We found 2831 price guide item(s) matching your search

AFTER POUSSIN (17TH CENTURY)HOLY FAMILY WITH ST ELIZABETH AND ST JOHN THE BAPTIST Oil on canvas49 x 64cm (19¼ x 25 in.)After the original painted held at The Hermitage. St Petersburg. Provenance:Sir Osbert Sitwell at 2 Carlyle Square, LondonThence by descent at Weston HallCatalogue Note:This oil on canvas after Nicolas Poussin (1594-1665) is derived from an original oil painting by Poussin held in the Hermitage (The Winter Palace), St. Petersburg, entitled 'Holy Family with St Elizabeth and St John the Baptist', circa 1649-53 (inventory no. ГЭ-1213). The original is significantly larger than the present at 174 x 134сm. The 'Holy Family' in the Hermitage, which Poussin painted towards the end of his life was inspired by Raphael and his depictions of the holy family, including the 'Holy Family of Francis I', probably the first Raphael painting the French artist ever saw. The Hermitage painting was originally in the collection of Sir Robert Walpole, 1st Earl of Orford (1676-1745), generally regarded as the de facto first prime minister of Great Britain, at Houghton Hall, Norfolk. It formed part of the art collection - 206 works in total including works by Van Dyck, Poussin, Rubens, and Rembrandt - sold by George Walpole, 3rd Earl (1730-91) in 1779 to the Empress of Russia, Catherine the Great (1729-96) for £40,550.There are at least three further pen and ink sketches by Poussin of this subject at the Hermitage (ОР-5142, OP-5151, OP-5131), probably preparatory drawings for the oil painting. 

Signed by Michael Schumacher, Rubens Barrichello, Ross Brawn, Rory Byrne and Jean Todt with a Certificate of Authenticity.A framed production containing a photo of Ferrari's F2001 Formula One car and a "Fifty Victorious Years" compliments slip signed by Michael Schumacher, Rubens Barrichello, Ross Brawn, Rory Byrne and Jean Todt with a Certificate of Authenticity dated 12/01/2002.Click here for more details and images

Nicholas Watts, 'Champion Supreme', signed by the artist, further signed by Michael Schumacher, Rubens Barrichello, Jarno Trulli; and one other, monochrome print, I.31 x 44cm

A Royal Christmas card signed "Elizabeth R and Prince Philip", 1961 with image of "Rubens Holy Family with St. Francis" (Provenance: Air Vice Marshall Sir Edward "Mouse" Fielden GCVO, CB, DFC, AFC - Personal Pilot to Edward VIII when Prince of Wales, Chief Air Pilot and extra Equerry when Captain of the King's / Queen's Flight)

6 PENDANTS ON CHAINS, 3 POSSIBLY SILVER & 1 RUBENS PENDANT WATCH ON CHAIN

H.M. Queen Elizabeth II and H.R.H. The Duke of Edinburgh, signed 1961 Christmas card with print of The Holy Family by Rubens

Three Seiko wristwatches including Bell-Matic, a/f, and a Rubens Super Diver wristwatch

Flemish School (Unknown) by Peter Paul Rubens (1577-1640), later engraved by Gillis Hendricx (Flemish, 1640-1677). 43cm H x 58cm W

Oil on canvas 17th Rubens School - Sizes: L=700mm H=810mm - Weight (K): 2,5kg - Condition: at first glance - good condition - no restoration - no repair

After Sir Peter Paul Rubens, 17th CenturyThe Marriage of the Virgin oil on canvas210.5 x 194.8cm (82 7/8 x 76 11/16in).unframedFootnotes:The present composition follows an engraving by Schelte a Bolswert (1586–1659) after Rubens's design but with small differences.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

After Holbein, a series of 15 historical head portraits, engraved by Houbraken and Vertue, including Henry VIII, Robert Cecil, George Morley etc, most circa 42 x 27cm (sheet); also - Isabella Clara Eugenie, etching after Rubens, 30 x 26cm; and Maria Beatrix Duchess of York, by Vanderbank, engraving, 47 x 27cm; few others (20)

FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame). Author belonging to the German Golden Age, he was the son of the painter Adriaan Verwilt of Antwerp and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht together with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colours range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of detail, while at the same time domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music of violinists. A lady is practising her singing, a servant is pouring wine, a noble couple are exchanging confidences.... The ochre and earthy tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the guests. The glazes of the glass, the collars and breastplates of fine lace, the pleating of the sleeves, the faces alight with conversation..., the precious detailing is combined with the general capture of a warm, welcoming atmosphere. Although Brussels was the political centre of Flanders, Antwerp was the city where the most important artistic activity had been centred since the 16th century. Antwerp had enjoyed a prominent position in Europe during that century, as its port had been the busiest in the Netherlands, and the Netherlands had prospered as a maritime power. Antwerp retained its pre-eminent position as an artistic centre for much of the 17th century, so that when Jan Brueghel, Rubens and Van Dyck were appointed court painters to the Archduchess Elisabeth, they imposed the condition that they could continue to maintain their workshop in Antwerp, rather than going to reside with the court in Brussels. Genre works, or scenes from everyday life, were very common in the 17th century. Many artists followed Pieter Bruegel the Elder's tradition of depicting lower-class peasant scenes, although elegant upper-class subjects were also common, with elegantly dressed couples at balls or in love gardens. Adriaen Brouwer, whose small paintings often show peasants brawling and drinking, was particularly influential on later artists. Paintings of elegantly dressed couples in the latest fashion, often with underlying themes such as love or the five senses, were commonly painted by Hieronymous Francken the Younger, Louis de Caulery, Simon de Vos, David Teniers the Younger and David Rijckaert.

