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SEVEN DAVID WILSON LIMITED EDITION MOTOR RACING PRINTS, comprising the Jordan-Peugoet 195 Rubens Barricchello, No.1/250, the Jordan-Peugoet 196 Martin Brundle, No.1/250, the Jordan-Yamaha 192 Maurice Gugelmin, No.1/250, the Jordan-Hart 194 Rubens Barricchello, No.1/250, the Jordan-Honda EJ11 Race Tribute Car Jean Alesi, No.1/10, the Jordan-Honda EJ11 Heinz Harald Frentzen, No.050/650 and the Jordan 191 Michael Schumacher, No.050/650, approximately 59.5cm x 42cm, all bar one have pin holes in the corners, all rolled, please note the different spelling of Peugeot

After Rubens, 'Hippolotus', R. Earloin sculp., 1791, 42.5x61cm

After Rubens, 'The Head of Cyrus brought to Queen Tomyris', 21.5x29.5cm

Albrecht Durer (German, 1471-1528) "The Revelation of St John: 14. The Whore of Babylon" from The Apocalypse 15th Century or later Woodcut on Paper Monogram, Lower center Paper: 15 in. x 10 7/8 in.; Frame: 29 1/8 in. x 23 1/8 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: The John and Johanna Bass Collection before 1966; Bass Museum of Art after 1966. Exhibition: Durer to Rubens: Northern European Art from the Bass Museum of Art, 10/08/2015-07/17/2016. Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No. 155. Museum Inventory No. 1966.155 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Albrecht Durer (German, 1471-1528) "Samson Fighting with the Lion" 15th Century or later Woodcut on Paper Monogram, Lower center Paper: 15 1/4 in. x 10 7/8 in.; Frame: 29 1/8 in. x 23 1/8 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: The John and Johanna Bass Collection before 1966; Bass Museum of Art after 1966. Exhibition: Durer to Rubens: Northern European Art from the Bass Museum of Art, 10/08/2015-07/17/2016. Literature: The John and Johanna Bass Collection, Miami Beach, FL 1973, No. 156. Museum Inventory No. 1966.156 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Eugene Delacroix, circle of (French, 1768-1863) The Kermesse (after Sir Peter Paul Rubens) Figural landscape, Festival celebration Circa 1850-1860 Oil on canvas Canvas: 23 3/8 in. x 30 1/2 in.; Frame 37 in. x 42 1/2 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Collection of Sir David White; John and Johanna Bass Collection; Bass Museum of Art after 1963. Exhibition: The Endless Renaissance: 4/17/2009-8/16/2009 Literature: The John and Johanna Bass Collection, Miami Beach, FL, 1973, No. 109; Paintings and Textiles of the Bass Museum of Art, Russell, Margarita, Miami Beach, FL, 1990, p. 106-107. Museum Inventory No. 1964.109 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

An Italian patinated bronze model of the Dancing Faun after the Antique, late 17th century, portrayed nude, depicted with a cymbal in each hand and with his right foot on a scabellum, mounted to a stepped rectangular variegated grey and white marble plinth, 28 cm high overall The Dancing Faun is first recorded in a treatise on Roman costume by Albert Rubens, published in 1665 (eight years after the author's death in 1657). There the Ancient marble is mentioned as being in the collection of the Grand Duke of Tuscany in Florence. This grinning faun was much admired by artists across Europe, with sculptor Massimiliano Soldani Benzi even calling it the 'most beautiful statue to be seen' in 1695. Several bronze statuettes of the Faun manufactured by the workshop of Soldani Benzi have in fact appeared on the market, see for example Christie's, Sculpture, 2 December 1997, lot 120. It is of course possible that the present lot (which has similar dimensions) originates from the same prolific workshop, however unlike these examples the present Faun has a fig leaf covering his genitals. The many subtle differences between the various 17th and 18th century versions of the Roman marble show the often creative and interpretive process of creating sculptures after the Antique. Literature: Francis Haskell and Nicholas Penny, Taste and the Antique, Yale University Press, 1981, pp. 205-208

Paulus Pontius (1603-1658) copper engraving, Portrait of Peter Paul Rubens, inscribed to plate, 24 x 15cm, together with two others after Van Dyck and three similar engravings, one framed. (6) Provenance: Georgina Fairholme Collection

H.M.Queen Elizabeth II and H.R.H. The Duke of Edinburgh , two signed Christmas cards for 1961 and 1962 with gilt embossed ciphers to covers and colour print of The Holy Family by Rubens and photograph of The Royal Family at Windsor (2)

