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DECORATIVE VASES, JUGS & PLANTERS, makers include Wedgwood Jasperware, H J Wood Indian Tree, Royal Winton, hand painted jug Rubens ware by Hancock & Sons and others along with a tall modern Chinese vase, print decorated Canton style

Pair of S Hancock and Sons Rubens Ware Pomegranate pattern vases, hand painted by F X Abraham. 16cms h. Condition ReportLight rub to rim. 

Max Renneisen Bikini No.1, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality.   Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.  

Max Renneisen Bikini No.2, 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality.   Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.    

Max Renneisen Bikini No.3, 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality.   Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.    

Ceri Richards (British, 1903-1971)The Rape of the Sabines signed and dated '48 Ceri Richards' (lower left)oil on canvas63.7 x 76.5 cm. (25 x 30 1/8 in.)Footnotes:ProvenanceWith Redfern Gallery, LondonSale; Christie's, London, 30 May 1997, lot 8 (as Rape of the Sabines)With Jonathan Clark & Co, circa 2000, where purchased by the present ownerPrivate Collection, U.K.LiteratureMel Gooding, Ceri Richards, Cameron & Hollis, Dumfries & Galloway, 2002, p.84 (col.ill)According to mythology, the men of early Rome were sent out from the city by Romulus to seek women for abduction (the classical translation of the term rape) from the surrounding areas, in which the Sabine people dwelled, with the aim of swelling the city's population. The tale proved a popular subject material for Renaissance and post-Renaissance era artists, including Rubens whose painting The Rape of the Sabine Women hangs in London's National Gallery. Richards found this painting and other such examples to be a fruitful point of inspiration. In a relatively narrow window he produced hundreds of drawings, several monoprints and a handful of paintings on the theme. Mel Gooding comments that 'It is in his treatment of the Sabine theme that Richards shows himself capable of figurative description in a great variety of moods and manners, from the lyrical to the dramatic, from the harshly brutal to the tenderly poignant. (Mel Gooding, Ceri Richards, Cameron & Hollis, Dumfries & Galloway, 2002, p.83).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Boydell (John & Josiah) A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty The Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton in Norfolk; with Plans, Elevations, Sections, Chimney Pieces & Ceilings, 2 vol., first edition, text in English and French, engraved portrait frontispiece of Empress Catherine II by Caroline Watson after Alexander Roslin in vol. 1, vol. 2 lacking portraits frontispiece of Robert Walpole, engraved titles with vignettes, engraved dedication to vol.1, 28 engraved plans, elevations and interiors of Houghton Hall on 19 sheets, and 129 plates on 105 sheets (1 double-page), mostly engravings or mezzotints from paintings by Bartolozzi, Boydell, Farington, Earlom, Green, Fittler, Heath and others, after Rembrandt, Poussin, Claude, Leonardo, Caracci, Rubens, Titian and others, many excellent impressions, well inked with strong contrasts, and including some scratched letter and unlettered proof impressions, titles and dedications with some spotting, chips and repaired tears, vol. 2 with dampstaining to lower corner, heavier at start, mostly to margins but straying into a few images, double-page plate with tape repair to verso, a few plates creased, a few short tears to margins, some repaired, a few plates trimmed within margins, bookplates to pastedowns, modern half morocco, [Brunet I, 1192; Lowndes III, 856], large folio (670 x 495mm.), John and Josiah Boydell, 1788.⁂ Large and finely engraved record of the large collection of paintings formed by Sir Robert Walpole at Houghton Hall sold en bloc to Empress Catherine II of Russia. Provenance: James Archibald Campbell (1807-1879, bookplate with autograph note: "These two volumes... offered to me... by James Archibald Cameron, in apparently good health, Dec. 9, 1879. Mr Campbell died the same evening about 9p.m.").