BRUEGHEL family; Second half of the sixteenth century."Landscape."Oil on oak panel. CradledPresents frame following ancient models.Measures: 36 x 18 cm; 70 x 54 cm (frame).With a relatively high horizon, where the sky composed by a gradation of blue tonalities, hardly occupies space, the author, grants the protagonism of the scene to the landscape. A costumbrist view conceived through successive planes. In the center of the scene, two figures hold a conversation. However, their small dimensions indicate the artist's interest in capturing the landscape. By theme and style it is very close to the painting developed by the important dynasty of Dutch painters, the Brueghels. The meticulous and expressive drawing characterizing the characters and their vivid behaviors is combined with a freer brushstroke in the representation of the landscape, also splendid, working in different levels of depth, assuming bluish tones in the horizon.During the 17th century, the Flemish school experienced great splendor and artistic development. The strategic location of the area, and the presence of one of the most important ports of the time, gave rise to the proliferation of a new social class, composed of merchants, who possessed a large capita. This new society enjoyed the advantages of their economic position, however, they did not have the aristocratic titles, so they began a race for social position through culture. In addition, due to the rupture with Rome and the iconoclastic tendency of the reformed Church, paintings with religious themes ended up being eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone, in accordance with the new society. Thus, portraits, landscapes and animals, still life and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals of almost all classes and social strata: The tandem formed by Peter Paul Rubens and Jan Brueghel the Elder, the one composed by Hendrick van Balen and Jan Brueghel de Velours, or the one comprising the figures of Jan Brueghel the Younger and Pieter Van Avont, are proof of the success of this type of contributions in 17th century Flanders.

Circle of ANTON VAN DYCK (Antwerp, 1599-London, 1641)."Portrait of Charles I of England."Oil on canvas. Relined.Size: 71 x 61,5 cm.On a neutral background is defined the royal portrait of the monarch Charles I of England. Sober in the composition and the chromatic range used by the author, since on the portrayed only stands out the indigo band that hangs under the great ruff, which indicates his belonging to the order of the Jarreta. With broad shoulders and an elongated face, the author presents us with a psychological portrait where austerity and authority come together. The monarch fixes his gaze on the viewer, in an unperturbed and imperturbable way, thus transmitting all his power. The work is somewhat reminiscent of the "triple portrait of Charles I", painted by Van Dyck in 1635, and kept in the collection of the Prado Museum in Madrid. This portrait was painted with the intention of sending it to Rome, so that Bernini could create a bust.Anton van Dyck, key painter of the Flemish Baroque and one of the most important portraitists of the 17th century. Anton Van Dyck began his training with Van Balen, a Romanist painter, in 1609. In 1615-16 he worked with Jordaens, and between 1617 and 1620 with Rubens, who said that he was his best pupil. In 1620 he visited England for the first time, in the service of James I, when he was only twenty-one years old. In London he enjoyed greater freedom and left aside religious painting to devote himself fully to portraiture. Between 1621 and 1627 he completed his training with a trip to Italy, being particularly impressed by Bolognese painting and the works of Titian. It was in Italy where he achieved his mature, refined and elegant style, as well as configuring his type of portrait, which became a model for Western painting. In Italy his fame as a portraitist was also established, and he enjoyed immediate success wherever he worked, painting portraits of the most important noble families of Italy, as well as the Pope and various members of the Roman Curia. In 1629 he was again in London, this time working for King Charles I, who admired Titian's work and saw in Van Dyck his heir. Thus, he dismissed all his painters, having found in Van Dyck the court painter he had wanted for years. In 1640, on the death of Rubens, the painter returned to Antwerp to finish the works he had left unfinished. The following year he moved to Paris, where he painted the wedding portrait of King William II and Princess Mary. That same year he returned hastily to London for health reasons, dying shortly thereafter at his home in the English capital. Anton Van Dyck is represented in major museums around the world, such as the Louvre, the Prado, the Kunsthistorisches in Vienna, the National Gallery and the British Museum in London, the Hermitage in St. Petersburg and the Metropolitan in New York.

A collection of unframed prints, to include a photographic print of Mexboro and Swinton Tramways company tram, after Rubens portrait of a lady and child, print, etc. (a quantity)

A Peter Paul Rubens gilt coloured wall hanging plaque, made from compressed board

A maroon leather box, c1900, the sloping lid inset with an enamel plaque of the Rape of the Daughters of Leucippus after Sir Peter Paul Rubens, 14cm l Slight wear and corners lacking condition

T.E. Lawrence (of Arabia) interest: Manner of Peter Paul Rubens, Portrait of a gentleman, oil on canvas, unsigned 58.5 x 43cmRemoved from No.2 Polstead Road, Oxford, formerly the home of T. E. Lawrence (of Arabia).Condition report: The painting is dirty and needs cleaning and some restoration. There are signs of old restoration, especially to the lace collar. The possibly contemporary frame has been later painted gold and is in need of some repair with losses.

SIX BOXES AND LOOSE CERAMICS AND GLASSWARES, to include a box of Staffordshire teawares by different makers (including Portland, Hadleigh, Sheriden, etc), featuring matching pheasant design, two Mdina glass paperweight birds, a cruet set in the form of eggs in an egg box, a pair of S Hancock & Sons, Rubens Ware 'Pomegranate' pattern, handpainted vases, Denby 'Mayflower' and contemporary/ late 20th Century Denby tableware, assorted dinnerwares by factories including Royal Albert, Paragon, Crown Staffordshire, etc, cut glass rosebowl diameter 17cm, etc (sd) (6 boxes and loose)

