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Van lathem

Painter and illuminator, Lieven became a master of the Ghent guild in He worked for the Burgundian court for several years. By he had moved to Antwerp where he remained until his death in He visited Brussels and Bruges in and in was in The Hague. In and he was again in Bruges, by which time he was painter and varlet de chambre to Maximilian I. In Lieven was paid for miniatures and other decorations in a small prayer-book for Charles the Bold. The documented illuminations are now in the Getty Museum in Los Angeles. Nothing is known of his later work and no picture by him has been securely identified. Visit us Plan your visit Floorplans Access Families. Exhibitions and events What's on now Exhibitions Events.
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One of the most successful illuminators in Flanders , Lieven van Lathem worked for powerful patrons including the dukes of Burgundy, Philip the Good , and Charles the Bold.
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A young man — the donor — kneels at the door of a late medieval building, and looks out into a walled garden where the Virgin Mary and Christ Child are seated on a flowering bench. The painting was, however, made in two stages and Philip was not originally included. It seems to have been begun for a member of the Clugny family as their coat of arms appears in the underdrawing. However, it was either abandoned by them and picked up by a later artist, or adapted to show Philip on their orders. It may have been left unfinished, perhaps as an underdrawing, and completed some years later. This small painting seems to have been made in two stages, possibly by different artists for different patrons several decades apart. A young man — the donor — kneels at the door of a late medieval building. He looks out into a walled garden with a flowering bench around the edges, a frequent feature of medieval gardens. Seated here is the Virgin Mary. She holds the Christ Child, who blesses the donor with one hand and holds a string of coral and glass beads in the other.

The VLG plant has more than three shredders, a stone crusher and all kinds of screening machines with which the company produces different types of so-called residual fraction. Together with her husband, Gorik Van Lathem, she manages the family-run company with roots going back to That was when her parents founded a transportation company and many of the then customers from the construction sector are still customers today. A basis, which by degrees, was perfectly complemented by the recycling of construction and demolition waste. Thus wood, for example, is granted a second or third life as chipboard, plywood or medium-density fibreboard and finally even a fourth life as fuel. Most of the trucks at VLG Trans are equipped with a hydraulic crane and a grabber for deliveries to road construction sites, demolition work and excavation operations. VLG uses trucks with container lifting systems to pick up and remove waste at construction sites. VLG Logistics deals mainly with the supply of material and equipment to construction sites for civil engineering projects. VLG Logistics also specialises in the transportation of abnormal loads for which an escort is unnecessary. The cranes on the VLG Logistics vehicles are there to optimise the service for customers.

A young man — the donor — kneels at the door of a late medieval building, and looks out into a walled garden where the Virgin Mary and Christ Child are seated on a flowering bench. The painting was, however, made in two stages and Philip was not originally included. It seems to have been begun for a member of the Clugny family as their coat of arms appears in the underdrawing. However, it was either abandoned by them and picked up by a later artist, or adapted to show Philip on their orders.

It may have been left unfinished, perhaps as an underdrawing, and completed some years later. This small painting seems to have been made in two stages, possibly by different artists for different patrons several decades apart. A young man — the donor — kneels at the door of a late medieval building. He looks out into a walled garden with a flowering bench around the edges, a frequent feature of medieval gardens.

Seated here is the Virgin Mary. She holds the Christ Child, who blesses the donor with one hand and holds a string of coral and glass beads in the other. Six saints peer curiously over the wall, while behind them is a rolling landscape of hills and cities where daily life continues. Heaven would originally have been shown at the top, but this part of the panel has been cut off. There were no major changes in the course of painting and the donor seems to have been painted by the same artist and at the same time as the other figures.

Could the painting have been begun in the s, when the underdrawing was done, but not painted until around ? Heraldic devices perhaps help to solve the mystery. Above the window we see the emblems of a steel, flint and sparks, which were associated with the dukes of Burgundy.

The donor wears the collar of the Order of the Golden Fleece — a prestigious order of knights founded by Philip the Good in — and so must be both a duke of Burgundy and a knight of the Order. The painting did not, however, always show Philip. Technical analysis reveals a shield with a coat of arms in the underdrawing, below his hat and evidently leaning against the wall. The painting was presumably begun for them, but either abandoned and picked up later by another patron, or changed into a portrait of Philip on their instructions.

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