FRANS YKENS (FLEMISH 1601-1693) STILL LIFE WITH ROSES, TULIPS AND CARNATIONS IN A GLASS VASE oil on cradled panel(67cm x 46cm (26in x 18in))Footnote: Note: During the late-sixteenth to early-seventeenth century, the Netherlands experienced a great cultural shift with mass urbanisation and the rise of a new middle class. This shift brought about an emphasis on the home, with families seeking to demonstrate their new-found wealth, status, and power. Thus, a new genre of art was born: the still life. These richly symbolic, often allegorical, works of art functioned both as a fine decorative object and a status symbol, with luscious local and exotic flowers, fruit, and insects included in various arrangements that required an educated, elite viewer to understand the symbolism that lay within. One such artist who made a name for himself in the field of still lifes was Frans Ykens (1601- 1693). Born in Antwerp, Ykens began his artistic formation under his uncle Osias Beert the Elder (1580- 1623), who was a pioneer in the development of flower and banquet paintings. He travelled France for around twelve years until he was admitted as a master of the painter’s Guild of St Luke in 1631. Four years later, Ykens married fellow flower painter Catarina Floquet, who was also from an artistic family. Ykens achieved great success throughout his long and varied career, and counted numerous prominent figures as his patrons; including the Queen of Poland, the Archduke Leopold of Austria, and the artist Peter Paul Rubens, who listed six pieces by Ykens in his inventory. Ykens’ painting Still Life in a Glass Vase is an excellent example of seventeenth century Dutch still lifes. This elegant painting depicts a variety of flowers, including roses (a symbol of transience and love), carnations (a symbol of love), and a tulip (a symbol of nobility), arranged together in a glass vase. The harmonious palette of reds, pinks, and whites light up against their dark background in a serene and sophisticated manner. His work was influenced by the artists Daniel Seghers and his pupil Jan Philip van Thielen, most notably in their exceptionally fine detail and the almost sculptural quality found in the work of Seghers. Seghers influence is particularly evident in Still Life in a Glass Vase when considered with his painting A Vase of Flowers, currently in the Fitzwilliam Museum in Cambridge. When looking at these paintings together, we can note the way in which Ykens was inspired by the contrasting palette of dark and light colours, and the elaborate bouquets of Seghers. It is also interesting to note the similarities of the glass vase, which Ykens used in several of his works. Throughout his career, Ykens produced important still lifes that offer fascinating insight into seventeenth century Dutch society. He had numerous important patrons during his lifetime, and his pieces continue to be highly desirable, with works of art in important international public institutions such as the Museo del Prado, Utah Museum of Fine Arts, and Museum of Fine Arts, Ghent. The present work has been authenticated by Sam Segal.

After Rubens Cherubs oil on panel, 36cm x 26cm

Anthonis van Dyck, "Johannes Brueghel"Bildnis des Malers Jan Brueghel in der Mode der Zeit mit Mühlsteinkragen, unter der Darstellung bezeichnet „Ioannes Brevgel Antverpiae Pictor Florum et Rvralium Prospectvvm“ Radierung, um 1630, unten links signiert „Ant. van Dyck fecit aqua forti“, im unteren Bereich Papierstreifen angesetzt, braunfleckig, unter Passepartout und hinter Glas gerahmt, Passepartoutausschnitt ca. 24 x 14,6 cm. Künstlerinfo: flämischer Maler und Graphiker (1599 Antwerpen bis 1641 London), ab 1609 bereits im Alter von zehn Jahren Schüler des Malers Hendrick van Balen, 1615 schon eigenes Atelier, ab 1618 Freimeister der Lukasgilde, 1618 für Pieter Paul Rubens tätig, 1620 Reise nach England und tätig für James I., 1621-26 mit Unterbrechungen in Italien ansässig, 1626 Rückkehr nach Antwerpen, 1632 Übersiedlung nach London und hier Hofmaler von Karl I. und Erhebung in den Adelsstand, Quelle: Thieme-Becker und Wikipedia.

