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WILLEM VAN NIEULANDT II Antwerp, Belgium (1584) / Amsterdam, Netherlands (1635) "Landscape with characters" Etching on paper After a work by Paul Bril (1554-1626). Signed on plate. Paper with deterioration Measurements: Imprint: 23.5 x 31.5 cm; paper: 27.5 x 36cm

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WILLEM VAN NIEULANDT II Antwerp, Belgium (1584) / Amsterdam, Netherlands (1635) "Landscape with characters" Etching on paper After a work by Paul Bril (1554-1626). Signed on plate. Paper with deterioration Measurements: Imprint: 23.5 x 31.5 cm; paper: 27.5 x 36cm

Stima 112 - 150 EUR
Base d'asta 75 EUR

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Willem Key (1515-1568) attributed to "Saint Magdalene" Oil on panel on two oak panels, 74x57cm good condition Willem Key (Breda, 1516-Antwerp, 1568)1 was a Flemish Renaissance painter specialized in portraits. Biography Following in the footsteps of his brother Wouters, also a painter, he moved to Antwerp, where in 1529 he was appointed apprentice to Pieter Coecke. According to Carel van Mander, he later studied with Lambert Lombard in Liège, where he would have had Frans Floris as a classmate. In 1542 – shortly after Lombardo's return to Italy – he appears registered as an independent master in the guild of Saint Luke of Antwerp, of which in 1552 he was appointed dean. Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to the portraits and historical paintings of him, painted with a scholarly hand according to the verses of Lamposonio to his portrait. Valued mainly as a portraitist, among those who sat for him were Cardinal Granvela and the Duke of Alba, whose portrait, preserved in the Liria Palace, is possibly the last one he painted and closest to another portrait of the same subject painted by Titian. Van Mander also praised him for his religious paintings, some of them destroyed in the iconoclastic attacks of the beeldenstorm or iconoclastic fury. In a work like The Last Supper from the Dordrecht Museum, the Italian influences, perceptible, for example, in the architectural backgrounds, and the Flemish details coexist satisfactorily with the portrait skills of the painter, who portrays himself as a beggar in the Lower right corner. This ability to incorporate the novelties that came from Italy without having traveled there and combine them with the Flemish tradition may explain why Lamposonio or Van Mander considered him an erudite painter. His disciple and distant relative was Adriaen Thomasz. Key, whose works are sometimes confused. Biography Following in the footsteps of his ...