3235 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

After Sir Peter Paul RubensMadonna and Child with St Elizabeth and the Infant St JohnOil on canvas laid on panel44.5 x 33.4cm; 17½ x 13¼inThe present work derives from Rubens' original in the Museo Nacional Thyssen-Bornemisza, Madrid (no.349).

Rubens Santoro (Italian 1859-1941) Gondolas on The Grand Canal, Venice with the Dogana and Santa Maria della Salute beyondSigned Rubens Santoro (lower right)Oil on canvas42.5 x 33.7cm; 16¾ x 13¼inProvenance:MacConnal-Mason, LondonRubens Santoro was one of the most successful and widely exhibited Italian painters of his generation. His atmospheric celebrations of Venice’s architecture and waterways are his most beloved works, and his bright and vibrant palette reflects his preference to paint away from the studio.

After Sir Peter Paul RubensSelf-portrait of the artist wearing a broad brimmed hatOil on canvas41 x 31.2cm; 16¼ x 12¼inAfter the original in The Royal Collection (no.RCIN 400156).

CALCUTTA - AN INDIAN TWIN-HANDLED BUTTER COOLER WITH LID HAMILTON & CO. OF CALCUTTA, CIRCA 1820 Of tapered form, reeded borders, raised on for paw feet, the pull off cover with finial  16cm high, 23.4oz  Hamilton & Co are amongst the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is there classically George III simple silver that is most commonly encountered. The business was initially set up by Robert Hamilton who had arrived in India and set up as a Jeweller in Tank Square by 1808. He enters into partnership with Henry Glazbrook (who had arrived in 1810) and James Glazbrook (who had arrived in 1811) in 1811 creating what would become on of the most successful silversmith business in the Empire.Robert’s hands on work with the business appears short and by 1817 had ceased to have an interest in the firm. Why his connection is so short is unknown but he had returned to England as early as 1812. His connection to the country doesn’t cease however as he stands guarantor for various other Brits who would be connected with the trade in India. His business interest had made him a rich man and in 1819 he purchased the thirty room Bloomfield Hall (now demolished) in surrey, which housed his impressive art collection. His art collection, long dispersed, included such names as Rubens, Holbein and Vaelazquez.The business of Hamilton & Co would not only survive but thrive having three branches. The original branch in Calcutta (1811 – 1971) followed by those in Bombay (originally opened in 1830) and Simla (opened 1865). The partnership has many changes in partners which show the movement of makers, people and business throughout the century with there being no fewer than thirty different incarnations of partners between 1811 and 1947!They were a business with vision and not only are making the standard silver wares but also are recorded importing items from Rundell Bridge & Rundell in London, no doubt large and impressive pieces. They also are likely the main producer of flatware in India as have imported a ‘powerful English stamping press’ which allows them to produce the much more elaborate die struck flatware patterns than their competitors.Their success does not just lie in importing and replicating English silver as in 1838 they announce their invention of a ‘Toffee’ pot. Not perhaps a long-lived invention, and perhaps one over looked now, of a combination tea and coffee pot.As with William Honey Twentyman their marks for many years were confused with those of Scottish makers. In early publications they are often seen in the Inverness section as the elephant punch was mistaken for an Inverness town mark. Not as fanciful as it may seem being the camel supporter had been used as mark earlier in the century so why not the armorials other supporter, the elephant, used in the same way.   

CALCUTTA - AN INDIAN MILK JUG HAMILTON & CO., OF CALCUTTA. CIRCA 1820 Of tapered form, waisted girdle, C-scroll handle with shell detail terminals, raised on four bracket and paw feet 10.5cm high, 8oz Hamilton & Co are amongst the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is their classically George III simple silver that is most commonly encountered. The business was initially set up by Robert Hamilton who had arrived in India and set up as a Jeweller in Tank Square by 1808. He enters into partnership with Henry Glazbrook (who had arrived in 1810) and James Glazbrook (who had arrived in 1811) in 1811 creating what would become on of the most successful silversmith business in the Empire.Robert’s hands on work with the business appears short and by 1817 had ceased to have an interest in the firm. Why his connection is so short is unknown but he had returned to England as early as 1812. His connection to the country doesn’t cease however as he stands guarantor for various other Brits who would be connected with the trade in India. His business interest had made him a rich man and in 1819 he purchased the thirty-room Bloomfield Hall (now demolished) in Surrey, which housed his impressive art collection. His art collection, long dispersed, included such names as Rubens, Holbein and Vaelazquez.The business of Hamilton & Co would not only survive but thrive having three branches. The original branch in Calcutta (1811 – 1971) followed by those in Bombay (originally opened in 1830) and Simla (opened 1865). The partnership has many changes in partners which show the movement of makers, people and business throughout the century with there being no fewer than thirty different incarnations of partners between 1811 and 1947!They were a business with vision and not only are making the standard silver wares but also are recorded importing items from Rundell Bridge & Rundell in London, no doubt large and impressive pieces. They also are likely the main producer of flatware in India as have imported a ‘powerful English stamping press’ which allows them to produce the much more elaborate die struck flatware patterns than their competitors.Their success does not just lie in importing and replicating English silver as in 1838 they announce their invention of a ‘Toffee’ pot. Not perhaps a long-lived invention, and perhaps one over looked now, of a combination tea and coffee pot.As with William Honey Twentyman their marks for many years were confused with those of Scottish makers. In early publications they are often seen in the Inverness section as the elephant punch was mistaken for an Inverness town mark. Not as fanciful as it may seem being the camel supporter had been used as mark earlier in the century so why not the armorials other supporter, the elephant, used in the same way. 

