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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 (closely trimmed along bottom edge shaving most of imprint), occasional underlining and marginal strokes in red pencil, 17th-century ownership inscription 'Phi. Woodhouse' in brown ink to front free endpaper, repeated on initial blank and rear free endpaper, engraved bookplate of the barons Wodehouse inscribed 'Wodehouse, Kimberley 1838', book-label of John Sparrow, contemporary English speckled calf, front joint slightly abraded, 4to (19 x 13.9 cm) (Qty: 1)NOTESProvenance: 1) 'Phi. Woodehouse' (contemporary ownership inscriptions), probably Sir Philip Wodehouse, 3rd Baronet (1608-1681), member of parliament for Norfolk and subsequently Thetford during the Commonwealth. 2) John Wodehouse, 2nd Baron Wodehouse (1771-1846; engraved bookplate with inscription). 3) John Sparrow (1906-1992), English barrister, warden of All Souls College, Oxford, and influential book-collector (book-label). 4) Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. 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.

Bosio (Giacomo). Crux triumphans et gloriosa, libri sex, Antwerp: ex officina Plantiniana, 1617, half-title, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder, one engraved plate, approximately 75 woodcut illustrations to text, text-leaves with some browning, small interlinear burn-hole to leaf X5, final blank (3Q6) discarded, bookplate of Michael Jaffé, contemporary inscription 'Collegii Societatis Jesu Ruremunde 1619, MB' to margin of engraved title-page and effaced from half-title, contemporary blind-tooled calf over wooden boards, rebacked and relined, worn, retaining one metal cornerpiece, folio in 6s (35.3 x 22 cm) (Qty: 1)NOTESProvenance: 1) Jesuit college at Roermond, Netherlands (inscriptions dated 1619). 2) 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). Graesse I 500; Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard) , 37. First edition in Latin of this iconographic treatise on the symbolism of the cross, originally printed in Italian in 1610 as La trionfante e gloriosa croce , without the engraved title by Rubens. Giacomo Bosio (1544-1627) was a knight of the Order of Saint John of Malta (Knights Hospitallers) and agent of the order at the papal court in Rome. He was involved in the murder of a fellow knight in Rome in 1581 but retained his position of influence, and later Grand Master Alof de Wignacourt, in securing papal approval in 1608 for a knighthood for Caravaggio, himself a fugitive from Rome following the murder of Ranuccio Tommasoni.

Boonaerts (Olivier). In E cclesiasticum C ommentarium, cum indicibus locupletissimis, 1st edition, Antwerp: Jan van Meurs, 1634, half-title, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder depicting Solomon presenting the book to a personification of Wisdom, with an abyss containing souls awaiting salvation in the lower foreground and a view of Paradise in the distant background, terminal privilege leaf present, some browning, a few superficial spill-burns, very occasional light worming, mainly to margins (slightly affecting text in quires 4B-4G, index), old ink-stamps (Carmelitani scalzi di S. Maria della Scala) to half-title and page 1, contemporary vellum, some wear to spine-ends, pencil-marking to front board, folio (34.6 x 21.2 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) , 70. An uncommon example of one of Rubens's allegorical title-pages; the book is a commentary on Ecclesiastes by Flemish philosopher, theologian and Jesuit Olivier Boonaerts (1570-1654/55). No other copy traced in auction records.

