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Follower of Peter Paul Rubens,Bacchanalian revelry,oil on relined canvas, unsigned, unframed,69x102.5cm.

AN 'F1 MODEL HELMETS' HELMET, with two Brawn GP visors, one bearing two signatures, possibly Jenson Button and Rubens Barrichello together with a dust bag, 'F1 Authentics' box and certificate of authenticity signed by Dean Walker of www.F1modelhelmets.co.uk (1 + box + cert) (Condition Report: box and helmet appear in good condition) WE CANNOT VERIFY THE AUTHENTICITY OF THE SIGNATURE- POTENTIAL BUYERS MUST SATISFY THEMSELVES BEFORE BIDDING.

Original vintage London Transport Art Collection poster - A Tribute to a Master Femme Bien Informee / Knowledgeable Woman - featuring a colourful Pablo Picasso inspired design by Harry Stevens (1919-2008) depicting a smiling lady wearing a hat adorned with fruit and holding a brochure of Museums and Art Galleries In and Near London with the London Underground roundel on it, admiring famous paintings from the collection at The National Gallery (founded 1824) on the walls behind her including The Arnolfini Portrait by Jan van Eyck (1434), The Fighting Temeraire by Joseph Mallord William Turner (1839), Venice The Basin of San Marco on Ascension Day by Canaletto (1740) and Le Chapeau de Paille / Portrait of Susanna Lunden by Peter Paul Rubens (c.1622). Printed by C.J Petyt Ltd. Good condition, creasing, tears, paper skimming. Country of issue: UK, designer: Harry Stevens, size (cm): 102x64.5, year of printing: 1972.

GOETHE, OTTILIE VON (1796 Danzig - 1872 Weimar)Eigenhändiges Brieffragment mit Unterschrift („Ottilie von Goethe“). Ohne Ortsangabe und Datierung. 1 Doppelblatt (3 beschriebene Seiten). 21,9 x 13,4 cm.(Es fehlt der Beginn des Briefes. Kleiner Einriss im Mittelfalz.)„Nun ist aber ein belgischer Maler nach Weimar gekommen, und das muß wirklich ein Genie sein wenn alle die Urtheile über ihn wahr sind, und die nicht nur die Laien [...] gefällt haben sollen. Rubens Nahme wird dabei genannt; er heißt Werlat und muß eine große Vielseitigkeit haben [...] und eine Pieta die von großartiger Wirkung sein muß. Wenn der Großherzog herüberkommt u. öfters besucht, ist er immer in dem vortheilhaftesten Licht, das muß ich sagen, und verdient die gute Aufnahme die ihm wird [...].“Goethes Schwiegertochter schreibt von dem belgischen Maler Charles Verlat (1824-1890), der 1869 als Professor an die Großherzoglich-Sächsische Kunstschule zu Weimar berufen wurde. Verlat verließ Weimar jedoch nach wenigen Jahren, nachdem ihm ein Lehrstuhl in seiner Heimatstadt Antwerpen angeboten worden war.

Nach PETER PAUL RUBENSDie Anbetung der Heiligen Drei Könige (mit den Fackeln) 1620Kupferstich auf Bütten von Lucas Vorstermann (1595-1675) nach P. P. Rubens. Blattgröße 62 x 46,2 cm; Plattengröße 58,5 x 44 cm. Schneevogt S. 22, Nr. 84. Hollstein 8.(Im oberen Rand fest unter Passepartout montiert, verso stockfleckig, geringfügige hinterlegte Randeinrisse; insgesamt etwas gebräunt und mit wenigen Braunflecken.)

"The Girl with the Golden Heart." - Rubens Capaldo (Parigi - 1908 - Napoli 1998) - Oil painting on canvas, 20th century Italian school, depicting "The Girl with the Golden Heart." Internal frame dimensions: 25x40 cm. Overall frame dimensions: 40x55 cm. Signed lower left byRubens Capaldo (Parigi - 1908 - Napoli 1998). Artwork in good condition.

Still life in an impressionist style - Rubens Capaldo (Parigi - 1908 - Napoli 1998) - Oil painting on panel, 20th century Italian school, depicting a still life in an impressionist style. Internal frame dimensions: 35x50 cm. Overall frame dimensions: 60x46 cm. Signed at the bottom center by Rubens Capaldo (Parigi - 1908 - Napoli 1998). Artwork in good condition.