CALCUTTA - A PAIR OF INDIAN EXPORT MARKET SALT AND KYAN PEPPER POTS HAMILTON & CO. OF CALCUTTA 1830s Each of cylindrical form, engraved SALT to one and KYAN to the other, the pull off covers of domed form, raised on a knopped stem to a spreading foot  9.2cm, 8.9cm, 6oz (combined) Hamilton & Co are amongst the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is there classically George III simple silver that is most commonly encountered. The business was initially set up by Robert Hamilton who had arrived in India and set up as a Jeweller in Tank Square by 1808. He enters into partnership with Henry Glazbrook (who had arrived in 1810) and James Glazbrook (who had arrived in 1811) in 1811 creating what would become on of the most successful silversmith business in the Empire.Robert’s hands on work with the business appears short and by 1817 had ceased to have an interest in the firm. Why his connection is so short is unknown but he had returned to England as early as 1812. His connection to the country doesn’t cease however as he stands guarantor for various other Brits who would be connected with the trade in India. His business interest had made him a rich man and in 1819 he purchased the thirty room Bloomfield Hall (now demolished) in surrey, which housed his impressive art collection. His art collection, long dispersed, included such names as Rubens, Holbein and Vaelazquez.The business of Hamilton & Co would not only survive but thrive having three branches. The original branch in Calcutta (1811 – 1971) followed by those in Bombay (originally opened in 1830) and Simla (opened 1865). The partnership has many changes in partners which show the movement of makers, people and business throughout the century with there being no fewer than thirty different incarnations of partners between 1811 and 1947!They were a business with vision and not only are making the standard silver wares but also are recorded importing items from Rundell Bridge & Rundell in London, no doubt large and impressive pieces. They also are likely the main producer of flatware in India as have imported a ‘powerful English stamping press’ which allows them to produce the much more elaborate die struck flatware patterns than their competitors.Their success does not just lie in importing and replicating English silver as in 1838 they announce their invention of a ‘Toffee’ pot. Not perhaps a long-lived invention, and perhaps one over looked now, of a combination tea and coffee pot.As with William Honey Twentyman their marks for many years were confused with those of Scottish makers. In early publications they are often seen in the Inverness section as the elephant punch was mistaken for an Inverness town mark. Not as fanciful as it may seem being the camel supporter had been used as mark earlier in the century so why not the armorials other supporter, the elephant, used in the same way. It is believed that this pair was designed to be stored in the servant’s sash.

CALCUTTA - AN INDIAN BOX HAMILTON & CO., JEWELLERS CALCUTTA, LATE 19TH CENTURY Of rounded rectangular outline, high repoussé work to all sides of scroll motifs, the hinged lid with various cherubs depicted  13.2cm wide, 14.9oz  Hamilton & Co are amongst the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is there classically George III simple silver that is most commonly encountered. The business was initially set up by Robert Hamilton who had arrived in India and set up as a Jeweller in Tank Square by 1808. He enters into partnership with Henry Glazbrook (who had arrived in 1810) and James Glazbrook (who had arrived in 1811) in 1811 creating what would become on of the most successful silversmith business in the Empire.Robert’s hands on work with the business appears short and by 1817 had ceased to have an interest in the firm. Why his connection is so short is unknown but he had returned to England as early as 1812. His connection to the country doesn’t cease however as he stands guarantor for various other Brits who would be connected with the trade in India. His business interest had made him a rich man and in 1819 he purchased the thirty room Bloomfield Hall (now demolished) in surrey, which housed his impressive art collection. His art collection, long dispersed, included such names as Rubens, Holbein and Vaelazquez.The business of Hamilton & Co would not only survive but thrive having three branches. The original branch in Calcutta (1811 – 1971) followed by those in Bombay (originally opened in 1830) and Simla (opened 1865). The partnership has many changes in partners which show the movement of makers, people and business throughout the century with there being no fewer than thirty different incarnations of partners between 1811 and 1947!They were a business with vision and not only are making the standard silver wares but also are recorded importing items from Rundell Bridge & Rundell in London, no doubt large and impressive pieces. They also are likely the main producer of flatware in India as have imported a ‘powerful English stamping press’ which allows them to produce the much more elaborate die struck flatware patterns than their competitors.Their success does not just lie in importing and replicating English silver as in 1838 they announce their invention of a ‘Toffee’ pot. Not perhaps a long-lived invention, and perhaps one over looked now, of a combination tea and coffee pot.As with William Honey Twentyman their marks for many years were confused with those of Scottish makers. In early publications they are often seen in the Inverness section as the elephant punch was mistaken for an Inverness town mark. Not as fanciful as it may seem being the camel supporter had been used as mark earlier in the century so why not the armorials other supporter, the elephant, used in the same way. 