[Chiffinch, William]. A Catalogue of the Collection of Pictures belonging to King James the Second; to which is added a Catalogue of the Pictures and Drawings in the close of the late Queen Caroline, with their exact measures; and also of the principal pictures in the Palace at Kensington, W. Bathoe, 1758, four folding engraved plates, bound with 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..., 1758, 79 pp., contemporary calf, covers gilt stamped with the coronet of John Bligh, 4th Earl of Darnley (1767-1831), a little rubbed, 4to (Qty: 1)NOTESProvenance: 1) John Bligh, 4th Earl of Darnley (1767-1831; armorial binding). Bligh was a noted amateur cricketer for Kent, and his descendant Ivo Bligh, the eighth earl, was England captain during the inaugural Ashes series (1882/3). 2) Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Barberini (Maffeo, Pope Urban VIII). Poemata, Antwerp: ex officina Plantiniana, 1634, half-title in red and black, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder, engraved portrait by Galle, final blank (O4) discarded, lacking endpapers, toning, half-title dust-soiled, occasional dust- or damp-stains to margins, a few other minor spots and stains, inscription 'Little Brittain, Jun 10 1726 [?]n.wton' and 'J Lewis' to half-title, 19th-century stencilled signature (William Ord) below elk's-head device to front pastedown, all edges gilt, contemporary calf, sides richly gilt with floral cornerpieces and arabesque centrepieces, front joint cracked, headcaps perished, scuffs to sides, extremities worn, 4to (23.5 x 17.6 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) , 68. First Plantin edition. Rubens's title-page is a response to Bernini's version for the edition printed in Rome in 1631. Cornelis Galle's portrait of the Pope is based on the engraved portrait by Claude Mellan also published in that edition. Maffeo Barberini (1568-1644), a cardinal since 1606, had been elected Pope in 1623, taking the name of Urban VIII.

Seneca (Lucius Annaeus). Opera quae exstant omnia: a Justo Lipsio emendata et scholiis illustrata. Editio quarta, atque ab ultima Lipsi manu, Antwerp: ex officina Plantiniana, 1652, bound with: Tacitus (Cornelius), Opera quae exstant, Justo Lipsio postremum recensita, Antwerp: ex officina Plantiniana, 1648, 2 works in 1 volume, mild toning, intermittent light spotting and dust-soiling, Seneca with half-title, engraved portrait frontispiece of Lipsius, architectonic title-page with medallion portraits and 2 full-page engravings (bust of Seneca and the dying Seneca in his bath), all after Peter Paul Rubens by Cornelis Galle the Younger, vignette at p. xxiv, woodcut initials and head- and tailpieces, initial blank loose, marginal repair to C6, minor printing flaw to 3Q5, small spill-burn in 3Y6, Tacitus with title-page in red and black with engraved vignette, woodcut initials and head- and tailpieces, final blank (3H8) present), browning towards rear, marginal worming to final 3 quires (3F-3H), contemporary vellum, spine defective, a few small perforations through front board and text up to quire [superscript 2]C, folio in 6s (37.8 x 24 cm), together with: Tacitus (Cornelius), Opera quae exstant, a Justo Lipsio postremum recensita, Antwerp: ex officina Plantiniana, 1648, title-page in red and black with engraved vignette, woodcut head- and tailpieces and initials, final blank (3H8) present, toning, bookplate of Michael Jaffé, contemporary mottled calf gilt, worn, folio in 6s (39.4 x 24.8 cm) (Qty: 2)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge (bookplate). Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard), 30-32 for the three engraved plates by Rubens. Lipsius's edition of Seneca was first printed in 1605, with the plates redesigned for the second edition of 1615.

Veen (Otto van). Quinti Horatii Flacci Emblemata. Imaginibus in aes incisis, notisque illustrata, 2nd edition, Antwerp: Philipp Lisaert, 1612, engraved title-page vignette, 103 full-page engravings by Gijsbert van Veen after Otto van Veen, slight browning, small stains to pp. 9 and 73/4 just touching images, a few other marginal spots and marks, bookplate of Michael Jaffé, all edges gilt, 19th-century English calf gilt, slightly rubbed, a little wear to spine-ends, pale markings to sides, 4to (26 x 19.7 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). Landwehr 241. Otto van Veen (c.1556-1629) was Rubens's last and most influential teacher. His Horatian emblems were first printed in 1607 with the accompanying mottos in Latin only. Here they are printed in French, Italian, Spanish and Dutch.

