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After Peter Paul Rubens, The Judgment of Paris, pencil and coloured chalks, 34 x 48.5, (unframed).

A pair of large Denby ware mottled blue ground vases, a large baluster vase designed by Mabel Leigh for Shorter, incised signature to the underside, a Royal Standard Ware fruit pattern vase, a Titian ware bowl, a Rubens ware bowl, a tall Art Deco chamber stick and two modern Moorcroft style vases

A Rubens ware pomegranite pattern octagonal bowl, designed by F.X Abraham

Papier mache box decorated with cherubs and Greek key design with tortoise shell liner, containing `Pierre Paul Rubens` ebonised plaster medallion plus hardwood trinket box

After PETER PAUL RUBENS The battle of the Amazons. 17th century stipple engraving. 18 3/4 x 24 3/4ins. (visible size). (See illustration)

Four framed Miniatures in gilded carved Frames, including a print of Emma , Lady Hamilton (after Romney) ; a portrait miniature after Rubens; and two portrait miniatures by other hands(4)

MANNER OF RUBENS Portrait miniature of a Man ; and a further miniature after A. Del Sarto; both in ornate gilt frames (2)

Manner of Peter Paul Rubens, mid 19th century- The artist in his studio; oil on canvas, 65x80.5cm., (unframed)

Rubens [Peter Paul] Galerie de Rubens dite Du Luxembourg, 1809, folio, 25 engraved plates, some foxing and staining, quarter calf

AFTER P B RUBENS, ENGRAVED BY J MOYREAU, ANTIQUE BLACK AND WHITE ENGRAVING, "Shasse aux Lions et aux Tigres", 11" x 15"; together with five further ANTIQUE BLACK AND WHITE ENGRAVINGS, mainly topographical subjects, conditions vary (6)

After Sir Peter Paul Rubens - Self Portrait of the Artist wearing a Dark Hat and Jacket, mid/late 19th Century oil on canvas, approx 39cm x 29cm, within a carved and a pierced giltwood Florentine style frame.

Follower of Sir Peter Paul Rubens; The Calydonian Boar Hunt, oil on canvas, 5`x8` (150x240cm), Provenance: originally purchased by Dr Ludwig Mond, and donated by his grand-daughter Mrs Freda Brackley to the Winnington Park Recreation Club, Northwich, Cheshire, in 1953, where it has hung up until now. It is thought that the original is in the Royal Collection possibly at Buckingham Palace (illustrated).

A Hancock Rubens ware pomegranate pattern ten sided planter and a pair of similar Titian ware cylinder vases.

After Sir Peter Paul Rubens, 20/21st century- Portrait of the artists wife, standing half-length holding a fan; oil on canvas, in a gilt swept frame, 107x75cm

RUBENS SOUTHEY West country cliffs. Watercolour. Signed. 10 x 14ins. Together with a marine oil initialled A.F.T.

PAIR OF RUBENS WARE `POMEGRANATE` PATTERN VASES by S.Hancock & Sons, 28.5cm high, and a matching ginger jar with cover (3)

A Keeley & Co Losol ware Coffee Set, decorated with the "Rubens" design, comprising a Coffee Pot, 6 Cups & Saucers, Cream Jug and Sugar Bowl

A pair of early 20th century Rubens Ware Hancock & Sons lustre vases decorated in the Pomegranate pattern, designed by F Abraham.

Ferrari: A Formula 1 Team Shell baseball cap signed in black marker pen to peak by Rubens Barrichello.

ENGLISH 19TH CENTURY SCHOOL TG "PORTRAIT OF D HELENE 2ND WIFE OF RUBENS AND TWO OF THEIR CHILDREN" and inscribed verso, framed, watercolour, 7½"5½" see illustration.

