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TWO ANTIQUE ENGRAVINGS - AFTER P. RUBENS, both depicting Countryside Scenes

A 19TH CENTURY PRINT OF A LADY READING, engraved by W. Carlos after W. Bromley together with a mezzotint of Helena Forman Wife of Rubens and another of three girls (3)

Attributed to Rubens Santoro Peasant Among the Ruins bears signature in pencil, watercolour, 27cm x 20.5cm

A large Staffordshire pearlware figure of Sir Anthony van Dyck, c.1810, after Michael Rysbrack, standing with one hand on his hip, the other outstretched and holding a scroll, draped in a long cloak and standing beside a large plinth, raised on a rectangular faux marble base, some restoration, 55.5cm. The Rysbrack statues of van Dyck and Rubens were also produced at the Bow porcelain factory around 1760.

An early 20th Century Decoro pattern vase together with a Hancock's Rubens ware dish

After Anthony Van Dyck (1599 - 1641)A large Polychrome wool Tapestry, probably Imperial Russia, St. Petersburg, early 19th Century "The Capture of Samson," with all round accentuated border, the centre upper band with a coat of arms and each corner with an oval shield depicting a grotesque mask. The centre with Delilah seated on a settee while the Philistines tied Samson with seven bow strings.* In the middle of the 18th Century Imperial Russia began to weave tapestry based on paintings by the great Dutch Masters such as Rubens, Rembrandt & Van Dyck, approx. (185cms x 279cms) 6' 1" x 9' 2". (1)

Ten painted glass panels, each painted with cherubs amongst fruit, after Rubens

After Peter Paul Rubens (1577-1640) - Three coloured prints - "The Visitation", "The Descent from the Cross" and "The Presentation", 37.5ins x 58ins, in moulded gilt frame

A S Hancock & Sons, Rubens ware "Pomegranate" patterned bowl and a parrot flower holder

After PETER PAUL RUBENS 'The Calydonian Bear Hunt', oil on canvas, 134cm x 234cm, framed.

After Sir Peter Paul Rubens, portrait of the artist, oil on canvas, 36 by 27cm, and another, after Guido Reni, Beatrice Cenci, oil on canvas, 36 by 28cm, in carved giltwood Florentine frames (2)

COLLECTION OF STUDIO POTTERY TO INCLUDE; A MINTON MOLLINS 'ASTRA WARE' VASE, A BWTHYN POTTERY BOWL AND A RUBENS STONE CAKE PLATE AND A SMALL SELECTION OF PLATES ETC...

Portrait of Rubens, oil on panel

10 boxed Hot Wheels Racing diecast F1 Racing Car models in 1:43 scale including #54619 F-2002, #26749 and #20059 F2005 Rubens Barrichello and #22811 Jordan 199 Damon Hill. Seven boxed 1:24 scale Racing Car models, four from the Hot Wheels range and three by Onyx are also included as part of this lot, Overall appear G/VG boxed. (17)

29 boxed Onyx F1 diecast model cars various marques and drivers represented in this lot including #163 Benetton Ford 8192/93 Riccardo Patrese, #195 Jordan 194 SASOL Rubens Barichello, #X303 MInardi-Hart M197 Jarno Trulli etc. Overall appear G/VG boxed. (29)

A GROUP OF CERAMICS, to include Fieldings Crown Devon lustre twin handled vase florally decorated on blue ground, height 16cm, a Rubens ware 'Pomegranate' chamberstick, Royal Stafford three piece tea service, Jackfield style teapots, Newhall Boumier ware dish length 29.5cm, Carltonware blue oriental scene ginger jar (missing cover), height 17cm etc (11)

Ursula Stroh-Rubens - an abstract studio ceramic vase, of bulbous form, having four pinched corners, with line incised trailing decoration heightened in colours, incised artists monogram verso, h.21cm, dia. 23cm

A watercolour of a fishing harbour signed by Rubens Southey, framed and glazed, overall size 50 x 66cm, image size 26 x 36cm.

A 19th century oil painting on canvas, after Peter Paul Rubens "Christ's Descent From The Cross", 116 cm x 80 cm. CONDITION REPORT: The painting is not in particularly good condition. There are three patches to the rear of the canvas which correspond with three areas that have been badly overpainted in the top section of the painting above the top of the cross. Patches should be visible in our image. There are also three other very small patches to the canvas lower down. The outline of the stretcher is visible all round the canvas. There is also evidence of craquelure and some minor paint losses particularly around the extremities. The frame is not in particularly good order. It has traces of old woodworm and losses to the gesso moulding particularly along the bottom edge.