Hugo (Hermann). Obsidio Bredana armis Philippi IIII. auspiciis Isabellae ductu Ambr. Spinolae perfecta, 2nd edition, Antwerp: ex officina Plantiniana, 1629, engraved allegorical title after Peter Paul Rubens by Cornelis Galle the Elder, 7 engraved folding plans, 6 full-page engraved plans in the text, colophon leaf present, front inner hinge lined with contemporary binder's waste, contemporary limp vellum, dust-soiled, later paper spine-label, folio (31.2 x 20.7 cm) (Qty: 1)NOTESProvenance: 1) 'Kenney Collection' (book label), possibly E. J. Kenney (1924-), English classicist. 2) Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitwilliam Museum, Cambridge (bookplate). Cockle 817; Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard) , 55. Hugo's account of the Siege of Breda (1624-5) was first printed in 1626, and dedicated to the Infanta Isabella, daughter of King Philip II of Spain, widow of Archduke Albert of Austria, and sovereign of the Hapsburg Netherlands. Hugo, a Jesuit, was chaplain to the head of the Infanta Isabella's army, General Ambrogio Spinola, so well placed to write an account of this important victory. He was present at all of Spinola’s campaigns but died in 1629 in the plague that swept through the Spanish army at Rheinberg.

After Rubens, 19th Century oil on canvas, young man with female nude in a classical landscape

A collection of 7 various prints to include Rubens, Mary Fedden and framed French Tin Tin first day covers

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

After Rubens and Snyders, 'Rubens & His wife', engraving, I.50 x 48cm; together with a pair of pencil signed engraving of Wellington College by Wallace Hester.

AFTER RUBENS SOUTHEY, ROCKY COASTAL SCENES (A PAIR) a pair of mezzotints Each 35cm x 50cm Both framed and under glass

A 19th century gilt portrait plaque depicting Paul Rubens, framed under glass, approx 54cm x 46cm

A pair of 'Rubens Ware' vases - 23cm

GUSTAV GLUCK: RUBENS ZEICHNUNGEN DER WIENER ALBERTINA IN ZWOLF FAKSIMILEDRUCKEN, Munchen (220), numbered, 10 plates loose as issued, together with a separate text volume, large folio, original cloth backed folder worn

A FRAMED AND GLAZED WATERCOLOUR DEPICTING A RUSTIC COTTAGE SCENE SIGNED RUBENS SOUTHEY

A pair of Hancock & Sons, Rubens Ware Pomegranate vases, one a/f, 15cm

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 an original sepia 4 x 5.5 photograph of Gertler standing outdoors in a full length pose accompanied by the writers and academics Hewy Levy, Walter J. Turner, Edward Arthur Milne, Ralph Hodgson, J. W. N. Sullivan and Samuel S. Koteliansky, who are seated and standing in two rows alongside the artist. The photograph, apparently taken in London in 1928, appears to be signed by several of the individuals to the verso (although not by Gertler himself). Also including 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, 9 

R. Southey, 'Dartmoor near Vixen Tor', a signed watercolour, 25.5 x 36cm, titled label with artist's name as Rubens Southey and two other small watercolours, (3).

AFTER P P RUBENS, ENGRAVED BY J DE WIT/J PUNT, Crucifixion etc, group of 4 black and white engravings, 31 x 37cm, (4) mounted but unframed

A late Victorian gentleman's 18ct gold cased open faced keyless pocket watch by R. Rubens, Bold Street, Liverpool, No. 96984, the white enamel dial with Roman numerals, blued steel hands and subsidiary seconds dial, in plain 18ct gold case, 48mm diameter, case hallmarked Birmingham 1896, monogram to rear of case, the interior with presentation inscription to the Revd. J. E. Lloyd etc. 1897 (gross weight 86 grammes), and black leather cover fitted box for same

Rubens Southey, watercolour, Moorland scene, signed, 27 x 38cm

A FOLDER OF 18/19TH CENTURY ENGRAVINGS FROM THE HENSHAW COLLECTION TO INCLUDE ARTISTS AFTER RAPHAEL, RUBENS, CARAVAGGIO ETC. DEPICTING VARIOUS SUBJECTS.

European School, Signed Painting of the Zattera and the Church of the Gesuati, Venice Italy. Bearing signature "Rubens Santoro" lower right. Initialed "R.S. 02" on mast of central boat. Oil on Canvas. Provenance: Private Florida Collection Sight Size: 17.5 x 23.5 in. Overall Size: 23.75 x 29.5 in.

