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Lot 94
Modern Diecast Formula One and Other Competition Models, all boxed/cased, Corgi JA1003 Jaguar Racing three car set, XJ6 Jim Shea, Simon Lewis, Howard Kirkham with certificate, Norev 880006 Tour De France Michelin Mega loisir et moto roue Michelin, Hotwheels F1, Ferrari Rubens Barricello,26749 2000, B6207 2004, Jordan Damon Hill 22811, Frentzen 24839, Quartzo 4023 Lotus 1972 Dave Walker, Q4095 Ferrari 1978 Carlos Reuteman, Onyx, 144 F1 1992 Benetton Martin Brundle, 202B Williams Renault David Coulthard (case cracked), Vitesse, L174A Montecarlo 1980 Opel Ascona, L062 Daytona 1971 Chevrolet Corvette, Solido, WRC Peugeot 206, 1584 1999, 1585 2002, G-E, packaging P-E, (14)
Lot 446
A QUANTITY OF WEDGWOOD 'ICE ROSE' PATTERN GIFTWARE, A REGIMENTAL SWAGGER STICK AND TEAWARES, comprising a Royal Warwickshire regimental swagger stick, a cutglass and chrome Ronson table lighter, a Mappin & Webb silverplate candle holder, height 12cm, a Royal Worcester commemorative Diamond Jubilee mug, a Royal Worcester 'Flights of Fancy' trinket dish, a tin of Wills's Woodbines dominoes, a Rubens Ware 'Pomegranate' pattern planter (cracked and chipped), a boxed Maxwell Williams teapot, a boxed Coalport 'Paradise' pattern trinket box, a trinket dish, three pieces of Coalport 'Tibet' pattern giftware, nine pieces of Crown Staffordshire 'Kowloon' pattern giftware, eleven pieces of Wedgwood 'Ice Rose' giftware, a Royal Crown Pottery pale blue and white part tea set comprising sugar bowl, milk jug, five tea plates, six cups (one broken handle), six saucers, a pair of Prinzlux 10x50 binoculars, a Portmeirion Pottery 'Zodiac' mug by John Cuffley, Art Deco style silverplate cigarette box, children's cutlery, etc. (Qty) (Condition Report: obvious damage mentioned in description)
Lot 17
After Peter Paul Rubens (1577-1640) oil on canvas in gilt frame - 'The Garden of Love', 68cm x 49.5cm, in ornate gilt frame (87cm x 68cm overall)The canvas is in very good condition overall. It is evident that some mounts to the frame have been removed on the slip. Some other losses to the frame.
Lot 100
* Album. An attractive album of watercolours and drawings, and several prints compiled by Susan M. A. Sheppard, 1824-1830, with ink manuscript inscription at front 'Susan M. A. Sheppard from her dear friend Miss Leather, Lowestoft Repository, 1827', containing: 18 watercolours comprising: 7 botanical watercolours; 5 of butterflies; 2 of brightly coloured feathers; 4 more including 2 portraits (one after Rubens) and a grisaille harbour scene, 5 pencil sketches, comprising 4 views and one portrait of a girl playing a drum, one gouache and watercolour portrait of a saint, 3 pen & black ink sketches (1 view, 2 of birds), 1 pen & brown ink view of Bath, plus 2 Baxter prints: Victoria, and the Crucifixion, many mounted onto album leaves, several loosely inserted, many signed or initialled and dated, front free endpaper and attached first leaf (with mounted watercolour) detached, all edges gilt, original maroon morocco gilt, rubbed, front cover stained around edges, and with mounted watercolour scene of two ladies in a garden (slightly marked), 4toQTY: (1)
Lot 394
Four 18th and 19th century engravings including:After W. Hogarth, Black and white engraving frontispiece and tailpiece to the Artist's catalogue 1761, 40x24cm visible;Francesco Bartolozzi after Antonio Domenico Gabbiani, Adonis Hunting, 40x44cm; S A Bolswert after Peter Paul Rubens, Landscape with a Village, 33x47cm; and anotherQty: 4
Lot 203
A group of 1:43 scale Formula 1 race cars by MINICHAMPS, comprising of cars from 1996, 1997 and 1998 seasons, to include a 1996 Jordan Peugeot 196 (Rubens Barrichello), a 1997 Arrows FA 18 (Damon Hill) and a 1998 Jordan Mugan Honda (Ralph Schumacher) - VG/E in G/VG Perspex cases and outer card sleeves (7)
Lot 96
charcoal on paper, signed and dated '04mounted, framed and under glassimage size 59cm x 44cm, overall size 68cm x 52cmNote: Roar Kjærnstad was born in Espa, Norway in 1975. He studied at the Nansen Art School in Lillehammer before moving to Antwerp where he studied at the Royal Art Academy. During his stay in Flanders he studied Old Masters like Rubens, Van Dijck and Rembrandt. He has exhibited widely across Europe including in London, Spain, Norway, Denmark, Sweden and in Edinburgh.
