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Lot 90
A signed and race-used visor worn by Rubens Barrichello during the 1995 season, when he drove for the Jordan Grand Prix team.The visor bears distinctive marks of wear and tear and has been personally signed by Barrichello.The 1995 season saw Barrichello showcasing his potential, particularly with a memorable performance at the German Grand Prix, and this visor offers fans a rare opportunity to own a piece of history from one of F1’s most enduring personalities.
![Attributed to George Perfect Harding After Rembrandt English school Circa 1840 Three portraits To include: [a] Po](https://cdn.globalauctionplatform.com/496b9297-ec3c-4aca-be9d-b29d00a131fc/e2a83e67-f7ce-45f7-a7eb-b29d00a42ae0/468x382.jpg)
Lot 369
Attributed to George Perfect Harding After Rembrandt English school Circa 1840 Three portraits To include: [a] Portrait of a young girl leaning on a table Watercolour on paper With Peter Cardiff Fine Art sticker verso [b] English school 19th Century A pair of portraits One portrait of Isabella Brandt, one portrait of Rubens Watercolour on paper From the Fane Collection To be sold without reserve Dimensions: [a] (Frame) 10 in. (H) x 5.75 in. (W) (Paper) 7 in. (H) x 4.75 in. (W) [b] (Frame) 10.75 in. (H) x 9 in. (W) (Paper) 8 in. (H) x 6.75 in. (W)
Lot 1021
European school, follower of Peter Paul Rubens (1577-1640): The Infant Christ with John the Baptist and two angels, oil on canvas, 19th C.Work: 122 x 95 cm Ref.: - The work offered here is based on the work by Rubens, with the help of Frans Snyders, which is part of the collection of the Kunsthistorisches Museum Wien, inv. no. Gemäldegalerie, 680 (link).
Lot 387
Flemish school, after Jan Brueghel II (1601-1678): Noli me tangere, oil on canvas, 17th C.Work: 65 x 53,5 cm Frame: 87 x 77,5 cm Paintings with the 'Noli me tangere' theme, also known as 'Christ appearing to Mary Magdalene as a gardener', were very popular. According to Dr. K. Ertz, especially Jan Brueghel II needs to be honoured for this topic: 'Detaching himself from the meticulous and detailed brushwork of his earlier years, which he had adopted from his father, he finally introduced his own pictorial inventions. Although many inspirations for the sons paintings derived from his fathers work, the painting suggests that it was Jan Brueghel the Younger himself who developed this compositional type on the basis of his fathers achievements' (link). This representation (and the mirror image) was also spread through numerous prints: link (after Rubens) and link (after Rubens). An early 17th-C. painted version (surroundings of Rubens) is part of the Rijksmuseum Collection (link). A very similar version of our painting is part of the collection of the 'Onze-Lieve-Vrouw Ter Kameren en Sint-Philippus Neriuskerk' (link).
Lot 259
Sir Terry Frost RA, British 1915-2003 - The Three Graces, 1959; ink and wash on paper, signed lower right 'T Frost', 24.3 x 36.5 cm (ARR) Provenance: with Austin/Desmond, London; The Collection of Mollie and Graham Dark, purchased from the above in October 1989 Exhibited: Austin/Desmond, London, 'Terry Frost: Works on Paper 25 Years', 1986, p.8-9 Note: Frost would return to the subject of the Three Graces throughout his career, inspired by studying Rubens' version as a student. The three round forms echo Rubens' voluptuous women. An oil on canvas of the same subject is in the collection of the Bristol Museum & Art Gallery.
Lot 49
After Sir Peter Paul Rubens 'The Abduction of Persephone' and oil on panel, unsigned. 53.5cm x 93cm Qty: 1 Ex Lot 71 in the Christie's Sale, 28th October 2009. Some signs of overpainting. A split horizontally through the middle, particularly relevant to the left hand side. Losses to the paint to the figures on the left hand side and the wheels of the chariot, etc. A further split to the lower edge, particularly to the left hand side. Set within a later frame, with losses and later gold painted. With structural reinforcement to the panel behind.
