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Lot 36
A set of eight landscape prints, late 18th/19th century, to include:'The Waggoner', by John Browne, after Peter Paul Rubens,'Templum Veneris', by Wilhelm Friedrich Gmelin, after Claude Lorrain, and'Saint John Preaching in the Wilderness', by John Browne, after Salvator Rosa,various sizes, framed and glazedlargest 50 x 64cm, framed 64 x 75.5cm (8)
Lot 820
5-teiliges Konvolut von Radierungen, Lithografien und Kupferstichen, bestehend aus: 1xSadler, John (1720 - 1789), Geburt Jesu m. d. Heiligen drei Königen, Kupferstich, Gr. ca. 26 x 20 cm, 1x Strixner, Johann Nepomuk (1782 - 1855), Anbetung d. Heiligen drei Könige (1817), Lithografie, re. u. sign. u. dat., Gr. ca. 44 x 35 cm, 1x Testa, Pietro (1611 - 1650), Anbetung d. Heiligen drei Könige, Radierung, Gr. ca. 26 x 21 cm, 1x Lasinio, Giovanni Paolo (1789 - 1855), Anbetung d. Heiligen drei Könige, kolorierter Kupferstich, Gr. ca. 33 x 23,5 cm u. 1x Bolswert, Schelte Adams (1586 - 1659), "Anbetung der Könige" (nach Rubens, Peter Paul), Kupferstich, Gr. ca. 31,5 x 25,5 cm.
Lot 732
Diepenbeeck van, Abraham (1596 - 1675), Der Heilige Hieronymus, Öl/Lw., li. u. schwerleserl. monogramm.: "V.D.", Bildgröße ca. 105 x 86 cm, gerahmt (ca. 221 x 99 cm). Restaurierungsbedürftig, Fehlstellen Farbe, verschmutzt, alte Spuren von Restaurierung, in d. 2. H. d. 20. Jh. auf Spannrahmen aufgezogen, Ränder beschnitten, rs. nachtr. beschrieben, Krakelee. Seit 1941 in Familienbesitz (Kopie einer Rechnung aus dem Jahr 1941 liegt vor). Die Leinwand wurde laut Einliefererangaben bei der Flucht im 2. WK als Futter in einem Koffer transportiert. Weitere handschriftliche Angaben zu Vorbesitzern liegen vor. Van Diepenbeeck war ein flämischer Barockmaler, der bekannt für seine religiösen Gemälde, Porträts und Entwürfe für Kupferstiche war. Sein Stil ist stark von Rubens beeinflusst, sodass davon ausgegangen wird, dass die beiden Künstler in irgendeiner Form interagierten.
Lot 325
Lovis CORINTH (1858-1925), "Perseus und Andromeda" (nach Rubens), c. 1919, aus der Suite Antike Legenden, Kaltnadelradierung auf Bütten, signiert recto-nicht lesbar (Listenangabe), Auflage: 150 (inkl. Vorzugsausgabe von 50 auf Japan und einer regulären Auflage von 100 auf Bütten), Druckmaße: 35,4 x 22,6 cm, breite Randung gebräunt, Blatt leicht gewellt, partiell Knickspuren. Alters- und Gebrauchsspuren.
Lot 329
PIETER CLAESZOON SOUTMANDer Sturz der Verdammten 1642Kupferstich, von 2 Platten zusammengesetzt, auf Bütten, nach P. P. Rubens. Blattgröße 59,5 x 42,2 cm; Plattengröße 57,4 x 42,2 cm. Schneevogt S. 62, Nr. 458; Hollstein 8 I (von II).(Kleinere Papierstauchungen und -verletzungen am unteren weißen Rand und oberer linker Ecke; geglättete Falten; teils stäeker stock- und feuchtfleckig und etwas gebräunt.)