Elfenbeinminiatur nach RubensEnde 19. Jh., signiert Kirchner, rückseitig handschriftlich annotiert, Gouache auf Elfenbein, stark verkleinerte Kopie nach Peter Paul Rubens um 1618 entstandenem Gemälde Der Raub der Töchter des Leukippos, in rocaillenverziertem Messingrahmen gefasst, Maße 8,5 x 6,5 cm.

Paar Puttizwei Kinderköpfe nach Rubens, in bewegter Geste vor dunklem Grund, leicht pastose Malerei in gedeckter Farbigkeit, Öl auf Malplatte, um 1930, in Stuckrahmen gerahmt (mit kleinen Abplatzern), Falzmaße ca. 43,5 x 33 cm.

Signed model of Ferrari F2004 at Bahrain in April 2004.The Ferrari F2004 is one of the most successful cars in Formula One history. During an era in which the Maranello-based team was dominating the sport, the F2004 won no less than fifteen Formula One races during the 2004 season and allowed Michael Schumacher to win a record-breaking seventh world championship. The second position in the championship was claimed by teammate Rubens Barrichello, allowing for a 1-2 finish. The F2004 was to be the end of a hugely successful period in Ferrari's history, having won consecutively since 1999, with 2005 seeing Fernando Alonso and Renault take the crown. Autosport's Editor-in-Chief, Andrew van de Burgt, wrote 'The Ferrari F2004 is one of the most iconic Formula 1 cars in the sport's history. It was the car with which Michael Schumacher won his record-breaking seventh title and is a beautiful machine with an exceptional history.'This fine 1:8 scale Amalgam model of the F2004 has been handcrafted and finished with the co-operation and assistance of Ferrari regarding original finishes, materials, archive imagery and drawings. The use of supremely accurate digital scanning of the original car has allowed Amalgam to perfectly recreate every detail at scale. Furthermore, it has undergone detailed scrutiny by both engineering and design teams to ensure complete accuracy of representation. The model was finished to replicate the car on race day in Bahrain, April the 4th 2004.This model 'Edition 15/30' measures 60cm/24 inches approx in length and is supplied with an original perspex cover. The side panels of the car are signed by Michael. Please contact Shan Stokes on 07890 0933372 / shan@silverstoneauctions.com to discuss the lot in more detail. Click here for more information and any additional photographs

Multi-signed starting grid card, US Grand Prix 2000 at Indianapolis Motor Speedway, Indiana, 24th September, double-sided, obverse with images of a Ferrari F1 car, signed in black marker pen by Michael Schumacher, David Coulthard, Mika Hakkinen, Rubens Barrichello and Ralf Schumacher, reverse printed with provisional starting grid positions, drivers' and manufacturers' names and qualifying times The 73-lap race was won by Michael Schumacher in a Ferrari after starting from pole position. His teammate Barrichello finished 2nd, Coulthard 5th with both Hakkinen and Ralf Schumacher retiring.

Michael Schumacher, Rubens Barrichello, Jean Todt signed 2001 'La Ferrari' cover, the annual souvenir report previewing the marque's year ahead for Club members and car owners, from early history through current F1 achievements to roadcar design, Italian and English text, 44-pages, size A4

CIRCLE OF PETER PAUL RUBENS (DUTCH 1577-1640)Study of Medici (Vacca's) Lion, chalk on paper full sheet measuring: 33 x 49 cm (13 x 19 1/4 in.)PROVENANCEPrivate collection, New York LOT NOTESAttribution on versoCONDITIONObserved in frame. There is apparent waviness to the sheet visible to the naked eye, most notably to the upper left corner. Observed out frame and out of mat the sheet is in age appropriate condition. The sheet is hinged at the top two corners and the edges and perimeter are in good condition. No other issues to report otherwise.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

NO RESERVE Earlom (Richard) Nymphs and satyrs, after Peter Paul Rubens, mezzotint with etching, proof impression with coat of arms but before letters, platemark 480 x 605 mm (18 7/8 x 23 3/4 in), sheet 550 x 800 mm (21 3/4 x 31 1/2 in), some marginal nicks and tears, minor damp-stains and surface dirt, handling creases, unframed, John Boydell, 1784.

