We found 2831 price guide item(s) matching your search

An Art Deco Hancocks Rubens Ware Pomegranate Vase and a pair of Ault Pottery carafe form Vases with painted bluebird decoration with impressed marks to base

After Rubens, a gilt framed oil

After Sir Peter Paul Rubens, Innocence, oil on canvas, Inscribed on reverse, 45 x 58cm (17 3/4 x 22 3/4in)

A pair of Royal Stanley ware "Jacobean" candlesticks, decorated with flowerheads and leaves on deep blue ground, 25.5cm; and a Rubens ware hand painted vase, AF, 21cm

OOC - `Church St. Rocco, Venice` in the manner of Rubens Santoro (Italy, 1859-1942), appears to be initialed and dated `02 on sail at center, in hand carved distressed frame with crème liner. SS: 17 1/4" x 23 1/4", OS: 25" x 31", cleaned, fine condition.

Seguidor de Sir Peter P.Rubens, descida.., 68x85,5Seguidor de Sir Peter Paul Rubens (1577-1640) Descida da cruz Óleo sobre cobre Assinado (?) Dim. aprox.: 68 x 85,5 cm.

Flemish School, 17th Century Susanna and the elder Oil on canvas After the original by Rubens (c. 1611), at the Hermitage Museum, Saint Petersburg 130x110 cm

École FLAMANDE du XVIIème siècle, entourage de Pierre Paul RUBENSTête d’homme barbuPanneau de chêne, parqueté59,5 x 44 cmRestaurations et soulèvementsDans un cadre en bois sculpté et doré, travail français d’époque Louis XIVNotre tableau est la reprise d’une composition de Rubens conservée à Glasgow à la Hunterian Art Gallery University of Glasgow (panneau mis à l’ovale, 55,6 x 47 ,5 cm).Provenance : Collection du duc de Trévise ; Sa vente, Paris, Hôtel Drouot, 8 décembre 1947, (Mes Bellier et Ader) n° 69 (attribué à P. P. Rubens).

Frans FRANCKEN II (Anvers 1581 – 1642)L’adoration des MagesCuivre parqueté69 x 54,5 cmSigné en bas à droite : D. FFranck. In.RestaurationsIssu d’une large famille de peintres anversois Frans Francken II dit le jeune est formé dans l’atelier paternel : il est considéré comme le plus prolifique et le plus important des artistes de la dynastie. Nommé grand maître de l’Académie de Saint Luc à Anvers en 1605 et doyen en 1614, Frans Francken II est avant tout connu pour ses peintures d’histoire ornant les cabinets d’amateur dont il lance la mode typiquement anversoise appelée à perdurer pendant tout le XVIIème siècle. Le succès que rencontrèrent ses petites figures graciles au style maniériste lui vaut de participer au peuplement des œuvres de ses contemporains tels que Jan Van Kessel ou Joos de Momper.On connaît de nombreuses représentations de l’Adoration des Mages citons celle du musée des Beaux-Arts de Soissons, signée de la main de l’artiste (panneau, 54 x 77 cm) ainsi que celle ayant figuré à la vente anonyme, Paris, Hôtel Drouot, 26 mars 2012 (Tajan), n° 63 (panneau, 55 x 79,5 cm).Cependant notre tableau est à mettre précisément en rapport avec une autre version de l’artiste conservée au Kunstmuseum de Bâle (panneau, 117 x 103 cm). Nous retrouvons dans les deux compositions la même figure imposante et raffinée de Balthazar portant le vase nautile.Ce sujet se prête en effet bien à la multiplication des personnages qu’affectionne tant l’artiste dans ses mises en scène rejoignant en cela l’esprit de ses contemporains, Rubens (1577 – 1640) et Brueghel le Jeune (1601 – 1678).