Hancock & Sons lidded trinket box & jug the trinket box Titian ware by F.X.Abraham in the form of a heart, and the jug Rubens ware by F.X.Abraham

Two large Hancock & Sons English vases both Rubens ware, pattern: Pomegranate by artist F.X Abraham, height 29cm approx (tallest)

Two Hancock & Sons English bowls both Rubens ware, pattern: Pomegranate by artist F.X Abraham, diameter 18cm (largest)

After Paul Rubens, 2 17th century engravings, unframed

After Paul Rubens, 2 17th century engravings, unframed

After Paul Rubens, 2 17th century engravings, unframed

Flemish School, (19th century), a head and shoulders portrait of Sir Peter Paul Rubens, oil on canvas, 59 x 48cm, bearing a gallery label for David F Buzzard to the reverse This would appear to be a copy of the 1623 self portrait by Rubens, which is now part of the Royal Collection and hangs at Windsor Castle

Ten F1 signed portrait photographs, mainly 8”x12” / 8”x10”, including: Lewis Hamilton - McLaren (British), Mark Webber - Red Bull (Australia), Fernando Alonso - McLaren (Spain), Jean-Éric Vergne - Toro Rosso (France), Vitaly Petrov - Renault (Russia), Damon Hill - Williams (British), Jenson Button - McLaren (British), Felipe Massa - Ferrari (Brazil), Rubens Barrichello - Honda (Brazil), Robert Kubica - BMW Sauber (Poland); comes with COA and photo proof of F1 drivers signing (Total 11 items)

1994 Portugese Grand Prix official Formula 1 poster, featuring Rubens Barrichello in the Jordan-Hart 194 entry, mounted, framed & glazed, 66 by 56cm.; together with two large b&w period photos of Ronnie Peterson driving Formula 2 March cars, the 1971 type 721, 53 by 66cm., and 1972 type 722, 43 by 53cm., both framed & glazed (3)'All three items were owned by and displayed in the offices of international racing driver and engine designer, Brian Hart. Having trained as an engineer at the De Havilland aircraft company, he won a Grovewood Award for young aspiring British drivers in 1963, and whilst working for Cosworth Engineering, he soon became a regular competitor and occasional race winner in international Formula 2 events.In 1969 he retired from driving and set up his own engine company, quickly enjoying racing success with Ronnie Peterson who won the 1971 European F2 title in a March chassis using Hart developed and serviced power units from Ford.In the mid 1970s he began making his own engines, and after more championship success in F2, this time with Toleman, he started supplying engines for Formula 1, an early highlight being Ayrton Senna's second place in the 1984 Monaco GP. In 1992 he designed and built a V10 engine that powered the Jordan Grand Prix Team for 1993 and 1994, prior to his selling the business.

Michael Schumacher, Rubens Barrichello, Jean Todt signed Ferrari 2004 Yearbooktheir marker pen signatures upon the gatefold cover frontispiece, also Luca Badoer and Ross Brawn, profusely illustrated, full colour, large format, Italian and English text, 260 pages, page size 33 by 24cm.

Michael Schumacher, Rubens Barrichello, Jean Todt signed 2003 'La Ferrari' cover, also signed by Luca Badoer, the annual souvenir company preview of the marque's year ahead, containing the latest Ferrari information for Club members and car owners, including early history through F1 achievements to new roadcar designs, Italian and English text, 44-pages, size 30x21cm.

Michael Schumacher, Rubens Barrichello, Jean Todt signed Ferrari 2000 Yearbook, their marker pen signatures upon the gold frontespiece, also Luca Badoer and Ross Brawn, profusely illustrated, full colour, large format, Italian and English text, 300 pages, page size 33 by 24cm.

A Pair of Hancock's Rubens Ware Vases, handpainted, by F.X.Abraham, having bulbous upper bodies, 20cm high, a matching ginger jar with (damaged) lid.