Lot 172
Poland. Munster (Sebastian), Nouvelle description de Poloigne & Hongrie, Basel, circa 1560, hand-coloured woodblock map, central fold strengthened on verso, slight text show through, 275 x 350 mm, French text on verso, mounted, together with Mayer (Tobias). Les Royaumes de Pologne et de Prusse..., mis au jours pars les Heritiers d'Homann, Paris, 1757, engraved map with contemporary outline colouring, some marginal spotting, two holes in the margin but not affecting the printed image, 435 x 545 mm, with Jansson (Jan). Poloniae nova et Acurata descriptio, Amsterdam, circa 1650, uncoloured engraved map, slight soiling largely confined to margins, additional vertical fold, closed tears affecting the margins and one within the printed image, 395 x 510 mm, Latin text on verso, plus Gall & Inglis (publishers). Gall & Inglis's Map of Poland, Edinburgh, circa 1850, lithographic map with contemporary wash colouring, some staining, 475 x 550 mm, with another five maps of Poland and Europe, including examples by or after Wells, Wilkinson, Pass, J. & C. Walker, and Moll, various sizes and condition, and Pontius (Paulus). Wladislaus Sigismundus D. G. Poloniae et Sueciae Princeps Elect. Magn. Dux Moscoviae Smol. Sever. Cfrd. Dux, circa 1640, uncoloured engraving after Peter Paul Rubens of Sigismund IV, the King of Poland, 325 x 225 mm, mountedQTY: (10)
Lot 22
CRISTOFANO ALLORI (Florencia, 1577 – Florencia, 1621)."Portrait of Cosimo II de Medici.Oil on canvas. Re-tinted.Attached export permit.Label with informative inscription on the back.Provenance: private collection conceived from the 70's between London and Madrid.Measurements: 217 x 136,5 cm.Unquestionable protagonist of his time, as his clothing faithfully reflects, characterised by the richness of the qualities and by the presence of the royal symbols such as the crown on which the arm rests or the details in gold, which are arranged on the armour. Standing facing the viewer against a background against which the drapery stands out, the work displays similar aesthetic patterns of the period, intended for the depiction of aristocratic figures. The quality of the glazing creates a detailed and truthful effigy, although slightly idealised in the pose and features of the protagonist, Cosimo II de' Medici (1590-1621) Grand Duke of Tuscany.The work is very similar to the portrait of Cosimo II painted by the workshop of Justus Sustermans between 1597-1681.Sustermans is best known for his portraits. He also painted a series of history and genre paintings, still lifes and animals. He rarely dated his works, which makes it difficult to establish a chronology. His works have been dated primarily on the basis of the apparent age of the models identified. His early portraits show the influence of his master Frans Pourbus the Younger, whose style of court portraiture was known for its emphasis on attention to precious detail as well as its hard modelling. Sustermans did not share the Flemish preference for concentrating on the details of the models' clothing and preferred a monumental simplicity of form. In Italy his style began to reflect contact with Florentine painters such as Cristofano Allori and Domenico Passignano. An example is the Portrait of Fra' Francesco dell'Antella (private collection, before the beginning of 1623). During his years in Vienna in 1623 and 1624 he painted in a more painterly style that was possibly influenced by the works of Hans von Aachen and Josef Heintz. Later his work became more Baroque, influenced by Flemish painters such as Rubens, Anthony van Dyck and Cornelis de Vos. His mature style of the 1630s is characterised by his loose, expressive brushstrokes and lighter palette. From the mid-1640s onwards he returned to his earlier handling of surfaces, with marked contrasts between light and shade. One example is the full-length Portraits of Vittoria della Rovere with the young Cosimo III de Medici (Museo Nazionale di Palazzo Mansi, 1646). In the mid-1950s there was a decline in the quality of his output. The reason behind this may have been a greater dependence on his workshop, either because Sustermans travelled regularly or because of the imposition of the Grand Duke. In the 1660s and 1670s his brushwork became more restrained and he often set his figures against a dark background with quick, expert touches of highlights.