Frank Stella (B. 1936)La prima spada e l'ultima scopa 1983 synthetic polymer paint on aluminium honeycomb panels and acrylic panel 379.7 by 346.1 by 86.4 cm. 149 1/2 by 136 1/4 by 34 in. This work was executed in 1983. Footnotes:ProvenancePrivate Collection, USSale: Phillips, New York, Contemporary Art Evening Sale, 14 May 2015, Lot 41Private Collection, TurkeyAcquired directly from the above by the present ownerThere is but a handful of artists whose careers capture, define, and redefine the art of an era – thought leaders and virtuosos whose work rewrites the terms of engagement. It could be said of Picasso's cubist leap, Le Corbusier's architecture, Pollock's drips on floor-strewn canvas, The Beatles Please Please Me. For Frank Stella, since his arrival in New York in 1958, his work has steered the course of contemporary art practice through sequential breakthroughs, with his greatest evolution emerging in 1983 after his residency at the American Academy in Rome. Presented here is one of Stella's first and most magnificent works of this period, La prima spada e l'ultima scopa from 1983. A monumental feat of sculpture and painting, the present work draws upon a plethora of references, sources, and historical allusions that culminate in a complex work of sheer brilliance. As part of Stella's Cones and Pillars series (1984-1987) – examples of which reside in the Tate Collection, London (Salta nel mio Sacco, 1984), the National Gallery of Art, Washington (La scienza della fiacca, 1984), and the Centre Pompidou, Paris (La vecchia dell'orto, 1986) – La prima spada e l'ultima scopa is one of the finest, museum-quality examples to come to market. It embodies Stella at his most confident and unhindered, weaving passages of expressive brushstrokes into a lattice of polygonal supports that conjures Romanesque architecture, Russian Constructivism, the swirling strokes of De Kooning, as well as Stella's own shaped canvases of the 1960s. Born in 1936, Stella's ascendancy to the New York avant-garde was swift and prodigious. After majoring in history at Princeton – where he befriended art critic Michael Fried – his practice emerged seemingly fully-formed, producing his pioneering Black Paintings throughout 1959. Such was the impact of his arrival and this debut sequence of works, made freehand in household paint, curator Dorothy Miller included the 23-year-old Stella's works in 16 Americans at MoMA, opening in December of 1959. It was a ground-breaking exhibition that flexed American art and its youthful talent as the pinnacle of global creative freedom and endeavour. Stella's inclusion alongside the likes of Robert Rauschenberg, Jasper Johns, Ellsworth Kelly, and Louise Nevelson, sealed the artist's place amongst this burgeoning generation who inherited the mantle from a diminishing group of Abstract Expressionists. Whilst Stella's earliest works were significant and impactful for their searing simplicity, devoid of colour and composition, his paintings remained tacitly in-step with the critical recourse of the time. Visual art had emerged from the Greenbergian school prizing the painting qua painting, believing that the nature of a work of art is bound in its constituent parts: paint and support. Stella took this to its limit with his very first step, which, in many people's eyes, signalled the end of Abstract Expressionism and the birth of American Minimalism. As Donald Judd remarked of Stella's influence on his own practice: 'the order is not rationalistic and underlying but is simply order, like that of continuity, one thing after another. A painting isn't an image. The shapes, the unity, the projection, order, and colour are specific, aggressive, and powerful' (Donald Judd, Donald Judd: Writings, New York: 2016, p.141).Marking a hugely critical step away from academic painting and out of the shadow of Minimalism, what Stella's work achieved in the 1980s is a grand synthesis of his experience, ambition, and ceaseless curiosity that culminates in the true maturation of Stella's ultimate style and method. In residence at the American Academy in Rome between 1982-1983, the artist used this opportunity to delve deep into the legacy of the Baroque period and the lives and careers of Caravaggio, Rubens, and Velázquez. Studying their use of light, colour and hue, picture planes and sequential, overlapping passages of a painting's composition, Stella suffused a maximalism and grandeur that can only be described as monumental in La prima spada e l'ultima scopa. Considering the influence of Caravaggio on his practice and what he considered to be a crisis in abstract painting, Stella would go on to deliver a series of lectures at Harvard on the 16th century Milanese painter in 1983-1984, before publishing both an eponymous book, Caravaggio, and Working Space, in 1986, taking aim at contemporary painting's need to develop a pictorial space as potent as Caravaggio's – allowing a painting more 'real' space to suggest extension and unrestricted motion. La prima spada e l'ultima scopa captures this newfound verve with consummate mastery. Through arching projections and intersecting facets, the present work is an operatic display of how a painting can stitch, not only illusionistic space together, but the real space of multiple, sculptural planes. Few painters have attempted such a break from the canon – fewer still have succeeded. Stella remains painting's greatest originator of the postmodern period. As his friend and prominent critic, Michael Fried, commented: 'the visual illusionism in Stella's new pictures goes beyond advanced sculpture in the direction of [...] opticality and illusiveness. [...] Because sculpture is literal it can, in the end, be known; whereas the shapes that constitute Stella's new paintings, and the new paintings as experienced wholes, cannot' (Michael Fried, Art and Objecthood: Essays and Reviews, Chicago: 1998, p.96). This unbounded creativity marks one of the most significant passages of Stella's career, and indeed of twentieth century art. One of the earliest works from his Cones and Pillars series (1984-1987) – often cited as a reference to Paul Cézanne's assertion that a painter should organise nature into cylinders, spheres, and cones – in La prima spada e l'ultima scopa, Stella investigated the potentialities of abstract painting still further through their descriptive function. In 1983, the artist was working on a series of prints entitled Illustrations after El Lissitzky's 'Had Gadya'. In Lissitzky's artistic implementation of the traditions of Jewish Passover, Stella recognised that he had 'attempted something few abstract painters have ever tried to do: address a narrative' (the artist in: Michael Auping, Frank Stella: A Retrospective, New York: 2015, p.32). Upon meeting Italo Calvino at one of his Harvard addresses in 1984, Stella found the Italian fables of Calvino the perfect narrative vehicle for his Cones and Pillars works, titling all of them post-production after the short stories in the Italian's 1956 collection. La prima spada e l'ultima scopa (here meaning 'the first sword and the last broom') tells the story of a wager between two merchants, who send their eldest son (the first sw... This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