Barrie Cooke HRHA (1931-2014)Nude with Night PaintingOil on canvas, 122 x 122cm (48 x 48)Exhibited: Touring Exhibition, 'Six Artists from Ireland', Catalogue No.26; Hendriks Gallery, solo exhibition, Dublin 1978, where purchased; Clifden Arts Week.Barrie Cooke always painted the women ‘I have shared my life with’, adding that ‘I’ve always painted the people I’ve been sexually involved with.’ In this powerful, intimate painting the woman is not named but her relaxed pose suggests an extraordinarily private relationship between artist and subject, between man and woman, between him and her.If being naked suggests being vulnerable and being belittled, being what Shakespeare calls ‘the thing itself . . . . a poor, bare forked animal’, nude suggests a dignified elegance, a beauty, a confidence, a feeling in this instance, especially, of being at ease with oneself.A nude is also a portrait but Cooke has said that to think about the character before you is a disaster: ‘You have a fact in front of you which is like a mountain, a series of hills. Ideally you forget that you’re looking at the person and you empathise not with the personality but with the shapes.’ This female, Rubensesque, relaxed nude, diagonally positioned, dominates the canvas. It is night time, the black background with streaks of light, a painting within a painting, captures that mood but the figure itself is rendered with a luminous touch. Behind her head, a detail catches the light and light is found all through the foreground especially in patches of unpainted canvas. The artist’s every gesture is physical in this oil on canvas; it has the fluidity of watercolour. Barrie Cooke ‘never liked acrylic, partly because it’s terribly difficult to get off once it’s dry, and you can dissolve oil paint.’ Here, Cooke, who said ‘I work on most of my paintings a long time’, dissolves the oil paint resulting in a work that seems spontaneous, a figurative composition that contains abstract, expressionist elements. This nude is in harmony with Cooke’s idea that ‘all good art is abstract and all good abstract art is figurative.’As for spontaneity, a hallmark in his work, ‘That’s the problem’ says Cooke. ‘To keep them at a point where you can surprise yourself all the way along.’ And that watercolour look ‘That’s because it’s thin over white. I’m quite conscious of that. Rubens did it. I like his luminosity.’ For Cooke, Rubens is a great painter. ‘He’s not the fat bottoms and slobbery that most people think of.’Kenneth Clark, in his major 1956 study The Nude, argues that ‘the nude does not simply represent the body’, but is related to ‘all structures that have become part of our imaginative experience’. Clark explores how for Greek sculptors the nude related to their geometry’ and in the twentieth century ‘man, with his vastly extended experience of physical life, and his more elaborate patterns of mathematical symbols, must have at the back of his mind analogies of far greater complexity’. Today’s viewer brings those complexities to Big Nude at Night and by doing so the painting’s depth is revealed, the viewer’s experience is enhanced.This major work, from the prestigious Pat and Antoinette Murphy Collection, proves that Barrie Cooke is a celebrator and a Romantic. ‘When I’ve painted nudes it’s in celebration of their bodies and their personalities’ and Cooke when he says ‘I’m Romantic in the real sense, an empathist’ that Romanticism and empathy can be seen here in a painting that gathers together what the Italian philosopher, Mario Rossi, identifies as the three great interests of man: ‘air and light, the joy of having a body, the voluptuousness of looking’. Niall MacMonagle 2019

FOLLOWER OF SAMUEL PROUT (1783-1852) A figure collecting water at a wellhead in a continental landscape with tower behind, bears signature 'Rubens Santoro', watercolour, 26 x 20.5cm

Josiah Boydell (British 1752-1817) - After Sir Peter Paul Rubens, interior scene with woman and child at a table piled high with fruit and vegetables, black and white engraving by Richard Earlom, published 1785, 48.5 x 90.5cm approx visible sheet size, together with a further 18th century, black and white engraving, half length portrait of Abraham Van Der Hulst, Vice Admiral, by Jan De Visscher, 50 x 35cm, both framed

* Amling, (Karl Gustav, circa 1650 - 1703). Nox [Night], 1698, copper engraving on laid paper, after Pieter de Witte (1548-1628), trimmed just inside the platemark, a very good impression, sheet size 26.5 x 15.9cm (10.5 x 6.3ins), window-mounted, together with Edelinck (Jan, circa 1643 - 1680). Statue de Galatée, de marbre blanc...dans la grotte de Versailles, [Paris circa 1675] , fine copper engraving on laid paper by Edelinck after a drawing by H. Watelé, off the sculpture by Jean-Baptiste Tuby, plate size 38.5 x 29.7cm (15.25 x 11.7ins), with margins, a very good impression, window-mounted, plus Fantetti, (Cesrae, circa 1660-?). Adam and Eve, circa 1680-1700, copper engraving on laid paper by Fantetti after Raphael, published by De Rossi, Rome, numbered five to lower right hand corner, plate size 24 x 25.8cm (9.5 x 10.2ins), with margins, window-mounted, and other Old Master prints including a hand coloured woodcut illustration from a book signed in the image V S, German gothic printed text to verso, Willem Panneels, Mary Magdalene in the House of Simon the Pharisee, copper engraving after Rubens, trimmed to image, sheet size 14.2 x 17.1cms (5.6 x 6.8ins), a mezzotint portrait of Lucas Holstenius, Vatican Librarian, by Haid, copper engraving of a Roman marble frieze by Giovanni Battista Galestruzzi after Polidoro da Caravaggio (numbered 2 lower right corner), and a further group of 16th century German woodcut illustrations with printed text to versos (Qty: 16)