Lot 225
Peter Paul Rubens, nach1577 Siegen - 1640 AntwerpenHeinrich IV. empfängt das Bildnis der Maria de MediciRücks. Reste alter Klebezettel sowie nummeriert No. 43. Öl auf Lwd. 60 x 39 cm. Doubliert. Rest. Rahmen besch. (68,5 x 46 cm).Seitenverkehrte und etwas verkleinerte Kopie nach dem Gemälde Rubens für den Medici-Zyklus (s. Musée du Louvre, Paris, Inv.-Nr. INV 1772).Provenienz: Süddeutsche Privatsammlung.
Lot 196
Scalextric F1 Racing Group, 1:32nd Scale Cars to include (1) C2277 WA Benetton B193 1999 Playlife No.9; (2) C2715D Honda No.12; (3) C2817D Honda No.7; (4) C2840 Honda No.8; (5) C3048 Brawn GP 001 No.23 - Rubens Barrichello - all appear to be unused, but not tested and not checked for completeness/correctness - Near Mint to Mint, within Excellent perspex cases - see photo. (5)
Lot 164
FRANCO TOSCANA oil on canvas - reproduction 'Portrait of Aletheia Talbot, Countess of Arundel' by Peter Paul Rubens, signed, 197 x 197cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoPlease note that images of items taken at Plas Teg might not be representative of the current condition of the object. Please enquire. Note: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
Lot 160
EDUARDO VALLENT oil on canvas - reproduction of the 'Gemma Tiberiana' by Peter Paul Rubens, signed, 213 x 152cmsProvenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.
Lot 19
* Bolswert (Schelte Adamsz., 1576-1659). Forest Crossed by a Stream & Landscape with a Cart and Sunset, (from the Set of Small Landscapes, after Peter Paul Rubens), circa 1638, two engraving on laid paper by Bolswert after Rubens, with watermark of a shield with two horizontal central bands, published by Gillis Hendricx, Antwerp, each with 19th century inscription to verso 'lot 32/1' and lot 32/2' to lower left corner of verso, the first work with engraved dedication inscription to Cornelius de Wael from Martin van den Enden, with artist's and engraver's name to lower left blank corner, and publisher's name 'Gillis Hendrix excudit' to lower right corner (the first additionally inscribed Antverpiae Cum purivilegio), some marks and a few small spots to the first work, each trimmed near or to the plate mark, sheet size 320 x 454 mm and 338 x 449 mm respectively (12 1/4 x 17 3/4 ins or similar), together with Saint Ignatius of Loyola, after Peter Paul Rubens, circa 1623-1633, engraving on laid paper by Bolswert after Rubens, laid down on old backing paper, timmed to, or just within plate mark, a few ligth marks and spotting, sheet size 388 x 259 mm, and one other engraving of the Risen Christ published by Messager with printed title at foot Christi de Morte TriumphusQTY: (4)NOTE:Hollstein 308 & 309, iv/v respectively.
Lot 20
* Bolswert (Schelte Adamsz., 1576-1659). Landscape with Milkmaids and Cows (from the Set of Small Landscapes), circa 1638, engraving on laid paper by Bolswert after Rubens, published by Gillis Hendrix, Antwerp, with artist's and engraver's name to lower left blank corner, and publisher's name 'Gillis Hendrix excudit Antverpiae' to lower right corner, trimmed to plate margin, laid down on archival tissue, and tab-mounted on thin card, sheet size 320 x 442 mmQTY: (1)
Lot 44
After Sir Peter Paul Rubens, Flemish 1577-1640- The Visitation; oil on copper, 57 x 73.5 cm. Provenance: Anon. sale, Christie's South Kensington, 23 April 2004, lot 94 (as 'Circle of Willem van Herp the Elder'); where purchased by the current owner. Note: The present composition is after an original formulation by Rubens, which the artist returned to repeatedly over the course of his career, initially in the left wing of the triptych which he painted for the Cathedral of Our Lady, Antwerp, in 1612-14. This slightly more cropped version was later expanded in an oil sketch by Rubens from 1632-34, which is now held in the National Gallery of Prague [DO 4602], which relates more closely to the present painting. This later version was also worked into various prints by engravers such as Pieter II de Jode (1606-1674), in a reversed format.
Lot 416
Lucas Vorsterman, after Peter Paul Rubens, Flemish 1595-1675, and Flemish 1577-1640- The Tribute Money; engraving on laid paper, signed 'Lucas Vorsterman Sculptor benivolenter D.D.' (within the plate, lower edge), 27.5 x 36.5 cm. (unframed / mounted). Provenance: Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).
