Category: building


Jan Siberechts – A View of Longleat (1675)

Longleat is an English stately home and the seat of the Marquesses of Bath. It is a leading and early example of the Elizabethan prodigy house. It is adjacent to the village of Horningsham and near the towns of Warminster and Westbury in Wiltshire and Frome in Somerset. It is noted for its Elizabethan country house, maze, landscaped parkland and safari park. The house is set in 1,000 acres (400 ha) of parkland landscaped by Capability Brown, with 4,000 acres (1,600 ha) of let farmland and 4,000 acres (1,600 ha) of woodland, which includes a Center Parcs holiday village. It was the first stately home to open to the public, and the Longleat estate includes the first safari park outside Africa.

The house was built by Sir John Thynne and was designed mainly by Robert Smythson, after Longleat Priory was destroyed by fire in 1567. It took 12 years to complete and is widely regarded as one of the finest examples of Elizabethan architecture in Britain. Longleat is occupied by Alexander Thynn, 7th Marquess of Bath, a direct descendant of the builder; however, the peer passed the management of the business to his son Viscount Weymouth early in 2010.

Jan Siberechts (1627–1703) was a Flemish landscape painter who after a successful career in Antwerp, emigrated in the latter part of his life to England. In his early works, he developed a personal style of landscape painting, with an emphasis on the Flemish countryside and country life. His later landscapes painted in England retained their Flemish character by representing a universal theme. Siberechts also painted hunting scenes for his English patrons. The topographical views he created in England stand at the beginning of the English landscape tradition.


Hans Vandekerckhove (Belgian, b. 1957), Shardgard 2, 2018. Oil on canvas, 45 x 60 cm.

Hans Vandekerckhove (Kortrijk, 12 October 1957) is a Flemish visual artist living in Ghent.


Hendrik Frans de Cort – Charlton House from the West – 1790-1810

Charlton House is a Jacobean building in Charlton, today part of south-east London, but until 1889 in the county of Kent. Originally a residence for a nobleman associated with the Stuart royal family, it later served as a wartime hospital, then a museum and library, and is now a community centre.

Hendrik de Cort or Hendrik Frans de Cort (1742 in Antwerp – 28 June 1810 in London) was a Flemish landscape painter and draughtsman. His international career brought him to Antwerp, Paris, England and Wales. 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. When Archduke Maximilian Francis of Austria travelled through the Austrian Netherlands in 1774 he appointed de Cort as his personal painter, possibly at the urging of Prince Charles Alexander of Lorraine, the then governor of the Austrian Netherlands.

He moved to Paris after 1776. He was received (reçu) into the Académie royale de peinture et de sculpture in 1779. He became the ‘ordinary’ 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 ‘Art Society’). Other founders included Balthasar Paul Ommeganck, Pieter Faes, Miss Herry, Jan Josef Horemans the Younger, Ferdinand Verhoeven, Hendrik Aarnout Myin, Frans Balthazar Solvyns, Mattheus Ignatius van Bree, Maria Jacoba Ommeganck, Marten Waefelaerts and many others. 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. He thus stood in a long tradition of Flemish painters who made topographical paintings of the estates of the British nobility, which includes artists such as Jan Siberechts, Peter Tillemans and Pieter Andreas Rijsbrack. Many of his works were exhibited at the Royal Academy and the British Institution between 1790 and 1806.

He died in London.

Peeter Gijsels – Elegant company making music with a lady and a gentleman dancing around a maypole

Peeter Gijsels or Pieter Gijsels (1621, Antwerp – 1690, Antwerp), was a Flemish Baroque painter. He is known for his landscapes, architectural compositions and still lifes. His landscapes in the style of Jan Brueghel the Elder were very sought after in his time. He is also regarded as a genre painter as he painted village scenes of village markets and kermises.


A farm in Giethoorn – Dirk Filarski

Giethoorn is a town in the province of Overijssel, Netherlands with a population of 2,620. It is located in the municipality of Steenwijkerland, about 5 km southwest of Steenwijk. Giethoorn is often referred to as “Little Venice” or the “Venice of the Netherlands”.

Giethoorn used to be a pedestrian precinct, but nowadays exceptions are made. It became locally famous, especially after 1958, when the Dutch film maker Bert Haanstra made his famous comedy Fanfare there. In the old part of the village, there were no roads (though a cycling path was eventually added), and all transport was done by water over one of the many canals. The lakes in Giethoorn were formed by peat unearthing.

Tourism has had a relatively small influence on the old traditional town. The village, still only fully accessible by boat, is one of several places commonly known as the Venice of the North or Venice of the Netherlands. Giethoorn has over 150 bridges.

Giethoorn is a very popular attraction among Chinese tourists. The village of only 2620 inhabitants sees between 150,000 and 200,000 Chinese tourists every year.

Dirk Herman Willem Filarski (Amsterdam, 15 October 1885 – Zeist, 28 February 1964) was a Dutch painter belonging to the Bergen School.


Toon Kelder (Dutch, 1894-1973), Building site, Scheveningen. Oil on canvas, 90 x 110 cm.

Anthonius Bernardus (Toon) Kelder (Rotterdam, 24 November 1894 – The Hague, 7 April 1973) was a Dutch painter, draftsman and sculptor.