Lot 23
PETER SNAYERS (Antwerp, 1592-Brussels, 1667)"The Siege of Bohemia.Oil on canvas. Re-tinted.It has restorations and repainting on the pictorial surface.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 198 x 258 cm.Warlike image in which the scene is represented from a zenithal point of view as it is usual in Peter Snaryer's painting. Compositionally, the author reduces the area of the sky in such a way that he can create a panoramic view built in depth in which to arrange a large number of characters. Despite the profusion of elements; military camps, architecture, vegetation and characters, the author uses geometry in a masterly manner, creating an order that allows a coherent and calm reading. In order to arrive at this type of realistic and precise composition, Snayers relied on official military maps, reliable war reports and artistic inventions by other artists. His artistic sources included engravings by Georg Braun, Frans Hogenberg, Jacques Callot and works by Peter Paul Rubens.Peter Snayer was a Flemish painter known for his panoramic battle scenes, depictions of cavalry, attacks on villages, carriages and convoys, and hunting scenes, and he established his reputation primarily through his topographical battle scenes that provide a bird's-eye view of the battlefield. He also painted large landscapes and portraits of the aristocracy, and was a regular collaborator with local landscape painters and also with Rubens, and after beginning his career in Antwerp, he moved to Brussels, where he worked for the court. He was the leading military iconographer at the court of Brussels and the court painter appointed to the rank of lieutenant-colonel. Snayers was enrolled as a pupil of Sebastiaen Vrancx at the Guild of Saint Luke in Antwerp in 1612. In 1613 Snayers became master of the Guild. He joined the painters' guild in Brussels on 16 June 1628. It is believed that he had been working for the Archduke Albert (d. 1621) while living in Antwerp. He had been appointed court painter and 'domesticq van 't Hof" (court domestic) by the Archduke. Snayers probably moved to Brussels to seek opportunities at the court of the Archduchess Isabella, the Archduke's widow and governess of the Southern Netherlands. After Isabella's death in 1633, Snayers became court painter to the next two governors, Cardinal Infante Ferdinand of Austria (1634-1641) and Archduke Leopold (William) (1647-1656). For them he painted victorious battle scenes in the tradition of 16th-century tapestries. He painted portraits of the Brussels aristocracy and large landscapes. He also worked for other eminent patrons and the open market. A highlight of his career was the commission for 22 battle paintings by General Ottavio Piccolomini, and he collaborated with Antwerp painters such as Peter Paul Rubens on several occasions, including on the unfinished cycle The Life of Henry IV (1628-30) and the series Tower of the Parade (c. 1637-1640). During both his Antwerp and Brussels periods, he mingled with the elite of his time. He climbed the social ladder and aspired to live a lifestyle similar to that of the aristocrats of his time. He was thus an example of the 'aristocratisation' of successful 17th century citizens. His pupils included Guilliam van Schoor and Adam Frans van der Meulen. The latter became a leading battle painter and court painter to Louis XIV of France. He painted portraits of the Brussels aristocracy and large landscapes. Stylistically, his colouring was more subdued than that of his master Vrancx and reflects contemporary trends in Flemish and Netherlandish painting. His large canvases clearly played a dual role: they documented the historical event and at the same time glorified the military men who took part in the action.
Lot 363
Memocall Alarm stainless steel gentleman's wristwatch; together with a Rubens De Luxe Super 27 stainless steel gentleman's wristwatch; Equity Watch Co. gold plated lever hunter pocket watch and a silver lever half hunter pocket watch (4)-All working, Memocall alarm not adjusting and requires attention, Rubens watch requires attention to the crown as stuck in hand adjusting position, Equity pocket watch lacking glass.
