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Lisbon by Ferdinand Van Kessel

Lisbon by Ferdinand Van Kessel


This collection by Ferdinand van Kessel (1648-1696) comes from “Four Parts of the World,” a group of 68 paintings depicting each of the four main regions, Europe, Asia, Africa, and the Americas, all done on luminous copper plates. The allegorical series consists of smaller landscape scenes from the outskirts of notable cities organized around a large central panel, creating four complete works more than five feet in length. But the main role of the outer panels is given not to the cities but to animals. The most fantastical are in Africa and America, since little was known about them, where Van Kessel’s usual observational accuracy gives way to  strange and exotic imaginings.



  • Series title: Ferdinand van Kessel’s Four Parts of the World
  • Series size: 8 artworks
  • Edition: Limited edition of 1000
  • Proof of Ownership: Certification on the Ethereum blockchain under the ERC1155 protocol. Each artwork is delivered privately and directly to collectors as non-fungible tokens (NFTs) that guarrante proof of ownership.
  • Format: Pieces consist of PNG files sized 2160x3840 pixels - 150 dpi.
  • Medium: Oil on canvas paintings, oil on copper
  • Artwork materials:  Oil, canvas
  • Contract Address: 0x495f947276749ce646f68ac8c248420045cb7b5e
  • ID: 2749212597480566...



Van Kessel learned his trade from his father, Jan van Kessel, who developed an aesthetic inspired by Jan Brueghel the Elder, his grandfather, and specialized in animal paintings. These astonishing landscapes were commissioned by the Polish king, John III Sobieski. After receiving examples of his work, Sobieski invited van Kessel to decorate a large room in Warsaw’s Wilanów Palace. Though Ferdinand never achieved the staturel of his father, he was stylistically true to the famous van Kessel-Brueghel family name and specialized in lush landscapes.



  • Historical curatorship: HARI - Historical Art Research Institute (HARI Editions)
  • Artwork: Ferdinand Van Kessel
  • Year of original publication: ca. 1689
  • Post-production: HARI - Historical Art Research Institute (HARI Editions)
  • Digital art supervisor: Marie-Lou Desmeules
  • Editorial: Braden Phillips