Lot 54
Goltzius, Hubert: Icones imperatorum Romanorum, ex priscis numismatibus ad vivum delineatae, & brevi narratione historica illustratae. Accessit modo Impp. Romano-Austriacorum series, ab Alberto II. … ad usque Ferdinandum III. …, stylo et opera Casperii Gevartii. Antwerpen: Plantin-Moretus 1645. 32,7 x 21 cm. Mit gest. Titel von C. Galle nach P. P. Rubens und 144 großen Porträtmedaillons in Clair-Obscur-Technik von Christoffel Jegher sowie 9 nicht ausgeführten Medaillons. XIV SS. (inkl. Kupfertitel), 1 Bl., 423 SS., 2 Bll. Ldr. mit Rs.(Beschabt und bestoßen, Rücken im Schwanzbereich mit kl. Fehlstelle. Innen t. etwas gebräunt bzw. altersfleckig. Plattenton der Medaillons auf Textrückseite durchschlagend. Kupfertitel knapp beschnitten, verso gestempelt.)Graesse III, 313. Funck 318 u. 324. Lipsius 153. - Spätere Ausgabe, erstmals mit den neuen Holzschnitten von Chr. Jegher und mit einem Anhang über die österreichischen Kaiser von C. Gevaerts. Zugleich Band V einer fünfbändigen Ausgabe der „Opera“ bei Moretus (1644-54). Die großen Porträtmedaillons zeigen die römischen und römisch-deutschen Kaiser von J. Cäsar bis Ferdinand III. - „Il faut noter que, dans le tome V, les gravures sont plus belles et plus nettes que dans les autres“ (Funck S. 324). - Fliegendes Vorsatzblatt mit hs. Eintrag „Ex Bibliotheca Zapfiana ... Rothenbuchensis 1787“.
Lot 60
* Jegher (Christoffel, 1596-1652/53). The Garden of Love, after Rubens, circa 1633-36, pair of large-scale conjoined wood blocks, printed in dark brown, white and black, signed Christoffel fec to extreme lower right corner, trimmed to image, overall sheet size 45.5 x 119 cm (17 7/8 x 46 7/8 ins), mounted on card, 20th century gilt frame, glazed (69 x 141 cm)QTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.Wurzbach 14; Hollstein 17a and b.The rare complete set of two large-scale woodcuts by Christoffel Jegher after Ruben's famous painting entitled The Garden of Love, now in the Prado Museum, Madrid. an important forerunner of the fête champêtre genre which became widespread in French painting of the 18th century, and which is generally thought to be a celebration of the artist's second wife Hélène Fourment. The couple are depicted together on the right hand side of the composition.In the early 1630s Rubens, who had a keen interest in the dissemination of his art through prints, began a close collaboration with the printmaker Christoffel Jegher. The original design (in reverse) for the right-hand portion of this panoramic woodcut scene, prepared by Rubens at his studio, is held by the Metropolitan Museum of Art, New York (accession number 58.96.1)
Lot 57
* Soutman (Pieter, 1580-1657). The Last Supper, after Rubens, after the fresco by Leonardo da Vinci, 1620, etching on laid paper, a characterful impression, two sheets conjoined to create one image, four Last Supper bible verses in Latin to lower margin, 'P. B. Rub. Delins.' and further attributions in Latin and Italian to lower margin, trimmed to image on three sides, lower left corner trimmed removing 'Leonardo Da Vinci, Pinxit.', 'P. & D. Colnaghi & Co. Ltd.' gallery label with attribution details in ink to verso, image size approx. 27.3 x 99.3 cm (10 3/4 x 39 1/4 ins), sheet size 29 x 99.4 cm (11 1/2 x 39 1/4 ins), framed and glazed (47 x 106 cm)QTY: (1)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.Pieter Soutman was a painter, etcher and engraver, draughtsman and publisher of prints. He worked in Antwerp around 1618 as a pupil or collaborative assistant of Rubens.Another impression of this work is held by the British Museum (1868,0612.371).
Lot 91
* Skippe (John, 1742-1811). Five chiaroscuro woodcuts from Amicis suis necnon unicuique Artium elegantiorum Amatori, Tabulas insequentes Ludentis Otii temporibus ligno incisas, 1781, including A Group of Monks and a Woman, after Rubens, chiaroscuro woodcut from four blocks on cream laid paper, 'P: P: Rubbens inv. / Joan: Skipp scul.' to top right, with narrow margins, research notes to verso of frame in ink, small closed tear to left edge, handling creases to lower margin, tipped onto backing board at each corner, image size 37.7 x 23.4 cm (14 3/4 x 9 1/4 ins), sheet size 39 x 34.4 cm, framed and glazed, and Seated Young Man, after Michelangelo, chiaroscuro woodcut from four blocks in maroon on laid paper, 'Typum hunc / a M. Angelo / Scheda [...] Joan Skippe / D 1781' to lower right, trimmed to image, sheet size 18.7 x 15.8 cm (7 1/4 x 6 1/4 ins), framed and glazed, with Male and Female Caryatid, after Raphael, two chiaroscuro woodcuts printed in pale green and black, both trimmed to image, image size 6.8 x 8 (6 3/4 x 3 1/4 ins) respectively, framed and glazed, together with the Frontispiece to the collectionQTY: (6)NOTE:Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.