Lot 103
Motor Racing Collection of 16 Signed Autograph Cards. Signatures include Will Hoy, Lord March, Mika Salo, Rene Arnoux, Patrick Tombay, Jochen Mass, John Surtees, Stirling Moss, Rubens Barrichello x2, Fangio, Murray Smith, Jack Brabham, Stirling Moss, David Brabham and Derek Bell. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 1174
Nine boxed Mattel Hot Wheels 1/18 diecast Ferrari Formula 1 related models, to include Michael Schumacher 24627 1999 F399, B6200 Simply The Best, C7332, 54614 five times World Champion & B1023 F2003-GA, together with 54646 150 Grand Prix Wins, B7021, 28659 & 50171 Rubens Barrichello, some limited editions noted, diecast gen ex, boxes show some wear
Lot 1328
Nine boxed 1/18 Mattel Hot Wheels Racing diecast models to include 54626 Michael Schumacher, 54624 Ralf Schumacher, 54625 Juan Pablo Montoya, 50197 Jarno Trulli, 50200 Ralf Schumacher, 54629 Takuma Sato, 50199 David Coulthard, 54627 Rubens Barrichello & 50202 Michael Schumacher, diecast ex, boxes gd overall
Lot 141
Modelled on ADRIAEN BROUWER (Belgium, 1605 - 1638), end of the 19th century."Man.Oil on canvas.Measurements: 33 x 28 cm; 52 x 47 cm (frame).Male portrait in which the protagonist is shown facing the spectator, with his face slightly turned to the left. Against a neutral background that monumentalises the figure of the young man, the artist reveals very few details of the sitter. A cap and a hat stand out against the austerity of the painting. The psychological aspect of the work, defined by his mischievous look accentuated by his smile, is given greater prominence. These characteristics are very much reminiscent of Boewer's painting.Brouwer trained in Holland in the studio of Frans Hals. However, conflicts with his master led the young man to flee to Amsterdam, finally settling permanently in Antwerp in 1931, where he died prematurely only seven years later. Between 1631 and 1632 he became a teacher at the Guild of Saint Luke in Antwerp. Despite his short career, Brouwer was the creator of a new genre of genre within genre painting, namely tavern scenes. His works were chiefly small-format and generally depicted popular, low-life characters, usually drunkards, with a certain violence in their attitudes and behaviour. This type of image allowed Brouwer to experiment with capturing emotions and expressions of pain, fear and other feelings, revealing an interest in human aspects that went beyond the traditional conception of genre painting. Despite his legal and financial problems, Brouwer was a respected painter during his lifetime and in fact both Rubens and Rembrandt acquired some of his works. Today works by Adriaen Brouwer are housed in leading art galleries around the world, including the Louvre in Paris, the Hermitage in St. Petersburg, the Prado in Madrid, the Alte Pinakothek in Munich, the National Gallery in London, the Smithsonian in Washington D.C., the Kunstmuseum in Basel and the Ashmolean in Oxford.
Lot 45
Spanish School, XVII century. After Rubens (1577-1640)."Supper at the House of Simon the Pharisee". Oil on copper. It has repaintingMeasurements: 40 x 54 cm; 46 x 60 cm (frame).Rubens painted the oil on which this copper painting is based around 1618. It was a very copied painting at the time: in the Prado Museum there is a version made by Pieter Van Lint, also in copper. The present copper painting is very faithful to the original, reproducing each of the figures and using a contrasting palette. The scene, taken from the Gospels, narrates the moment when Mary, sister of Lazarus, anointed the feet of Jesus with her perfume and then dried them with her hair. The pictorial tradition has often depicted the female figure with long blonde hair and a sensual figure, which has led to her being confused with the sinful Magdalene. The present painting belongs to this tradition, thus enriching the possible interpretations of this biblical theme. Mary, with her bust uncovered and an intense rapture in her countenance, does not pay attention to what Christ is trying to tell her, with a gesticulating attitude. The other figures, gathered around the table, look at each other and look at Jesus with a somewhat dazed gaze, establishing significant silent dialogues between them. The architecture is limited to a spatial demarcation, open to a background of sky. This work is faithful to the narrative richness of Rubens' painting, with its variety of attitudes and gestures, captured with naturalism, as well as the plasticity of the drapery. The event took place in the dining room of the house of Simon (the Pharisee according to some, the leper according to others), where various figures are situated around a table presided over by Christ. According to the scriptures, while they were dining, Mary, the sister of Lazarus, took a pound of precious nard perfume and anointed Jesus' feet, wiped them and the scent of the perfume filled the whole house. On seeing this, some of the disciples criticise the woman's wastefulness because of the high price of the perfume poured out. Anointing consists basically of pouring aromatic substances on the body of Christ, which are described in the sources generically as oils, perfumes or ointments.