A Brussels figural tapestry 'the Feeding of the Chickens', after Jacob Jordaens (1593-1678), Scenes from Country Life series, mid-17th century, possibly workshop of Jacob Geubels II, depicting a pastoral maiden in clogs and rustic dress scattering grains from a basket, surrounded by animals including a hound, peacock and chickens, within an elaborate vaulted architectural setting flanked by masks and columns, the lower selvedge with B*B Brussels town mark, later backed, 378cm high, 259cm wideAntwerp-born painter Jacob Jordaens followed in the footsteps of Rubens and Van Dyck as the city's leading artist during the 17th century. While he completed numerous mythological and religious commissions including for the Swedish and English Royal courts, he is most well-known for his exuberant genre scenes, characterised by a strong sense of realism. These qualities translate to the Scenes from Country Life tapestry series, which Jordaens is suspected to have designed during the 1620s or 1630s.It is possible that the present tapestry originates from the renowned workshop of the Geubels family in Brussels, who had been active as tapestry weavers since the 16th century and are known to have woven this series.A related tapestry is in the collection of the Kunsthistorisches Museum, Vienna, and another survives at Hardwick Hall, Derbyshire, which holds the most complete set of panels from this series.Related literature: J. Mulherron, "Jacob Jordaens's elements and humours tapestries", National Trust Historic Houses and Collections, (2012), p. 5-1Condition Report: The tapestry bears the usual minor marks, nicks and wear overall consistent with age.There is some fading to the flesh tones and warmer colours, though the blues and in some cases the golden colours are quite striking. The neck of the rooster has some preserved red.The textile is quite wavy and warped in texture overall, and feels quite hard due to the later backing.There are areas of old reweaving throughout as well as stitch repairs, most significantly to the lower portion of the architectural surround, where there are one or two horizontal tears.Possibly reduced (slightly wider versions are known), lacking margins and borders. Condition Report Disclaimer

Motor Racing Rubens Barrichello signed 6x4 promo card. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

1- [Resta, Sebastiano]: The True Effigies of the Most Eminent Painters and other Famous Artists that have Flourished in Europe. For D Browne, no date c1694. small folio, PP: Engraved title page, two engraved pages Plus 121 engraved portraits of well known painters, including Van Eyck, Brugel, Rubens, Van Dyck, etc., accompanied by short biographies of each. Engravers include Theodore Galle (who is responsible for the first 22 portraits, after works by Jan Wierix and Hieronymus Cock), Joannes Meyssens, Wenceslas Hollar, and Pieter de Jode, among others. Please note: there is no other text, Cont. full leather, rubbed. Inscription to title dated 1748; 2- Nelson, William: Concerning Game of hunting, Hawking.. For E Richardson, 1762, 6th. edn. PP: xvii, (i), 255, xxvii (index), viii (Appendix). Cont. full calf, rubbed. Plus a defective theology book. (3)

A Rubens ware 'Pomegranate' cylindrical shaped vase, 33cm high

Six 1:18 scale model racing and sportscars, comprising Chrono Ferrari 512, Hot Wheels Rubens Barrichello F-2002 and F2003-GA, Ferrari 250LM 1000KM Nurburgring 1965, CMC Exclusive Models Ferrari 250 GT Berlinetta passo corto (SWB), and Maserati Tipo 61 Birdcage (1960) Sieger 1000km-Rennen Nurburgring 1960, (6), boxed, Boxes with some wear.Models appear never to have been removed form the boxes.One CMC box has come apart along glue lines. Other is OK.