Lot 1060
GERTLER MARK: (1891-1939) British painter. A scarce A.L.S., Mark, to the verso of a colour picture postcard featuring a reproduction of a painting by Rubens, Paris, 1932, to his aunt, Annie Gertler. The artist writes, in full, ‘I heard from Minnie that Harry is better. I am very glad. I hope all goes well still. I will phone when I return to London. Love to all’. Together with a few pieces of unsigned printed ephemera comprising two different invitation cards to exhibitions of Gertler’s works at The Leicester Galleries and Whitechapel Art Gallery in London and a small 8vo catalogue of the New Year Exhibition of Pictures, Drawings and Sculpture by Nineteenth and Twentieth Century Artists at The Leicester Galleries in London, January 1954, featuring works by L. S. Lowry, Ford Madox Brown, Frank Brangwyn, Amedeo Modiglaini, Augustus John, Graham Sutherland, Henry Moore, Stanley Spencer, Wyndham Lewis, Paul Signac, Alfred Sisley, Duncan Grant, Walter Sickert, Terry Frost, John Piper, Ben Nicholson, Edgar Degas and Mark Gertler amongst others. Further including a series of unsigned incomplete autograph letters and notes by Valentine Dobree (1894-1974, Indian-born English artist, associated with the Bloomsbury Group and the lover of Gertler), four pages, 8vo, Richmond, n.d., to Mark Gertler, in ink and pencil. Dobree commences the first page of one letter ‘Terms like the “aura of my disfigured mentality” and the “rigidity of puritanical labels” occur to me as the memory of my first confused correspondence sweeps into my mind like a dark cloud which flashed thunder……’ further writing ‘I experienced the fever & madness of love, then the idyllic strain of fanciful pleasure, which shocked me out of myself with its sweetness & unrealism. I descended to earth filled with the fright of you’, and also adding a note in the margin, ‘I know I never ought to right (sic) like this to you because you do not love me but you can decide for yourself whether you want me or not’. The other pages state, in part, ‘The unconscious growth of nature creates shapes of life with an unpremidated (sic) spontanity (sic)….The Artist in you is mostly unconscious if it exists at all….sex is definitely unconscious liquid in the mind poisoning the grey matter…..I don’t think anybody else has felt love like I have. It is because I have suppressed myself to such an extent that it has burst upon me…..’ Some age wear and creasing, particularly evident to Gertler’s postcard (which also has the postage stamp neatly removed), and a few small tears and areas of paper loss, FR to generally G, 8
Lot 425
A E Conuino? 1836 follower Sir Peter Paul Rubens (Flemish 1577-1640), oil on canvas, The Infant Christ with John the Baptist and two angels. Signed and dated lower right. Bears old white chalk mark and Woolley and Wallis label verso. 39.5cm x 50cm, in an associated 19th century gilt frame. Condition Report: There are some faults with this picture, firstly a clean would get rid of the surface marks. 7 small holes to canvas ( there are patches from before) definitely a patch repair and not a reline needed some wear marks to right corners and top left and paint loss ( now coloured) to above shoulder of right hand child.Frame is 18/19 th C but not the original one. It has been through thee wars and is worth restoring. Do not be put off by the frame !