A signed photograph of Rubens Barrichello, 24 x 15cm

FRANS IJKENS (FLEMISH SCHOOL, 1601 - 1693)The Madonna and Child, seated beneath red drapery inside a stone niche, surrounded by a garland of flowersOil on panel, 73 x 91cmSigned and dated 1645 Provenance: A renowned 18/19th century Irish country house collection, now mostly dispersed. Frans IJkens (1601-1693) also spelled Ykens, was a Flemish Baroque painter active in Antwerp and Brussels in the mid-17th century.He began his career at the age of 14, becoming an apprentice to his uncle, the still-life painter Osias Beert (1580-1624).It was during this period that Frans developed his careful treatment of floral depictions. Ijkens was particularly well known for his devotional works and contributions to the genre of flower garland painting associated with Antwerp.He became a master of the Guild of Saint Luke (the patron saint of artists) in 1630. In 1635 he married the painter Catarina Ykens-Floquet (the daughter of Lucas Floquet) who continued the traditional depictions of still lifes and flower garland paintings.Ijkens works were immensely popular with aristocrats and collectors of his time, Peter Paul Rubens owning six examples and Eleanor of Austria, Queen of Poland acquiring further works from dealers in Antwerp.

SCHOOL OF ANTHONY VAN DYCK (17TH CENTURY)The Penitent MagdaleneOil on canvas, 125 x 101cmSeveral versions of a now lost original of this composition by Van Dyck have been published, including one in Susan Barnes 'Van Dyck: A Complete catalogue of the Paintings', III.A9, page 403.Anthony van Dyck (1599-1641) was born in Antwerp and grew to become a prolific painter, revered both in his own country and abroad. A precocious talent, van Dyck was employed as a studio assistant for Peter Paul Rubens and it was here that he truly mastered his ability. Whilst aiding with Rubens’ work, van Dyck also took on his own commissions. At the time, much of the wealth was held by the church and, as such, many of his works were of religious subjects. Circa 1620, just as van Dyck was finishing in Rubens’ studio, the artist undertook to paint ‘The Penitent Mary Magdalene’ which is now held in the Rijksmuseum. The subject of Mary Magdalene was popularised in the 16th century as part of the Counter Reformation. During a period when many were questioning Catholic power, religious bodies adopted the image of the Magdalene in a hope of inspiring religious devotion amongst their congregations. Coming to Christ as a prostitute, Magdalene was the ultimate depiction of salvation through adoration. Portrayed as a wretched figure, the image of the saint worked to remind people that forgiveness and eternal life would reward spiritual dedication.Van Dyck approached this commission with Northerly flare, half draping his masculine figure with a crisply sculptured cloth. As with Flemish art of the period, his scene is picked out with hard, clear lines and his figures bear the characteristic pointy features that are so often seen in works by Rubens. Though by the same artist, this work seems far removed from the soft portrayal of the repentant saint depicted in the current lot.In 1621, van Dyck chose to expand his artistic training and travelled to Italy where he was to spend the next six years. Arriving in Venice, his art fell under the influence of the Venetian School and its great master, Tiziano Vecelli. Numerous copies of Titian’s works were made by van Dyck, with a sketchbook of his (now housed in the British Museum) containing just under sixty imitations of his works, with careful annotations made as to composition and colour used. Van Dyck took his admiration further and undertook full oil paintings after the master, as can be seen in his rendition of Titian’s Magdalene in the York Museum, England. In this image, van Dyck’s Magdalene is transformed into a humble portrayal of female deference. Gone are the harsh lines of his Northern roots and, instead, his painting is filled with the sumptuous flowing lines of womanly flesh.It is, thus, without surprise that we find Titian’s influence in the current lot. As an artist who constantly revisited this subject matter throughout his career, a second work by Titian depicting the Penitent Magdalene (Hermitage Museum, St. Petersburg) is seen as bearing significant resemblance to this portrayal by van Dyck. Unlike the work previously mentioned, this rendition is not a slavish copy but, rather, a homage to a respected artist. Certain compositional aspects seem to have been borrowed directly from Titian, such as the looming rock to the left and the clear delicate tree to the right, each working to frame their subject in the centre. As with Titian’s piece, the Magdalene is accompanied by a skull and an open bible, her anguished face lifted and gazing to the right in adoration and imploration of the Heavens.Despite being the work of a Flemish painter, we can see van Dyck’s total embrace of the Italian painting style in this work. The careful use of sfumato blends his figure with her background and the Italianate landscape evokes a romanticism formerly unseen. Though van Dyck did not adhere to his change in style and future works lapse back into his Northern training, there is no doubt that Italy held immense influence over his work, with pieces such as this bearing testament to the respect that he nurtured.