* Baker (Thomas, of Leamington, 1809-1869). Windsor Castle with figures and river in foreground, watercolour over pencil on paper, heightened with bodycolour, unsigned, mount aperture 17.3 x 24.7 cm (6 13/16 x 9 3/4 ins), framed and glazed (32.5 x 38.7 cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, together with: Attributed to Paul Sandby Munn (1773-1845), Rural scene with cottage and rider on horseback, watercolour over pencil on paper, unsigned, mount aperture 19.7 x 26.7 cm (7 3/4 x 10 1/2 ins), gilt framed and glazed (38.2 x 44.3 cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, plus: Steeple (John, 1823-1887), Old Road between Pandy and Penmachno, 1871, watercolour on paper, signed and dated lower left, mount aperture 24.1 x 34.0 cm (9 1/2 x 13 3/8 ins), framed and glazed (44.0 x 53.0 cm), verso with attached portion of old backboard bearing pencilled inscription, also with Heather Newman, Painswick, Gloucestershire gallery label, with: Jones (Millicent Helen, 1841-1928), Filey Sands, Yorkshire, & a group of 4 watercolours from an album, one inscribed 'Gloucester & Berkeley Canals - Slimbridge Church in the distance', another 'Tewkesbury', all watercolour on paper or thin card, Filey mount aperture 17.0 x 24.5 cm (6 11/16 x 9 5/8 ins), the group mounted together, with oval mount apertures, 11.5 x 20.5 cm (4 1/2 x 8 1/16 ins) and smaller, both gilt framed and glazed (Filey 34.7 x 41.5 cm, the group 36.7 x 50.1 cm), both with Heather Newman, Painswick, Gloucestershire gallery labels to versos, also with portions of original album pages bearing pencilled inscriptions, and with Cleeve Picture Framing labels to versos, and two other watercolours, one in the manner of Samuel Prout, a small Continental street scene with church, window mounted, framed and glazed (29.1 x 23.7 cm), the other after Peter Paul Rubens (1577-1640), a portion of A Wild Boar Hunt, defective, framed and glazed (39.5 x 35.5 cm), (none examined out of frame)Qty: (7)

Nicholas Watts, 'Champion Supreme', signed by the artist, further signed by Michael Schumacher, Rubens Barrichello, Jarno Trulli; and one other, monochrome print, I.31 x 44cm

A pair of watercolour on ivory miniatures, depicting Rembrandt and Rubens, possibly by Emma Eleonora Kendrick (1788-1871) (2)

Full title: A glass mosaic after the self-portrait of Rubens, signed G. vd Laan, ca. 1900Description: Dia.: 94 cmCondition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

Rubens Arthur Moore (British, active 1881-circa 1933)A pair of views on the Thames: One towards St Pauls and another towards Tower Bridgeboth signed and dated 'Rue.A.Moore 1920' (lower left) oil on canvas 38.1 x 50.9cm (15 x 20 1/16in). (2)For further information on this lot please visit Bonhams.com

Auction Catalogues & Art Reference. A collection of approximately 250 Old Master Art auction catalogues including Drawings From The Clark Art Institute, 2 volumes, Yale University Press, 1964, Rubens Selected Drawings with an introduction and critical catalogue, 2 volumes, Phaidon Press, 1959, in slipcase, Paintings And Drawings From The Estate Of Florance J. Gould, 2 volumes, Sotheby's, 1985, in slipcase, plus other Sotheby's, Christie's, Jean-Luc Baroni, Colnaghi old master art catalogues, some original cloth in dust jackets some original wrappers, G/VG, 8voQty: (7 cartons)

A Rubens Ware Pomegranate pattern jardiniere, height 20cm

Moorcroct, Hibiscus green ground oval dish, 23x13cm, Rubens Ware vase by S Hancocks & Son, 14cm.

After Peter Paul Rubens (Flemish 1577-1640): Self Portrait, 19th century watercolour en grisailles unsigned 25cm x 19cm

JAN BRUEGHEL d. J.(1601 Antwerpen 1678)Allegorie des Gehörs.Öl auf Kupfer.59,3 × 91 cm.Gutachten: Dr. Klaus Ertz, 12.6.2021.Provenienz:- Sammlung Don Mariano Ordonez, Madrid, in dessen Familienbesitz seit dem 19. Jahrhundert.- Europäische Privatsammlung.- Auktion Sotheby's, London, 9.7.2009, Los 110.- Kunsthandel David Koetser, Zürich.- Europäische Privatsammlung.In einem offenen Raum, der von einem Wassergraben flankiert ist, sind zahlreiche Attribute des Gehörsinns zu sehen: eine musizierende Venus und Amor mit einem Rehbock – ein Tier, das im 17. Jahrhundert symbolisch für den Gehörsinn stand –, eine Ansammlung von Musikinstrumenten auf dem Fussboden, Notenständer mit Notenblättern sowie Musikanten im Hintergrund, diverse singende Vögel und Pendulen, welche die vergehende Zeit hörbar machen. Im Wassergraben zur Linken ist der Berg Helikon dargestellt, der in der Antike als der Sitz der Musen galt. Dort sind auch musizierende Musen und der geflügelte Pegasus zu sehen, welcher der Legende nach die Quelle Hippokrene dem Berg Helikon entspringen liess. Jan Brueghel d. J. beschäftigte sich im Laufe seines Schaffens immer wieder mit dem Thema der Allegorie, wofür es eine grosse Nachfrage gab. Zwei weitere Versionen dieser Allegorie des Gehörs sind bekannt, eine signierte auf Kupfer (Auktion Christie’s, London, 13.12.2000, Zuschlag 420‘000 £) und eine Version auf Eichenholz (Auktion Sotheby’s, London, 10.7.2002, Los 48). Eine Allegorie des Gehörs, welche Jan Brueghel d. Ä. (1568–1625) mit Peter Paul Rubens (1577–1640) als Teil einer Serie der Darstellung der fünf Sinne malte und sich heute im Prado in Madrid befindet (Inv.-Nr. P01395; siehe Klaus Ertz: Jan Brueghel der Ältere (1568–1625), Köln 1979, S. 350–352, Kat.-Nr. 329, Abb. 420), diente wohl als Inspirationsquelle, insbesondere für die zentrale Figurengruppe mit dem Reh, den Musikinstrumenten und den Vögeln. Dr. Ertz, der unser Gemälde in die 1640er-Jahre datiert, hebt jedoch hervor, dass Brueghel d. J., der nach dem Tod seines Vaters dessen Werkstatt übernahm und seine gefragten Kompositionen mehrfach wiederholte, in dieser Komposition völlig eigenständig agiert und sich hier deutlich von der ursprünglichen Komposition seines Vaters abhebt.Die beiden Figuren von Venus und Amor in der Mitte des Vordergrundes identifiziert Dr. Klaus Ertz als von Frans Wouters (1612–1659), der nebst Peter Paul Rubens, Hendrick van Balen (1575–1632), Frans Francken d. J. (1581–1642) und Pieter van Avont (1600–1652) häufig Figuren in Gemälden von Jan Brueghel d. J. malte – ein für die flämische Malerei zu Beginn des 17. Jahrhunderts typisches Künstler-Phänomen. Die Vorbilder für die Figuren Frans Wouters‘ im Vordergrund sind bei Peter Paul Rubens und Pieter van Avont (1600–1652) zu finden, bei denen er in die Lehre ging.