Lot 21
Flemish School. 17th century. Circle of Frans Francken II (Antwerp, 1581 - 1642)"The Presentation of Jesus in the Temple"Oil on copper.40 x 35 cm.Frans Francken II was a famous painter of mythological scenes, religious and allegorical compositions, as well as an engraver.As stated by the Prado, we can divide the painter's production into four stages. A first stage, in which his "works denote his initial connection with the painting and style typical of the 16th century, with high viewpoints and [...] local colours"; a second stage, with a lighter palette, in which he begins to consolidate himself with an "immense and easily recognizable pictorial corpus"; a third one, his period of greatest fullness, in which "typical male figures wearing turbans or Phrygian caps begin to appear". It is when "the general luminosity [...] reaches its zenith, determining the chromatic scheme of the work". In his last stage, from 1630 onwards, he began to create "compositions where local color would evolve towards general tonalities", influenced by Rubens and other Dutch painters of his time.Other general characteristics of his work, which continue throughout his career, "are his figures with large black eyes, achieved by using touches of carbon black" and the inclusion, from 1610 (in his second stage), of stereotyped women in his paintings.His work can be found in the Rijksmuseum, in the Royal Museum of Fine Arts in Antwerp, in the Louvre or, among many other museums, in the Prado, where up to 20 paintings by our painter are preserved, three of which are collaborations. Bibliographic references:-Museo del Prado (s.f.). "Franken II, Frans". https://www.museodelprado.es/recurso/francken-ii-frans/094e0a02-6efd-461e-9b9a-9d58d15d71cf
Lot 303
Circle of Sir Peter Paul Rubens (Flemish, 1577-1640). Four drawings of heads of bearded men. (A) Head of a Squinting Bearded Man, sanguine and black chalk on laid paper, 5 5/8 x 3 5/8in. (14.4 x 9.4cm.) (B) Head of a Bearded Man Facing Left, sanguine and black chalk on laid paper 5 5/8 x 3 5/8in. (14.5 x 9.5cm.). (C) Head of a Bearded Man Facing Right, black chalk on laid paper 4 7/8in. x 3 5/8in. (12.5 x 9.2cm.) (D) Head of Bearded Man Facing Left and Looking Up, black chalk on laid paper, 4 7/8 x 3 1/2in. (12.5 x 9cm.). Framed. (4) *Provenance: By family descent from: Baroness Gerda von Chappuis (b.1874), Lady in Waiting to Princess Marie-Louise of Schleswig-Holstein (1872-1956), granddaughter of Queen Victoria. As Lady in Waiting to the Princess, Baroness von Chappuis had close connections with the British Royal Family and when she moved to England, she was able to add the Rothschilds at Waddesdon Manor to her impressive social circle. She was painted by Sir John Lavery RHA, RA, RSA (1856-1941). **Attribution The two drawings in black and sanguine chalk, (A & B), are of a significantly higher quality than the drawings in black chalk, (C & D). The four drawings are related to an album of ninety-four drawings that the French painter, collector, art critic and diplomat Roger de Piles (1635-1709) purchased from Rubens’ nephew, Philip. The album was later described as comprising "Heads of diverse characters in black or sanguine chalk that Rubens made from nature". The album was subsequently acquired by Philip’s patron Pierre Crozat (1665-1740), one of the richest men in Europe. The drawings in the album were much copied by French artists before being divided into four parts and sold at auction in 1741 following Pierre Crozat's death the year before. Some, if not all, of the drawings remained in Paris for several years and continued to be copied by yet more French artists before being dispersed. There appears to be no reference to the album from the late 18th century to the present time and it seems that many of the original drawings from the album have disappeared. At least eleven of the original pages from the album have survived and through the copies that were made by French artists in the 18th century, around a third of the lost album can be recreated. The copies of the original Rubens drawings were made by Jean-Antoine Watteau (1684-1721), Nicolas Vleughels (1668-1737) and the printmaker Louis Marin Bonnet (1736-1793). The discovery that the four drawings discussed here are related in some way to the Roger de Piles album relies heavily upon research undertaken by Dr Martin Eidelberg, American professor emeritus of art history at Rutgers University, and published in “An Album of Drawings from Rubens' Studio”, Master Drawings, (Autumn 1997), Vol. 35, No.3, pp.234-266. Also, from comparison with drawings in the collections of the Albertina, Vienna; Louvre, Paris; and Harvard University Art Museum, Fogg Art Museum, Cambridge, Massachusetts. Dr Eidelberg is not convinced that the present four drawings came from the original Roger de Piles album and, as a consequence, that assertion is not being made here. We are grateful to Dr Eidelberg for his expert opinion. There is however an undeniable association between the four drawings discussed here and those considered to be copies of drawings from the Roger de Piles album. (A) "Head of a Squinting Bearded Man" relates to a drawing by Nicholas Vleughels (1668-1737), now in the Louvre, in itself a copy of a lost drawing by Rubens. Similarly, (B) Head of a Bearded Man Facing Left relates to another copy of a lost Rubens drawing by Nicholas Vleughels (1668-1737) also in the Louvre. Both original Rubens drawings were also copied by Antoine Watteau (1684-1721) and significantly appear on the same sheet together, now in the Harvard University Art Museum, Fogg Art Museum, Cambridge Massachusetts. (A & B) are of similar dimensions to the drawings from the Roger de Piles album. (C & D) relate to other drawings by Rubens workshop known to have come from the Roger de Piles album, such as Head of a Bearded Man, Facing Left, Head of a Bearded Man Looking Down to the Right, Head of a Bearded Man with his Hand to his Chin in the Albertina, Vienna. (D) is numbered lower right "133" in a manner very similar to other drawings described as Rubens workshop and originally from the Roger de Piles album. Many of these Rubens workshop drawings from the album are also numbered in the lower right corner. (C & D) are also of similar dimensions to the Rubens workshop drawings in the Albertina, Vienna. It is worth noting that in 1987 Elizabeth Llewellyn, expert in Old Master Drawings at Sotheby's, gave the written opinion that (A & B) were "either by Van Dyck or Rubens" and that (C & D) "are studio works". This opinion was provided ten years before Dr Eidelberg published his research in Master Drawings in 1997. Until then little scholarly attention had been given to the Roger de Piles album of ninety-four heads. Further information about the drawings can be provided upon request.