A Rubens vase in a Pomegranate pattern a/f along with four Doulton 'Wind in the Willows' plates.

Blooteling (Abraham, 1640-1690). Variae Leonum Icones, after Peter Paul Rubens, two etchings on laid paper, one with the title printed below the image Variae Leonum Icones, margins trimmed, imprint of Visscher and Abraham Bloteling missing to lower edge, sheet size 12.5 x 17.8 cm (5 x 7 ins) and similar (Qty: 2)From a set of four small etched plates depicting lions, based on details from Rubens' painting of Daniel in the Lion's Den (National Gallery of Art, Washington).

Kilian (Lucas, 1579-1637). Albrecht Durer im Ruhmestempel, 1600, copper engraving on laid paper, with unidentified watermark, trimmed to the image, a few marks and light creases to margins, 43 x 26.3 cm (17 x 10.4 ins), together with Vorsterman (Lucas, 1595-1675), The Miraculous Catch of Fish (St. Peter finding the tribute money in a fish), after Rubens, circa 1620, engraving on laid paper, with printed quotation from Matthew Chapter XVII below, and cum privilegio to lower right, trimmed to plate mark, sheet size 28.5 x 36.5 cm (11.25 x 14.25 ins), plus Pontius (Paulus, 1603-1658), Peter Paul Rubens and Anthony van Dyck, circa 1640s, copper engraving on laid paper, trimmed to plate margins, and with publisher's imprint to the foot of the sheet trimmed off, sheet size 35 x 45 cm (13.75 x 17.75 ins) (Qty: 3)

After Peter Paul Rubens, 17th century engraving, where discord dues, plate size 12" x 17", unframed

Rubens Ware hand painted 'Pomegranate' bowl by Hancock & Sons and pair of Crown Devon Fieldings lidded bowls

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. (1)

Rubens Fogacci (Bologna 1979). Pop Art Triptych. Clownfish, lion ed fruits. 20cm x 20cm, oil paint and resin on canvas. Initialed on the bottom side.

AFTER REMBRANDT 'Jan Uytenbogaert, Armenian Preacher', etching, 24 x 19cm; and three Old Master engravings to include: portrait of Rubens after Van Dyck; classical maidens with cupids; and a Dutch landscape (4)

AFTER RUBENS, AN ENGRAVING TITLED, "LA MAJORITE DU ROY"

A COLLECTION OF VARIOUS ENGRAVINGS TO INCLUDE RELIGIOUS AND CLASSICAL SCENES, to include "La Felicite De La Regence" Rubens Pin Xit I.M.Nattier Delineavit etc

THREE OLD MASTER PRINTS comprising `The Four Disgracers, Ixion` (1588) by H. Goltzius after C. van Haarlem, 31cm. diam.; `Mary Magdalene washing Christ's feet in the home of Simon the Pharisee` by M. Natalis after Rubens, 39 x 49.5cm.; and `La Chasse au Tigre` by J. J. Flipart after Francois Boucher, probably 1st state, 49 x 36cm. (3) ++ Goltzius worn and torn; Natalis grubby with some creasing and tears; Flipart foxed and a little worn

National Gallery.- Young (John) A Catalogue of the Celebrated Collection of Pictures of the late John Julius Angerstein, Esq., text in English and French, half-titles, contemporary half calf, a little worn, 1823 § National Gallery of Pictures by the Great Masters (The), Presented by Individuals or Purchased by Grant of Parliament, 2 vol., engraved frontispiece of the new gallery by William Wilkins, engraved decorative titles and plates, some foxing, contemporary half morocco, spines gilt, [c.1840] § Landseer (John) A Descriptive, Explanatory, and Critical, Catalogue of Fifty of the Earliest Pictures contained in the National Gallery..., inscriptions to title, contemporary calf, spotted, spine faded, 1834 § Armstrong (Walter) The Peel Collection and the Dutch School of Painting, original cloth, spine faded, 1904 § National Gallery...Catalogue, Viscount Lee of Fareham's copy with his signature, contemporary half straight-grain morocco, by Rivière, spine slightly faded, 1925 § Brockwell (M.W.) The National Gallery: Lewis Bequest, original cloth, uncut, dust-jacket, 1909, plates and illustrations, rubbed; and a small quantity of others on the National Gallery, 4to & 8vo (c.50)⁂ John Julius Angerstein (1735-93) was a London businessman, collector and patron of the arts. When he died his collection of thirty-eight pictures was bought for the nation (for approximately £60,000) and formed the basis of the National Gallery, founded in 1824 and first situated in Angerstein's house at 100 Pall Mall. It included Rubens' Rape of the Sabine Women, Claude's Embarkation of the Queen of Sheba, Rembrandt's Woman taken in Adultery, and Sebastiano del Piombo's Raising of Lazarus which Angerstein had bought from the celebrated Orléans Collection in 1798 for 3500 guineas and which became item No.1 in the National Gallery Catalogue. Angerstein's house soon became too small and the present gallery designed by William Wilkins was built from 1832-38.