After Sir Peter Paul RubensLOT AND HIS DAUGHTERSOil on panel72 x 105cmProvenance: The Collection of Mr and Mrs J Murphy, Holland House, Huntingfield.

An S Hancock & Sons Rubens Ware fruit bowl, decorated with pomegranates, printed mark, 32cm H, together with a Fielding's Crown Devon pottery vase of waisted form, decorated with a butterfly lustre pattern against a red ground, printed mark, 15cm H.

PETER PAUL RUBENS (1577-1640)Illustri Viro Michaeli Blondo, S.R. Suecorum Maiestatits Al. Serenissimum Magnae Britaniae Regnum Pronlegato Artis Sculpturiae Omnisque Artiticiasae Elegantiar AmatoriEngraving, 43 x 65cmProvenance: The Collection of Hugh and Anne Iremonger

A pair of Hancock & Sons pottery, lustre decorated ''Rubens Ware'' sleeve vases

LESSIUS, Leonardus - De Justitia et Jure Ceterisque Virtutibus Cardinalbus : ... engraved title-page (by P. Rubens), vellum, folio, Plantin, Antwerp, 1626.

'RUBENS' EARLY TWENTIETH CENTURY ARTISTS BLACK JAPANNED TINPLATE OIL PAINT BOX, fitted with oblong palette (spirit) ten tubes original oil paints (a.f.), fitted for 12 tubes, original labelled bottles for linseed and turpentine, the box with fold down wire handle, 9 3/4" wide

Rubens Arthur Moore, Wedding on the Grand Canal Venice, oil on board, signed and with label verso, please see images, 34.5cm x 30cm overall frame, painting in good condition

Le Fils de Paul Rubens etching by Manuel Salvador Carmona; The eldest children of Charles I, engraving by Robert Strange; Virginia Le Brun Parisina engraving by Folo; Raffaelle and the Fornarina engraved for the Art Union of London by Lumb Stock, Lord Brougham & Vaux etching by William Walker, all glazed and framed (5).

A Paulus Rubens copper plaque, oriental tray and a golfing plaque

AFTER P. P. RUBENS - FESTE FLAMANDE' engraving by St Fessard dated 1762, engraving size 47 x 76 cm

Pair of late 19th Century spelter figures - Rembrandt and Rubens Condition:

Rubens (Peter Paul). La Gallerie du Palais Peinte par Rubens dessin‚e par les S.rs Nattier, et grav‚e par les plus illustres graveurs du temps, Duchange, Paris, 1710, engraved title, engraved advertisement leaf, 25 engraved plates, including three double page, some light spotting and water stains, later half morocco, joints and edges rubbed, sheet size 63 x 59 cm (24.75 x 23.25 ins), large folio The 24 paintings known as the 'Marie de' Medici Cycle' by Rubens were commissioned in 1622 for the Luxembourg Palace in Paris, and are now kept in the Louvre. (1)

*Gaugain (Thomas, 1748-1810). The Young Fortune Teller [and] The Sheltered Lamb, circa 1800, pair of stipple engravings after R. Westall, both with contemporary colouring, some staining largely confined to margins, each approximately 305 x 360 mm, framed and glazed, together with Kauffman (Maria Anna Angelica Catherina, after), [Venus presenting Helen to Paris], circa 1780, circular stipple engraving by G. W. Ryland, printed in colours, trimmed to neatline, diameter 295 mm, framed and glazed, with Baron (Bernard), Achilles Angry [and] Achilles Instructed, published Carington Bowles, circa 1780, two uncoloured line engravings after P. Rubens, explanation and title below image in English and in Latin, slight spotting, each approximately 440 x 330 mm, mounted, framed and glazed, with another two engravings similar (7)

After Rubens. Nicolaas Rubens wearing a coral necklace, print, 25cm x 20cm, in oak frame.