5 framed etchings from various artistsLot van 5 ingekaderde etsen oa. stilleven met bril, Dinky Toys (door Jacques Schaap), portret van Rubens, ... telkens getekend

Collection of etchings, artists including Eugène Béjot, Robert Houston, Claude Muncaster, Janet Judge, Burchill, Leonard Russell Squirrell, Frederick Cecil Jones, H Gordon Marlow, Trevor Hodgkinson, Martin Hardie, Jan Strang, William P Robins, mostly signed in pencil, and a Bolswert after Rubens engraving (qty)

Unbekannter Kopist nach Peter Paul Rubens (1577-1640) "Diana auf der Hirschjagd", Öl/Leinwand, ca. 85x180cm (m.R. ca. 97,5x192cm), Keilrahmen leicht durchgedrückt, min. Defekte, Vgl.: https://www.lostart.de/de/Verlust/92343

RUBENS, Peter Paul - Nachfolge Christus am KreuzÖl/Leinwand. Unsigniert. Anfang 18. Jh. 102,5 x 76 cm. Gerahmt : 112,5 x 87 cm (teils goldener Rahmen); 5 kg. Der Gekreuzigte vor dunklem Wolkenhimmel mit nach oben gerichtetem Blick. Leinwand doubliert. Aufrufzeit 01. | März 2025 | voraussichtlich 13:26 Uhr (CET) RUBENS, Peter Paul - Nachfolge Christ on the crossOil/canvas. Unsigned. Early 18th century 102.5 x 76 cm. Framed : 112.5 x 87 cm (partly gold frame); 5 kg. The Crucified in front of a dark cloudy sky with an upward gaze. Doubled canvas. Call time 01 | March 2025 | probably 13:26 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

AFTER PETER PAUL RUBENS: AN OIL PAINTING ON CANVAS, THE EDUCATION OF THE VIRGIN74cm x 62cmFramed 100cm x 85cmProvenance: Private collection, South West London.

Hermes silk scarf 'Les Rubens Du Cheval' multi coloured 35x35"with original box in good condition 

RUBENS SOUTHEY, pair of signed watercolours, "Dartmoor Landscapes", 28cm x 45cm

Unbekannter deutsch italienischer Künstler, 17. Jh., Christus ernennt den Heiligen Rochus zum Schutzpatron der Pestopfer, nach Peter Paul Rubens , Öl/Kupfer, Altersspuren, 36 x 26 cm, (vgl. den Kupferstich in der Staatsgalerie Stuttgart, Graphische Sammlung, Inventarnummer A 2016/9526 (KK), Stecher Paulus Pontius) / Unknown German-Italian artist, 17th century, Christ appoints St Roch as patron saint of plague victims, after Peter Paul Rubens , oil/copper, traces of age, 36 x 26 cm, (cf. the copperplate engraving in the Staatsgalerie Stuttgart, Graphische Sammlung, inventory number A 2016/9526 (KK), engraver Paulus Pontius)

Unbekannter Künstler, 19./20. Jh., nach Peter Paul Rubens, Ildefonso-Altar, Seitentafeln: Erzherzog Albrecht VII. und rechts Infantin Isabella Clara Eugenia, jeweils mit Schutzpatron, sign. J. Chocholatz, Öl/Holz (auf Platte aufgez.), Altersspuren, 127 x 48,5 cm / Unknown artist, 19th/20th century, after Peter Paul Rubens, Ildefonso Altarpiece, side panels: Archduke Albrecht VII and on the right Infanta Isabella Clara Eugenia, each with patron saint, sign. J. Chocholatz, oil/wood (mounted on panel), traces of age, 127 x 48.5 cm

Oswald Onghers (Mecheln 1628-1706 Würzburg), Der Heilige Nikolaus hilft den Schiffbrüchigen, signiert und datiert 1676, Öl/Lwd, Altersspuren, Restaurierungen, 265 x 145 cm, bogenförmiger Abschluss. Der Künstler, der 1660 nach Würzburg kam und 1663 hier heiratete, war in seiner Figurenbildung lange von Rubens und van Dyck beeinflusst. Die vorliegende Arbeit lässt in vielen Details wie den kleinen Teufeln oder dem panischen Blick der Figur am linken Bildrand den Ideenreichtum des Künstlers erkennen. Werke von Onghers, der sich auch als Kirchenmaler einen Namen gemacht hat, sind nur sehr selten auf dem Markt. Die Authentizität des Gemäldes wurde von dem Werkverzeichnisautor Dr. Wolfgang Kümper bestätigt, der das Gemälde als Nachtrag in das kommende Werkverzeichnis des Künstlers aufnimmt./ Oswald Onghers (Mechelen 1628-1706 Würzburg), St Nicholas helping the shipwrecked, signed and dated 1676, oil on canvas, signs of age, restaurations, 265 x 145 cm, arched finial. The artist, who came to Würzburg in 1660 and married here in 1663, was long influenced by Rubens and van Dyck in the creation of his figures. The present work reveals the artist's wealth of ideas in many details such as the small devils or the panicked gaze of the figure on the left of the picture. Works by Onghers, who also made a name for himself as a church painter, are very rare on the market. The authenticity of the painting has been confirmed by the catalogue raisonné author Dr Wolfgang Kümper, who is including the painting as an addendum in the artist's forthcoming catalogue raisonné.

Unbekannter Künstler, barock, 18. Jh., Bildnis eines Mannes, den Blick in die Ferne gerichtet, in seiner malerischen Qualität mit Anleihen an Rubens und Jordaens, Öl/Lwd, Altersspuren, 51 x 43 cm. Provenienz: Kunstsammlung Prof. Erwin Zänglein, danach Privatbesitz Würzburg. / Unknown artist, Baroque, 18th century, Portrait of a man, looking into the distance, with a painterly quality reminiscent of Rubens and Jordaens, oil on canvas, traces of age, 51 x 43 cm. Provenance: Art collection of Prof. Erwin Zänglein, then privately owned in Würzburg.

(ARR) Two 18th century Neoclassical engravings. The lot comprising Qui Biberit ex aqua by Albani Drevet, engraved by Stef. Baudet & printed in Paris by B. Drevet; and The Assumption of the Virgin Mary after Paul Rubens. Each framed & glazed.Rubens measures approx. 76cm x 56cm to include frame.