Isaak Duchemin, (French, fl. mid 19th century) and after the Antique, a patinated bronze model of the Faun with Clappers, late 19th century, cast after the Antique, the figure portrayed in dance, a cymbal held in each hand, his right foot atop a scabellum, the oval base inscribed Duchemin in the maquette, atop a convent Siena marble socle with beaded band 61cm high overall CATALOGUE NOTES: The marble original of the Faun with Clappers resides in the Uffizi Galleries, Florence, and indeed was first recorded in that city by Albert Rubens (son of the Dutch master) in 1665, having seen the piece in the collection of the Grand Duke of Tuscany. It had been moved to the Tribuna of the Uffizi by 1688. The model was always a popular one, being light hearted and playful, and was therefore much reproduced from the Renaissance onwards. A full-scale bronze version was made by Soldani for Prince Liechtenstein in 1695 and again for the Duke of Marlborough at Blenheim Palace, and small versions were produced by Zoffoli and Righetti, -and indeed by many others ever since

A SET OF SEVEN 18TH CENTURY ENGRAVINGS by B. Baron of London, after Rubens, depicting events in the life of Achilles, the largest 43cm x 59cm (7)

Mixed lot of 20th century ceramics to include a Phoenix Flambeau bowl, two harlequin coloured baluster vases, a Rubens ware bowl and cover, an octagonal Losol ware bowl and a Wedgwood blue and white floral patterned plate, (6)

Two gilt framed Rubens Southey landscape prints, along with an oval framed portrait.

ANDREW SAINT: RICHARD NORMAN SHAW, New Haven and London, Yale University Press, 2010, revised edition, 4to, original cloth, dust-wrapper + GODFREY RUBENS: WILLIAM RICHARD LETHABY, London, The Architectural Press 1986, 1st edition, original cloth + ALEC CLIFTON-TAYLOR: THE PATTERN OF ENGLISH BUILDING, London, B T Batsford, 1962, 1st edition, original cloth, + STEEN EILER RASMUSSEN: EXPERIENCING ARCHITECTURE, London, Chapman & Hall, 1959, 1st edition, original cloth (4)

A late 18th century Continental painted corner cupboard, "Queen Thomyris with the head of King Cyrus" after Rubens, 24" wide x 28" high Condition:The top panel is slightly warped with two splits.A couple of splits by the beadwork running across the lockplateNo apparent woodworm 

French bronze bust of an artist, late 19th Century, dark brown patina, on a wooden stepped square socle, 36cm; also a Guillemin bronze finish spelter bust of Rubens, 53cm (2)

Motor Racing Rubens Barrichello 1996 Miniature Helmet Die cast 1:8 scale model. Paul s Model Art Helmet Collection. In original box in good condition. Rubens "Rubinho" Gonçalves Barrichello (born 23 May 1972) is a Brazilian racing driver who competed in Formula One between 1993 and 2011, scoring 11 Grands Prix wins and 68 podiums. Good condition Est.