JEAN DAULLE (FRENCH, 1703-1763) AFTER RUBENS,PORTRAIT OF RUBENS' SONS, ALBERT & NIKOLAUS,engraving, circa 1752,41cm x 23cm,framed and under glassCondition report: The condition is very good overall, though there is slight discolouration to the picture throughout.

GROSSE TAPISSERIE AUS DER FOLGE "DAS LEBEN DES CÄSAR"Brüssel, Mitte 17. Jh. Stadtmarke BB (Brabant-Brüssel) sowie signiert G. Peemans (Gérard Peemans, aktiv 1660–1707).Schlachtendarstellung, im oberen Teil in Kartusche bezeichnet "IULIUS CAESAR ET POMPEUS CONFLIGUINT". Breite Bordüre mit opulenter Blumengirlande mit Figuren sowie Hirtendarstellung in Kartusche.400 x 600 cm.Kleinere Risse, Restaurierungen.Eine ähnliche Tapisserie von Gérard Peemans aus den Serien 'La Vie de César-Auguste', 'L'Histoire de Marc-Antoine et Cléopatre' und 'l'Histoire de Zénobie, reine de Palmyre' ist abgebildet in: Guy Delmarcel: La Tapisserie Flamande du XV au XVIII siècle, Paris 1999, S. 247.Gerard Peemans war der Schwiegersohn des berühmten Brüsseler Teppichwebers Gerard van der Strecken, der Mitte des 17. Jahrhunderts eine große Anzahl hochwertiger Wandbehänge herstellte. G. Peemans betrieb eine der wichtigsten Brüsseler Werkstätten der zweiten Hälfte des 17. Jh. Zwischen 1660 und 1707 tätig, beschäftigte er bereits im Jahr 1665 vierzehn Weber an sechs Webstühlen. Diese Zahl stieg 1683 auf dreiunddreißig Weber an, um dann von 1703–1707 wieder auf vier Webstühle zu fallen.In seinen Werkstätten ließ er zahlreiche Behänge nach externen Künstlervorlagen anfertigen: Den Behang der Apostelgeschichte nach einem Modell von Raffael, im Depot des Victoria und Albert Museum, London zu finden, sowie die Tapisserie zur Geschichte Alexanders des Großen nach den Vorlagen von Charles Le Brun. Weitere Werkzyklen sind nach Vorlagen flämischer Maler wie Justus van Egmont inspiriert, so unter anderem auch die Geschichte des Achilles nach Rubens, die Geschichten von Kleopatra und Marcus Aurelius sowie von Dido und Aeneas. Von meisterhafter Qualität ist insbesondere der Behang der Zenobia, Königin von Palmyra, ausgestellt im Musée Royaux d’Art et d’Histoire, Bruxelles. Viele Vorzeichnungen stammen von Justus van Egmont (Leiden 1601–1674 Antwerpen), der vor allem als geschickter Maler von Porträts und Historienbildern sowie als Schöpfer von Wandteppichen bekannt ist. Von 1620 bis 1628 war er Mitglied der Werkstatt von Rubens und beteiligte sich an der Ausführung der Geschichte der Marie de Médicis, einem Zyklus, der für die Galerie des Palais du Luxembourg in Paris bestimmt war (1622–1625). Er ließ sich in Paris nieder und wurde Mitarbeiter von Simon Vouet. Er malte Gobelinentwürfe für die Werkstätten im Faubourg Saint-Marcel-Quartier, wo viele nach Paris emigrierte flämische Gobelinknüpfer, wie Coomans und Van der Plancken (de la Planche) arbeiteten. Von König Ludwig XIV mit dem Titel "Peintre du Roy" geehrt, war Van Egmont im 1648 einer der zwölf Gründer der Akademie für Malerei und Bildhauerei. Ab 1649 war er in Brüssel angesiedelt, bevor er sich 1653 dauerhaft in Antwerpen niederließ, wo er bis zu seinem Tod 1674 in Opulenz und Ruhm lebte. Seine bekanntesten Tapisserieentwürfe stammen aus dieser letzteren Periode, darunter die Geschichten des Cäsar Augustus (1659), der Kleopatra und Marcus Aurelius (1661), des Dido und Aeneas, der Zenobia - Königin von Palmyra (ausgestellt im Musée Royaux d’Art et d’Histoire, Bruxelles), und des Aurelian (1665). In ihrer Gestaltung und Komposition sind diese Vorlagen von Justus van Egmont ein prächtiger Ausdruck des flämischen Barocks.Alle erwähnten Wandteppiche weisen die gleichen Bordüren auf, ihres Zeichens ein Meisterwerk der flämischen Barockkunst, mit Liebesmotiven, Früchte- und Blumengirlanden "au naturel", Pfauen, Vasen, wasserspeiende Delphine sowie Kartuschen mit lateinischen Inschriften, welche wiederkehrende Gestaltungsmittel sind und die barocke Opulenz bezeugen. Das lebendige und leuchtende Kolorit charakterisiert sich durch die Zartheit der Rosé-, Grau- und Beigetöne. Verstärkt wird diese Farbpalette durch kräftig satte Rot-, Blau-, Grün-, Gold- und Kupfertöne. Die prächtige Bordüre vervollständigt die festliche Atmosphäre dieses brillanten Behangs.