After Rubens Cherubs oil on panel, 36cm x 26cm

Artist: Rafael Coronel (Mexican, 1931-2019). Title: "Dama para Rubens". Medium: Color offset lithograph. Date: Printed 1978. Dimensions: Overall size: 18 7/8 x 24 3/4 in. (479 x 629 mm). Image size: 18 7/8 x 24 3/4 in. (479 x 629 mm).Lot Note(s): Signed with the signature stamp, lower left; dedicated with the stamp, lower left verso; signed in the plate, lower right. Print #128 from the edition of unknown size (c150-200?). Cream lightly textured wove paper. Printed to the sheet edges. Fine impression. Very good to fine condition. Comment(s): Rafael Coronel, born in Zacatecas, State of Zacatecas, is the son-in-law of Diego Rivera and the brother of Pedro Coronel. His representational paintings have a melancholic sobriety, and include faces from the past great masters, often floating in a diffuse haze. Image copyright © Rafael Coronel. [28016-5-225]

Gemälde Niederlande 17./18. Jh Peter P. Rubens, Nachfolge des "Galantes Paar in einer Parklandschaft" Öl/Holz (parkettiert u. restaur.), 16,8 x 20,7 cm

NO RESERVE Dutch & Northern European Art.- Schatborn (Peter) Rembrandt and his Circle Drawings in the Frits Lugt Collection, 2 vol., Bussum & Paris, 2010 § Bakker (B.) & others. Landscapes of Rembrandt, Bussum, Amsterdam & Paris, 1998 § Bialler (N.), Adrian T.Eeles & others. A Collection of Etchings by Rembrandt...formed by Joseph R.Ritman, Artemis & Sotheby's, 1995 § Logan (A.-M.) & M.C.Plomp. Peter Paul Rubens: The Drawings, New York, New Haven & London, 2004 § Gruber (G.) & others. Rubens: The Power of Transformation, Vienna, 2017 § Lammertse (F.) & Jaap van der Veen. Uylenburgh & Son: Art and commerce from Rembrandt to De Lairesse 1625-1675, original wrappers, Zwolle & Amsterdam, 2006, illustrations, all but the last original cloth or boards, the first with slip-case, the rest dust-jackets; and c.45 others on Dutch and Flemish art, 8vo & 4to (c.50)

PONTIUS, Paulus(1603 Antwerpen - 1658 Antwerpen) Bildnis des Freiherren Balthazar Gerberius Kupferstich. Blatt: 26,5 x 18,5 cm. Gerahmt & hinter Glas 44 x 38 cm. Nach einem Gemälde von Antonis van Dyck (1599 - 1641), 1631 Auf Plattengröße beschnitten, Klebespuren am oberen Rand. Flämischer Kupferstecher und Maler, gilt als einer der führenden Kupferstecher der Werkstatt Peter Paul Rubens (1577 - 1640).

A PAIR OF BRONZE FIGURES BY JEAN JULES SALMSON (FRENCH 1823-1903) of Peter Paul Rubens and Anthony Van Dyck, each signed 'Salmson' (2) 15.2cm high

19th century Stobwasser papier mache snuff box, the circular lid painted and entitled 'Lot und siene tochter' (Lot and his Daughters, after Rubens) and numbered 7857, the base bearing signature and numbered 3485, 10cm diameter

RUBENS SOUTHEY: A pair of 20th Century Cornish Bay watercolours, framed and glazed, each 20cm x 30cm

Copper Wall Plaque P P Rubens 18 inches wide

RUBENS SOUTHEY: A pair of 20th Century Cornish Bay watercolours, framed and glazed, each 20cm x 30cm

RUBENS framed engravings, a pair - Socrates and Plato, 35 x 24cms

Guyana 1988-1989-500th Anniversary of Birth of Tiziano Christmas issues miniature sheets used showing paintings by Titian and Rubens (6)