Rubens (Bernice) The Elected Member, first edition, light foxing to endpapers, edges spotted, original boards, dust-jacket, light fading to spine, strengthening tape to spine ends verso, small patch of browning to lower panel, light rubbing to spine tips and corners, a very good copy, 8vo, 1969.*** The second novel to win the Booker Prize and the first written by a woman. 

EMMA FOCACCI (1882-1956) Oil on canvas a portrait of Rubens. Details written verso. Framed. Image size 57cm x 43cm

Peter Valentin, Christuskopfexpressives Kopfbildnis des gekreuzigten Jesus mit Dornenkrone und Heiligenschein, rechts ist die Spitze eines Speeres mit dem biblisch überlieferten Schwamm mit Essigwasser zu sehen, welchen Jesus kurz vor seinem Tod angenommen hatte, Holzschnitt auf Papier, links unten in der Platte ligiert monogrammiert und datiert "PV 1936", rechts unter der Darstellung in Blei handsigniert "Peter Valentin", Blatt etwas gegilbt, rechts oben Einriss, hinter Glas und Passepartout gerahmt, Druckmaße ca. 32 x 30 cm. Künstlerinfo: dt. Maler, Graphiker, Freskant, Mosaikkünstler, Restaurator und Bildhauer (1904 Offenburg bis 1995 Offenburg), Sohn des Offenburger Bildhauers Peter Valentin (1877-1962), zunächst Schüler des humanistischen Grimmelshausen-Gymnasiums Offenburg, hier künstlerisch gefördert von seinem Zeichenlehrer A. Mangold, 1920-23 Bildhauerlehre bei seinem Vater, 1923 Vorbereitungskurs an der Zeichenschule von Heinrich Knirr in München, hier Schüler von Andreas Seiler, 1924-26 Studium an der Münchner Akademie bei Hermann Groeber und Max Doerner, parallel Kopist nach Werken von Rubens , Breughel und Feuerbach in der Münchner Pinakothek, 1924 entstand im Auftrag des Schwarzwaldvereins sein erster Auftrag als Bildhauer zu einem Kriegerdenkmal, 1926-28 Studienaufenthalt in Paris und Schüler der Académie des Beaux Arts bei Ernest Laurent, parallel Schüler der Académie de la Grande Chaumière, in Paris autodidaktische Weiterbildung durch Kopien nach Tizian, Rubens, Frans Hals und Boucher im Louvre, 1928 Übersiedlung nach Montreal, hier Gründung einer Mal- und Zeichenschule und künstlerisch freischaffend als Maler, Bildhauer, Freskant und Graphiker, 1933 Rückkehr nach Offenburg, 1934 Eheschließung, in den 1930er Jahren zunehmend Hinwendung zu religiösen Themen und Kirchenmalerei, 1939-45 Kriegsdienst als Kartograph im 2. Weltkrieg in Russland, anschließend freischaffend in Offenburg, 1972-75 Ausstattung des Rathauses Renchen, in den 1960er und 1970er Jahren Dozent an der Volkshochschule Offenburg, Mitglied im badischen Kunstverein, tätig in Offenburg, Quelle: Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Wikipedia, Matrikel der Münchner Akademie, Mülfarth und Künstlerverzeichnis Baden-Württemberg 1982.

