poet. George was the son of George Villiers, 1st Duke of Buckingham, favourite of James I and Charles I and he was only seven months old when his father was assassinated at Portsmouth by the renegade officer John Felton. Subsequently he was brought up in the household of Charles I, together with his younger brother Francis and the Kings own children. He was educated at Trinity College, Cambridge, where he obtained the degree of Master of Arts in 1642, for a time he was taught geometry by Thomas Hobbes. During this time he was acquainted with George Aglionby, whose influence he later accredited with persuading him to follow the English King in the Civil War. In the Civil War he fought for the King, and took part in Prince Rupert of the Rhines attack on Lichfield Close in April 1643, under the care of the Earl of Northumberland, George and his brother travelled abroad and lived in Florence and Rome. When the Second English Civil War broke out they joined Royalist combatant Henry Rich, 1st Earl of Holland in Surrey, Holland scraped together a small force of 600 men and appointed Buckingham as his General of the Horse. This force was scattered after an engagement near Kingston upon Thames in which Buckinghams brother Francis was killed. Buckingham himself escaped after a stand against six Roundhead opponents, his back against an oak tree. After another doomed combat at St Neots the Duke succeeded in escaping to the Netherlands, on 19 September 1649, Charles II conferred on him the Order of the Garter and admitted him to his Privy Council on 6 April 1650. He fought alongside Charles at the Battle of Worcester on 3 September 1651 and his estrangement from the royal family was completed by his audacious courtship of the kings widowed sister Mary, Princess of Orange, and by a money dispute with Charles. Buckingham was soon suspected of organizing a Presbyterian plot against the government, an order was issued for his arrest on 9 October, despite Fairfaxs interest with Cromwell. He was placed under house arrest at York House in April 1658, escaped and he was then imprisoned in the Tower of London until 23 February 1659, being freed after promising not to assist the enemies of the government, and on Fairfaxs security of £20,000. He joined Fairfax in his march against General John Lambert in January 1660, the returning King Charles at first received Buckingham coldly, but Buckingham was soon back in favour. He was appointed a Gentleman of the Bedchamber, carried the Sovereigns Orb at the coronation on 23 April 1661, the same year, he accompanied Princess Henrietta to Paris to marry the Duke of Orleans, but made such shameless advances to her that he was recalled. On 28 April 1662 he was admitted to the Privy Council and his confiscated estates, amounting to £26,000 a year, were restored to him, and he was said to be the kings richest subject. He helped suppress the insurrection in Yorkshire in 1663, went to sea in the second Anglo-Dutch War in 1665. He was, however, debarred from high office by the influence of Edward Hyde, 1st Earl of Clarendon, Buckingham now plotted to effect the Chancellors ruin
6.
London
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London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
7.
Nicolaes Pieterszoon Berchem
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He was a member of the second generation of Dutch Italianate landscape painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced a number, were in great demand. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures in works of artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema. Born in Haarlem, he received instruction from his father Pieter Claesz, according to Houbraken, Carel de Moor told him that Berchem got his name from two words Berg hem for Save him. An expression used by his fellows in Van Goyens workshop whenever his father chased him there with the intent to beat him, today his name is assumed to come from his fathers hometown of Berchem, Antwerp. According to the RKD he traveled to Italy with Jan Baptist Weenix, works by him are signed both as CBerghem and Berchem. In 1645 he became a member of the Dutch reformed church, around 1650 he travelled to Westphalia with Jacob van Ruisdael, where a dated piece showing Burg Bentheim is recorded. Maybe Berchem went to Italy after this trip and before he moved to Amsterdam - he is not clearly documented in the Netherlands between 1650 and 1656, around 1660 he worked for the engraver Jan de Visscher designing an atlas. In 1661-1670 he is registered in Amsterdam and in 1670 he moved back to Haarlem, but was living back in Amsterdam by 1677 and he was the uncle of Govert van der Leeuw and his brother Pieter
8.