Salvator Rosa, 1615 - 1673Etching: "The Rescue of the Infant Oedipus," 73cms x 48.5cms (28 3/4" x 19") etching with dry point Second State of Two, a very good impression, Signed 'pinxit' in recent hogarth frame; together with Peter Paul Rubens, Pinxit, 1623 Engraving: "The Nativitiy," Serenissimo Maximilano Utrisque Bavariae Duci et Christianae Religionis ... Petrus Paulus Rubenius Venerabundus Dedicabit Concecrabatq. approx. 56cms x 73cms (22" x 28 3/4"), in black frame. As an engraving, w.a.f. (2)

Decorative and household ceramics and glass including studio pottery, a George Jones Majolica cheese dome and cover (a.f.), a black Wedgwood Jasperware twin-handled vase and cover, an oil lamp base, Rubens ware footed dish, etc (qty)

Royal Doulton comprising a Lambeth stoneware silver mounted jar and cover and three figures, together with a Rubens ware 'Pomegranite' bowl etc

A Framed and glazed print, study of a male torso, Peter Paul Rubens 1577-1640

Fairfax (Brian) and others. A Catalogue of the Curious Collection of Pictures of George Villiers, Duke of Buckingham, in which is included the valuable Collection of Sir Peter Paul Rubens, 2 engraved portraits, both lightly foxed and offset, bookplate of Fairfax of Cameron, contemporary green straight-grain morocco, gilt, g.e., inner gilt dentelles, a little rubbed at edges, a few scuffs, 4to, W.Bathoe, 1758.⁂ The first Duke of Buckingham (1592-1628), favourite of James I and Charles I, assembled a great art collection, buying Rubens's collection for £10,000 shortly before his assassination in 1628. Buckigham's collection comprised 220 pictures including 3 Raphaels, 3 Leonardos, 19 Titians, 17 Tintorettos and 13 by Rubens. The second Duke, also George Villiers (1628-87), sent the pictures to Antwerp for sale and several items were purchased by Charles I. The present work also includes a catalogue of the art collection assembled by Sir Peter Lely, a description of Easton Neston in Northamptonshire and a description of the cartoons at Hampton Court.

(Siegen, 1577 - Anversa, 1640)CrocifissioneOlio su tela, cm 54X36Il dipinto è desunto dalla Crocifissione realizzata da Pietro Paolo Rubens nel 1613 oggi conservata al Koninklijk Museum voor Schone Kunsten di Anversa (olio su tavola, cm 221X121).Bibliografia di riferimento:M. Jaffé, Rubens. Catalogo Completo, Milano 1989, pp. 185 ; 186, n. 200

(Bergen op Zoom, 1613 - Anversa, 1654)Cristo con gli angeliOlio su tela, cm 42X33Il dipinto presenta caratteri di stile che evocano il pittore fiammingo Thomas Willeboirts Bosschaert e in modo particolare la Crocifissione custodita al Newport Museum and Art Gallery. L'artista fu allievo di Gerard Seghers ad Anversa, ma la sua arte risentì moltissimo della influenza di Anton Van Dyck e Pietro Paolo Rubens.Bibliografia di riferimento:A. H. Einrich, Thomas Willeboirts Bosschaert (1613/14-1654). Ein flämische Nachfolger Van Dycks, Turnhout 2003, ad vocem

(Bois-le-Duc, 1596 - Anversa, 1675)CrocifissioneOlio su tavola, cm 57X44Allievo e assistente di Peter Paul Rubens Diepenbeeck si dedicò a dipingere temi storici e ritratti esibendo una grande abilità di colorista. Lo vediamo altresì dedito a dipingere su vetro e sue sono le finestre della cattedrale di Anversa raffiguranti gli Atti della Misericordia, mentre per la chiesa dei domenicani dipinse scene della Vita di San Paolo. Nel 1638 l'artista fu registrato alla corporazione dei pittori e divenne direttore dell'Accademia nel 1641.