A group of six, including watercolours: George Oyston, Near Totnes; C. White, figures by a cottage, and a scene of figures on a beach; together with an mezzotint self portrait of Rubens, an oriental style print and a 'Sertificat of Honer'.(6)

Old master prints.- Pontius (Paulus) Christ carrying the cross, after Rubens, engraving on wove paper, a slightly later impression, platemark 620 x 460 mm. (24 1/4 x 18 1/8 in), small margins, toning to sheet, unframed, 1632; together with a good group of 10 further prints, including two others after Rubens, an engraving by Chasteau after Poussin, an 8vo mezzotint plate from Paradise Lost by John Martin, an engraving of the Virgin and Child by Blooteling after van Dyck, two engraved friezes of putto after Tetelin, plate 51 by Richard Earlom after Lorrain, an etching after [?]Zurbaran, and a good copy by Hieronymous Wierix after Durer's woodcut 'The Mass of St Gregory', engravings and etchings, various sizes, all unframed, [16th century and later] (11)

After John Michael Rysbrack (Flemish 1694-1770). A patinated plaster portrait bust of Michelangelo, titled 'MICHELANGELO BUONARRUOTI', on an integral socle, 70.3cm high, 51cm wide. Rysbrack was one of the leading sculptors of the 18th century and produced many portrait busts of artist and architects including Rubens, Inigo Jones and Palladio. These were very much in demand from British collectors, patrons and connoisseurs who decorated their libraries with them. There is a similar plaster cast on display in the Central Hall of the Royal Academy in London.

* Prints & engravings. A mixed collection of approximately 110 prints, mostly 18th century, uncoloured etchings and engravings of religious, genre, classical and 'old master prints', including examples by and after Barron, Hollar, Rubens, Perelle, Michaelangelo, Visscher and Van Dyck, various sizes and condition (Qty: approx. 110)

David (Joannes). Occasio Arrepta Neglecta. Huius commoda: Illius incommoda, 2 parts in one, 1st edition, Antwerp: Plantin-Moretus, 1605, engraved title, part title with large engraved device, woodcut device to final leaf verso, 12 engraved emblematic illustrations by Theodoor Galle, some light toning, contemporary inscription, 'Collegy. Soc. ? Lucernae 1607' at head of first title, ink stamps at foot of title and dedication, contemporary limp vellum, lacking ties, spine titled in manuscript, a few splits and old repair to spine, some soiling, small 4to, together with Binet (Estienne). Abrégé des vies des principaux fondateurs des religions de l'église, representez dans le choeur de l'abbaie de S. Lambert de Liessies en Haynaut, 1st edition, Antwerp: Martin Nuyts, 1634, 40 engraved plates by Cornelis Galle the Elder after Theodoor Galle (counted in pagination and register; all but 2 are portraits), terminal errata leaf, a few plates offset, fore margin of first plate (bound after title-page) renewed with small section of image restored, small marginal chips to plates of Elijah and Saint Paul, small marginal worm-track in final quire, contemporary manuscript notice on the author to front free endpaper, bookplates of Mary Barbara Hales and Michael Jaffé, contemporary sprinkled calf, expertly rebacked to style, a little rubbing and craquelure to sides, 4to (19.9 x 15 cm) (Qty: 2)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge (both items); Mary Barbara Hales (1835-1885; bookplate; second item only). Hales inherited the family seat of Hales Place, Woodchurch, Kent, following the extinction of the Hales baronetcy circa 1836, and later converted it to a Benedictine nunnery. Landwehr 186, Praz p. 313 (David). The Galle brothers are known especially for their long-standing collaboration with Rubens and the Plantin Press.