Still Life - Rubens Capaldo (Parigi - 1908 - Napoli 1998) - Oil painting on canvas, 20th-century Italian school, depicting a Still Life. Dimensions within the frame: 40x50 cm. Dimensions including the frame: 50x60 cm. Signed at the bottom right by Rubens Capaldo (Parigi - 1908 - Napoli 1998). Artwork in good condition.

Wagner, G. (um 1900) "Der Früchtekranz" (Spielende Amoretten mit Fruchtschale), nach Peter Paul Rubens. Öl/Lwd (Ecken wellig), re. u. sign. Ca. 85x 150 cm. R.

Relieftondo "Raub der Sabinerinnen", nach P.P. Rubens. Kupfer, versilbert. Wohl um 1900. D. 16,5 cm.

2 framed & glazed coloured Lithographs Rubens, David church of St Helena, chapel of St Helena

FREDERICK JAMES SHIELDS (AFTER RUBENS) "Head study of Rubens son Nicholas" unsigned, red charcoal, bear label and inscription verso, 38cm x 29cm

Galerie de Florence: Large folio album containing 8 engravings after Peter Paul Rubens, Annibale Carracci and other and related single text sheets to each engraving, bound as a volume and inscribed to pastedown for 'George Augusta Hill, Bruxelles, 1820', the album 35.5cm x 52.5cm Ombersley Court, Worcestershire Lord George Augusta Hill (9 December 1801 – 6 April 1879) was an Anglo-Irish military officer, politician and landowner. Hill was the posthumous son of the 2nd Marquess of Downshire and his wife Mary, Marchioness of Downshire, granddaughter of the 1st Baron Sandys. Lord George was also the grandfather of the 6th Baron Sandys. He lived in Brussels for some time, as a companion to his older brother Lord Augustus Hill during his illness.

[Desmarets de Saint-Sorlin (Jean)] Ariana in two Parts, [London: Printed by John Haviland for Thomas Walkley], [circa 1636-41], 4to, 18th century figured calf wth a gilt tooled border of swags and S motifs, decorative tooled spine with cornucopia in gilt and red morocco title block, marbled endpapers, in two parts of eight books inscribed to top of 1st page 'Mary Colby ii is the true owner of this Book 1660', further inscribed to the margins with scattered notes such as 'the left hand door of the cabinet and 'the inside door the right hand'Ombersley Court, WorcestershireThe notes in the margins may refer to an ebony cabinet now in the Royal Collection known variously as the Wolsey Cabinet, the Retsch Cabinet and the Rubens cabinet. It has been noted in an article by Lunsingh Scheurleer (Journal of the Warburg and Courtauld Institues, Vol 19 No. 3/4, Dec 1956) that the doors of this cabinet are decorated with scenes after engravings from Desmarets de Saint-Sorlin's L'Ariane.Lacking frontispiece, title page and plates, binding fair with edgewear, scuffs and scratches, joints starting, pages toned and paper restorations to page edges, in particular page 1 -8, browned edges and occasional spotting and foxing

AFTER PETER PAUL RUBENS; oil on re-lined canvas, portrait study of his first wife Isabella Brant, unsigned, 38.5 x 29cm, pencil inscription verso 'No. 755?? Rubens??', with further reference number to the lower section of the stretcher.

Rembrandt Harmensz. van Rijn (Leiden 1606 - 1669 Amsterdam)Die kleine Löwenjagd mit einem Löwen - The Small Lion Hunt (With One Lion)Um 1629Radierung auf Bütten mit Wasserzeichen "Wappen von Ravensburg" (Hinterding Variante A-b oder A-c)15,9x11,9 cm, BlattgrösseWerkverzeichnisThe New Hollstein (Hinterding/Rutgers) 29White/Boon 116ProvenienzUnbekannte Sammlung, die Initialen "WR" in Feder verso, Lugt 2647a (ebd. blasse Nummerierung von gleicher Hand)P.&D. Colnaghi & Co., London, mit deren Lagernummer "C.26374" und "28135"Runder Sammlerstempel mit den Initialen "URE", nicht bei LugtZustandSehr guter Druck mit Plattenton. In exzellenter Erhaltung. Die Plattenkante umlaufend sichtbarErläuterungenEin seltenes, von Nowell-Usticke mit "RR" eingeschätztes Blatt.Die markante aus Diagonalen aufgebaute Komposition verleitete Peter Paul Rubens zu der Annahme, Rembrandt habe seine Werke als Inspirationsquelle genutzt. Dagegen verweist die Kunstgeschichte auf die Graphiken Antonio Tempestas, die eher Pate gestanden haben könnten. Die skizzenhafte Schnelligkeit und Impulsivität ist geradezu abenteuerlich und entspricht stilistisch der dargestellten Kampfszene.Erwartete Ausrufzeit (+/- 15min)12.09.2024; 19:30 h (MEST)VersandkostenSchweiz CHF 125.-Europa: CHF 225.-Übrige Länder: CHF 260.-