TAPISSERIE BRUXELLES D`APRÈS LES CARTONS DE PIERRE-PAUL RUBENS (1577-1640) ATELIER DANIEL EGGERMANS 1642 Achille chez les filles de Lycomèdes Tiré de l`Histoire d`Achille, Nestor et Odysseus découvrent Achille chez les filles de Lycomèdes, entre des femmes pilastres supportant des corbeilles de fruits, sous des guirlandes de fleurs et au dessus de cornes d`abondance. (Importantes usures, coutures, morceaux rentrayés, réparations, restaurations). 360 x 290 cm Cette tapisserie représente la moitié gauche du carton de Rubens avec les bordures tissées d`après l`huile sur bois (Musée des Beaux Arts de Pau) de Rubens qui représente Thétis plongeant Achille dans le Styx. Il doit s`agir d`une entre-fenêtre. Il s`agit de la première édition de cette tapisserie qui est tombée de métier en 1642 dans l`atelier de Daniel Eggermans à Bruxelles et dont certaines sont conservées au palais de Vila Viçosa (Portugal). Cette tenture appartenait probablement à Michel Particelli d`Hemery décédé le 1er août 1650, puis à son gendre Louis Phélypeaux de La Vrillière, avant de devenir la propriété des Bragance. Une tapisserie, traitant du même sujet est encore conservée au palais de Vila Viçosa. Provenance : Famille royale de Bragance au palais de Vila Viçosa jusqu`au milieu du XXe siècle, lorsqu`elle a été vendue à la famille de l`actuel propriétaire. Bibliographie Guy Delmarcel, Rubens`s Textiles, pp. 121 & 122, n° 14 et bordures p. 117, n° 13a. Archives Nationales, Minutier central : LXXXVI, 323, 1er août 1650, inventaire après décès de " haut et puissant seigneur Mre Michel Particelli, vivant chevalier seigneur d`Emery, Thoré, Tanlay, Châteauneuf et autres lieux, conseiller du roi en tous ses conseils et surintendant des finances de France ", p. 245. Jean Vittet, Les Tapisseries de Michel Particelli d`Hemery et de son gendre Louis Phélypeaux de La Vrillière, in L`Objet d`Art, 2004, p. 173 : 4 pièces similaires au palais ducal de Vila Viçosa qui sont très probablement celles de Particelli.

After Sir Peter Paul Rubens, Flemish 1577-1640, late 18th/early 19th century- "The Lamentation"; oil on canvas (stretcher attached to panels), 221x165cm

Attribué à Theodor van THULDEN (1606 - 1669) L’enlèvement des Sabines Cuivre 49 x 72 cm Signé d’une initiale en bas au milieu M Porte une étiquette au revers du cadre van Thulden Reprise de la composition de Pierre Paul Rubens (Panneau, 170 x 236,5 cm) conservée à la National Gallery de Londres

A Rubens ware vase by Hancock and Sons

Ecole française du XIXe siècle. Portrait de femme dans le style de Rubens. Huile sur toile. 29,5 x 20,5 cm.

After Van Dyke - Pierre Paul Rubens, a portrait, copper engraving, another, of Ludovicus Magnus, 43 cm x 40 cm, together with an 18th century mezzotint after Lelly, of two children in a garden, 36 cm x 26 cm. All framed and glazed

A 1920`s/30`s S. Hancock & Sons Rubens ware "Pomegranate" hand decorated bowl, diameter 32cm and similar glazed model of an exotic bird, height 19.5cm (af).

AMENDMENT: After Peter Paul Rubens, Flemish 1577 - 1640 - " self portrait" rather than as described: After Rembrandt Van Rjin, Dutch 1606-1669- Portrait of a man, head and shoulders; oil on canvas, 51.7x42cm (unframed)

PETER PAUL RUBENS (in the manner of)Flemish (1577-1640)“ADORATION OF THE MAJI”Oil on canvas.Older restoration; light craquelure throughout. 80¼ x 55¾ inches (203.8 x 141.6 cm). Starting Price: $1,400.00

PETER PAUL RUBENS (in the manner of)Flemish (1577-1640)“THE VISITATION OF COUSIN ELIZABETH”Oil on canvas.Recent restoration. 78 x 30 inches (198.1 x 76.2 cm). Starting Price: $1,400.00

PETER PAUL RUBENS (in the manner of)Flemish (1577-1640)“PRESENTATION IN THE TEMPLE”Oil on canvas.Recent restoration; overall good condition. Old craquelure now stable. 78 x 30 inches (198.1 x 76.2 cm). Starting Price: $1,400.00

PETER PAUL RUBENS (in the manner of)Flemish (1572-1640)“THE EDUCATION OF THE YOUNG ACHILLES BY THE CENTAUR CHIRON”Oil on canvas.Unsigned.Good condition. 43½ x 35½ inches (110.5 x 90.2 cm). Starting Price: $1,400.00

RUBENS SOUTHEY (1881-1933); Dartmoor landscape, Watercolour, signed. 6 3/4" (17cms) x 13 1/2" (34cms).