Mascardi (Agostino). Silvarum libri IV, 1st edition, Antwerp: ex officina Plantiniana, 1622, engraved allegorical title-page after Peter Paul Rubens by Theodoor Galle, final blank (2C4) discarded, title-page slightly soiled, damp-staining to gutter of initial 2 quires (*-2*), first quire (*) with shallow section of erosion to fore edges not affecting text or engraving, a few other marks, 19th-century drab paper boards, worn, 4to (23.6 x 17 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Judson & Van de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard XXI), 48. The 'first book [of] contemporary poetry illustrated with a title-page by Rubens', of which 1,000 copies were printed (Bertram, Rubens as a Designer of Title-Pages, pp. 184 & 60). Ex-Jesuit Mascardi (1590-1640) was a prominent intellectual at the court of Pope Urban VIII.

Sarbiewski (Maciej Kazimierz). Lyricorum libri IV. Epodon lib[er] unus alterq[ue] epigrammatum, Antwerp: ex officina Plantiniana, 1632, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder, toning, a little spotting and soiling, lower outer corners of O2 and T1 torn away or excised not affecting text, small interlinear spill-burn to P3 affecting a couple of letters verso, contemporary vellum, manuscript spine-title, yapp edges, slightly soiled, 4to (20.5 x 15.5 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard) , 62. First Plantin and first quarto edition, and the fourth overall. Maciej Kazimierz Sarbiewski (1595-1640), a Polish Jesuit, 'was considered to be one of the greatest neo-Latin poets in his time and beyond' (Bertram, Rubens as a Designer of Title Pages , p. 197). Bertram writes at length on the rich symbolism of Rubens's title-page design, which depicts Apollo placing his lyre on an altar before the arms of Pope Urban VIII; facing Apollo are a woman and child commonly interpreted as a muse with the young Pindar (op. cit. pp. 202-12). Sarbiewski's poems were first printed at Cologne in 1625.

Title: French school, in the manner of Eugne Delacroix (1798-1863): The descent from the cross, pastel on paper, 19th C. Description: Dimensions: Work: 64 x 48 cm Frame: 82,5 x 66 cm Not inspected outside the frame. At the reverse and old collection label (Collection Delannoy). Compare: The work is based on a painting by Peter Paul Rubens (1577-1640). The original can be seen in the Palais des Beaux-Arts de Lille, France, inv./cat.nr P. 74 and could long be admired in the Žglise des Capucins, Lille (link).

A LARGE 19TH CENTURY MEDALLION "PIERRE-PAUL RUBENS", a World War I medal and collection of coins

A 19th century Lithograph after Peter Paul Rubens, 'The Lance Thrust'.

Andy Warhol (American, 1928 - 1987). "Portrait of Andy Warhol [poster]". Color offset lithograph. 1982. Signed by Warhol in black marker, lower right. Edition unknown, presumed small. Light cream wove paper. The full sheet. Fine impression. Very good to fine condition. Provenance: Private collection, Sweden, thence to our consignor. Overall size: 22 x 20 in. (559 x 508 mm). 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]

Illustrated Biographies of the Great Artists. 1879/80. Twelve volumes including Turner, Holbein, Van Dyck, Rembrandt, Rubens, Da Vinci, Raffaello etc, uniformly bound in blue/black cloth (12)

Greene (Graham) The Comedians, first edition, signed presentation inscription from the author to Jack Rubens dated Christmas 1965 to endpaper, original cloth, dust-jacket, a fine copy, 8vo, 1966.⁂ A superb inscribed copy of Greene's Haiti-set exploration of terrorism and government suppression. Jack Rubens was Greene's accountant.

GILT METAL PROFILES OF CHARLES I AND PETER PAUL RUBENS MOUNTED ON DEEP BLUE VELVET WITHIN ROSEWOOD FRAMES, THE LATTER 58 x 52cms.

JAN PUNT 'De Plafonds of Gallerystukken Uit De Kerk Der Eerw P.P. Jesuiten Te Antwerpen, Geschildered door P.P. Rubens…Door Jacob de Wit', 36 engravings with title pages, the plates 33.5 x 40cm, oblong folio

FOUR BOXES OF VARIOUS ART RELATED BOOKS, etc, to include 'Ceramic Culture Innovation 1851-2000', 'Renoir Landscapes 1865-83', 'Rubens a Master in The Making', 'Turner in Germany' etc

TWO BOXES AND LOOSE CERAMICS, GLASS, SUNDRIES ETC, to include Franz vase, floral decoration, height 30cm, an S.Hancock & Sons Rubens Ware 'Pomegranate' vase, height 25cm (hairline), cut glass decanters, various cameras, teasets, Coalport 'Bride & Groom' HN3281, modern Snow White figures etc