Oil on canvas 99 x 73.5 cm The painting shows significant elements of 17th century Spanish portraiture and its greatest representative, Diego Rodríguez de Silva y Velázquez. Our canvas was born in the circle of artists who grew up under his influence, among them the most important students: Juan Bautista Martínez del Mazo, Juan de Pareja and Juan Carreño de Miranda. At the age of twelve he entered Francisco Pacheco's workshop, immediately demonstrating his talent. In 1618 he was already an independent artist, he worked in the city painting with a strong influence of Caravaggio. He moved to Madrid and became official painter to Philip IV. He thus had the opportunity to explore the court collection and cultivate a particular interest in the Venetian school and Titian in particular. Probably following the advice of the Rubens, he traveled twice to Italy, an opportunity to closely study the different schools of painting and the great masters, refining his style and concentrating on the pictorial and environmental interpretation of light. Loved and respected by his colleagues from his time, thanks to Alonso Cano y Zurbarán he was granted the title of Knight of Santiago. His painting of excellent quality and realism was experienced after his death thanks to his students, among them: Juan Bautista Martínez del Mazo, Juan de Pareja and Juan Carreño de Miranda. Diego Velázquez (Seville 1599 - Madrid 1660) circle of Portrait of a leader Oil on canvas 99 x 73.5 cm

Bible [Latin]. Biblia sacra cum Glossa Ordinaria a Strabo Fuldensi Monacho Benedict. collecta, novis PP. Graec. & Latin. explicationibus locupletata et postilla Nic. Lirani Franc. cum additionibus Pauli Burgensis Episc. ac Matthiae Thoringi replicis, theolog. Duacensium studio emendatis..., 6 volumes, Antwerp: Joannem Meursium, 1634, half-title to first volume with annotation, engraved title to first volume and few engraved illustrations after Rubens, titles to volume 2-6 printed in red and black with engraved illustration after Rubens, woodcut initials, some toning, browning and occasional spotting, upper pastedowns with ink stamp of 'Bibliotheca Puseiana, Oxon, 15 Jan 1954', contemporary limp vellum, title and neat decoration in ink to spines, leather ties (few lacking), some soiling and discolouration, large folio (42 x 27 cm)QTY: (6)NOTE:Not in Darlow & Moule.The engraved title after Peter Paul Rubens is by Jan Collaert II. This impressive folio edition is described by the Catholic Encyclopedia as 'the latest and best' of the Vulgate Glosses, containing all the exegetical apparatus by Nicholas of Lyra, Paul of Burgos, Matthias Thoringus, and others, and edited by the Welsh Benedictine monk John Jones (1575-1636), writing under his pseudonym Leander a Sancto Martino. A doctor in divinity of the University of Salamanca, a brilliant scholar, and a great Oriental linguist, his advancement within the Benedictine Order was rapid, and from 1619 to 1621 he officiated as the first President General of the English Benedictines. Early in 1634 he came to England under safe conduct to discuss with Archbishop Laud the question of the reunion of the Anglican and Roman churches.

Philip Wilson Steer OM, British 1860-1942 - The Rape of the Sabines, 1896; oil on canvas, signed lower left 'P.W. Steer', 71 x 91.5 cm (VAT charged on the hammer) Provenance: Goupil Gallery, London; Sir Cyril Butler, K.B.E., purchased from the above in 1924; Lady Kendall Butler; Lord Molson; Christie's, Modern & Traditional Pictures, 7th November 1991, lot 14, The Property of the Hon. Christopher Lennox-Boyd; Lord Nicholas Gordon-Lennox; Richard Salmon Ltd., London; private collectionExhibited:Goupil Gallery, London, 'Philip Wilson Steer', March-April 1924; Tate Gallery, London, 'Works by Philip Wilson Steer', 19th April–21st July 1929; Tentoonstellony, Amsterdam, 'British Art', 1936, no.166 (according to the partial label attached to the reverse); Barbizon House, London, 'Philip Wilson Steer', 1937; National Gallery, London, 'Philip Wilson Steer Memorial Exhibition', 17th May–7th August 1943, no.86; Victoria and Albert Museum, London, C.E.M.A. Exhibition; Leicester Galleries, London; Temple Newsum, Leeds, 'Philip Wilson Steer', 29th March-14th May 1944; Arts Council of Great Britain, London, 'Philip Wilson Steer, 1960', no.31 (according to the label attached to the reverse) Literature: Burlington Magazine, London, 1943; D.S. MacColl, 'Life, Work and Setting of Philip Wilson Steer', London, 1945, pp. 107, 197 Note:in this period of the artist's career, he experimented with the Old Master painting method of a monochrome base with the subject matter and glazing colour over top. This ambitious and complex composition is a rare example of this technique. This legendary Roman story has been depicted by artists for centuries, particularly in the Renaissance and throughout, including Nicolas Poussin, Peter Paul Rubens, Jacques-Louis David, Edgar Degas and Pablo Picasso.