Kelder is counted among the New Hague School.

The New Hague School is a movement in the visual arts of the fifties and sixties of the 20th century. She opposes the Cobra movement and seeks inspiration in 17th-century art and the experiences of the Barbizon School and the resulting Hague School.

Immediately after the Second World War, the Hague artists with their own innovation in painting came alongside those of the experimental Cobra movement. In 1949, the Posthoorng group first came into being, named after bodega / art room De Posthoorn. This group was dissolved in 1962. In 1951, the Verve group, which focused on the Hague interpretation of the innovations in the École de Paris, came into being with modern figurative art. The group ceased to exist in 1957. As an almost logical continuation of Verve, the group Fugare was founded in 1960 with the emphasis on non-figurative art. This group existed until 1967.

In 1947 an exhibition was organized at The Gemeentemuseum Den Haag for artists from The Hague under the title Haagse Kunstenaars. This exhibition was repeated eight times, until 1959 and it can be seen that the majority of the participants belonged to the Verve and Fugare groups or to the Post Horn group. One can rightly speak of the New Hague School. The term was first used by Jos de Gruyter, then Chief Curator of Modern Art at the Gemeentemuseum Den Haag.

Participants Fugare: Hubert Bekman, Theo Bitter, Harry Disberg, Jan van Heel, Willem Hussem, Nol Kroes, Joop Kropff, George Lampe, Christiaan de Moor, Theo van der Nahmer, Jaap Nanninga, Wim Sinemus, Gerard Verdijk, Frans de Wit and Aart van den IJssel.

Contemporaries: Until the New Hague School, the contemporaries not affiliated with Verve, Fugare and Posthoorngroep can also be counted as:
Kees Andréa, Livinus of the Bundt, Paul Citroen, Harm Kamerlingh Onnes, Toon Kelder, Piet Ouborg, Willem Rozendaal, Albert Termote, Jules Vermeire and Toon Wegner.

Furthermore, the contemporaries who have exhibited in Kunstzaal De Posthoorn, such as: Johan van den Berg, Karel Bleijenberg, Thaddeus van Eijsden, Jan Goeting, Hens de Jong, Jan Kuiper, Thijs Overmans, Harry Verburg and Karel Wiggers.

Josephus Augustus Knip – The garden facade of the Batavian embassy in Paris during the ambassadorship of Rutger Jan Schimmelpenninck – 1801/2

Rutger Jan Schimmelpenninck (31 October 1761 – 15 February 1825), Lord of Nyenhuis, Peckedam and Gellicum, was a Dutch jurist, ambassador and politician who served as Grand Pensionary of the Batavian Republic from 1805 to 1806.

Joseph August Knip (Josephus Augustus Knip) (baptized 3 August 1777 in Tilburg – buried 1 October 1847 in Berlicum) was a Dutch painter.

Colin Campbell Cooper – New York Public Library

Link to High resolution:

Richard Estes – Bus with Reflection of the Flat Iron Building – 1967


Joris Hoefnagel c. 1568, Watercolor of Nonsuch Palace 

Nonsuch Palace  was a Tudor royal palace, built by Henry VIII in Surrey, England; it stood from 1538 to 1682–3. Its site lies in Nonsuch Park on the boundaries of the borough of Epsom and Ewell in Surrey and the London Borough of Sutton.

Nonsuch Palace in Surrey was perhaps the grandest of Henry VIII’s building projects. It was built on the site of Cuddington, near Ewell, the church and village having been destroyed and compensation paid to create a suitable site. Work started on 22 April 1538, the first day of Henry’s thirtieth regnal year, and six months after the birth of his son, later Edward VI. Within two months the name ‘Nonsuch’ appears in the building accounts, its name a boast that there was no such palace elsewhere equal to it in magnificence. Construction had been substantially carried out by 1541, but it took several more years to complete. As the Royal Household took possession of vast tracts of surrounding acreage, several major roads were re-routed or by-passed to circumvent what became Nonsuch Great Park.

The palace was incomplete when Henry VIII died in 1547. In 1556 Queen Mary I sold it to Henry FitzAlan, 19th Earl of Arundel, who completed it. It returned to royal hands in the 1590s. Following Parliament’s victory in the English Civil War, the Nonsuch estate was confiscated and given to General Thomas Pride, who held it until his death in 1658. The palace was handed back to the Crown after the Restoration in 1660 and remained royal property until 1670, when Charles II gave it to his mistress, Barbara, Countess of Castlemaine. She had it pulled down around 1682–3 and sold off the building materials to pay gambling debts. Some elements were incorporated into other buildings; for example the wood panelling can still be seen today in the Great Hall at Loseley Park. No trace of the palace remains on its site today but some pieces are held by the British Museum. There is a discernible rise of land where the old Cuddington church used to be, before it was demolished to make way for the palace.

Joris Hoefnagel or Georg Hoefnagel (1542, in Antwerp – 24 July 1601, in Vienna) was a Flemish painter, printmaker, miniaturist, draftsman and merchant. He is noted for his illustrations of natural history subjects, topographical views, illuminations and mythological works. He was one of the last manuscript illuminators and made a major contribution to the development of topographical drawing.