S. HANCOCK & SONS, to include a 'Morrisware' vase designed by George Cartlidge, model No C8-10, tubeline floral decoration, printed factory mark and painted signature, height 17cm, a 'Kensington' (Coronaware) vase, height 15cm and a 'Pomegranate' (Rubens Ware) vase, height 15cm, together with a pair of unmarked stoneware glazed squat vases, embossed floral decoration, height 14cm (5)

Multi signed Malaysian Grand Prix 2004 programme. Signed by 16 including Michael Schumacher, Rubens Barichello, Juan Pablo Montoya, Ralf Schumacher, David Coulthard, Kimi Raikkonen, Jarno Trulli, Fernando Alonso, David Richards, Jenson Button, Takuma Sato, Felipe Massa, Christian Klien, Christiano da Matta, Nick Heidfeld and Oliver Panis. Some on front cover and others inside. Good Condition. All signed pieces 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.

Rubens Southery – Fingle Bridge. 15” x 20”

Jean Marc Nattier (1685 - 1766), engraving after Rubens, l'echange des deux reines, 18th century, image 17.5" x 13.5", unframed

Collection of British 19th century scrapbooks, folios, photographs and drawings. Includes the designs for the grave monument of Rev. John Henry Robertson Sumner and his wife Elizabeth Anne Sumner, a watercolour copy of a Rubens self-portrait, watercolour of HMS Cornwallis, signed photograph of the composer Sir George Martin, a group of Continental prints depicting Venice and Belgium dated 1932 and 1934 by the same hand. Further folios contain reproduction prints of renaissance art, watercolours and sketches by an unknown hand, and early 20th century theatre photographs. A Quantity, various sizes (Qty: Quantity)

RUBENS SOUTHEY gilt framed prints, a pair, a signed limited edition poster for the 1997 British Rally Champions titled 'Ulster Air', (133/500), signed by the driver and navigator, Phillip Mills and Mark Higgins, a framed collage of racing car postcards and one other of 19/20th Century celebrities

After Rubens/Le Coup de Lance/oil on canvas, 143cm x 103cm

A pair of 19th century clear glass glug-glug decanters, of typical waisted form with spherical stoppers, 30cm high with a mid 20th century craquelure ewer and with a pair of Rubens ware pottery bud vases (at fault) (5)

SELECTION OF DECORATIVE CERAMICSincluding two Maling Peony Rose lustre dishes, a Maling floral decorated lustre vase, a Royal Winton lustre vase, a Maling lustre jar and cover, a Rubens Ware large oval serving dish and a matching cream jug, and a Jersey Pottery Poodle ornament (10)

MIXED, odds, inc. Churchmans River & Broads (13), Goodbody War Series (5), Players Old Englands Defenders (6), Charlesworth & Austin Colonial Troops (2), Roberts Armies (3), Martins VCs (4), Ardath Rubens ( etc., some creasing, trimmed etc., FR to VG, 42*

Rubens (Peter Paul). Theorie de la Figure Humaine, consideree dans ses principes, soit en repos ou en mouvement, ouvrage traduit du la tin de Pierre-Paul Rubens , avec XLIV p la nches gravées par Pierre Aveline, d'après les de sseins de ce célèbre artiste, Paris, Charles Antoine Jombert, 1773, half title bound after engraved portrait frontispiece (with water stain), 44 engraved plates by Pierre Aveline after Rubens, some light soiling, previous owner inscription, contemporary half sheep, spine and edges rubbed, 4to (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Brunet, IV 144 ; Cicognara 353; Cohen-De Ricci 915-16. First edition of this translation of Rubens' unpublished manuscript Super Figura Humana Discursus Cabbalisticus, left in the artist's studio following his death in 1640. Jombert's version, long thought to be misleading due to its inaccurate editing and incorporation of images taken from Leonardo, has recently been re-examined and vindicated as an important and unjustly overlooked source for the aesthetic and philosophical opinions of the artist. See Nadeije Laneyrie-Dagen, editor , Theorie de la Figure Humaine, Pierre Paul Rubens, Planches gravees par Pierre Aveline d'apres Rubens, Paris, Editions Rue d'Ulm, 2003.