Lot 417
Christoffel Jegher, after Peter Paul Rubens, Flemish 1596-1652/53, and Flemish 1577-1640- The Temptation of Christ by the Devil; woodcut on laid paper, signed 'Christoffel Iegher. fe' (within the plate, lower right), inscribed 'P.P. Rub. delin. / & exc.' (within the plate, lower left), bears later numbering '2/38' (in pencil, lower left), 32.5 x 43.1 cm. (unframed / mounted). Provenance: Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).
Lot 441
Simon Gribelin, after Peter Paul Rubens, French 1662-1733, and Flemish 1577-1640- The Ceiling of the Banqueting House in Whitehall: A Set of Three Engravings; engravings, one inscribed 'Grav'd by Sim; Gribelin from the Painting of Sr. P.P. RUBENS on the Ceiling / in the Banqueting-house at WHITE-HALL, in the year 1720' (within the plate, lower left), 33.3 x 47 cm., three (3), (unframed). Provenance: Private Collection, UK. Note: The ceiling of the Banqueting House is the only surviving in-situ ceiling painting by Flemish artist, Sir Peter Paul Rubens. The canvases were installed in the hall in 1636. The three main canvasses depict The Union of the Crowns, The Apotheosis of James I and The Peaceful Reign of James I. The ceiling was probably commissioned by Charles I in 1629-30. It was one of the King's last sights before his execution on a scaffold outside the Banqueting Hall in 1649.
Lot 302
Masterpieces of Rubens coin collection in a box. Eighty-five coins in a wooden box including a part collection of Winston Churchill coins, Prince of Wales & Lady Diana, commemorative coins, and assorted coins including Tristan Da Cunha 25p, 1965 Canada Dollar, 1858-1958 Canada Dollar, 1974 Rupee, 1974 Pa'Anga Tonga, 1968 25 Pesos olimpiada Mexico, 1973 Nederland 10 Gulden, 5 shilling 1970 Somali Democratic Republic, Leone 1974 Bank of Sierra leone 10th Anniversary, Queen Victoria/ George VI silver crown coins, |George IV silver crown coin, 1937 crowns, Queen Elizabeth and Queen Mother £5 coin, Tercentenary of Manx coinage crown, Isle of Man silver wedding 25p, 1976 Bicentenary of American Independence crown, Falkland Islands 50p coin, 1977 Bellywick of Jersey 25p, 1887 Double Florin, 1975 Isle of Man 25p, 1974 Winston Churchill crown, 1953 five shilling, 1965 Winston Churchill crown, 1972 25th Wedding Anniversary Elizabeth and Philip, 1980 Queen Mother's 80th birthday crown, 1981 Prince Charles and Lady Diana Wedding, Queen Elizabeth II coronation crown, Elizabeth II silver Jubilee crown, Centenary of the Horse Tram Isle of man crown, 1966 Jersey 5 shilling 900th anniversary of Battle of Hastings, 25p coins from the Bailwick of jersey, 25p coin Gibralta, 1970 one Dollar Cook Islands, 1969 crown Gibraltar, 1978 crown St Helena 25th Anniversary coronation, 2004 £5 coin 100th Anniversary of the Entente Cordiale between England and France, 1978 crown Isle of Man 25th Anniversary coronation, 1967 Tongan 1 Pa'anga coin, 1970 Mount Cook New Zealand one Dollar, and 1980 Gibraltar one crown Horatio Nelson and HMS Victory.
Lot 3470
PETER PAUL (AUCH PIETER PAUWEL) RUBENS (UMKREIS/SCHULE)28. Juni 1577 Siegen - 30. Mai 1640 AntwerpenHIMMELFAHRT MARIENS Öl auf Leinwand (altdoubl.). 99 x 79 cm (R. 121 x 100,5 cm). Part. min. altrest., part. Altretuschen, verschmutzte Oberfläche, min. besch. Rahmen. Provenienz: Hessische Privatsammlung.
Lot 3468
PETER PAUL (AUCH PIETER PAUWEL) RUBENS (UMKREIS/SCHULE)28. Juni 1577 Siegen - 30. Mai 1640 AntwerpenHEILIGE FAMILIE MIT JOHANNESKNABEN Öl auf Leinwand. 83 x 66 cm (R. 93 x 76 cm). Min. besch., Craquelé, verschmutzte Oberfläche, punktuelle Farbverluste. Rahmen. Provenienz: Norddeutsche Privatsammlung.