Jan Lievens oder Nachfolge, Auferweckung des Lazarusbiblische Darstellung der wundersamen Auferweckung des Lazarus von Betanien von den Toten, hierzu berichtet das Johannesevangelium der Bibel, dass Lazarus mit seinen Schwestern Martha und Maria enge Freunde von Jesus gewesen seien, während einer Abwesenheit Jesu von Bethanien verstarb Lazarus jedoch und war bereits vier Tage begraben, als Jesus am Grab des Freundes eintraf, die folgende - im Bild festgehaltene - Begebenheit schildert das Johannesevangelium wie folgt (Joh.: 11,41-44) "... Da nahmen sie den Stein [vom Grab] weg. Jesus aber erhob seine Augen und sprach [zu Gott]: "Vater, ich danke dir, dass du mich erhört hast. Ich wusste, dass du mich immer erhörst; aber wegen der Menge, die um mich herumsteht, habe ich es gesagt, damit sie glauben, dass du mich gesandt hast." Nachdem er dies gesagt hatte, rief er mit lauter Stimme: "Lazarus, komm heraus!" Da kam der Verstorbene heraus; seine Füße und Hände waren mit Binden umwickelt und sein Gesicht war mit einem Schweißtuch verhüllt. ...", Lievens schildert die biblische Erzählung in geradezu expressiver Weise als ein dramatisches Ereignis voll Mystik und Schauer und entführt den Betrachter in eine dunkle Grabeshöhle mit geöffnetem Sarkophag tief im Erdboden, nur spärliches Licht liegt in der Szene, Jesus steht mit Nimbus und zum Himmel gerichtetem Blick betend am Grab, während eine dunkelhäutige Dienerin ein überdimensioniertes weißes Leichentuch aus dem Grab zu ziehen scheint, aus dem sich unheimlich zwei Hände gen Jesu erheben und Lazarus´ Erweckung symbolisieren, hinter der Dienerin sind zwei weitere Gestalten klar und deutlich erkennbar, ganz links am Bildrand zeigt der Maler einen alten Juden, ungläubig staunend, mit weit geöffneten Augen, neben ihm scheint eine der Schwestern des Lazarus, als bekennende Jüngerin Christi, in inniges Gebet versunken, alle anderen Figuren der Komposition bleiben schemenhaft im Hintergrund angedeutet, effektvoll betont der Künstler das Grabtuch, welches das Gemälde kaltweiß leuchtend vor der allgemeinen Finsternis dominiert, Lievens hält so gekonnt den Betrachter des Gemäldes die Botschaft "Memento Mori" vor Augen, er komponiert die Darstellung geschickt, indem Jesus, Lazarus und das Leichentuch ein Dreieck bilden und symbolisiert damit Glauben, Tod und Auferstehung als Verheißung christlichen Lebens, das vorliegende Motiv scheint Lievens um 1630 - unter dem direkten Einfluss Rembrandts in ihrer gemeinsamen Werkstatt - mehrfach und auch spiegelverkehrt gemalt zu haben, so wird ein 107 x 114 cm großes Leinwandgemälde aus dem Jahre 1631 mit großer Ähnlichkeit zur vorliegenden Szene im Art Gallery and Museum Brighton/Großbritannien verwahrt, im Unterschied zu diesem Gemälde und zur kurz darauf erschienenen seitenrichtigen Radierung von der Hand Lievens wurde bei unserem Gemälde ein deutlicher hochrechteckiges Format gewählt (ähnlich wie beim Nachstich um 1650 von Jacob Louy, verlegt bei Clement de Jonghe), darüber hinaus sind rechts und links neben Jesus deutlich - wohl lediglich in der Unterzeichnung ausgeführte - Figuren zu erkennen, die bei allen anderen Versionen völlig fehlen, möglicherweise könnte es sich hier um eine Vorstudie Lievens handeln, dünn lasierende religiöse Genremalerei, Öl auf Holzplatte, unsigniert, rückseitig alte Restaurierungsnotiz eines Dessauer Kunstmalers und Restaurators "Restauriert 1924 14/5. H. [Heinrich] Schmidt-Rom - Dessau Askanischestr. 38", Malgrund leicht verzogen, restauriert, geringe Altersspuren, gerahmt, altes Rahmenschild mit irrtümlicher Zuschreibung "Govert Flinck", Falzmaße ca. 40,5 x 26 cm. Künstlerinfo: auch Lievens de Oude, Livius Johanis le Vieux oder Johannis Livens, Lievens, Lieversz, Lieverszoon, Lyrins, oder Leyrens, niederländischer Maler, Zeichner und Radierer (1607 Leiden bis 1674 Amsterdam), 1616-18 Schüler von Joris van Schooten, 1618-20 Schüler von Pieter Lastman in Amsterdam, hier Bekanntschaft mit seinem Mitschüler Rembrandt Harmenszoon van Rijn (1606 Leiden bis 1669 Amsterdam), beeinflusst von Peter Paul Rubens (1577-1640) und Anthonis van Dyck (1599-1641), 1621 Rückkehr nach Leiden, unterhielt 1625-32 zusammen mit Rembrandt eine Werkstatt - beide Künstler beeinflussten sich gegenseitig förderlich, 1632-35 für König Karl I. in England tätig, 1635 Übersiedlung nach Antwerpen, hier 1635 Mitglied der St. Lukasgilde, 1644 Übersiedlung nach Amsterdam, zeitweise in Den Haag im Huis ten Bosch und im Schloss Oranienburg bei Berlin tätig, 1655 Rückkehr nach Amsterdam, Quelle: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Müller-Singer, Seubert, Müller-Klunzinger, Nagler, Wurzbach "Niederländisches Künstlerlexikon" und Wikipedia.

Kreuz tragender Jesusqualitätvolle Altmeisterkopie nach einem Original aus dem Umkreis von Rubens bzw. van Dycks, Darstellung des spärlich bekleideten Jesus Christus mit purpurner Stola und Holzkreuz im Arm, fein lasierende Malerei, Öl auf Leinwand, 2. Hälfte 19. Jh., unsigniert, Craquelure, wenige Retuschen, gering restaurierungsbedürftig, original im prächtigen, ca. 15 cm breiten Gründerzeit-Goldstuckrahmen gerahmt (gering rest.bed.), Falzmaße ca. 101 x 74 cm.