Fine Arts.- Baglione (Giovanni) Le Vite de' Pittori Scultori et Architetti, dal Pontificato di Gregorio XIII del 1572. In sino a'tempi di Papa Urbano Ottavo nel 1642, first edition, engraved additional pictorial title and a portrait of the author (often missing, including Macclesfield copy sold in 2004), woodcut head-pieces and decorative initials, stained (including additional title and portrait), occasional spotting, new endpapers, contemporary limp vellum, later gilt and morocco label to spine, lightly stained, [Cicognara 2190], small 4to, Rome, Andrea Fei, 1642.⁂ Scarce first edition of this important work on the lives of Baroque artists, mostly Roman, including the Caraccis, Caravaggio, Bernini and also Rubens and Goltzius.

Bible, English.- The Holy Bible. Containing the Bookes of the Old and New Testament, engraved frontispiece of the arms of Charles II by Hollar (with internal tear to upper margin) bound in at beginning before The Book of Common Prayer (1660), lacking engraved dedication, engraved title depicting Solomon on his throne, 109 fine engraved plates mostly by Visscher or Le Blond after Heemskerck, de Bruyn, de Vos, Coninxloo, Rubens, Potter and others, including large folding view of Jerusalem by Hollar, ruled in red throughout with substantial margins, some occasional light soiling, heavier to 3N2 verso and 3N4 recto, some light marginal staining, a few ff. with short marginal tears, handsome later red straight-grain morocco, blue morocco panels to covers with Greek key roll borders, spines richly gilt in compartments, light fading to spines, rubbing to extremities, bumping to corners, light wear to lower edge, [Herbert 668; Wing B2258], folio, Cambridge, John Field, 1660.⁂ An attractive copy of Ogilby's 1660 reissue of Field's 1659 Bible, updated to reflect the restoration with Solomon seated on his throne. Plate counts vary considerably.

Optics.- Rubens (Peter Paul).- Aguilon (François d') Opticorum libri sex Philosophis iuxta ac Mathematicis utiles, first edition, half-title, fine engraved title and 6 head-pieces by Theodor Galle after Peter Paul Rubens, numerous woodcut diagrams and illustrations in text, woodcut decorative initials and tail-pieces, final f. with large woodcut printer's device recto otherwise blank, occasional spotting or light staining, lightly browned throughout, new endpapers, contemporary calf, rebacked in a modern light brown morocco in compartments, gilt and with a black morocco label, corners repaired, covers rubbed and scuffed, [Norman 25; NLM/Krivatsy 92; Martin Kemp, The Science of Art, 1990, pp. 101-104], folio, Antwerp, widow and sons of J. Moretus in the house of Plantin, 1613.⁂ As well as providing a compendium of classical and modern works on optics, he describes his original theory of binocular vision (later disproved) and for the first time his invention of the horopter. This is one of only seven books known to have been illustrated by Rubens, a friend of the publisher Balthasar Moretus. D'Aguilon's colour theory and his prescriptions for the mixing of colours are known to have been used in Rubens's paintings.

Virgin and child in a cartouche surrounded by puttiinscribed 'PPR' (lower right on the cartouche)oil on panel20.5 x 15.5cmProvenance:Allan Gilmore, Portland Place, London,His Sale, Phillips, London, April 1842 - May 1843, lot 151, as Peter Paul RubensCondition report: Framed 33 x 28cmOil on a small wooden panel. The panel is formed from a single board with the woodgrain running horizontally. There are two splits which have formed across the panel running horizontally from the left hand side. The panel has been set into a small wooden tray with the edges covered (hidden by the frame) The back of the tray is visible at the reverse, made from oak with a vertical woodgrain which has developed severe cracks. The paint layer has a network of age cracks, some are slightly raised but all are stable. The varnish is semi-matte and clear. There are areas of overpaint across the painting which are reasonably well matched to the original.

 ENGLISH SILVER BUTTON HOOK WITH 19TH CENTURY SEWING SCISSORS An early 20th century, English silver button hook with charming terminal featuring Rubens Angels. Hallmarked too rubbed to date, 18grams including steel hook. 16cm long. Paired with, a pretty pair of 19th century steel sewing scissors modelled as a bird and beautifully cast with each feather visible. 11x5cm. Both in reasonable condition with some signs of age related wear.  