Mixed Lot: comprising seven various wrist watches including Interpol, Citron, Santima and Rubens, various dates and makers (7)

Fifteen photographs signed by F1 drivers,all 10 by 8in. signed in marker pen, comprising Fernando Alonso, Kimi Räikkönnen, Sebastian Vettel, Sergio Perez, Ralph Schumacher, Romain Grosjean, Jenson Button, Nico Rosberg, Marcus Ericsson, Nick Heidfeld, Nico Hülkenberg, Jarno Trulli, Rubens Barrichello, Valtteri Bottas & Felipe Massa; sold with a photo proof dealer's COA (16)

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

Michael Schumacher, Rubens Barrichello, Ross Brawn, Jean Todt signed 2005 Ferrari yearbook, the profusely illustrated, full colour, large format, annual publication featuring their marker pen signatures upon the frontespiece, Italian and English text, 260 pages, page size 33 by 24cm

Multi signed England Schools FA trophy final programme 1969. Signed by Geoff Strong, Tommy Smith, Bob Paisley, Bill Shankly, Ian Callaghan, Rubens Bennett, Ian St John, Billy Stevenson, Emlyn Hughes, Roger Hunt, Tommy Lawrence, Dennis Follows. 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 £3.99, EU from £5.99, Rest of World from £7.99.

After Peter Paul rubens (1577-1640) - Lions at Play, black and white engraving by William Walker, published by John Boydell 1769, 41 x 49cm, together with an early 19th century coloured caricature engraving after Dighton - A Blood of 1802 - Duke of Argyle, 35 x 24.5cm, also together with a late 18th century coloured aquatint engraving of Ramnugur near Bernares, on the River Ganges, engraved by Thos Daniell, 46 x 60cm

TABLE LAMPS, a pair, spelter modelled as Rembrandt and Rubens with cream pleated shades, 80cm H. (2) (brass uprights loose)

AFTER RUBENS Self-portrait Oil on canvas, 47 x 60cm

Roman, Imperial Period, ca. 2nd to 3rd century CE. A finely carved agate cameo depicting the head of Medusa in a beautiful gold setting - oval in form with engraved zigzag border and an integral suspension loop. The Medusa cameo presents finely delineated details in relief - a beautiful face with snakes and harpy wings in her hair. Total weight: 11.1 grams Size: cameo measures .875" H (2.2 cm); 1.5" H (3.8 cm) including gold setting; 2.75" H (7 cm) on included custom stand.How ironic that the sculptor created an agate version of this mythical Gorgon monster with writhing serpents in her wavy coiffure whose mere gaze could transform onlookers to stone! Throughout the ages, Medusa has been immortalized in countless works of art. Some of you may be familiar with the dramatic interpretations by Michelangelo Merisi da Caravaggio, Peter Paul Rubens, Benevenuto Cellini, Gianlorenzo Bernini, Rene Lalique, Antonio Canova, and the list goes on. These artists of the Renaissance, Baroque, and Neoclassical eras were inspired by ancient renderings of Medusa like this example. Provenance: private Connecticut, USA collection; ex-Belgian Art Market, 1985-1986; ex-New York Art Market, 1998; ex-private New York, USA collection, 1995-2014; ex-Christie's, New York "Ancient Jewelry" auction (sale 3498, December 11, 2014, lot 280) Condition: Only slight surface wear. Verso is not carved. Overall excellent and ready to be set on a beautiful chain. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #146729

After Sir Peter Paul Rubens - 'The Descent from the Cross'Oil on board, inset into a stained a wooden frame, bears old label for Christie's Old Master picture sale, 26th April 2006 lot 18, 105x72cm

Miniatura española siglo XIX. "Rubens con una de sus esposas", acuarela y gouache sobre marfil, 11,50 cm. diám. Con marco de época.

Two Rubens Ware cylinder vases, two Burleigh Ware jugs, a Wedgwood vase and a blue and white Cauldon vase

Rubens Barrichello Williams F1 signed authentic 12x8 colour photo. 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 £3.99, EU from £5.99, Rest of World from £7.99.

A Rubens ware vase and various 19th / 20th century pottery jugs and dishes

AFTER RUBENS - 19 VARIOUS ENGRAVINGS , some by Nattier, early 18th century, religious and historical subjects, one view by Gillis Hendricx, some A/F