Mudzaert ( Dionysius ). De Kerckelycke Historie van de Gheboorte onses Heeren Iesu Christi tot het Tegenwoordich Jaer M.DC.XX. ... Alles getrocken uyt de Kerckelycke Jaer-boecken Caes. Baronii end andere treffelycke Schryvers, 1st edition, Antwerp: Hieronymus Verdussen, 1622, 2 parts in 1 volume, signatures a4 pi2 A-Z4 2A-3P6 3Q4, A-3Q6 b-f4 , a1=half-title, a2=engraved allegorical title-page after Peter Paul Rubens by Jan Collaert, depicting a personification of the Catholic Church seated on a pedestal, with a figure representing Religious History to the left below, and two prisoners in chains at the foot illustrating Error and Heresy, text mainly in in black letter, double column, browning, part 1 with small spill-burn in I3 affecting a letter either side, mild paper-disruption in 2U5 affecting a couple of letters, part 2 with closed tear in 2I5, a couple of small worm-hole in gutter and text, briefly expanding in quires 2D-2H mainly affecting side-notes, lacking front free endpaper, contemporary blind-tooled calf over thick reverse-bevelled wooden boards, brass catches (lacking clasps), worn, folio (34.5 x 21 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge (bookplate). Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Judson & Van de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard XXI), 49. No copies traced in UK libraries. The work is a compendium in Dutch of Baronio's Annales Ecclesiastici , a book Rubens had himself acquired in 1620 (see Bertram, Rubens as a Designer of Title-Pages, p. 223). A second edition of Mudzaert's version appeared in 1624.

Mascardi (Agostino). Silvarum libri IV, 1st edition, Antwerp: ex officina Plantiniana, 1622, engraved allegorical title-page after Peter Paul Rubens by Theodoor Galle, browning, a few stains, final blank (2C4) discarded, a little worming to inner hinges, bookplate of Michael Jaffé, contemporary vellum, manuscript spine-title, 4to (20.5 x 16 cm), together with another copy (title-page stained along edges and with shaved contemporary ownership inscription to lower margin, spill-burns in H3 and I4, retaining final blank 2C4, bookplate of John Sparrow, 20th-century half vellum) (Qty: 2)NOTESProvenance: Both copies: Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Second copy (in 20th-century half vellum): John Sparrow (1906-1992), English barrister, warden of All Souls College, Oxford, and influential book-collector. Judson & Van de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard XXI), 48. The 'first book [of] contemporary poetry illustrated with a title-page by Rubens', of which 1,000 copies were printed (Bertram, Rubens as a Designer of Title-Pages, pp. 184 & 60). Ex-Jesuit Mascardi (1590-1640) was a prominent intellectual at the court of Pope Urban VIII.

Aguilon (François d'). Opticorum libri sex, 1st edition, Antwerp: ex officina Plantiniana, 1613, half-title, engraved allegorical title-page and 6 headpieces after Peter Paul Rubens by Theodor Galle, one engraved and numerous woodcut diagrams in the text, publisher's woodcut device to final leaf, browning, smudge to half-title, light worming to head of gutter from quire 3* to S, small worm-hole in lower margins from quire A, becoming more extensive from quire 3C to 3I and reducing thereafter, bookplate of Michael Jaffé, 20th-century mottled half calf, folio (34.2 x 22.5 cm) (Qty: 1)NOTESProvenance: 1) 'Da livraria do Marques de Alegrete, artes ciencia, CX6' (early ink inscription to half-title verso); the marquessate of Alegrete is a title in the Portuguese nobility created in 1687 by Pedro II. 2) Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge (bookplate). Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Becker 6; DSB I p. 81; Judson & Van de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard XXI) , 10; Norman 25. D'Aguilon's 'master treatise on optics' (DSB) is a synthesis of the works of Euclid, Roger Bacon, Kepler, Arab scientist Ibn al-Haytham (Alhazen), and others. 'A remarkable collaboration between the scientific, printing and visual arts ... Aguilon's work ... contained the first discussion of the stereographic process (which Aguilon named), one of the earliest presentations of the red-yellow-blue colour system, an original theory of binocular vision and the first published description of Aguilon's Horopter' (Norman). It is also the first published book with a title-page designed by Rubens, and is considered 'a landmark of baroque book illustration' (Becker); Rubens's title-page combines allegory, myth and architecture in a symbolic representation of optics not only as the queen of mathematical sciences, but also as a form of spiritual knowledge (see Bertram, Elevating Optics: The Title Page by Peter Paul Rubens of Franciscus Aguilonius’s Opticorum Libri Sex (1613) in its Historical Context, Explorations in Renaissance Culture (online), volume 42, number 2, 2016).