PETER PAUL RUBENS (UMKREIS)1577 Siegen - 1640 AntwerpenDie Heilige DreifaltigkeitÖl auf Leinwand (altdoubl.). 175 x 137 cm (R. 196 x 159 cm). Part. besch., altrest., Altretuschen, Reinigungsverluste. Rahmen.Provenienz: Rheinische Privatsammlung.

A large Baroque style gilt painted on composite frame with print on canvas of Peter Paul Rubens' Portrait of Maria Serra Pallavicino painting. The framed having scrolled foliate mouldings throughout on a canted outer frame with matching inner frames. Measures approx. 168cm tall x 117cm wide. 

Rubens, Peter Paul (nach) - "La Reine prend le parti de la paix" / "Henry IV. délibère sur son futur mariage" / "Der Triumph der Wahrheit", drei kolorierte Kupferstiche nach Zeichnungen von Jean-Marc Nattier (1685-1766), die er nach Gemälden von Peter Paul Rubens angefertigt hat, gestochen von Duthe / Benoist / Rafael, einzeln im Passepartout unter Glas gerahmt, Sichtmaße ca. 22 x 11 cm bis 24 x 16 cm, Rahmenmaß ca. 55 x 38 cm, Papier leicht gewellt, Rahmen stellenweise bestoßen

Lucas Vorsterman II (1624 -1667), after Jacob Jordaens (1593-1678), 'Satyr and Peasant', engraving, circa 1621, 40x41.5cm (plate size), 43x44cm (sheet size), unlaid, unframed.Plus,'The Descent from The Cross', after Peter Paul Rubens, 1620, engraving laid on wove paper,42x57.5cm (plate size), 50x67.5cm (sheet size) unframed. (2)

Schelte Adams Bolswert (1586-1659), after Peter Paul Rubens, 'The Return from the Chase', Nymphs with game and satyrs carrying fruit, engraving (late 16th / mid 17th century), corners laid on paper, 31x35cm (plate size), 37.5x46cm (sheet size), unframed

Paulus Pontius (1603-1658), after Peter Paul Rubens (1577-1640), Cardinal Infante Ferdinand: portrait of the commander on horseback, directed to left, in armour with lace collar and sash with the Battle of Nordingen in the background, engraving, 17th century, partly laid to left side on card, trimmed, unframed.

Cornelius Galle (1576-1650) after Peter Paul Rubens, Judith beheading Holofernes; Judith at left, grasps Holofernes' head and cuts his neck with a sword, four putti hover overhead, engraving, circa 1616, 38x55cm, unframed.

Peter Paul Rubens(1577 Siegen - 1640 Antwerpen) nachPorträt einer jungen Frau mit Strohhut (wohl Bildnis der Susanna Lunden geb. Fourment)Gemalt von einem englischen Kopisten des 19. Jhs. nach dem berühmten Rubens-Porträt in der National Gallery in London. Öl/Holztafel. Vergoldeter Prunkrahmen im Barock-Stil aus geschnitztem Holz und Stuck, wohl Frankreich. Ca. 77,5 cm x 54 cm; Gesamtmaß ca. 120 cm x 86 cm. Provenienz: aus der über Generationen gewachsenen Sammlung Michahelles, Hamburg.After Peter Paul Rubens (1577 - 1640). 19th C. copy after the well-known painting in the National Gallery in London. Splendid carved and gilt wood and stucco frame, probably French.