Ludwig Adam Kunz, Vier RebhühnerJagdstrecke aus vier erlegten Rebhühnern vor angedeuteter abendlicher Herbstlandschaft, fein lasierende Malerei, hierzu bemerkt Bruckmann "Münchner Maler des 19./20. Jh.": "... versuchte er die Nachfolge eines Frans Snyders, Jan Fyt oder Jan Brueghel des Älteren anzutreten. Seine Werke haben ein altmeisterliches Kolorit, die Gegenstände werden durch ein warmes, leuchtendes Auflicht aus tiefem Dunkel in glänzenden, satten Farben hervorgeholt. ... Lenbach nannte seinen Freund den »größten Stilllebenmaler unseres Jahrhunderts«, und es war ein geflügeltes Wort, Kunz als den »Lenbach der Stilllebenmalerei« zu bezeichnen. ...", Öl auf Karton, um 1910, links unten signiert "L. Adam Kunz", rückseitig altes Etikett "Münchner Malpappe ..." sowie Stempelaufdruck "50/40 glatt No.8" und neuzeitliche Annotation "90A", Malgrund gebaucht, wenige Kratzer, im Goldstuckrahmen gerahmt, Falzmaße ca. 40 x 50 cm. Künstlerinfo: eigentlich Ludwig Adam Kunz, dt.-österreichischer Maler (1857 Wien bis 1929 München-Maria Einsiedel), galt als »Lenbach der Stilllebenmalerei«, zunächst Studium der Bildhauerei bei Victor Oskar Tilgner, 1873-75 Studium der Bildhauerei an der Wiener Akademie, 1875 Hinwendung zu Malerei und bis 1878 Schüler des Genremalers Josef Fux in Wien, ab 1878 in München weitergebildet bei Franz von Lenbach und Friedrich August von Kaulbach, beeinflusst von der Malerei von Peter Paul Rubens und Hans Makart, 1885-96 Aufenthalt in Paris und gefördert von Mihály von Munkácsy, ab 1896 lebte Kunz im Asam-Schlössl im Münchner Ortsteil Thalkirchen-Maria Einsiedel, 1896 zum Professor der Münchner Akademie ernannt, Mitglied der Münchner Künstlergenossenschaft, beschickte unter anderem die Wiener, Dresdner und Berliner Kunstausstellungen, die Madrider Kolumbus-Ausstellung 1892 und 1917-27 den Münchner Glaspalast, erhielt diverse Ehrungen wie 1897 die Große Goldene Medaille der Internationalen Kunstausstellung München, freundschaftlich mit Lenbach verbunden, schufen beide Künstler mitunter gemeinsame Werke in Arbeitsteilung, wie ihre künstlerischen Vorbilder Rubens und Brueghel malte Lenbach die Portraits und Kunz die rahmende Blumengirlande, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", ÖBL, Boetticher, Müller-Singer, Bruckmann "Münchner Maler des 19./20. Jh.", Dressler, Fuchs, Paviere und Wikipedia.

An oversize bound folio containing blank leaves, and a collection of 17th, 18th and 19th century etchings, engravings and mezzotints, including works after Robert Clevely, Winterhalter, Thomas Phillips, William Powell Frith, Peter Paul Rubens, Benjamin West, Claude Lorrain, Nicolaus Dorigny, Sir Joshua Reynolds, Richard Wilson, Rembrandt, Raphael, Joseph Farington, Poussin, van Dyck, Guido Reni, Philips Wouwermans, Pietro da Cortasa, Girolamo Imperiale, Franciscus Ioannis, Federico Zuccheri, Hutin, Marcus Rizzi, Frans vanden Wyngaerde and others, including work by engravers Bartlozzi, Crivalleri, Medland, Sixdeniere, Samuel Middiman, Gillis Hendricx, William Woollett, J. Boydel, J. Pesne and others, main leaves in folio approx 63 x 93cm (folio).

Sula Rubens, oil on board "Mackerel Heads"

Sula Rubens, oil on board "Mackerel With Flowers"

After Peter Paul Rubens (Flemish 1577-1640): Portrait of 'Thomas Howard 2nd Earl of Arundel', oil on canvas unsigned 46cm x 38cm

A Hancock & Sons Rubens Ware pottery bowl, hand painted with pomegranates by F.X. Abraham, signed beneath, 16cm. diameter, 8cm. high.

A late Victorian meat platter, foliate Chinese scene, underside stamped Royal Persian Stone China, 52cm long, together with a large blue and white jug, early 20th century, height 22cm, a Rubens Ware pomegranate pattern bowl, diam. 31cm, and seven further blue and white plates, (10)

George Vertue (1684-1756) Engraving for The Oxford Almanack of the Year, 1734 Backed onto card,35cm x 44.5cm; together with after C Stanfield RA, monochrome lithograph, 'Castle of Ischia', engraved by E Goodall, Approx 45cm X 63cm; 'Napoleon's Return from the Island of Elba', monochrome lithograph, 47cm x 56cm; Carl Ernst Christoph Hess (1755-1828) after a painting by Peter Paul Rubens (1577-1640), 'Rubens et sa Premiere Femme = Rubens and his First Wife', engraving with stipple, c.1800, 61.5cm x 40cm (4)

Rubens Southey (1881-1933) - 'Hey Tor, near Bovey Dartmoor', watercolour, signed and dated 1913, framed, 50cm x 71cm, frame size 63cm x 85cm, also the companion by the same hand - a pair. (2)

Bolswert, Schelte Adams: (1586 Bolsward - 1659 Antwerpen). Anbetung der heiligen drei Könige. Kupferstich nach Peter Paul Rubens um 1640. 41,2 x 30,8 cm. - Stark beschnitten. Aufkaschiert. Fleckig. Ob. re. mit brauner Tinte beschrieb. Rep. Einrisse.

Konvolut: von 3 Bl. christlichen Inhalts. 2 Bl. unter Passep. mont. ╔Lucas Emil Vorsterman d.Ä.╗ (1595-1675). Die Marter des hl. Laurentius. Kupferstich auf Bütten n. Rubens, 1621. 36,5 x 27,3, Blgr. 38,5 x 28,5 cm. Mit dem Namenszug v. Rubens u. lat. Text in der Platte. Mittelfalz. - Ho. 88. - Vereinz. etw. stockfl., Ränder tls. läd., ob. re. Eck knittrig, 2 Ecken mit Abriss ohne Beschädigung d. Plattenkante. Verso unbek. Sammlerst. "Wappen im Oval". - ╔Paolo Veronese╗ (1528-1588) nach. Nativitas Iesu Christi Servatoris. Kupferstich auf Bütten v. Noel Robert Cochin (ca. 1622-1695). Blgr. 29,3 x 17,6 cm. MIt den Namensz. u. lat. Titel i.d. Platte. An 3 Seiten auf Einfassung, unt. innerhalb d. Plattenkante beschnitten. Unter Passep. mont. u. dort mit St. von Dr. Steigelmann mit hs. Nr. 137. - Vereinz. etw. flau. - ╔Peter Paul Rubens╗ (1577-1640) nach. Anbetung der Hirten. Kupferstich aus einem Missale Romanum bei Drevet, 17.Jh. 30,1 x 19,8, Blgr. 32 x 21 cm. Mit dem Namenszug des Druckers i.d. Platte. An 3 Seiten mit Rändchen um die Platenkante. Unter Passep. mont. u. dort mit St. Dr. Steigelmann u. hs. Nr. 147. - Etw. (stock-) fleckig, tls. randrissig, li. unterl. Randeinriss ca. 1 cm i.d. Darstellung, unt. re. etw. beschabt.