Artist: Andy Warhol (American, 1928 - 1987). Title: "Portrait of Andy Warhol [poster]". Medium: Color offset lithograph. Date: Composed 1982. Dimensions: Overall size: 22 x 20 in. (559 x 508 mm).Lot Note(s): Signed by Warhol in black marker, lower right. Edition size unspecified, presumed small. Light cream wove paper. The full sheet. Fine impression. Very good to fine condition. Provenance: Private collection, Sweden, thence to our consignor. Comment(s): Warhol had a joint exhibition with the German-born photographer Hans Namuth (1915-1990) at New York’s Castelli Gallery from January 9th to the 30th, 1982. Namuth specialized in portraits and is most famous for his photographs of Jackson Pollock creating his iconic drip paintings. This portrait of Warhol is part of Namuth’s project to photograph the artists represented by Castelli. It shows Warhol standing in front of Rubens’s painting ‘Reconciliation of the Queen and her Son’, which was part of his Marie de Medici Cycle. Rubens was famous for painting the celebrities of his day, providing them with an image to bolster their power. Warhol did the same with his pop portraits; indeed Robert Rosenblum described him as “an ideal court painter”. Rubens also employed a large studio of assistants which is paralleled in Warhol’s ‘Factory.’ An impression of this work is included in the collection of the National Galleries of Scotland, accession no. AR00437. Image copyright © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London; and image copyright © Estate of Hans Namuth. [29234-5-800]

Michel (J.F.M.) Histoire de la Vie de P.P. Rubens, Chevalier, & Seigneur de Steen,... 8vo Brussels (Chez. A.E. De Bel) 1771. First Edn., Engd. port. frontis, decorative heads, later hf. tan calf, gilt spine in panels, mor. label. B.P. Clean Copy. (1)

Continental school (19th century),Naive portrait of a young girl in the manner of Peter Paul Rubens,Oil on panel,Unsigned,15cm x 11cm,Gilt framed

Kupferstich, ¨Die Bekehrung Kaiser Konstantins¨ nach dem Gemälde von PETER PAUL RUBENS, Motivmaß ca. 35x39cm, gerahmt (47,5x54,5), teilweise stärker gebräunt, Rahmenglas gerissen

JEAN DAULLE (FRENCH, 1703-1763) AFTER RUBENS, PORTRAIT OF RUBENS' SONS, ALBERT & NIKOLAUS, engraving, circa 1752, 41cm x 23cm, framed and under glass Provenance: The William Mowat-Thomson Collection

JEAN DAULLE (FRENCH, 1703-1763) AFTER RUBENS, PORTRAIT OF RUBENS' SONS, ALBERT & NIKOLAUS, engraving, circa 1752, 40cm x 21.5cm, mounted, framed and under glass Provenance: The William Mowat-Thomson Collection

RUBENS (AFTER) HENRI IV DELIBERE SUR SON FUTUR MARIAGE Line engraving by Audran, 51cm x 44cm, also six other 18th Century engraved portraits of European personages, of sizes, all framed and glazed in Hogarth frames (7) Provenance: The William Mowat-Thomson Collection

RUBENS (AFTER) LA MAJORITE DU ROY LOUIS XIII Line engraving by Trouvain, 48cm x 33cm, also a group of other chiefly 18th Century engravings including Madonna and Child after Carracci; Renaldo and Alminda after Kauffman; a Tempest after Poussin; The Prodigal Son after Salvador Rosa and two others, of sizes, all framed (7) Provenance: The William Mowat-Thomson Collection

Manner of Rubens, Putti, oil on canvas, 65.5 x 48.5cm

A collection of assorted gentleman's wristwatches including a Seiko Bellmatic stainless steel wristwatch, the circular dial set with batons and subsidiary date aperture, diameter excluding winding crown 36mm, Smiths Shockproof example, Rubens Superdrive seventeen jewel stainless steel wristwatch, etc.Additional InformationNone of the watches are currently functioning. When wound, the Seiko watch works for a short time, then stops. Heavy wear, rusting, damage throughout.

PorzellanbildKPM Berlin, um 1900. Pressmarke, Zepter und K.P.M., Presszeichen 316 und G. Hochrechteckige Porzellantafel mit polychromer Malerei. Darstellung des Raubs der Töchter des Leukippos nach dem Gemälde von Peter Paul Rubens (1577–1640). 23,5x18,5 cm. Goldbronzierter Holzrahmen ergänzt. 36,5x32,5 cm.- Leichte Altersspuren. Minimal berieben.

VENETIAN SCHOOL, EARLY 20TH CENTURY (3)The Doge's Palacebears monogram (lower right)oil on canvas30 x 60.5cmtogether with; Follower of Rubens Santoro, A Venetian church; and Walled city(all unframed)(3)bears monogram (lower right)oil on canvas30 x 60.5cm(unframed)

AFTER PETER PAUL RUBENS (1577-1640) 19TH CENTURY CONTINENTAL SCHOOLPORTRAIT OF THE EMPEROR NEROOil on panel80 x 63cm (31¼ x 24¾ in.)Provenance: The Simon Neal Collection Condition Report: There are marks, scratches, cracks and abrasions consistent with age, handling, cleaning and use. Additionally clearly shows fairly pronounced distressed paint surface and paint loss. Shrinkage to boards. Surface is dirty from atmosphere and handling, UV will not penetrate beneath itPlease see additional images which form part of this condition reportCondition Report Disclaimer

Y AFTER PETER PAUL RUBENS (1577-1640), A CONTINENTAL PENWORK IVORY PLAQUE DEPICTING THE JUDGEMENT OF PARISPROBABLY FRENCH, LATE 18TH/EARLY 19TH CENTURY the plaque 11.5 x 16cmProvenance: The Simon Neal Collection

Full title: Flemish school, after Jan Brueghel II (1601-1678): Noli me tangere, oil on canvas, 17th C.Description: Work: 119,5 x 78 cm Frame: 125,3 x 83 cm Paintings with the 'Noli me tangere' theme, also known as 'Christ appearing to Mary Magdalene as a gardener', were very popular. According to Dr. K. Ertz, especially Jan Brueghel II needs to be honoured for this topic: 'Detaching himself from the meticulous and detailed brushwork of his earlier years, which he had adopted from his father, he finally introduced his own pictorial inventions. Although many inspirations for the son's paintings derived from his father's work, the painting suggests that it was Jan Brueghel the Younger himself who developed this compositional type on the basis of his father's achievements' (link). This representation (and the mirror image) was also spread through numerous prints: link (after Rubens) and link (after Rubens). An early 17th-C. painted version (surroundings of Rubens) is part of the Rijksmuseum Collection (link).