Lot 764
David Teniers der Jüngere Umkreis, Schenkstubenszene, Ölgemälde um 1700, gerahmtDavid Teniers der Jüngere Umkreis/ Nachfolge, 1610 - Antwerpen - 1690 Brüssel, flämischer Genremaler, hier: In einer Schenkstube sitzen um einen grob gezimmerten Tisch vier Tonpfeife rauchende Männer und eine Frau beim Zechen zusammen. Ein Mann mit rotem Federbarett nähert sich dabei in eindeutiger Absicht der Schankwirtin, Öl/ Kupfer, 31 x 40 cm, gerahmtZum Künstler: Teniers wichtigster Lehrer war sein Vater, David Teniers der Ältere. Später wurde er von Peter Paul Rubens und Adriaen Brouwer beeinflusst. Er war ein äußerst vielseitiger Künstler, der für seine umfangreiche Produktion bekannt ist. Er war ein Erneuerer in einer Vielzahl von Genres wie Historienmalerei, Genremalerei, Landschaft, Porträt und Stillleben. Er ist heute am meisten erinnert als der führende flämische Genremaler seiner Zeit. Teniers ist besonders bekannt für die Entwicklung des Bauerngenres, der Schenkstubenszene, Bilder von Kunstsammlungen und Szenen mit Alchimisten und Ärzten.
Lot 329
Rubens Santoro (Italian 1859-1941) Gondolas on The Grand Canal, Venice with the Dogana and Santa Maria della Salute beyondSigned Rubens Santoro (lower right)Oil on canvas42.5 x 33.7cm; 16¾ x 13¼inProvenance:MacConnal-Mason, LondonRubens Santoro was one of the most successful and widely exhibited Italian painters of his generation. His atmospheric celebrations of Venice’s architecture and waterways are his most beloved works, and his bright and vibrant palette reflects his preference to paint away from the studio.
Lot 32
CALCUTTA - AN INDIAN TWIN-HANDLED BUTTER COOLER WITH LID HAMILTON & CO. OF CALCUTTA, CIRCA 1820 Of tapered form, reeded borders, raised on for paw feet, the pull off cover with finial 16cm high, 23.4oz Hamilton & Co are amongst the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is there classically George III simple silver that is most commonly encountered. The business was initially set up by Robert Hamilton who had arrived in India and set up as a Jeweller in Tank Square by 1808. He enters into partnership with Henry Glazbrook (who had arrived in 1810) and James Glazbrook (who had arrived in 1811) in 1811 creating what would become on of the most successful silversmith business in the Empire.Robert’s hands on work with the business appears short and by 1817 had ceased to have an interest in the firm. Why his connection is so short is unknown but he had returned to England as early as 1812. His connection to the country doesn’t cease however as he stands guarantor for various other Brits who would be connected with the trade in India. His business interest had made him a rich man and in 1819 he purchased the thirty room Bloomfield Hall (now demolished) in surrey, which housed his impressive art collection. His art collection, long dispersed, included such names as Rubens, Holbein and Vaelazquez.The business of Hamilton & Co would not only survive but thrive having three branches. The original branch in Calcutta (1811 – 1971) followed by those in Bombay (originally opened in 1830) and Simla (opened 1865). The partnership has many changes in partners which show the movement of makers, people and business throughout the century with there being no fewer than thirty different incarnations of partners between 1811 and 1947!They were a business with vision and not only are making the standard silver wares but also are recorded importing items from Rundell Bridge & Rundell in London, no doubt large and impressive pieces. They also are likely the main producer of flatware in India as have imported a ‘powerful English stamping press’ which allows them to produce the much more elaborate die struck flatware patterns than their competitors.Their success does not just lie in importing and replicating English silver as in 1838 they announce their invention of a ‘Toffee’ pot. Not perhaps a long-lived invention, and perhaps one over looked now, of a combination tea and coffee pot.As with William Honey Twentyman their marks for many years were confused with those of Scottish makers. In early publications they are often seen in the Inverness section as the elephant punch was mistaken for an Inverness town mark. Not as fanciful as it may seem being the camel supporter had been used as mark earlier in the century so why not the armorials other supporter, the elephant, used in the same way.