STUDIO OF MAERTEN DE VOS (FLEMISH 1532 - 1603) THE LAST SUPPER Oil on panel 56 x 67cm (22 x 26¼ in.) A dendrochronological analysis of this panel indicates that it was crafted from wood sourced from various trees in the eastern Baltic region of Europe, with a date range of approximately 1558-1590. Maerten de Vos is regarded as one of the most significant Flemish painters active between the eras of Breughel and Rubens. His work is highly eclectic, blending influences from Venetian masters like Veronese and Tintoretto - evident in the loose, swift brushstrokes used to depict drapery - with those of his Flemish contemporaries, such as Pieter Aertsen and Frans Floris. In this composition, Christ is depicted sitting among the apostles, having just announced that one of them will betray him. The painting captures their strong reactions with remarkable expression and intensity. Multiple versions of this composition exist, with the finest example held at The National Museum of Western Art in Tokyo. Condition Report: The panel has been planed flat on the reverse and is supported by a stretcher. There are fine surface cracks and frame abrasions. Under UV light there are fine scattered spots of restoration. The many of these are in a horizontal line through the centre of the image where the two planks of the panel are joined together. There are also areas of retouching in the background as well as a slightly broader area above the head of the figure on the far right. These is also retouching to the edges. It has been cleaned and revarnished. Condition Report Disclaimer

Rubens Southey - Harbour Scene, watercolour, signed 35 x 51cm and miscellaneous other 19th C and later pictures and prints including oil and watercolour landscapes, Japanese prints etc Harbour scene watercolour slightly faded

Ferrari F1 Model - 2000 - Ex Michael Schumacher World ChampionLarge 1:5 scale model by the brand S.P.O.R.T.S, numbered 44 of 200 examples.Representing the Ferrari F1-2000, Scuderia Ferrari's Formula 1 single-seater for the 2000 season, driven by Michael Schumacher and Rubens Barrichello.Presented in its display case.89 cm Footnotes:Maquette Ferrari F1 - 2000 - Ex Michael Schumacher champion du MondeGrande maquette au 1/5ème de marque S.P.O.R.T.S, numérotée 44 sur 200 exemplaires.Représente la Ferrari F1-2000, monoplace de Formule 1 de la Scuderia Ferrari pour la saison 2000, pilotée par Michael Schumacher et Rubens Barrichello.Présentée dans sa vitrine.89 cmLot to be sold without reserve.For further information on this lot please visit Bonhams.com

Circle of Anthony van Dyck (1599 - 1641) St Paul Oil on panel With antique label verso inscribed 'Rubens', and inventory number '10769' Unframed Provenance:  Probably with Charles Sedel-Meyer, Paris, 1907, his catalogue, no. 35 There are obvious similarities to three other saints by Van Dyck. The planks of this particular panel are from the same tree as The Holy Family by Jordaens in Saint Gilles town hall, Brussels. There are also paintings from the same tree of James The Greater, related to a Van Dyck in a private collection in Germany, and a Thomas (see Christie's, New York, 19 April 2018, Lot 18). Given that the panels of these were made by Guilliam Aertssen, we can be confident that our panel support was also made by Aertssen. We are grateful to the Jordaens/Van Dyck Panel Paintings Project and Mr Justin Davis for their help in cataloguing the panel. A copy of their report and the dendrochronological report is available on request. Dimensions: (Panel) 25 in. (H) x 19.5 in. (W)

ATTRIBUTED TO GEORGE HENRY HARLOW (BRITISH 1787-1819) A YOUNG WOMAN RESTING BY A WALL Oil on panel 21.5 x 17cm (8¼ x 6½ in.) Provenance: Prof. Julius Held (1905-2002), New York Sale, Christie's, New York, 27 January 2009, lot 58 Private Collection, UK George Harlow studied first under Hendrik Frans de Cort, then with Samuel Drummond, before joining Thomas Lawrence's studio apparently on the advice of the Duchess of Devonshire, who had noticed his talent. In 1818, Harlow travelled to Italy where he was widely admired for his technical ability. He was befriended by the sculptor Antonio Canova and earned considerable acclaim in Rome by painting a full-size copy of Raphael's Transfiguration, a feat that resulted in his election as an Academician of Merit in the Accademia di San Luca in Rome, a rare accolade for an English artist. The picture formed part of the large and fascinating collection assembled by Professor Julius Held. Born in Germany, Held emigrated to the United States in 1934 and became a towering figure in art historical circles, widely recognised for his scholarship and expertise on Rubens, Rembrandt, and Van Dyck. An author of many articles and books, including the 1980 two-volume publication The Oil Sketches of Sir Peter Paul Rubens. Measurements do not include the frame unless specified. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report: PLEASE NOTE: ALL LOTS IN THIS AUCTION ARE NOT AVAILABLE TO VIEW Please note high resolution images are available upon request please contact the department directly on pictures@dreweatts.com PLEASE NOTE: ALL LOTS WILL BE AVAILABLE TO COLLECT FROM SACKVILLE WEST STORAGE IN ANDOVER SP10 3SA, TWO DAYS AFTER THE AUCTIONCondition Report Disclaimer

A 19th century mezzotint print after Rubens depicting Helene Fourment (his second wife), framed and glazed, later frame, 60cm x 74.5cm (overall). It does appear to be a mezzotint and not a later lithograph. It has been reframed and it is possible the engraver's details are concealed within the window mount.