Lot 316
Bible (English). The Holy Bible, containing the Old and New Testament. Newly translated out of the originall tongues and with former translations diligently compared and revised his Majesties speciall command..., Amsterdam: Stephen Swart, 1672, additional engraved title, letterpress with woodcut royal armorial, letterpress New Testament title, five double-page engraved maps including defective world map (some by Jacob Savry), one double-page plan of Jerusalem, 116 double-page plates published by Vischer (artist and engravers names include Peter Paul Rubens, Nicolaes de Bruyn, Jan Harmensz. Muller, Jan Londer, David Vinckboons, Abraham Bloemaert, Jan van Londerseel, Marten de Vos, Theodorus Berna, Maarten van Heemskerck etc.), one plate detached and torn with loss and one other torn with loss, few other plates with closed tears and frayed edges, some cropped at head and foot with slight loss mostly to printed captions, fraying and closed tears to few text leaves, occasional toning and scattered spotting, contemporary diced calf over wooden boards, brass corner pieces, vertical split to centre of upper wooden board with consequent cracking and wear to leather, spine torn with loss, lacking clasps, worn, folio (cm)QTY: (1)NOTE:Darlow and Moule 557; Herbert 708.Darlow and Moule and Herbert call for a map of the World, plus two other maps.
Lot 4129
PETER PAUL RUBENS (WERKSTATT ODER SCHULE)1577 Siegen - 1644 AntwerpenMONUMENTALES WERK VON 'VENUS, MARS UND CUPIDO' Öl auf Leinwand (altdoubl.). 187 x 127 cm (R. 209 x 149 cm). Verso: Altes Papieretikett mit Sammlungsnummer: '469' sowie 'Fol.5'. Seitlich auf dem Rahmen Papierlabel mit Sammlungsnummer: '120'. Part. leicht altrest. und min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Lot 385
A S. Hancock & Sons Rubens Ware "Pomegranate" Vase with Straight Circular Top Surmounting Tapering Centre to Circular Foot Designed by F. X. Abraham, 25cm high Together with a Pair of Further S. Hancock & Sons Rubens Ware "Pomegranate" Designed by F. X. Abraham of Shouldered Tapering Form, 29cm high
Lot 815
Huberti, Caspar, , 1630 Antwerpen - 1724 Ebd.: Mythologische Landschaft mit Gewitter nach Rubens29,5x43cm i,d. Legende sign. "Peter Paul Rubens Pinxit - Caspare Huberti a Antversia Excudit. Ec coelum et Terram turbar , bella horibar…" Passepartout u. Rahmen. Altrestauriert, Z3. Sowie Martinus Paiert a Amsterdam - Rembrand Pinxit: L negotiant de L´amsterdam. 31x42cm, jeweils alt gerahmt. Z2.
Lot 1656
Die Anbetung der KönigeÖl auf Holztafel, 61x84cm, breiter schwarzer Rahmen mit Goldeinlegeleiste. Das Gemälde ist eine Kopie nach dem wesentlich größeren Leinwandbild "Anbetung der Könige", welches Peter Paul Rubens für den Altar der Sint-Janskerk in Mechelen 1619 vollendete. Das seitenverkehrte Verhältnis zum Original weist darauf hin, dass zeitgenössische Stiche nach dem Rubens-Bild von Lucas Vorsterman I. und Pieter Nolpe als Vorlage benutzt wurden.