After Peter Paul Rubens, Dutch (1577 - 1640)ÿ A collection of 22 black and white Engravings after P.P. Rubens, by Duchange & others, c. 1710 and later, including the following titles: A. ÿÿÿÿÿÿÿÿÿ "Francois de Medicis, Grand Duc du Toscane, (No. 5)"; B. ÿÿÿÿÿÿÿÿÿ ÿ"Geanne d'Austriche Grande Duchesse de Toscane (No. 6),"; C.ÿÿ ÿÿÿÿÿÿÿ "La Destinee de la Reine, (No. 7); D. ÿÿÿÿÿÿÿÿÿ "Le Education de Reine, (No. 9)"; E. ÿÿÿÿÿÿÿÿÿ ÿ"Henri IV Delibere, sur son Future Manage, (No. 10)"; F.ÿÿ ÿÿÿÿÿÿÿ ÿ"La Maissance de La Reine, (No. 10)"; G. ÿÿÿÿÿÿÿÿÿ ÿ"Le Mariage de La Reine, (No. 11)"; H.ÿÿ ÿÿÿÿÿÿÿ ÿ"Le Debarge Unent, de la Reine au port de Marseille, (No. 12)"; I.ÿÿÿÿÿ ÿÿÿÿÿ ÿ"La Ville de Lion Va Audavant de la Reine," (No. 13); J.ÿÿÿÿ ÿÿÿÿÿÿ ÿ"L'Accochement de La Rine (No. 14)"; K.ÿÿÿ ÿÿÿÿÿÿ ÿ"Le Roi, Part La Querre D'Allemande (No. 15); L.ÿÿ ÿÿÿÿÿÿÿ ÿ"Le Voyage de La Reine au Port au Pont de Ce, (No.19)"; M. ÿÿÿÿÿÿÿÿ ÿ"L'Ecbange des dux Reine (No. 20)"; N. ÿÿÿÿÿÿÿÿ ÿ"La Feticite de La Regence, (No. 21)"; O. ÿÿÿÿÿÿÿÿ ÿ"La Majorite du Ro: Louis XIII, (No. 22)"; P. ÿÿÿÿÿÿÿÿÿ ÿ"Le Reine, S'Enfuit de La Ville du Blois (No. 23)"; Q. ÿÿÿÿÿÿÿÿ ÿ"La Reine Prend Le Parti de la Paix, (No. 24)"; R. ÿÿÿÿÿÿÿÿÿ ÿ"La Conclusion de La Paix, (No. 25)"; S. ÿÿÿÿÿÿÿÿÿ ÿ"La Paix Confurmee dans Le Ciel, (No. 26)"; T. ÿÿÿÿÿÿÿÿÿ ÿ"Les Tems decouvre La Verite, (No. 27); U.ÿ ÿÿÿÿÿÿÿ ÿ"Pierre Paul Rubes, (No. 31)"; V. ÿÿÿÿÿÿÿÿÿ ÿ"Marie de Medicis, Sous La Forme (No. title page) de Minerve deesve d'arts [Dedie Auroy]"; A similar set hangs at Brocklesby in Lincolnshire. Each approx. 28" x 17 1/2" (57cms x 44cms) and two other smaller in matching ebonised and gilt frames. (22) See also lot 231

After Rubens & Raphaelÿ A pair of oval Self Portraits each oil on board, "Grand Tour," in Florentine carved gilt wood frames, 8" x 6 1/4" (21cms x 16cms). (2) Provenance:ÿÿ Marlfield House, Clonmel, Co.Tipperary.

Three bronze medallions, one St Paul's Cathedral, one P. Paulus Rubens and a Frederick Schleiermacher 1768-1834, together with a Louis Marie De Cormenin example

LAURENCE GAHAGAN (1756-1817) Portrait Bust of Lord Nelson White statuary marble, 28cm high Signed Listed in Strickland as a sculptor, L. Geoghegan of Anglesea Street in Dublin was given a premium of four pounds by the Dublin Society in 1756 for “a piece of sculpture”. Strickland surmised that this was probably the marble statuette of Rubens, which at that time belonged to W.T. Kirkpatrick of Donacomper, Celbridge and which is signed ‘L. Geoghegan 1756’. He altered his name to Gahagan on reaching London. In 1777 he received a premium of thirty guineas from the Society of Arts for a cast of a figure and exhibited in the Royal Academy in 1798 busts of Admiral Sir Thomas Paisley and Sir Horatio Nelson. He continued to exhibit at the RA until 1817.Signed and dated MDCCCV (1805) verso

A B after Romney, Mrs Mary Robinson, oil on canvas under glass, signed AB after Romney, 40x30cm, after Rubens, Marchesa, a varnished print, 24x18cm.

8 1:43 Racing Cars. Hot Wheels: Ferrari F1 2000 No. 4. Driver Rubens Barrichelo. IXO: Lotus Elite No. 43. Le Mans 1960. Drivers Baillie & Parkes. Aston Martin DBR9 No.57 12 hour Sebring 2005. Drivers Brabham, Turner & Ortelli. Brumm: Lotus 25 No. 8 GP Italia 1963. Driver Jim Clark. Ferrari 156 No. 38 GP Monaco 1961. Driver Phil Hill. Ferrari 375 No. 12 Indianapolis 1952. Driver Alberto Ascari. Mercedes 300SLR No: 722 Mille Miglia 1955. Driver Stirling Moss. Atlas: Martini Lotus 79 No.2. All boxed, minor wear. Vehicles Mint. £40-60

A pair of spelter figures of renaissance artists Rembrandt and Rubens

Auguste Joseph CARRIER (1800-1875) 2 busts of Rembrandt and Rubens, made of silver and gold plated bronze. M691 (9 x 12,5 x 22 cm)