which point to his activities as a portraitist in Naples. To date no painted portraits have been attributed to the artist other than the half-length portrait of the Archpriest Raffaele Riccobene in the altarpiece of the ‘'Immaculata with Angels and Saints'’ for the main altar of the Cathedral of Caltanissetta. Riccobene had funded the decoration of the Cathedral. The Duke of Peschiolanciano clearly had a close relationship with the artist. He likely invited Borremans to design the plates included in the Duke’s book on equestrianism called Pietra Paragone de cavalieri published in Naples in 1711. This book contains many plates relating to equestrianism that were cut by the prominent Napolitan engraver Francesco De Grado after Borremans' designs. The book also includes portraits, 14 of which are equestrian portraits and 14 are bust portraits. It is possibly that the reference in the Duke’s poem to portraits by Borremans relates to these designs for his Pietra Paragone de cavalieri. Borremans moved to Sicily where he was recorded in Palermo in 1714 when he was commissioned to paint a fresco on the ceiling of the church of Our Lady of the Vault. In Sicily he received multiple commissions to decorate the local churches and the palazzi of prominent personalities. He also painted many canvases. He must have operated a large workshop. He worked in various locations in Sicily outside Palermo including Nicosia, Catania, Enna, Caltanissetta, Buccheri, Caccamo and Alcamo. One of his largest projects were the decorations of the Chiesa di San Ranieri e dei Santi Quaranta Martiri Pisani in Palermo, a commission he commenced in 1725. In this church he used a profusion of gold and stucco to create one of the richest and most lavish Baroque decorations in Sicily. This is the only work he signed with a signature which refers to his homeland: "Guglielmus Borremans Antuerpiensis Pinxit" ('Painted by Willem Borremans of Antwerp'). In Palermo, he painted in 1733-34 some rooms of the archbishop's palace, which have been partially preserved. He worked on a number of secular projects. He was involved in the decoration of some aristocratic buildings, culminating in the frescos on the ceiling of the main gallery of the Palazzo dei Principi di Cattolica in Palermo. In 1733 he was called as an expert to settle a dispute between the two Sicilian painters, Venerando Costanza and Pietro Paolo Vasta, who were competing for the decoration of the interior