Flemish School and French School (European 1300-1600) SIX FLEMISH RENAISSANCE STAINED GLASS PANELS AND TWO OTHERS good with some loose panes various The historic centre of Antwerp on the banks of the River Schelde is a declared UNESCO World Heritage site and is distinguished by magnificent architecture and multi-storied elegant town houses. The most notable being the Italian inspired Baroque masterpiece designed and built by the great Flemish artist Sir Peter Paul Rubens in the early 1600’s. Around the corner in the Diamond district, a more restrained row of Flemish Renaissance style homes stand in Arenberg Street. Built in the 16th century, No.12 Arenberg Street was the original home to this set of eight stained glass panels. Created by skilled Flemish and possibly French artists, they were installed in the front façade on either side of the entrance door with family crests and coats of arms identifying the occupants and religious symbolism declaring their virtue. The eight windows were saved from destruction when they travelled to South Africa via the Congo with the owners after World War II. They were installed in a house near the University of Cape Town and subsequently some were loaned to the South African Cultural History Museum (now Iziko Social History Collections at the Slave Lodge) where they were exhibited. This set of eight stained glass panels is an exceptional surviving example of the flourishing visual arts that graced buildings in the golden period of Flanders under Spanish rule. - C. K.

Follower of Sir Peter Paul RUBENS (1577-1640) Self portrait Oil on board Italian carved guilt frame 22 x 17cm

Continental School (mid-19th century)After Sir Peter Paul Rubens, Christ on the Crossoil on canvas, 107cm x 84cm

FRENCH SCHOOL, 19th CENTURY, AFTER SIR PETER PAUL RUBENS (1577-1640) THE FELICITY OF THE REGENCY OF MARIE DE MEDICI Oil on canvas 93.5 x 69.5cm. * After Rubens' original of 1625, the last in his Marie de Medici cycle, in the Louvre, Paris. ++ Lined; a little associated retouching; needs a clean

Nattier after Rubens, a pair of engravings, La Felicite de la Regence and La Naissance de la Reine, 50 x 35cm

LANDSEER (Thomas and John) Twenty Engravings of Lions, Tigers, Panthers, & Leopards by Thomas Landseer from Originals by Stubbs, Rubens, Rembrandt... and Edwin Landseer, with an Essay on the Carnivores. London: J. and H. I. Hunt, and J. Landseer, 1823, small oblong 4to, first edition, engraved pictorial title and 20 engraved plates, contemporary boards with later paper back, original lettering piece "Landseer's Carnivorous Quadrupeds" also marked inink 'Proof', foxing, untrimmed

Rubens Southey (1881-1933), "Near Saddle Tor, Dartmoor", a signed watercolour heightened with white, 22.5 x 32cm and a companion, "Valley of the Tavy, Dartmoor", a pair, (2).

AFTER RUBENS signed J Arnott, The Descent from the cross, oil on canvas, dated, 1890, 116 x 80cm Gilbert Telfer Collection, Edinburgh Condition Report:

Sula Rubens (British, 20th century) 'Long Shore', signed lower left, oil and acrylic, 42 x 57cm

17TH CENTURY ENGRAVING BY THEODORE VAN THULDEN AFTER PETER PAUL RUBENS, shows Mercury leaving Antwerp, published by Geuartius, page 147B at top, unframed, 33 x 27 cm

Three Hotwheels model racing cars, scale 1:18, comprising Williams F1 Team FW28 Nico Rosberg; Ferrari F1-2000, Michael Schumacher; and another, Rubens Barrichello, all boxed.

A Minichamps Formula 1 racing car, limited edition, Benetton 1999 F-1 car, Gian Carlo Fisichella, and two Hotwheels racing cars, comprising Stewart SF3, Rubens Barrichello, and Williams F1, FW21, Ralf Schumacher, all boxed.

Three Hotwheels racing cars, scale 1:18, comprising Williams F1 Team Ralf Schumacher FW23; Rubens Barrichello F-2002 Ferrari; and King of Reign Ferrari F2001, all boxed.

Sula Rubens, born 1967, Sabinanigo, North Spain, acrylic on paper, 29cm x 32cm

Sula Rubens, born 1967, landscape, signed watercolour, 31.5cm x 49cm

Oval black and grey thread silkwork portrait picture, Sir Peter Paul Rubens in a Victorian oval gilt gesso frame, 28cm x 24cm; and another silkwork picture, figures by a river, gilt frame, 20cm x 25cm.