Lot 491
Erik Nitsche (Swiss, 1908 - 1998) "Organ of the Baroque" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Combination Cover for the Germany Baroque Composers stamps issued March 19, 1985. The Baroque was a time of a great intensification of past forms in all the arts: painting saw the works of Vermeer, Rubens, Rembrandt, and El Greco -- in literature it was the time of Moli?re, Cervantes, Milton, and Racine -- modern science came into its own during this period with the work of Galileo and Newton. In music, the age began with the trail-blazing works of Claudio Monteverdi, continued with the phenomenally popular music of Antonio Vivaldi and the keyboard works of such composers as Francois Couperin and Domenico Scarlatti, and came to a close with the masterworks of two of the veritable giants of music history, Johann Sebastian Bach and George Frideric Handel. Image Size: 12 x 14 in. Overall Size: 15 x 20 in. Unframed. (B09583)
Lot 369
An unusual enamel locket pendant, 19th century, composite, the circular gold locket applied with painted enamels depicting a scene of Pero breast feeding her father Cimon, opening to reveal a plain interior, the reverse with an engraving of Rococo inspiration, length 2.8cm including bail, back panel possibly later added The unusual scene of a woman secretly breast feeding her imprisoned father, who has been sentenced to death by starvation, is from the story 'Roman Charity', recorded in circa 30 AD by the ancient Roman historian Valerius Maximus, as a parable of filial piety. A painting depicting this scene by Peter Paul Rubens, dated 1612, can be found in the Siegerland Museum in Germany.
Lot 270
Italy.- Italian School (probably late 16th century to 18th century) Album containing 72 illustrations of the sculptural reliefs on Trajan's Column, a composite group with drawings by at least two variant hands, showing scenes illustrating the events of the Dacian Wars as depicted on Trajan's Column, pen and ink with wash, on various laid papers, some late 17th century and 18th century watermarks present, various sizes between 275 x 285 and 280 x 430 mm (11 x 17 in), all neatly mounted onto early 19th century wove paper album leaves, the earlier drawings with losses and extensive repairs, some laid onto support, heavy toning and surface dirt throughout, remboitage in 18th century morocco, rebacked, upper cover gilt with royal coat of arms of Phillip V of Spain, worn, oblong folio, [probably circa 1580 to 1780] Provenance:Private collection, Somerset, UK⁂ Cohesive collection of drawings by two artists from slightly different periods, both presumably familiar with the drawings of Girolamo Muziano (1528-1592), which were engraved by Francesco Villamena (c.1565-1624) and published in 1576. The drawings in the present album suggest that the artists were less interested in accurately recording the Column's frieze, but moreover illustrating the historic compositions with a contemporary style, which they presented in a horizontal format. The sculptural reliefs of Trajan's Column were to fascinate and inspire artists as diverse as Amico Aspertini, Francesco Primaticcio, Rubens, Nicolas Poussin, and Giovanni Battista Piranesi amongst many others.
Lot 82
PEDRO SÁNCHEZ PICAZO (Balsapintada, Fuente Álamo, 1863-Murcia, 1952)."Flowers".Oil on panel.Signed in the lower right corner.Frame with slight lack of polychrome.Measurements: 25 x 40 cm; 42 x 56 cm (frame).Sánchez Picazo specialised in floral painting, a theme that allowed him to occupy a relevant position in Murcian painting. After starting out as a self-taught painter, in 1887 he was granted a grant for two years to develop his pictorial activity. Thanks to this grant he was able to study at the San Fernando Academy of Fine Arts in Madrid. In the 1990s he frequented gatherings, continued his drawing classes and visited the Prado regularly to admire the work of the great masters: Rubens, Van Dick, Tiepolo.... On some of his trips to Murcia he met Mª Amparo Batlle, who would become his wife in 1896. When he finished his studies in Madrid in 1897 he decided to take part in the National Exhibition of Fine Arts and obtained an honourable mention. At the same exhibition Pablo Ruiz Picasso also received an honourable mention. In 1900 he received the Gold Medal at the exhibition held in Murcia for his work Cesto de Flores (Basket of Flowers). He increased his participation in the artistic life of Murcia, making sketches for floats, posters and also religious themes such as the one he did for the church of La Unión. In 1905 he was appointed professor of drawing and composition at the Círculo de Bellas Artes. He was awarded the Gold Medal of the Fine Arts Circle for the painting Cesto de flores ("Basket of Flowers") which he painted for the Casino of Murcia in 1909. In 1912 he collaborated as the illustrator of the cover of Jara Carrillo's book Besos del sol ("Kisses of the Sun"). After the death of Alejandro Séiquer, Sánchez Picazo took up the post of Director of the Provincial Museum of Fine Arts in Murcia in 1922. During the Civil War he was a member of the Junta de Delegación de Incautación, Protección y Salvamento del Tesoro Artístico de Murcia (Board of Delegation for the Seizure, Protection and Salvage of the Artistic Treasures of Murcia). In 1941 he was appointed Académico de Número in the Academia Alfonso X el Sabio.