Karel Dujardin
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Karel Dujardin was a Dutch Golden Age painter. Although he did a few portraits and a few paintings of religious subjects, most of his work is small Italianate landscape scenes with animals and peasants. Dujardin spent two extended periods, at the beginning and end of his career, in Italy, and most of his paintings, Karel Dujardin was a Dutch painter and etcher, born in Amsterdam in 1622. Typical of his paintings is Farm Animals in the Shade of a Tree. He died in Venice in 1678, here he encountered his first artistic successes. According to Houbraken, while in Lyon in France, he contracted considerable debts and he went with her to Amsterdam, where his pictures were valued very highly. In 1675, he returned to Rome, on an invitation from his friend Joan Reynst and was welcomed by his old friends and admirers. Renst and Dujardin went on a Grand Tour to other Italian cities, but when Reynst went back to Amsterdam, Dujardin remained in Italy and he travelled on to Venice but died there unexpectedly in 1678. According to Reynst, he had said, why should I be in a hurry to go back, according to his friend Johannes Glauber, who he had met previously in Rome, he was painting for a Dutch merchant in Venice when he suddenly became unwell. Though he seemed to recover, his stomach was too full, though he was a member of the Dutch Reformed Church, he was laid to rest in the Catholic manner and was carried to his grave by his friends Govert van der Leeuw and Glauber. According to the RKD, his pupils were Jacob II, son of Jacob van der Does, Martinus Laeckman, Karel Dujardins paintings Work by Karel Dujardin at the Museum of New Zealand Te Papa Tongarewa Works and literature at PubHist
9.
Peter Tillemans
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Peter Tillemans was a Flemish painter, best known for his works on sporting and topographical subjects. Alongside John Wootton and James Seymour, he was one of the founders of the English school of sporting painting, from 1708 until his death he lived and worked in England. Tillemans was born in Antwerp in c,1684, the son of a diamond-cutter, and studied painting there under various masters. As he was the brother-in-law of another Flemish painter, Pieter Casteels, like other artists from the Low Countries such as Dirk Maas, Jan Wyck and Willem van de Velde the Younger, Tillemans moved to England. In Tillemanss case he moved in 1708, induced to do so by a picture-dealer called Turner, in his Sportsmen in a Landscape, Aubrey Noakes offers this description of Tillemans, If we may judge from his success Tillemans was a socially agreeable and charming man. A chronic sufferer of asthma, Tillemans retired to Richmond on account of his ill state of health and he died at the house of Dr Cox Macro in Little Haugh Hall, in Suffolk, on 5 December 1734 and was buried on 7 December at Stowlangtoft. Dr Macro had a bust of Tillemans made by John Michael Rysbrack, a portrait of the artist, engraved by T. Chambers, from a painting by Hissings, is given in Fuselis 1805 revised edition of Rev. Matthew Pilkingtons A Dictionary of Painters. He enjoyed much success imitating the style and execution of David Teniers, Tillemans worked in many different styles and rarely dated his work. By 1711 Tillemans joined Godfrey Knellers Academy of Painting and Drawing in Great Queen Street, London and his main residence was in Westminster but he travelled extensively on commission. In 1716 Tillemans repainted part of a portrait of Dr Macro by Frans van Mieris from around 1703 and that year he also painted Dr Macro in the background of The Artists Studio, a self-portrait, with a pupil and Dr Cox Macro, surrounded in the studio by paintings. In 1717, his piece of the royal family making music was shown at the Bartholomew fair. His other patrons included the Duke of Devonshire, the 4th Baron Byron, the greater part of Tillemanss oeuvre was painted from approximately 1720 onwards, and it is from the works painted over these years that he chiefly derives his fame. The development of painting on sporting themes was centred on the Newmarket Racecourse in the town of Newmarket in Suffolk. Because both Wootton and Tillemans omitted to sign many of their works, some of them are difficult to tell apart, Tillemanss Newmarket, the Long Course is in the Government Art Collection. Patteson had inherited many of Tillemanss paintings by his marriage into Dr Macros family, tilleman painted numerous portraits of racehorses for his patrons, among whom were the Dukes of Somerset, Rutland, and Bolton, and the Earl of Portmore. According to Sir Walter Gilbey in his Animal Painters of England From the Year 1650, A brief history of their lives and works, lloyds, from a set of three pictures descriptive of Newmarket Horse Races, enable us to measure Tillemans talent as a horse painter. In 1724, Tillemans worked with Joseph Goupy on scenery for the Haymarket opera house, Tillemans was also a member of the Rose and Crown Club, and in 1725 was recorded by George Vertue as steward to the Society of the Virtuosi of St Luke. Vertue noted that Tillemans was acquainted with people of Fashion & persons of Quality and was in demand as a painter of country-house and his country house paintings include Chatsworth House, Holker Hall, and Chirk Castle in Denbighshire
10.