After Peter Paul Rubens (German 1577-1640) a pair of monochrome prints, dated 1925 on reverse, within grey mount and gilt and wood frame. 17.5cm x 15.5cm, 38cm x 30.5cm overall. (2)

After Sir Peter Paul Rubens (Flemish 1577-1640) 19th century oil on canvas 'Self Portrait' within an ornate moulded gilt frame, 52cm x 39.5cm & 72cm x 60cm overall.

Brass and leather Paulus Rubens set of bellows, 57cm together with fireside poker, tongs and shovel and a wooden book rest stand

HIRTH DU FRENES, RUDOLF (1846-1916) "Grab von Peter Paul Rubens in der Sankt Jakob Kirche in Antwerpen" 1877 Öl auf Mahagoniplatte, sig. und dat., HxB: 70/48 cm. Altersspuren, Farbabplatzer, Rahmen, HxB: 79/60 cm. | HIRTH DU FRENES, RUDOLF (1846-1916) “Tomb of Peter Paul Rubens in St. Jacob's Church in Antwerpen” 1877Oil on mahogany panel, signed and dated, hxw: 70/48 cm. Traces of age, Chipped paint. Frame, hxw: 79/60 cm.

EARLY 19TH C ITALIAN SCHOOL, oil on panel - Venus protecting Cupid, in a cave beside fruit basket and guinea pigs, with approaching satyrs, old French-inscribed label verso, 17 x 13cmsProvenance: private collectionComments: framed, with later 'Rubens 1632' plaque.

Peter Paul Rubens ( 1577-1640) – taste of, Boy with curled hairs and holding a finch in his hand , oil on oak panel. Framed. 50 x 42 cm

STUDIO OF JAN II BRUEGHEL (1601-1678) AFTER PETER PAUL RUBENS (1577-1640) AND JAN II BRUEGHEL 'Christ in the home of Martha and Mary' or 'Martha's Feast' oil on thin chamfered panel, 61cm x 110cmProvenance: The Grey-Egerton Family, formerly of Oulton Hall.Literature: 'The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire', 1864, no. 5.

After Peter Paul Rubens (Flemish, 1577-1640), watercolour, Study of a lady wearing 17th century dress, unsigned, 30 x 23cm, maple framed. Condition - fair to good

Duval, Rubens. Traite De Grammaire Syriaque. Paris: F. Vieweg 1881. Ex-libris. Half calf. Gilt titles and 4 raised bands on spine. Large octavo

19TH CENTURY SCHOOL, AFTER SIR PETER PAUL RUBENS. Leda and the Swan, oil on canvas. 17.5" x 24" (44 x 61cms).

A Pair of Framed Pressed Brass Portrait Reliefs for Rubens, and Shakespeare, 53x58 Overall

Rubens Southey (1881-1933) - Three signed watercolour landscapes together with three colour prints, largest frame: 67 x 57 cm (6)

Zwei Gemälde nach Rubens, Der sterbende Seneca und Raub der Töchter des Leukippos, Kopien des 20. Jh., Öl/Lwd., in gleichen Rahmen ger. bis 90 x 70 cm.- Die Stücke können nur bei Bad Füssing besichtigt werden.

Zwei Drucke nach Peter Paul Rubens, 20. Jh., Lithographien, Zwei jungen Frauen mit Hund sowie Kopf des Nikolas (Sohn von Rubens), jew. dekorativ unter Pp. hinter Glas ger. 57 x 50 cm.- Die Stücke können nur bei Bad Füssing besichtigt und - nach vorheriger Überweisung - dort abgeholt werden.

Der Raub der Töchter des Leukippos, Kopie nach dem Gemälde von Peter P. Rubens, 20. Jh.,   Mischtechnik auf Papier, hinter Glas ger. 45 x 50 cm.- Das Stück kann nur bei Bad Füssing besichtigt werden.

A collection of 18th century mezzotints and engravings from the original pictures at Houghton Hall, after Ferdinand Bol 'A lady Reading', Nicolas Poussin 'The Continence of Scipio', after Jacques Jordans 'Rubens and family' and after Luca Goirdano 'cyclops at the forge'

A Rubens machine woven rug having a central motif surrounded by a floral design, 300cm x 200cmLocation:If there is no condition report shown, please request

2 framed & glazed coloured Lithographs Rubens, David church of St Helena, chapel of St Helena

John Rubens Smith (1775-1849) after George Morland - No. 9 Breaking the Ice, signed within the plate J.R. Smith Junior, London: Published Oct. 20. 1798 by I.R. Smith, King Street, Covent Garden, mezzotint, with some colouring, 46 x 54cm, contemporaneous verre églomisé mount and giltwood and composition frame The print in good condition, but for a vertical stain. Mount and frame in 'country house' condition with some typical wear.