(Siegen, 1577 - Anversa, 1640)Flora, Sileno e ZefiroOlio su tela, cm 140X98Il dipinto trova confronti con la tela riferita a Pietro Paolo Rubens custodita al Museo Nazionale dell'Agricoltura di Praga e proveniente dalla collezione Srobár, ossia Vavro Srobár (1867-1950), politico della Prima Repubblica di origine slovacca e rappresentante del Partito agrario. Una versione del medesimo soggetto era invece riferita a Jacob Jordaens e apparteneva a una collezione privata italiana.  

(Siegen, 1577 - Anversa, 1640)Paesaggio con arcobalenoOlio su tavola, cm 51X58,5Rubens fu un paesaggista straordinario, naturalista quanto può esserlo un fiammingo, ma capace di sublimare la visione con idealismo, coniugando la lezione pittorica dei Paesi Bassi con il colorismo lagunare di Giorgione e Tiziano. Celebri furono i suoi paesaggi con arcobaleni e la tavola in esame trova confronto con la tela oggi conservata all'Ermitage e realizzata dal Maestro tra il 1635 e il 1638.Bibliografia di riferimento:M. Jaffé, Rubens, Milano 1989, p. 350, n. 1218

(attivo a Milano tra il 1690 e il 1730)Caccia al leone Olio su tela, cm 165X220Attivo a Milano come pittore di genere e documentato dal 1662 al 1730, Crivelli si specializzò nella rappresentazione di animali, soprattutto in temi di caccia, ispirandosi alle opere dei fiamminghi Hondecoeter, Weenix, Snyders e Fyt. L'opera in esame, di misure parietali, può essere considerata tipica della produzione e ben confrontabile con quelle custodite presso il Castello Sforzesco di Milano. La tecnica pittorica dell'artista è raffinata, ricca di lacche e velature, spessori della stesura ben calibrati e ricchi di luminosità, secondo una accuratezza espressiva già decantata dall'Orlandi. Nel nostro caso appare evidente la precisa matrice nordica della scena, fiamminga in particolare, ispirata dai pittori della cerchia di Rubens, quali Frans Snyders e Paulus de Vos, e altri specialisti quali Jan Fyt. Bibliografia di riferimento:P. A. Orlandi, Abecedario Pittorico..., Firenze 1788, p. 78F. Arisi, Crivellone e Crivellino, Piacenza 2004, tav. 109; fig. 216L. Beltrame, Museo d'Arte Antica del Castello Sforzesco, a cura di M. T. Fiorio, Milano, pp. 73; 77, nn. 860-861

(Amsterdam, 1583 - 1633)Abramo e i tre angeliOlio su tela, cm 105X171La tela esibisce inequivocabili stilemi nordici che suggeriscono l'attribuzione ad un autore olandese o fiammingo. Il tema e il sapore italianizzante, tuttavia, indicano che l'artista abbia visitato la nostra penisola e verosimilmente soggiornato a Roma. Infatti, i caratteri evocano le opere di Cornelis Van Poelenburgh (Utrecht, 1595-1667) ma in modo particolare quelle di Pieter Lastman. Quest'ultimo, il cui soggiorno a Roma è documentato dal 1603 al 1607, fu influenzato dall'arte di Adam Elsheimer e Peter Paul Rubens sviluppando un linguaggio figurativo che esercitò un ascendente decisivo sulla pittura dei Paesi Bassi nel Seicento, coniugando la tradizione del realismo nordico e l'ideale classico italiano.Bibliografia di riferimento:P. Schatborn, Een tekening van Pieter Lastman uit Italië, Kroniek van het Rembrandthuis 2011, pp. 36-41

Michel after Rubens/The Three Graces/colour stipple engraving, 49cm x 38.5cm/and other engravings

Gérard Edelinck (Flemish 1640-1707)/The Battle of Anghiari after Rubens, after Da Vinci/black and white engraving, 47cm x 61cm CONDITION REPORT: Top and side margins cut, bottom right hand corner missing, visible tears and creases, mounted under perspex