A COLLECTION OF PORTRAIT PRINTS comprising examples after Hogarth, Holbein, Kneller, Le Sueur, Peters, Reynolds, Van Dyck and many others, the sitters to include Bartolozzi, Disraeli, Dryden, King Edward V1, King Louis XV, Rubens, Mrs Siddons, Queen Victoria and many others; principally engravings, unframed ++ Generally fair condition

Cowper (William). Myotomia Reformata: Or an Anatomical Treatise on the Muscles of the Human Body... To Which is Prefix`d an Introduction Concerning Muscular Motion, 1st edition, 1724, engraved frontispiece, engraved table, 67 engraved plates, including plate XIII in two states, engraved illustrations, plate XIV with marginal repair, a few minor spots, modern black morocco-backed boards, folio. This work made a modest first appearance in 1694 as an octavo, but Cowper worked until his death on a new edition which was finally published posthumously under the supervision and at the expense of Richard Mead (1673-1754). This sumptuous folio with engravings after Rubens and Raphael and an ingenious set of historiated initials ranks among the most artistic anatomical atlases of the period` (G-M 392.1). (1)

Cowper (William). Myotomia Reformata: Or an Anatomical Treatise on the Muscles of the Human Body. Illustrated with Figures After the Life... To Which is Prefix`d an Introduction Concerning Muscular Motion, 1st edition, 1724, engraved frontispiece, title printed in red and black, engraved table, 67 engraved plates after Rubens and Raphael, plate XIII in two states, illustrations, scattered light spotting, endpapers renewed, contemporary half calf, joints cracking, a little rubbed and scuffed, folio. Large paper copy. G-M 392.1. (1)

A coloured print after Rubens, the waistlength study of a girl, with Italian printmakers mark, mounted and gilt framed. (10.25in x 16.5in),40,60

AFTER SIR PETER PAUL RUBENS PORTRAIT OF THE ARTIST 80 X 60CM AFTER THE PORTRAIT OF 1623 COMMISSIONED BY HENRY DANVERS, 1ST EARL OF DANBY (1573-1624) BY WHOM CEDED TO CHARLES 1 ++ Relined and restored, the varnish with some ingrained dirt and yellowing, in Victorian giltwood and composition frame

RUBENS SOUTHEY (1881-1933) a pair of watercolours including `On the Tavy, Dartmoor` 17cm x 35cm and `Dartmoor Tor` (2)

Faun mit Putti—Wohl Frankreich, 18. Jh.—Ein Faun aus Weintrauben den Saft in eine von Putten gehaltene Schale pressend, zu seinen Füßen eine säugende Löwin. Öl/Kupfer. 44 x 34 cm. - Qualitätvolle, eigenständige Malweise, in der Grundkomposition auf Peter Paul Rubens zurückgehend.

A Japanese export tea service, a faience vase (a/f), a Maling decorative vase with transfer mark to base, three items of crested ware, a Rubens ware decorative bowl by S. Hancock & Sons, Minton plate, Pipe holder, commemorative jubilee trinket box and other decorative china

After Rubens Watercolour 30 x 43cm

A pair of Rubens ware `Pomegranate` pattern vases, signed F X Abraham to base, and a Royal Stanley ware candlestick

A pair of spelter figures - Rembrandt and Rubens View on staceyauction.com

A pair of Hancock & Sons Rubens Ware plates, each decorated with fruit, designed by Abraham, 22cm diameter.

Rubens Southey - pair of oils on board - Dartmoor

After ANTHONY VAN DYCK Pierre Paul Rubens. Black and white etching. Blind stamp. 51 x 35.5cm.

Various art reference books to include The National Gallery, The Tate, works on Angelico, Rubens etc.

Follower of Sir Peter Paul Rubens. An allegorical scene. Oil on canvas. 107 x 152.5 cm (42 x 60 in)

RUBENS A.J.N. SOUTHEY (1881-1933) English countryside scene showing a shepherd with crook, signed lower left, watercolour, 14" x 10".

Fine quality late nineteenth century carved wooden portrait of Rubens, in ornate oval frame supported by partially clad classical female and two singing putti, all carved in relief, in moulded outer frame, 34cm x 28cm Further images and condition reports are available at www.reemandansie.com

Rubens Southey, Moorland Views, Leopold Rivers, and Rural Views, gouache and watercolour

A pair of S. Hancock & Sons `Rubens Ware` bottle vases decorated with the `Pomegranate` pattern designed by Abraham, black printed factory marks to bases, height approx 23cm.

A FOLLOWER OF SIR PETER PAUL RUBENS (1577-1640) "The Adoration", oil on canvas, unsigned, 55 cm x 42.5 cm (ILLUSTRATED)

A large coloured Peter Paul Rubens print `Toilette Der Venus`

[Recueil d`estampes gravées d`après les tableaux de la galerie de S. E. M. le Comte de Brühl] 8 engravings, from a set reproducing drawings and paintings from the collection of the Count of Brühl, after Rubens, Wouverman, Michel Corneille II, Matthias Oesterreich, and Candini, [c.1754], Dresden, from 325 x 430mm (12 3/4 x 17 in) to 355 x 540mm (13 3/4 x 21 1/4 in), uniformly framed and glazed (8) Condition report: Unexamined out of frames. Slight browning.