Lot 57
* ROAR KJAERNSTAD (NORWEGIAN b. 1975),PORTRAITcharcoal on paper, signed and dated '04image size 59cm x 44cm, overall size 68cm x 52cm Mounted, framed and under glass.Note: Roar Kjærnstad was born in Espa, Norway in 1975. He studied at the Nansen Art School in Lillehammer before moving to Antwerp where he studied at the Royal Art Academy. During his stay in Flanders he studied Old Masters like Rubens, Van Dijck and Rembrandt. He has exhibited widely across Europe including in London, Spain, Norway, Denmark, Sweden and in Edinburgh.
Lot 1433
A mixed group of English and Continental pottery and porcelain, mostly first half 20th century, including a Royal Grafton Raffia pattern part service, a Crown Ducal baby's bowl, a Crown Ducal Orange Tree pattern squat jug, height 7cm, four pieces of Rubens Ware and a Shelley vase, height 15cm (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 459
The 2006-07 Formula One Grand Prix, a chequered flag signed by the competing drivers at Jerez test circuit and including: Giancarlo Fisichella; David Coulthard; Jarno Trulli; Jenson Button; Alexander Wurz; Sebastian Vettel; Takuma Sato; Fernando Alonso; Jacque Villeneuve; Christian Albers; Kazuki Nakajima; Marcus Winkelhock; Anthony Davidson; Mark Webber; Felipe Massa; Heikki Kovalainen; Rubens Barrichello; Nico Rosberg; Adrian Sutil; Nick Heidfeld; Robert Kubica; Lewis Hamilton; Ralf Schumacher; Michael Schumacher; and Kimi Raikkonen, with COA, 87cm x 151cm.Good condition overall. Framed and glazed (plexiglass). Frame has some minor cosmetic marks.
Lot 17
Formula 1 Collection of Programme, Postcards x2 and a Poster With 17 Signatures include Michael Schumacher, Mika Hakkinen, David Coulthard, Rubens Barrichello, Eddie Irvine, Johnny Herbert, Ralf Schumacher, Jenson Button, Jean Alesi, Nick Heidfeld, Marc Gene, Gaston Massacane, Ricardo Zonta, Jos Verstappen and a few others. Signed in black ink. Fair condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 53
Rare Arundel Club London 1906 - Annual subscribers print collection(Part Set 15 of 20). Third Year of Publication. Included Artists and prints are No. 1 - Herri Met De Bles, No. 2 - Unknown Flemish School, No. 3 - Gran Vasco, No. 4 - Memling School, No. 5 - Borgognone, No. 6 - Herri Met De Bles, No.10 - Montagna, No. 11 - Filippino Lippi, No. 12 - Filippino Lippi, No. 15 - Memling, No. 16 - Titian, No. 17 - Sir Joshua Reynolds 'Penelope Bettesworth', No. 18 - Rubens and No. 20 - English School 14th century. CONDITION - Prints are generally very good with some light foxing on some. The paper cover has wear and marks, remnants of the outer card wallet. NOTES - From 1904 The Arundel Club did an annual series of reproductions taken from Old Masters paintings. Paintings mostly from private collections. Each year they produced around fifteen to twenty. Protective paper cover, printed titles and housed in paper folder detailing contents. Distributed to it's members. The Arundel Society Notes - Founded in London in 1849 and named after the Earl of Arundel, the famous collector of the Arundel Marbles. Originally the idea of the lawyer Bellenden Ker. The society was discontinued in 1897 and it would be seven years before the 'Club' was formed. Also known as "Arundel Society for Promoting the Knowledge of Art"
Lot 37
Flemish school of the early 17th century."The Raising of the Cross".Oil on copper.Measurements: 25 x 19,5 cm; 28,5 x 23,5 cm (frame).Together with the theme of the Descent from the Cross, during the Baroque period it was common the representation of the Raising or Elevation of the Cross. This was a theme that sought to imbue the composition with dynamism; the Baroque language made it possible to express this energetic and dramatic moment. This is a good example of what we have been referring to, a Flemish school painting whose author may have taken as a reference the panel with the same theme by Rubens (Antwerp cathedral). Soldiers, two of them mounted on horses, help to lift the cross. The bodies are crowded together, adopting a variety of poses and expressive gestures. In the background are Mary Magdalene and the Virgin. The colours are vivid, inheriting a Venetian palette. The inclined cross crosses the composition, creating a typically baroque diagonal. Christ gazes towards the sky, engaged in a silent dialogue with God the Father. The chiaroscuro models the bodies and the light bathes Christ's suffering anatomy in pearly shades.
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2831 item(s)/page