Antique Dutch Arts and Crafts or Art Nouveau era Flemish Belgian or Dutch Ceriticate Diploma for Horticulture, Gardening or Landscape Architecture. "Eenhuis Versierd met Bloemen Kan vastopOrdeRoemen." Arts and Crafts decorative design border of laurel leaf swags; top center illustration of neat Dutch houses and parterre gardens; center purple flowers and city shield (Antwerp?). Blank area at bottom for filling in prize information. Circa early 1900s Color Lithograph. Printer’s name lower left: “Druck. Gebr. Van Nylen”. Measures: 15” X 10 ½”. Good condition. Great interior design piece. Very frameable. Historical Horticulture Gardening Paper Ephemera.

I believe this recipe comes from Everybody Eats Well in Belgium -- It makes for an interesting loaf!

A jumble of buildings in the historic heart of Antwerp has become a sophisticated home to a couple with a passion for art.

"Nel at work" , watercolor. Click to enlarge. "Noortman gave pride of place at the front of his stand to an early 20th-c...

Power Towers with Birds, originally uploaded by vodstrup. OMG! Amazing! Click-the-pic to see more or go to vodstrup. Quoted from flickr: This is a macro shot of an image I made using CNC technology. Hand-stained paper is cut with a laser and then mounted between layers of glass.

Brügge/Bruges Belgium f 8 2.5 secs exp ISO 250

Abraham Bloemaert drew on traditional depictions of the Virgin and Child for this allegorical image of Charity: a woman surrounded by children, one an infant for whom she has bared her breast.

If you don't go to BRAFA, it will come to you! The Brussels art fair is taking place in galleries, online and on video in response to the health crisis.

César de Cock (1823 - 1904) A stroll in the forest, 1876

This canvas dates from the 1660s, when Steen lived in Haarlem. During that decade, the artist painted this subject and works with closely related themes in a steady stream of variations. Some of them bear inscriptions, which provide, in striking contrast to most Dutch genre paintings of the period, titles that were given in the artist's lifetime, often by the painter himself. Steen placed the unnecessary notice Bedurfve huishow (Disorderly Household) on a picture with a different composition (Wellington Museum, London) but the same subject as here. Steen's canvas may be said to concisely catalogue many of Holland's favourite faults. The sins of Sloth (embodied by the old woman at left), Lust, and Gluttony (the latter concerns any comestible, including tobacco), are at home with seemingly lesser offenses, such as sacrilege (the trampled Bible), gambling (the backgammon board), personal vanity and, of course, poor parenting skills - one of Steen's standard subjects. These diverse violations lead to the supreme sin in Holland of a disorderly household, a form of discord (indicated here by the snapped lute strings) that in Dutch genre paintings is confirmed by litter on the floor and cats having carte blanche in the larder. [Metropolitan Museum of Art, New York - Oil on canvas, 108 x 90.2 cm]

Emile Claus 1849-1924 België

Ars longa, vita brevis

Ami Salant , Tel Aviv, https://twitter.com/amisalant Content curation expert

Fredrik Marinus Kruseman was born to a family, which included a number of artists amongst their relatives, including Jan Adam Kruseman, Director of the Academy of Art in Amsterdam. This latter artist’s tutor had been Jan Reekers (1790-1858) and it was to him also that Fredrik was apprenticed. He subsequently studied under Nicolaas Roosenboom (1805-1880), the former pupil and son-in-law of Andreas Schelfhout (1787-1870) and in 1837 received instruction in Kleve from Barend Cornelis Koekkoek (1803-1862). Thus, by the age of twenty-one Kruseman could number two pillars of Dutch Romanticism amongst his teachers. In 1838 he was back in Haarlem and exhibiting in The Hague and Brussels, where his works were favourably reviewed. 1841 saw Kruseman move to Brussels. At that period, following the separation of Belgium from The Netherlands, the art market in Brussels was thriving in a country undergoing an economic revolution. Kruseman exhibited in neither the Salons nor the Living Masters Exhibitions between 1841 and 1857 from which can be inferred a relationship with an art dealer or a group of collectors; it was a prolific period for the artist. The years 1852-1856 saw Kruseman back in Haarlem before returning to Brussels for good. Here in 1851 he met Eugene Verboeckhoven (1799-1881), the great animal painter, and with whom he collaborated frequently over the following thirty years. In many ways an enigma, little is known of his life, he exhibited few works, yet Kruseman was clearly a successful and popular artist of the Romantic school. His works can be found in museums in: Maidstone; Amsterdam; Haarlem, Frans Hals Museum; The Hague; Hamburg; Kleve and Leipzig.