Lot 31
CALCUTTA - AN INDIAN MILK JUG HAMILTON & CO., OF CALCUTTA. CIRCA 1820 Of tapered form, waisted girdle, C-scroll handle with shell detail terminals, raised on four bracket and paw feet 10.5cm high, 8oz Hamilton & Co are amongst the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is their classically George III simple silver that is most commonly encountered. The business was initially set up by Robert Hamilton who had arrived in India and set up as a Jeweller in Tank Square by 1808. He enters into partnership with Henry Glazbrook (who had arrived in 1810) and James Glazbrook (who had arrived in 1811) in 1811 creating what would become on of the most successful silversmith business in the Empire.Robert’s hands on work with the business appears short and by 1817 had ceased to have an interest in the firm. Why his connection is so short is unknown but he had returned to England as early as 1812. His connection to the country doesn’t cease however as he stands guarantor for various other Brits who would be connected with the trade in India. His business interest had made him a rich man and in 1819 he purchased the thirty-room Bloomfield Hall (now demolished) in Surrey, which housed his impressive art collection. His art collection, long dispersed, included such names as Rubens, Holbein and Vaelazquez.The business of Hamilton & Co would not only survive but thrive having three branches. The original branch in Calcutta (1811 – 1971) followed by those in Bombay (originally opened in 1830) and Simla (opened 1865). The partnership has many changes in partners which show the movement of makers, people and business throughout the century with there being no fewer than thirty different incarnations of partners between 1811 and 1947!They were a business with vision and not only are making the standard silver wares but also are recorded importing items from Rundell Bridge & Rundell in London, no doubt large and impressive pieces. They also are likely the main producer of flatware in India as have imported a ‘powerful English stamping press’ which allows them to produce the much more elaborate die struck flatware patterns than their competitors.Their success does not just lie in importing and replicating English silver as in 1838 they announce their invention of a ‘Toffee’ pot. Not perhaps a long-lived invention, and perhaps one over looked now, of a combination tea and coffee pot.As with William Honey Twentyman their marks for many years were confused with those of Scottish makers. In early publications they are often seen in the Inverness section as the elephant punch was mistaken for an Inverness town mark. Not as fanciful as it may seem being the camel supporter had been used as mark earlier in the century so why not the armorials other supporter, the elephant, used in the same way.
Lot 36
CALCUTTA - A PAIR OF INDIAN EXPORT MARKET SALT AND KYAN PEPPER POTS HAMILTON & CO. OF CALCUTTA 1830s Each of cylindrical form, engraved SALT to one and KYAN to the other, the pull off covers of domed form, raised on a knopped stem to a spreading foot 9.2cm, 8.9cm, 6oz (combined) Hamilton & Co are amongst the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is there classically George III simple silver that is most commonly encountered. The business was initially set up by Robert Hamilton who had arrived in India and set up as a Jeweller in Tank Square by 1808. He enters into partnership with Henry Glazbrook (who had arrived in 1810) and James Glazbrook (who had arrived in 1811) in 1811 creating what would become on of the most successful silversmith business in the Empire.Robert’s hands on work with the business appears short and by 1817 had ceased to have an interest in the firm. Why his connection is so short is unknown but he had returned to England as early as 1812. His connection to the country doesn’t cease however as he stands guarantor for various other Brits who would be connected with the trade in India. His business interest had made him a rich man and in 1819 he purchased the thirty room Bloomfield Hall (now demolished) in surrey, which housed his impressive art collection. His art collection, long dispersed, included such names as Rubens, Holbein and Vaelazquez.The business of Hamilton & Co would not only survive but thrive having three branches. The original branch in Calcutta (1811 – 1971) followed by those in Bombay (originally opened in 1830) and Simla (opened 1865). The partnership has many changes in partners which show the movement of makers, people and business throughout the century with there being no fewer than thirty different incarnations of partners between 1811 and 1947!They were a business with vision and not only are making the standard silver wares but also are recorded importing items from Rundell Bridge & Rundell in London, no doubt large and impressive pieces. They also are likely the main producer of flatware in India as have imported a ‘powerful English stamping press’ which allows them to produce the much more elaborate die struck flatware patterns than their competitors.Their success does not just lie in importing and replicating English silver as in 1838 they announce their invention of a ‘Toffee’ pot. Not perhaps a long-lived invention, and perhaps one over looked now, of a combination tea and coffee pot.As with William Honey Twentyman their marks for many years were confused with those of Scottish makers. In early publications they are often seen in the Inverness section as the elephant punch was mistaken for an Inverness town mark. Not as fanciful as it may seem being the camel supporter had been used as mark earlier in the century so why not the armorials other supporter, the elephant, used in the same way. It is believed that this pair was designed to be stored in the servant’s sash.