Lot 3779
Jean Duplessis-Bertaux, Einzug der Franzosen in Venedig1796 nahm der junge Napoleon Bonaparte in einem raschen Feldzug Norditalien ein und besiegelte auch das Ende der Republik Venedig, wie überall in seinen besetzten Gebieten wurden auf Befehl Napoleons wertvolle Kunst für sein geplantes Kunstmuseum im Louvre in Paris geborgen, in Venedig betraf es unter anderem den Markuslöwen und die vier vergoldeten Pferde von San Marco, auch "Quadriga marciana" genannt, welche später zur Bekrönung des "Arc de Triomphe du Carrousel [Triumphbogen]" in Paris bestimmt waren, die Darstellung zeigt die Besetzung des Markusplatzes Venedigs durch die Franzosen am 6. Mai 1797 und den Raub und Abtransport der legendären Quadriga, welche in vorliegender Darstellung per Kran vom Markusdom gehoben und zum Transport auf Wagen verladen wird, handkolorierter Kupferstich und Radierung nach einer Zeichnung von Antoine Charles Horace Vernet genannt "Carle Vernet" (1758 Bordeaux bis 1836 Paris), unter der Darstellung frz. betitelt und nach dem französischen Revolutionskalender auf den Floréal (20.04.-19.05.) der drei Frühlingsmonate des 5. Jahrs der Republik (1797) datiert "Entrée des Français a Venise, en Floréal, An 5. [dt.: Einzug der Franzosen in Venedig, in Floréal, Jahr 5.]", unten mittig in der Platte signiert "Gravé à l'eau-forte par Duplessis-Bertaux [dt.: Gestochen und radiert von Duplessis-Bertaux]", lichtrandig, geringe Altersspuren, hinter Glas und Passepartout gerahmt, Passepartoutausschnitt ca. 29,5 x 41 cm. Künstlerinfo: auch J. D. Bertaux, Duplessis Berthault, Jean Duplessi-Bertaux oder Duplessi-Bertaux, frz. Zeichner, Maler, Radierer und Illustrator (wohl 1747 Paris bis 1818 Paris), frühe Begabung als Zeichner, mit königlichem Stipendium ab 1762 Schüler der privaten Malschule von Joseph-Marie Vien (1716-1809) in Paris, später Schüler des Radierers und Kupferstechers Jacques-Philippe Le Bas (1707-1783), beeinflusst von Arbeiten Jean Le Clercs, Sébastien Le Clercs, Jacques Callots und Stefano della Bellas, betrieb autodidaktische Studien und schuf Kopien von Peter Paul Rubens und Charles Le Brun, 1770-76 als Zeichenlehrer an der Militärschule in Paris tätig, anschließend freischaffend, unter anderem als Illustrator, 1789-99 vor allem als Zeichner und Radierer Chronist der französischen Revolution, davon 1792-95 als Offizier der frz. Armee, schuf 1793 sein berühmtestes Gemälde "La prise des Tuileries du 10 août 1792 [dt.: Der Sturm auf die Tuilerien am 10. August 1792]", tätig in Paris, Quelle: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Bénézit und Wikipedia.
Lot 3757
Louis Simon Lempereur, Der LiebestempelGruppe von Paaren am Fuße eines Tempels, umgeben von Putti, nach einem Gemälde von Peter Paul Rubens, unter der Darstellung Text, im Druck unten rechts bezeichnet "L. Lempereur Sculpsit" und links "P. P. Rubens Pinxit", geringe Erhaltungsmängel, Darstellungsmaße ohne Text ca. 44,5 x 59 cm. Künstlerinfo: frz. Kupferstecher (1728 Paris bis 1807 Paris), Schüler von Pierre Aveline, ab 1776 Mitglied der Pariser Akademie, Quelle: Thieme-Becker.
Lot 330
20TH CENTURY verdigris patina, on a circular variegated green marble base 62cm high Provenance: Property from an East Lothian deceased estate Note: The statue is cast after a Hellenistic marble in the Tribuna of the Uffizi, Florence. The marble was first recorded as being in the Florentine Grand Ducal collection in a book by Albert Rubens, Peter Paul Rubens' son, posthumously published in 1665. In 1684 the owner was named as Cosimo III de' Medici, Grand Duke of Tuscany (1642-1723). By 1688 the statue was installed in the Tribuna of the Uffizi (Haskell and Penny 1981, pp. 205-8, no. 34, fig. 106).