A group of assorted pictures and prints, including hand coloured engravings of racehorses, prints of dogs, two 20th century watercolour landscapes, three reproductions after Rubens and others. (qty)

* Heemskerck (Maarten Jacobsz van, 1498-1574). Scene from the Life of David, copper engraving, trimmed to plate margins, 20.3 x 24.7cm (8 x 9.75ins), together with other various Old Master etchings and engravings, including Pontius after Van Dyck, Carracci after Barocci, Marino after Rubens, Bisscher after Rubens, J. B. Franco (a double impression printed on both sides), Antonio Campin, etc., various sizes (18)

Edward Lutterell c.1650-c.1725- Portrait of Sir Peter Paul Rubens 1577-1640, head and shoulders; after the original self portrait held in the Royal Collection, Buckingham palace; portrait of a man head and shoulders in a black fur hat; black and coloured chalk, a pair, the latter signed with monogram, both in matching late 19th century/early 21st century oak frames, 27.5x23.5cm., ea., (2)

After Rubens, By Shott*? (mid 19th Century), Self Portrait, signed to verso, dated 1844, oil on canvas, 85cm x 62cm

Rubens Sawyer (British, 19th Century), The Stacks Rocks, signed lower right "Rubens Sawyer", oil on canvas, 39 x 50cm (15.21 x 19.5in)

Manner of Peter Paul Rubens, Putti, Oil on panel, 23cm x 27cm. Visit www.dnfa.com for condition reports.

AFTER RUBENS, ENGRAVED BY JOHN BROWNE, 18TH CENTURY BLACK AND WHITE ENGRAVING, "The Watering Place", 17" x 22"

PIETER TILLEMANS (FLEMISH 1684-1734). A GREY MARE AND A FOAL IN AN EXTENSIVE HILLY LANDSCAPE. Signed, oil on canvas. 172.7cm x 151.2cm (68in x 59.5in). Provenance:John Sheppard Esq, Campsey Ash High House. Note: Along with John Wootton and James Seymour, Peter Tillemans is one of the founding artists of the British Equestrian Painting School. Born in Antwerp and the son of a diamond cutter Tillemans studied under various artists but was chiefly influenced by the Flemish school of painting of Brueghel and David Teniers the Younger as opposed to the voluptuous Baroque style of Peter Paul Rubens. Tillemans moved to England in 1708, quickly becoming a prominent figure in the art and sporting circles. In 1711 he was among the group who met in Great Queen Street, in London, to form the first Academy of Art in the country. He was extensively patronised by the British aristocracy, including the Dukes of Bolton, Devonshire, Rutland and Somerset and the Earls of Derby and Portmore; he also acted as the drawing-master to Lord Byron's family. As exemplified in the present painting, Tillemans painted a series of very large and impressive horse 'portraits', which proved so popular that a series of engravings and mezzotints were created from them. These were an important step in the development of horse portraiture in England as little work had been done on Equine anatomy until then. Tillemans in particular insisted on depicting the subjects in these series of portraits in 'different actions and postures', as noted on the inscription for the first of these series. He treats his subject with much sensitivity and attention to detail. As one of England's foremost equine artists Tillemans worked at Newmarket, producing impressive compositions such as his 1722 large panoramic view of 'George I and his court on Newmarket Heath', 'Starting point of the Beacon Course at Newmarket' and 'End of the Beacon Course'. With Wootton and Seymour he led developments in English art which "show the first marriage of the topographical tradition of landscape with a sporting element"(Ellis Waterhouse, Painting in Britain, 1530 to 1790, Baltimore, MD: Penguin, 1953, p. 215.)

A FOLDER CONTAINING THIRTY SIX PRINTS ( LEMERCIER GRAVURE ) OF FAMOUS WORKS OF ARTS AND SCULPTURES INCL. RUBENS, TITIAN AND TNTORETTO CIRCA 1840

Rubens A. Moore - 'Betchworth Village near Dorking, Surrey' and View of a Village Road, a pair of oils on canvas, both signed, each approx 34cm x 50cm, both within gilt composition frames.

French School 17th-19th CenturyPortrait engravings mainly of artists, sculptors and architects including Noel Coypel; Guillaume Cousteau; André Le Nostre; Nicholas Cousteau; Peter Paul Rubens; Robert Le LorrainA large collection, mounted, unframed45 x 35cm; 173/4 x 133/4in and smaller++Various

RUBENS SOUTHEY (1881 - 1933) 'Dartmoor Landscape' watercolour 15cm x 28cm

MANNER OF PETER PAUL RUBENS: the four horsemen of the apocalypse, oils on canvas, 20" x 41", unframed (see illustration).