Lot 14
CALCUTTA - AN INDIAN BOX HAMILTON & CO., JEWELLERS CALCUTTA, LATE 19TH CENTURY Of rounded rectangular outline, high repoussé work to all sides of scroll motifs, the hinged lid with various cherubs depicted 13.2cm wide, 14.9oz Hamilton & Co are amongst the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is there classically George III simple silver that is most commonly encountered. The business was initially set up by Robert Hamilton who had arrived in India and set up as a Jeweller in Tank Square by 1808. He enters into partnership with Henry Glazbrook (who had arrived in 1810) and James Glazbrook (who had arrived in 1811) in 1811 creating what would become on of the most successful silversmith business in the Empire.Robert’s hands on work with the business appears short and by 1817 had ceased to have an interest in the firm. Why his connection is so short is unknown but he had returned to England as early as 1812. His connection to the country doesn’t cease however as he stands guarantor for various other Brits who would be connected with the trade in India. His business interest had made him a rich man and in 1819 he purchased the thirty room Bloomfield Hall (now demolished) in surrey, which housed his impressive art collection. His art collection, long dispersed, included such names as Rubens, Holbein and Vaelazquez.The business of Hamilton & Co would not only survive but thrive having three branches. The original branch in Calcutta (1811 – 1971) followed by those in Bombay (originally opened in 1830) and Simla (opened 1865). The partnership has many changes in partners which show the movement of makers, people and business throughout the century with there being no fewer than thirty different incarnations of partners between 1811 and 1947!They were a business with vision and not only are making the standard silver wares but also are recorded importing items from Rundell Bridge & Rundell in London, no doubt large and impressive pieces. They also are likely the main producer of flatware in India as have imported a ‘powerful English stamping press’ which allows them to produce the much more elaborate die struck flatware patterns than their competitors.Their success does not just lie in importing and replicating English silver as in 1838 they announce their invention of a ‘Toffee’ pot. Not perhaps a long-lived invention, and perhaps one over looked now, of a combination tea and coffee pot.As with William Honey Twentyman their marks for many years were confused with those of Scottish makers. In early publications they are often seen in the Inverness section as the elephant punch was mistaken for an Inverness town mark. Not as fanciful as it may seem being the camel supporter had been used as mark earlier in the century so why not the armorials other supporter, the elephant, used in the same way.
Lot 4149
Collection of etchings, artists including Eugène Béjot, Robert Houston, Claude Muncaster, Janet Judge, Burchill, Leonard Russell Squirrell, Frederick Cecil Jones, H Gordon Marlow, Trevor Hodgkinson, Martin Hardie, Jan Strang, William P Robins, mostly signed in pencil, and a Bolswert after Rubens engraving (qty)
Lot 3294
RUBENS, Peter Paul - Nachfolge Christus am KreuzÖl/Leinwand. Unsigniert. Anfang 18. Jh. 102,5 x 76 cm. Gerahmt : 112,5 x 87 cm (teils goldener Rahmen); 5 kg. Der Gekreuzigte vor dunklem Wolkenhimmel mit nach oben gerichtetem Blick. Leinwand doubliert. Aufrufzeit 01. | März 2025 | voraussichtlich 13:26 Uhr (CET) RUBENS, Peter Paul - Nachfolge Christ on the crossOil/canvas. Unsigned. Early 18th century 102.5 x 76 cm. Framed : 112.5 x 87 cm (partly gold frame); 5 kg. The Crucified in front of a dark cloudy sky with an upward gaze. Doubled canvas. Call time 01 | March 2025 | probably 13:26 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 2047
