Van Aelst Collection

A Rose, an Iris, Lilac and other Flowers in an Auricular Silver Vase with a Snail
1766793 A Rose, an Iris, Lilac and other Flowers in an Auricular Silver Vase with a Snail and a Butterfly on a Draped Ledge (oil on canvas) by Aelst, Willem van (1626-83) (attr)

The Temptation, (oil on panel)
827894 The Temptation, (oil on panel) by Coecke van Aelst, Pieter (1502-50); 112.5x87.5 cm; Private Collection; (add.info.: The Temptation. Attributed Pieter Coecke van Aelst (1502-1550)

The Madonna and Child, (oil on panel)
659351 The Madonna and Child, (oil on panel) by Coecke van Aelst, Pieter (1502-50) (school of); 48.2x33 cm; Private Collection; (add.info.: The Madonna and Child. School of Pieter Coecke van Aelst)

Ces Moeurs et fachons de faire de Turcz (Customs and Fashions of the Turks), 16th century

The Last Supper, 1585. Creator: Hendrik Goltzius
The Last Supper, 1585

Le triomphe d Anvers faict en la susception du Prince Philips, Prince d Espaign[e], 1550

Den eersten (-vijfsten) boeck van architecturen, 1546, 1549, 1553

Reigles generales de l architecture, sur les cincq manieres d edifices, 1545

Coeck, (1502-1550), 1830. Creator: Unknown
Coeck, (1502-1550), 1830. Pieter Coecke van Aelst (1502-1550) Flemish painter, sculptor, architect, author and designer of woodcuts. Court painter to Charles V, Holy Roman Emperor

Honours. Prudence, central detail of the tapestry # 2 representing the cart of Prudence manufactured by the Seven Liberal Arts, under the watchful eye of the auxiliary Virtues of Prudence

Jesus on the Mount of Olives, 16th century. Artist: Pieter Coecke van Aelst
Jesus on the Mount of Olives, 16th century. From the Hermitage Museum, St Petersburg, Russia

The Agony in the Garden, detail, 1527-1530. Artist: Pieter Coecke van Aelst
The Agony in the Garden, detail, 1527-1530. In the garden of Gethsemane Christ kneels and raises his eyes towards the chalice standing on the outcrop of rock, which symbolises the chalice of fate

The Agony in the Garden, 1527-1530. Artist: Pieter Coecke van Aelst
The Agony in the Garden, 1527-1530. In the garden of Gethsemane Christ kneels and raises his eyes towards the chalice standing on the outcrop of rock, which symbolises the chalice of fate

Florence. Adam and Eve after the Fall, Brussels Tapestry, 1548, (20th century) Artists: Pieter Coecke van Aelst
Florence. Adam and Eve after the Fall, Brussels Tapestry, 1548, (20th century). In the gallery of the Accademia, Florence. Design attributed to Pieter Coecke van Aelst, ca

Still Life with Dead Birds and Game Bag; Willem van Aelst, Dutch, about 1626 - after 1687; 1674; Oil on canvas; Unframed: 45.1 x 36.8 cm (17 3/4 x 14 1/2 in.)

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Pieter Coecke van Aelst, a renowned Flemish painter and architect of the 16th century, left an indelible mark on the art world with his exquisite works. From delicate floral still lifes to religious masterpieces, his talent knew no bounds. In "A Rose, an Iris, Lilac and other Flowers in an Auricular Silver Vase with a Snail, " van Aelst captures the beauty of nature in all its glory. The vibrant colors and intricate details bring these flowers to life, while the snail adds a touch of whimsy. "The Temptation" is another captivating piece by van Aelst. With meticulous brushwork and expert use of light and shadow, he depicts the eternal struggle between good and evil. This oil on panel painting leaves viewers pondering their own inner battles. Religious themes were also close to van Aelst's heart as seen in "The Madonna and Child. " Through skillful composition and tender expressions, he portrays the divine bond between mother and child. The soft hues create a serene atmosphere that invites contemplation. Van Aelst's talents extended beyond painting; he was also an accomplished architect. His book "Ces Moeurs et fachons de faire de Turcz" sheds light on Turkish customs from the 16th century. It serves as both a historical document and a testament to his curiosity about different cultures. "The Last Supper, " created by Hendrik Goltzius but inspired by van Aelst's design, showcases his influence even after his passing. The attention to detail in this engraving reflects Van Aelst's commitment to precision. In "Le triomphe d'Anvers faict en la susception du Prince Philips, " we witness van Aelst's celebration of Antwerp through elaborate architectural designs for festive events during Philip II's reign as Prince of Spain (1550). His ability to blend art and architecture is truly remarkable.