Lot 411
INTERNATIONAL MOVIE POSTERS - A group of Belgian movie posters to include BEN-HUR (1960) R1983 from the Ciné Rubens in Antwerp 55cm x 36cm, THE MARRIAGE OF MARIA BRAUN (1979) artwork by Jean-Marie Troillard 53.5cm 35.5cm, and THE WILD GEESE (1978) R1983 from the Ciné Astra in Antwerp 53.5cm x 35.5cm. Flat / rolled (3)
Lot 2
FOLLOWER OF RUBENS MARY MAGDALENE Oil on canvas 65 x 53cm (25½ x 20¾ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: The canvas il lined. UV light reveals retouching and varnish across the surface. Please note Dreweatts are not liable for damage to frames or mounts.Condition Report Disclaimer
Lot 1795
Italien.: 16.-18. Jahrhundert. 72 Illustrationen der Skulpturenreliefs der Trajanssäule in Rom. Eine zusammengesetzte Gruppe mit Zeichnungen von mindestens zwei verschiedenen Händen, die Szenen zeigen, die die Ereignisse der Dakerkriege, wie sie auf der Trajanssäule dargestellt sind, illustrieren. Feder- und Tintenzeichnungen mit Lavierung, auf verschiedenen Büttenpapieren. Einige Bl. mit Wasserzeichen aus dem späten 17. und 18. Jh., verschiedene Formate zwischen 275 x 285 und 280 x 430 mm (11 x 17 in), alle sauber auf Albumblätter aus Velin des frühen 19. Jahrhunderts montiert. Die früheren Zeichnungen mit Verlusten und umfangreichen Reparaturen, einige auf Unterlage aufgelegt, durchgehend stark gebräunt und verschmutzt. Einband aus Marokko des 18. Jahrhunderts, neu aufgebunden, Vdeckel mit dem goldgepr. königlichen Wappen Philipps V. von Spanien, (um 1580 bis 1780). (Stärker beschabt). Provenienz: Privatsammlung, Somerset, Großbritannien ? Zusammenhängende Sammlung von Zeichnungen zweier Künstler aus leicht unterschiedlichen Epochen. Italienische Schule (wahrscheinlich spätes 16. bis 18. Jahrhundert). Album mit 72 Zeichnungen nach Girolamo Muziano (1528-1592), die von Francesco Villamena (ca. 1565-1624) gestochen und 1576 veröffentlicht wurden. Die Zeichnungen im vorliegenden Album lassen vermuten, dass es den Künstlern weniger darum ging, den Fries der Säule akkurat abzubilden, sondern vielmehr darum, die historischen Kompositionen in einem zeitgenössischen Stil zu illustrieren, den sie im Querformat darstellten. Die plastischen Reliefs der Trajanssäule sollten so unterschiedliche Künstler wie Amico Aspertini, Francesco Primaticcio, Rubens, Nicolas Poussin, Giovanni Battista Piranesi und viele andere faszinieren und inspirieren. - Italian School (probably late 16th century to 18th century) Album containing 72 illustrations of the sculptural reliefs on Trajan's Column, a composite group with drawings by at least two variant hands, showing scenes illustrating the events of the Dacian Wars as depicted on Trajan's Column, pen and ink with wash, on various laid papers, some late 17th century and 18th century watermarks present, various sizes between 275 x 285 and 280 x 430 mm (11 x 17 in), all neatly mounted onto early 19th century wove paper album leaves, the earlier drawings with losses and extensive repairs, some laid onto support, heavy toning and surface dirt throughout, remboitage in 18th century morocco, rebacked, upper cover gilt with royal coat of arms of Phillip V of Spain, worn, oblong folio, [probably circa 1580 to 1780] Provenance: Private collection, Somerset, UK ? Cohesive collection of drawings by two artists from slightly different periods, both presumably familiar with the drawings of Girolamo Muziano (1528-1592), which were engraved by Francesco Villamena (c.1565-1624) and published in 1576. The drawings in the present album suggest that the artists were less interested in accurately recording the Column's frieze, but moreover illustrating the historic compositions with a contemporary style, which they presented in a horizontal format. The sculptural reliefs of Trajan's Column were to fascinate and inspire artists as diverse as Amico Aspertini, Francesco Primaticcio, Rubens, Nicolas Poussin, and Giovanni Battista Piranesi amongst many others. R
Lot 745