Theodor Baierl (1881-1932). At the Last Judgement, circa 1918-1920. Pencil. Signed lower right. 81cm x 63cm. Provenance: Bruno Baierl, the artist's son; given in lieu of funds borrowed to . J. H. Hopwood 1939. By descent in the family until 1998. Living and working in Munich throughout his life, Baierl would have intimately studied the magnificent towering altar pieces by Peter Paul Rubens in the Alte Pinakothek. Ruben's The Last Judgement almost certainly had a profound effect on Baierl and in this extraordinary drawing Baierl depicts figures in an intimate embrace on their journey toward heaven, which mirrors Rubens own vision of called before Christ.. Visit www.dnfa.com for condition reports.

Rubens Santoro (1859-1942). A Venetian backwater. Oil on canvas. Signed lower left. 50cm x 36cm. Visit www.dnfa.com for condition reports.

Early nineteenth century Continental School oil on tin oval portrait of a bearded gentleman wearing hat inscribed on reverse Portrait of Rubens, in oval moulded giltwood frame, 29cm x 23.5cm

VARIOUS ENGRAVINGS, including portrait of Rubens, 9" x 6". Thomas Lord Farfax and Francis Drake 14" x 9", Charles 1st, a gentleman of the court 14" x 10", Harry Guildford Knight. 15" x 11", continental school architectural study 20" x 13" and Sammuel Bernard 25" x 17". (7).

Edward Fisher 1722-1785- "Lord Hugh Percy, Earl....", after Sir Joshua Reynolds, publ by Edw Fisher, at the Golden Head, Leicester square, Thomas Jefferies, the Corner of St Martin's & Carrington Lane, St Paul's Church Yard, London; mezzotint, in an ebonised Hogarth frame, 55x40cm: James MacArdell c.1729-1765- "Rubens with his Wife and Child", after Sir Joshua Reynolds; mezzotint, 52x36cm, (2)

RUBENS SOUTHEY 'Kynance Cove, Cornwall' watercolour 34cm x 78cm

Attributed to Franck, after a design by Rubens. An Oil on Copper: half length portrait of a figure dressed in a gold silk robe and plumed turban holding an incense burner, 8¾ ins x 6¼ ins (22 cms x 16 cms) in a moulded gilt frame 13 ins x 11 in (33 cms x 28 cms).

Manner of Rubens, "A Flemish Nell Gwyn", portrait of a lady, charcoal and chalk, 49 x 42cm. Label verso for an exhibition at the Bath and West of England Society - picture lent by Lieutenant General Gascoigne of Ivybridge, Devon.

Michael Schumacher-signed Scuderia Ferrari press photos, two large colour prints from the 2004 season bearing his marker pen signature, one an action close-up of him in the cockpit, the other a group shot of the entire race team celebrating and holding a pit board bearing the legend WORLD CHAMPION 2004, 20 by 29cm., 8 by 11 1/2in.; together with two official colour postcards of the 2002 team drivers in action, both signed in marker pen, one by Michael Schumacher, the other by Rubens Barrichello, 10 by 15cm., 4 by 6in. (4) 2004 was the last of Michael Schumacher and Scuderia Ferrari's five consecutive World Championship winning seasons-six if talking Constructor's Championships-the team proving virtually invincible and taking fifteen wins from eighteen races.

SCHELTE ADAMS BOLSWERT AFTER RUBENS - Landscape with horseman at a brook, engraving, published by Gillis Hendricx, Antwerp, 12" x 17 1/2"; together with an abstract, lithograph, indistinctly signed and dated '57, No. 30/30, 25 1/2" x 16 1/2"; an etching signed Fliegerbauer; and a pen, ink and colour wash scene design by Carl Toms (4).

A Victorian Bristol blue glass wine decanter, of fluted tapering from, 37cm together with a Hancock Rubens Ware bottle vase, 23cm high and an African carved wood figure, 30cm, high (3)

Three various Meerschaum pipes, including one of a portrait of Rubens, another of a North African gentleman and a third of an Arabic gentleman reclining, together with a clay pipe with amber mouthpiece in a fitted case (4).

17TH CENTURY FLEMISH SCHOOL - Figures on horseback in a classical style landscape inscribed 'Landscape by Willens, Figures by Rubens' verso, oil on canvas, 12" x 8 1/2" (see illustration).