* After Sir Oswald Walter Brierly RWS, British 1817-1894- "The Declaration of War communicated to the fleet by Signal by Vice Admiral Sir Charles Napier KCB at the Kioge Bay. April 4th 1854 from the original taken on board HMS St. Jean D`Arc by O W Brierly esq"; hand-coloured lithograph, 37x81cm: L Billy, 20th century- "Formation Cosmique"; watercolour on paper, signed, 38 x 28.5cm: G Rubens, 20th century- Box Dump; pen and brush, black on paper, signed, dedicated and dated `64, 48.5x39cm., (unframed) (3)

SEVEN NORMAN THELWELL HARDBACK VOLUMES including first editions; Thelwell`s Sporting Prints Wrestling With a Pencil, A Plank Bridge by a Pool, Some Damn Fool`s Signed The Rubens Again, A Millstone Round My Neck, Play It as it Lies and Thelwel l`s Gymkhana

After Sir Peter Paul Rubens, Self portrait, Oil on canvas, Unframed, 85 x 61cm (33 1/2 x 24in)

A CONTINENTAL FAIENCE FIGURE OF A CHILD seated in an ornate gilt chair in lace cap and ruff, apron and pink and ochre costume with slashed sleeves, 30cm h, incised le fils De paul Rubens, late19th c ++Gilding rubbed in places, one or two hairline cracks in the back but highly decorative

A 1920`s/30`s HANCOCKS RUBENS WARE OCTAGONAL EARTHENWARE BOWL decorated with pomegranates, on a blue ground, 11 x 23cm and ANOTHER CIRCULAR, SIMILAR, 9cm x 22cm diameter

Italian School 19th century, after Rubens `The Virgin and Child with the Infant St John`, oil on canvas, 47cm x 37cm also one other oil (2)

Sampson Hancock & Sons Rubens Ware bowl designed by F X Abraham (signed)

Rubens 1622 (Sir Peter Paul) Palazzi di Genova 2 vol. letterpress half-titles dedication and preface no title 139 engraved plates and plans c.20 double-page or folding a few plates with fore-edge folded in (sometimes a little browned and frayed) last two plates in vol.1 and half-title in vol.2 with marginal tears repaired folding plate in vol.2 slightly stuck together where tear repaired a little soiled vol.2 cropped and a little smaller modern half calf spines gilt with red morocco label together in calf-edged cloth slip-case [Berlin Kat. 2657] folio [Antwerp] [1622].

CORNELIUS SCHUT (1597-1655) AFTER PIETER PAUL RUBENS (1577-1640), engraving, 22cm x 30cm, framed, plus one other. (2)

MANNER OF PETER PAUL RUBENS `The Abduction of Proserpina`, watercolour on paper, 18th century, 23.5cms x 11cms. See illustration

AFTER PETER PAUL RUBENS, `La Naissence du Dauphin (Louis XIII) A FONTAINBLEU`, watercolour on paper, 18th century, old hand written label verso, 23cms x 17cms. See illustration

Autograph – art and artists – Sir John Everett Millais pre-Raphaelite artist fine autograph letter signed to Miss Gladstone [daughter of the Prime Minister] dated Palace Gate Kensington July 7th 1884 4pp 8vo. A good letter discussing the Blenheim Pictures saying that it was a subject of which he did not wish to trouble the Prime Minister but as time was of importance he felt he needed to write to her about it ‘...I earnestly hope that he will see his way to grant the National Gallery Trustees not less than £160 000. With that sum at their disposal I have good reason to believe that three of the Chief pictures the Raphael Rubens family portrait & Vandyke may be obtained for the Country...I will only add that large as the sum £160 000 undoubtedly is I don’t think Mr Gladstone will regret the outlay and I for one will rejoice to think his great name will be for ever associated with so splendid an acquisition as is now within our reach...’ The National Gallery purchased two of the pictures mentioned in this letter in 1885 – Raphael’s ‘Ansidei Madonna’ and Van Dyke’s ‘Charles I on Horseback’ with the aid of a grant of £87 500. Despite Millais’ encouragement that the Treasury should also assist in the purchase of the Rubens which in this letter he describes as one of the finest ‘of the master’; it appears that this one did not go into the national collection. Note: £160 000 in 1884 would today be worth just under £8million.

SAMSON HANCOCK & SONS A Rubens Ware `Pomegranate` vase, designed by F. X. Abraham, printed factory marks to the base, 9 3/4" high

After Sir Peter Paul Rubens, The Raising of the Cross, Oil on canvas, 130 x 190.5cm (48 x 75in) After the triptych of circa 1610-11, in Antwerp Cathedral.

Attributed to Rubens Santoro (1859-1942) A Venetian backwater, Oil on canvas, Signed lower left, 50 x 36cm (193/4 x 141/4in)