Unbekannter deutsch italienischer Künstler, 17. Jh., Christus ernennt den Heiligen Rochus zum Schutzpatron der Pestopfer, nach Peter Paul Rubens , Öl/Kupfer, Altersspuren, 36 x 26 cm, (vgl. den Kupferstich in der Staatsgalerie Stuttgart, Graphische Sammlung, Inventarnummer A 2016/9526 (KK), Stecher Paulus Pontius) / Unknown German-Italian artist, 17th century, Christ appoints St Roch as patron saint of plague victims, after Peter Paul Rubens , oil/copper, traces of age, 36 x 26 cm, (cf. the copperplate engraving in the Staatsgalerie Stuttgart, Graphische Sammlung, inventory number A 2016/9526 (KK), engraver Paulus Pontius)
Lot 2074
Unbekannter Künstler, 19./20. Jh., nach Peter Paul Rubens, Ildefonso-Altar, Seitentafeln: Erzherzog Albrecht VII. und rechts Infantin Isabella Clara Eugenia, jeweils mit Schutzpatron, sign. J. Chocholatz, Öl/Holz (auf Platte aufgez.), Altersspuren, 127 x 48,5 cm / Unknown artist, 19th/20th century, after Peter Paul Rubens, Ildefonso Altarpiece, side panels: Archduke Albrecht VII and on the right Infanta Isabella Clara Eugenia, each with patron saint, sign. J. Chocholatz, oil/wood (mounted on panel), traces of age, 127 x 48.5 cm
Lot 2029
Oswald Onghers (Mecheln 1628-1706 Würzburg), Der Heilige Nikolaus hilft den Schiffbrüchigen, signiert und datiert 1676, Öl/Lwd, Altersspuren, Restaurierungen, 265 x 145 cm, bogenförmiger Abschluss. Der Künstler, der 1660 nach Würzburg kam und 1663 hier heiratete, war in seiner Figurenbildung lange von Rubens und van Dyck beeinflusst. Die vorliegende Arbeit lässt in vielen Details wie den kleinen Teufeln oder dem panischen Blick der Figur am linken Bildrand den Ideenreichtum des Künstlers erkennen. Werke von Onghers, der sich auch als Kirchenmaler einen Namen gemacht hat, sind nur sehr selten auf dem Markt. Die Authentizität des Gemäldes wurde von dem Werkverzeichnisautor Dr. Wolfgang Kümper bestätigt, der das Gemälde als Nachtrag in das kommende Werkverzeichnis des Künstlers aufnimmt./ Oswald Onghers (Mechelen 1628-1706 Würzburg), St Nicholas helping the shipwrecked, signed and dated 1676, oil on canvas, signs of age, restaurations, 265 x 145 cm, arched finial. The artist, who came to Würzburg in 1660 and married here in 1663, was long influenced by Rubens and van Dyck in the creation of his figures. The present work reveals the artist's wealth of ideas in many details such as the small devils or the panicked gaze of the figure on the left of the picture. Works by Onghers, who also made a name for himself as a church painter, are very rare on the market. The authenticity of the painting has been confirmed by the catalogue raisonné author Dr Wolfgang Kümper, who is including the painting as an addendum in the artist's forthcoming catalogue raisonné.
Lot 2130
Unbekannter Künstler, barock, 18. Jh., Bildnis eines Mannes, den Blick in die Ferne gerichtet, in seiner malerischen Qualität mit Anleihen an Rubens und Jordaens, Öl/Lwd, Altersspuren, 51 x 43 cm. Provenienz: Kunstsammlung Prof. Erwin Zänglein, danach Privatbesitz Würzburg. / Unknown artist, Baroque, 18th century, Portrait of a man, looking into the distance, with a painterly quality reminiscent of Rubens and Jordaens, oil on canvas, traces of age, 51 x 43 cm. Provenance: Art collection of Prof. Erwin Zänglein, then privately owned in Würzburg.
Lot 398
(ARR) Two 18th century Neoclassical engravings. The lot comprising Qui Biberit ex aqua by Albani Drevet, engraved by Stef. Baudet & printed in Paris by B. Drevet; and The Assumption of the Virgin Mary after Paul Rubens. Each framed & glazed.Rubens measures approx. 76cm x 56cm to include frame.
Lot 84
Rubens (Bernice) The Elected Member, first edition, light foxing to endpapers, edges spotted, original boards, dust-jacket, light fading to spine, strengthening tape to spine ends verso, small patch of browning to lower panel, light rubbing to spine tips and corners, a very good copy, 8vo, 1969.*** The second novel to win the Booker Prize and the first written by a woman.
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