After Sir Peter Paul RubensLot and his daughtersoil on canvas73 x 120cmProvenance: Acquired by the vendor's late husband at Sotheby's, London, in the 1950s, as 'a Rubens copy by Delacroix';From a Kensington town house.Condition report: Oil on canvas which is unlined but has several patches on the reverse covering holes and damage to the canvas. The canvas tension is poor and there are undulations across the surface. The areas of damage have been crudely overpainted. The paint layer is in a good, stable condition overall. The varnish is probably original. It is very yellowed but even and semi-glossy. Minor losses to the gilding at the edge of the frame.

Henk Serfontein (South African 1971-) CONFIGURATIONS: HOMAGE TO RUBENS AND AUDREY FLACK etching, signed, dated '92, inscribed with the title and numbered A/P in pencil in the margin sheet size: 31 by 42cm

After Rubens, circa 1900, watercolour on ivory, Figures beside a fountain, 9 x 12.5cm

Dutch School after Rubens, Oval Portrait of a Gentleman in a Florentine Frame, oil on board, Label verso for Flor and Findel picture dealers of Florence. Measurements 22 x 17.5 cm, frame 42 x 34 cm

Rubens SOUTHEY (1881-1933) watercolour "A grey day, Dartford", pencil signed to mount, framed25 x 36 cm

Twenty-eight sterling silver proof medallic first day covers, 'In Commemoration of the 400th Anniversary of the Birth of Peter Paul Rubens', each medallion, minted by the Franklin Mint, is housed within an 'International Society of Postmasters Official Commemorative Issue' cover, with accompanying certificate (28)[image code: 7mc] - Condition Report

* Prints & engravings. A mixed collection of thirty-four prints, mostly 19th century, engravings, photogravures and chromolithographs of genre scenes, portraits, historical and topography, with examples by or after Landseer, Turner, Pollard, Nutter, Simmons, Davey, and Rubens, mostly large format but various sizes and condition, including Cother Webb (John). Floreat Etona (Battle of Laing's Neck), Henry Graves & Co., 1889 , uncoloured mixed-method engraving after Lady Butler (Elizabeth Thompson), slight spotting and staining and some surface abrasion, laid on later card, 720 x 610 mm, and Jukes (Francis), Four engraved views of Malmsbury, circa 1789, a set of 4 aquatint views of Malmesbury Abbey, all with contemporary hand colouring, each trimmed to the image, slight marginal chipping, each approximately 330 x 450 mm, with another unidentified topographical rural aquatint view, 310 x 430 mm, and Weixelgärtner (Ed. lithographer). Eber von Wölfen Überfallen, Nach der Bärenjagd [and] Füchse mit dem Raube. published Druck & Verlags, Wien, circa 1880, together three tinted lithographs after F. Gauermann, with titles repeated in French and English, some mount staining and marginal spotting, typed collection labels below each image, each approximately 660 x 490 mmQty: (34)

Bilbo (Jack). Jack Bilbo, An Autobiography, 1st edition, The Modern Art Gallery, 1948, tipped-in colour plates, numerous monochrome plates, mostly after photographs, original cloth gilt in bright condition, in frayed and chipped dust wrapper, with card slipcase (some wear), large 4toQty: (1)NOTESAuthor's presentation copy, inscribed to front endpaper 'To Mark Rubens, a heavy book on his poor shoulders from Jack Bilbo 1948'.

A Rubens Ware "Pomegranate" rectangular dish; toby jugs, biscuit barrel; other decorative china

A Phoenix Ware vase with Peacock and Rising Sun, by John Forester & Sons, 37cm, and a Hancocks Rubens Ware Pomegranate design vase, 24cm.

Rubens ware plant pot, Gibbson & Son bowl together with a ducal vase (Vase 32 cm high)

Mixed media collage of nude females, 28.5cm x 22cm; and a print after Rubens of a young child