Pieter Andreas Rijsbrack
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Pieter Andreas Rijsbrack was a Flemish painter of still lifes and landscapes who was active in England in the first half of the 18th century. He is particularly known for launching the vogue of topographical views of English country houses and he was the older brother of the sculptor John Michael Rysbrack. Pieter Andreas Rijsbrack was born in ] as the son of the Antwerp landscape painter Pieter Rijsbraeck and his father had been working in Paris since c. Pieter Andreas moved with his parents to Antwerp around 1692 and he learned to paint with his father and became a member of the Guild of St. Luke in Antwerp in 1711. Pieter Andreas moved with his brother, the sculptor John Michael Rysbrack. Pieter Andreas had more brothers who became painters. One of these, the still life painter Gerard, joined him, John Michael Rysbrack became one of the leading sculptors in England and was particularly known for his portraits. As a sculptor to the elite, he was able to build a network of relationships with people in England. This served his brothers well as they were able to use these connections to gain commissions from prominent patrons, one of Pieter Andreas’ most important commissions was the one he received from Lord Burlington to paint a series of country house portraits of Chiswick House. Pieter Andreas Rijsbrack died in London in October 1748, possibly of consumption and he is known for his landscapes and still lifes. His still lifes cover the range of animal paintings, game pieces, fish pieces. The still lifes and game pieces where in the Flemish style, an example is the Still Life of Vegetables, a Pineapple and Other Fruit with a Silver Platter on a Ledge. He also established a reputation with his landscapes and portraits of country houses. He made two series of paintings of Chiswick House and Gardens upon the commission by Lord Burlington, the purpose of the paintings was to serve as a reminder to Lord Burlington of the progress of the work on the Palladian villa and its setting, which Burlington had designed himself. Work on Chiswick House and Gardens had commenced in 1717 and was completed in 1729, the paintings were probably displayed in Lord Burlingtons various other properties such as Burlington House and at his Yorkshire country seat. Rijsbracks work was significant for its use of innovative ways of depicting the subject. He portrayed the house and gardens from different angles magnifying certain segments and he could thus better illustrate the scenographic and topographical variety of the site. He also included scenes of animals, gardeners and polite society in the landscape thus introducing French influences into English painting and adding an element of social discourse, among his followers are John Rocque and Jacques Rigaud who both also worked at Chiswick
11.
Hendrik Frans de Cort
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Hendrik de Cort or Hendrik Frans de Cort was a Flemish landscape painter and draughtsman. His international career brought him to Antwerp, Paris, England and he is mainly remembered for his topographical paintings and drawings of English castles, country houses, parks and ruins. Hendrik de Cort studied in Antwerp under Henricus Josephus Antonissen and Willem Jacob Herreyns, in 1770 he became a master in the Antwerp Guild of Saint Luke. He moved to Paris after 1776 and he was received into the Académie royale de peinture et de sculpture in 1779. He became the painter to the Prince de Condé for whom in 1781 he painted topographical views of the Château de Chantilly. De Cort returned to Antwerp in 1782, here he was one of the founders in 1788 of a society of artists known as the Genootschap ter aanmoediging der Schoone Kunsten, known under its short form as the Konstmaatschappij. The purpose of the society was the promotion and appreciation of the artworks of its various members in an informal setting, de Cort would not remain a member of the society for long as he left Flanders after the Brabant Revolution of 1789. He settled in London c.1790 and remained in England for the rest of his life, there he built up a highly successful practice as a painter of country houses, castles, cathedrals and other views. He gained many commissions from the nobility and other important patrons, many of his works were exhibited at the Royal Academy and the British Institution between 1790 and 1806. De Corts work consists solely of landscape and topographical paintings and drawings, de Cort is known for his topographical views of English and Welsh landscapes. These were painted in an Italianate idiom indebted to the style of Gaspar Dughet and he often painted on specially prepared mahogany panels. Some traces of under drawing and pentimenti are visible in this work. ’ He would adjust some of the details of his subjects for maximum effect. For instance, in his Launceston Castle, Cornwall he painted the towers and buildings as protruding from behind. To complete his many commissions de Cort travelled far and wide and made many preparatory wash drawings, a number of these are in the collections of the British Museum and the Ashmolean Museum. Media related to Hendrik Frans de Cort at Wikimedia Commons
Media related to Jan Siberechts at Wikimedia Commons