Follower of Sir Peter Paul Rubens (1577-1640) The Head of a Bearded Man brown wash heightened with white 46 x 31cm Provenance: The Hon. Frederick Cavendish, by 1763. From the collection of Sir Kenneth Clark, sale, Sotheby’s, 20 April 1967. Private collection, Staffordshire Lord Clark (Kenneth Clark) became Director of the National Gallery in 1933 at the extraordinarily early age of 30; he later decided he would prefer life as a writer, and was author of a number of highly-respected books on art. He became best-known to the general public as a television presenter, most of all for his ground breaking series Civilization, and throughout his life he was a learned connoisseur and an enthusiastic collector

After Sir Peter Paul Rubens THE ADORATION OF THE MAGI Oil on canvas, 76 x 123cm

Manner of Rubens, Battle scene, oil on panel, 17cm x 28cm.

A Victorian bible, chess set, other games and a cast figure of Rubens

After Rubens nineteenth century oil on canvas - portrait of two young boys with bird believed to be Rubens children, 51cm x 31cm

A selection of four Caithness glass paperweights, to include Sea Gems P11522, Pebble N408, Festival L22086, Pebble N48061, together with a further example, a Lladro figurine of a sleeping child, a S Hancock & Sons Rubens ware oviform vase, and a matching baluster vase, decorated green ground and fruit and two pottery doves, (10), (A/F).

Lionel Dalhousie Robertson Edwards RI, RCA (1878-1966) The Master George Leadbetter and hounds near Black Law with Rubens Law in the distance Signed Lionel Edwards, gouache, The Jed Forest Hunt, dated 1949, 37x51.5cm Inscribed on the mount 'Presented by Members & Followers of The Jed Forest Hunt to G.N. Leadbetter Esq. in gratitude for Sport shown 1934-1949 Provenance: The Jed Forest Hunt In 1934 George Leadbetter took over the Mastership with Jim Murdie hunting hounds for two seasons after which the Master hunted them himself until ill health forced him to retire in 1949. The Hunt is tremendously indebted to George Leadbetter for keeping things going throughout those difficult war years, not only hunting the country twice a week but generally looking after the kennel management and hounds welfare. He received a lot of help from Charlie Scott of Mossburnford during these years.

Follower of Sir Peter Paul Rubens (18th century) The Enunciation, the Madonna and Infant Christ beside an altar Inscribed on various old labels verso, a further old partial press cutting attached to the reverse, oil on panel, 44cm by 35cm See illustration

English School (early 19th century) Portrait of a Cardinale-infante Ferdinando, standing, three quarter length, wearing a red sash, lace collar and wide brimmed hat Oil on canvas, 104cm by 84.5cm The work is contained within its original elaborately decorated gilt plaster and wooden frame with embellished corner and centre motifs decorated with flowers and foliate scrolls According to Michael Jaffe's book on Rubens published by Rizzoli 1989 Sir Joshua Reynolds is noted as having painted a version of the above painting after Sir Peter Paul Rubens' original. This, or a version of this picture, is said to have hung in Sir Joshua Reynolds's studio in London See illustration

AFTER OF SIR PETER PAUL RUBENS BORROWING A LIGHT Inscribed, oil on canvas 91cm x 74cm (36in x 29in) Provenance: Glendoune, Ayrshire Note: The inscription at the bottom of the canvas identifies this work as after an etching which Rubens engraved from the original painting, now is a Private Collection. Rubens kept the original canvas in his personal collection until his death. The night-time scene is a rare subject matter for the artist.

After Sir Peter Paul Rubens, early 20th century- "The Garland of Fruit"; oil on canvas, 114x204cm. Note: The original painting by Rubens painting is in the collection of the Alte Pinakothek in Munich

G MAILE AFTER RUBENS - 'Helena, the second wife of Rubens', mezzotint in colours, published circa. 1817 by R Ackermann, 17 1/2" x 12 1/2"

Rubens Southey (1881 - 1933), A Pair, Early Morning, The Moors Below Belstone Tor, Dartmoor and Evening Light, The Moors Near Whist Tor, Dartmoor, signed, watercolours, 17cm x 35cm

AFTER SIR PETER PAUL RUBENS PASTEL DRAWING Bust portrait of Isabella Brandt the artist's first wife who died of the plague circa 1619 18" x 13" (45cm x 32.5cm)