An 19th century continental framed and glazed Italian pen work on ivory panel detailing The Judgement of Paris. After the 1636 work by Peter Paul Rubens being finely detailed with cross-hatching and set in a good glazed envelope frame. Measures 34cms x 30cms ( frame) & 16cms x 12cms ( panel )

ANTWERP. A PAIR OF NETHERLANDISH SILVER ARMORIAL ALTAR CANDLESTICKS the leafy baluster with compressed upper and ovoid lower knops with cherubs' heads in almost full relief between chased wings and festoons, on stepped triangular base, each of the concave sides with repousse oval medallion of the sacred monogram IHS, MR (conjoined) of the Queen of Heaven and arms, the last separately worked and let in between acanthus clad, boldly scrolling volutes, on three cast paw and ball feet, steel pricket, 41cm h, Antwerp, probably 1625-6, 44ozsProvenance: The arms are those of Goubau. These Baroque altar candlesticks would have been commissioned, possibly as part of a larger service of communion plate for the domestic chapel of one of the houses of the important family of Antwerp merchants, the Goubau Their residences included den Wolsack in Antwerp and Cortewalle and Ten Dorpe Castles in the country By the early 17th century, through trade and intermarriage with other leading families, their wealth and civic status was enhanced still further when in 1633 they were elevated to the nobility by Philip IV of Spain (1605-1665) The widow of Alexander-Jean I Goubau (1545-1614) commissioned Rubens' Virgin and Child (1608-1621)as an ex-voto for the Masons Chapel of Antwerp Cathedral, where the couple are buried Given the date of 1625-6 the candlesticks were presumably ordered by a son of this marriage, presumably Joannes III Goubau or one of his sons, Alexander III or Francois The former was Burgemeester of Antwerp four times between 1649 and 1666 An interest in the fine and applied arts that extended over at least four generations of the family is manifest in gifts made to the church at Dendermonde and nearby Mespelare, both of which are notable for their rich array of altar plate The artist Anton Goubau (1616-1698) was associated with the Dutch and Flemish Baroque painters working in Rome He was Master of the Guild of St Luke in 1637Later in the century A son of Alexander IV Goubau was to marry a granddaughter of Rubens' son, Nicolaes++Fine condition, uniformly crisp and with no significant wear, splits or loss, no repair, the marks slightly weak; covered in an old and now discoloured lacquer, various sections somewhat loose, the central steel bolt and iron nut rusty, entirely original and unrestored

A box of fine grade 19th century medallions to inc Napoleon, Rubens and Royalty commemoratives

Two spelter figures of old masters, Brandt and Rubens

A French patinated bronze model of the Faun with Clappers, last quarter 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 Louvre in the maquette 58cm high 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, he 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 LARGE 19TH CENTURY VIENNA PORCELAIN CIRCULAR PLAQUE, painted with "The Four Continents", after Peter Paul Rubens, with a decorative gilded border (faults). 18ins diameter.

Strozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest). Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630), Saint Lawrence distributing Alms at San Nicolò da Tolentino and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.

Bernard Baron (1696-1792, French) After Peter Paul Rubens, Two plates from 'The History of Achilles', engraving, framed, 35 x 44cm (2)

Rubens Southey A Dartmoor Stream 14”x12” signed

VARIOUS CERAMICS AND CUT GLASSWARES to include Rye pottery dinner wares, Nippon china teawares, Wilton Ware lustre vase, Rubens Ware 'Pomegranate' plate, cut glass vases, bowls etc

A late 18th/early 19th century carved two-colour hardstone cameo-mounted ring, the cameo depicting Omphale in profile wearing the Nemean lion skin, gold mount, 2.7cm high, size T The subject is based on the story of Hercules being submitted, by the oracle, to three years of servitude for having killed Iphitos. He was bought as a slave by the Queen of Lydie, Omphale. During this time they became lovers and many amorous paintings were executed by Boucher, Lemoyne and Rubens. Omphale was recorded as mocking her servant to the extent of extreme indignation by wearing his Nemean lion skin and even made Hercules wear women's clothes. The subject of this cameo has been heavily influenced from an original 1st-2nd century AD glass cameo which is housed in the British Museum as exhibit no. 1923,0401.1056. Literature: For a similar cameo, see WALTERS, H. B., Catalogue of Engraved Gems & Cameos, Greek, Etruscan & Roman in the British Museum, (London: BMP: 1926), gem 3805.