A novelty Edwardian silver 'Mr Popple' cayenne pepper potSaunders & Shepherd, Chester 1908Modelled as a stylised motorist, based upon the 1905 stage musical comedy character 'Mr Popple of Ippleton', the head pulling off to reveal the spoon, height 6cm.Footnotes:This pot was based upon the character Mr Popple and was made when the most popular musical comedy on stage was 'Mr Popple of Ippleton' by Paul Rubens, which opened on 14th November 1905 at the Apollo Theatre and ran for 173 performances. In the last act all the characters attended the Motor Carnival of the Magpie Club, at Wrexhill-on-Sea, all muffled in huge white motor coats made from blankets, the designs varied a little, but large gold buttons, huge turn-back cuffs, peaked caps and goggles are the chief adornments.For further information on this lot please visit Bonhams.com
Lot 4089
English School (Mid 19th century) after Peter Paul Rubens (Flemish 1577-1640): Portrait of 'Thomas Howard - Earl of Arundel', miniature watercolour on ivory indistinctly signed titled and dated 1835 verso 12cm x 10cm This item has been registered for sale under Section 10 of the APHA Ivory ActCondition Report: Ivory Act - Submission reference: 3FWRKQAB
Lot 2564
Konvolut aus 9 Graphiken, großformatige vielfigurige Kupferstiche, 16./17./18. Jh.: Nicolaes Ryckmans (1570-1634), Achilles und die Töchter des Lykomedes, 47 x 35,5 cm; Jean Audran (1667-1756) "Der Raub der Sabinerinnen", Kupferstich nach Poussin, 40,8 x 55 cm; Paulus Pontius (1603-1658), Darbringung im Tempel, Kupferstich nach Peter Paul Rubens, 59 x 55,5 cm; Jacques Stelle (1596-1657) "C'en est fait Magdeleine expire, La mort dans un moment la tient sous son empire...", 56,5 x 41 cm; Marter des Hl. Stephanus, Kupferstich nach Marcello Venusti, 56,5 x 42,5 cm; Cornelis Galle (1576-1650), Ecce Homo, Kupferstich nach Peter Paul Rubens, 36,7 x 28; Janustempel, "Templum Iani", Kupferstich nach Peter Paul Rubens, pag 117a, Nr. 30 aus einem Satz von 34 Tafeln, Antwerpen, 1635, ca. 55 x 39 cm; "Laokoon", Kupferstich nach Cornelis Bos, 1548, 46 x 33 cm; Kreuzabnahme, Kupferstich nach Peter Paul Rubens, Lucas Vorsterman?, 53 x 41 cm, alle Altersspuren und Papierschäden. / Mixed lot of prints, large-format multi-figure copper engravings, 16th/17th/18th cent. : Nicolaes Ryckmans (1570-1634), Achilles and the Daughters of Lycomedes, 47 x 35.5 cm; Jean Audran (1667-1756) "The Rape of the Sabine Women", copperplate engraving after Poussin, 40.8 x 55 cm; Paulus Pontius (1603-1658), Presentation in the Temple, copperplate engraving after Peter Paul Rubens, 59 x 55.5 cm; Jacques Stelle (1596-1657) "C'en est fait Magdeleine expire, La mort dans un moment la tient sous son empire. ...", 56.5 x 41 cm; Martyrdom of St Stephen, engraving after Marcello Venusti, 56.5 x 42.5 cm; Cornelis Galle (1576-1650), Ecce Homo, engraving after Peter Paul Rubens, 36.7 x 28; Temple of Janus, "Templum Iani", engraving after Peter Paul Rubens, pag 117a, no. 30 from a set of 34 plates, Antwerp, 1635, ca. 55 x 39 cm; "Laokoon", copperplate engraving after Cornelis Bos, 1548, 46 x 33 cm; Descent from the Cross, copperplate engraving after Peter Paul Rubens, Lucas Vorsterman? 53 x 41 cm, all traces of age and paper damage.
Lot 6505
Barry De More (Northern British 1948-2023) after Peter Paul Rubens (Flemish 1577-1640): 'Descent from the Cross', oil pastel signed titled and dated 2014 verso 38cm x 28cmProvenance: direct from the family of the artist Notes: a Yorkshire Artist and Associate Member of Dean Clough Studio Artists, De More's works have been exhibited in galleries such as The Stirling Smith Art Gallery and The Whitaker Museum
Lot 1103
RUBENS, PETER PAUL1577 Siegen - 1640 AntwerpenKopie nachTitel: Anbetung der Könige. Technik: Öl auf Holz. Montierung: Parkettiert. Maße: 96,5 x 64cm. Rahmen: Rahmen. Seitenverkehrte Kopie nach dem Altargemälde in der Sint-Janskerk in Mechelen.Rückseitig altes Etikett mit Zuschreibung Abraham van Diepenbeeck (1596-1675).Provenienz:Privatbesitz, Deutschland. Peter Paul Rubens Niederlande Barock Flämische Schule 17.Jh. Originale Rahmen Weihnachtsszene MalereiErläuterungen zum Katalog
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