THREE MINIATURE PAINTINGS OF OLD MASTERS 19TH CENTURY to include an oval self portrait of Rubens, gouache on card, 7.2cm x 5.8cm; Mary Magdalene after Carlo Dolce, watercolour on card, 9.5cm x 7cm; Madonna in Sorrow after Sassoferrato, watercolour on vellum mounted under glass, 9cm x 7cm (3)  the largest 9.5cm x 7cm Provenance: The Estate of the late Lynette F. H. Cole, Rutherford House, Town Yetholm, Scottish Borders

David Gilmour Signature within a Signed Autograph Book inc Sporting Sports, Formula One F1 stars, Rally, Musicians etc, inc Stirling Moss, David Coulthard, Nick Mason from Pink Floyd, Carroll Shelby (Mustang), Jackie Stewart, Rubens Barrichello etc

Formula 1 / Motor Racing - an album of autographs, photographs and memorabilia from various Formula One / Motor Racing drivers. Comprising of hand signed photographs from: Narain Karthikeyan, Max Biaggi, Anthony Davidson, Sebastian Bulme, Sebastian Buemi, Allan McNish, Patrick Friesacher, Jo Vonlanthen, Alexander Wurz, Alex Young, Mark Webber, Jarno Trulli, Jamie Green, Francois Migault, Sebastial Vettel, Pedro De La Rosa, Giorgio Pantano, Romain Grosjean, Rubens Barrichello, Brian Redman, and others. Also features several printed signatures on official postcards from other drivers. Also within the album are several photographs, tickets from races, and other memorabilia. 

Circle of Sir Peter Paul Rubens (1577 - 1640), The Raising of Lazarus, oil on canvas laid on panel, 31cm x 42cm, framed, provenance: Bonham's Knightsbridge, 4th April 2023 Lot 67

"Dianas Rückkehr von der Jagd" nach Rubensdie Göttin der Jagd Diana, im roten Gewand dargestellt neben ihren Gefährtinnen, zeigen dem Satyrn Pan nebst Gefährten ihre Jagdbeute, während Pan mit diversen Früchten aufwartet, präsentiert Diana erlegte Hasen und Vögel, lasierende Malerei, Kopie nach dem um 1615 entstandenen Dresdner Gemälde von Peter Paul Rubens (1577-1640), Rubens schuf das Motiv mehrfach mit leichten Variationen, so ist das Motiv in der Dresdner Galerie "Alte Meister" und im Serbischen Nationalmuseum Belgrad nachweisbar, Öl auf Leinwand, um 1910, unsigniert, rückseitig auf der Leinwand gestempelter Kopiervermerk "Copie nach No. 979 der Königl. Gemälde Galerie zu Dresden", kleine Fehlstelle in der Leinwand, reinigungs- und etwas restaurierungsbedürftig, original in ca. 14 cm breiter Eichenleiste gerahmt, Falzmaße ca. 117 x 148 cm.

Ludwig Adam Kunz, Tafelstilllebenopulentes Arrangement aus erlegtem Hasen, Karpfen, Hummer und Austern neben Pfingstrosenstrauß in silberner Historismusvase, Etagere mit Obst und Melonen und weißem Kakadu auf einem Blumentopf, hierzu bemerkt Bruckmann "Münchner Maler des 19./20. Jh.": „... versuchte er die Nachfolge eines Frans Snyders, Jan Fyt oder Jan Brueghel des Älteren anzutreten. Seine Werke haben ein altmeisterliches Kolorit, die Gegenstände werden durch ein warmes, leuchtendes Auflicht aus tiefem Dunkel in glänzenden, satten Farben hervorgeholt. Thematisch beschränkte sich Kunz vor allem auf Blumen- und Früchtestilleben, die er gelegentlich mit Tieren - insbesondere einem Affen oder einem Papagei - belebte. Daneben war er auch ein Meister in der Darstellung von Kostbarkeiten, wie alten Weingläsern oder Elfenbein- und Silberhumpen. ...", lasierende, partiell gering pastose Malerei, Öl auf Holzplatte, rechts oben signiert und datiert "L. Adam Kunz 1911", rückseitig altes handschriftliches Etikett "Adam Ludw. Ad. Kunz - Wien 1857-1929 München »Prunkstilleben« Holz 35,5 x 57 cm, a. Tellerrand bez. 1911", gering restaurierungsbedürftig, original im Goldstuckrahmen gerahmt, Falzmaße ca. 35,5 x 57 cm. Künstlerinfo: eigentlich Ludwig Adam Kunz, dt.-österreichischer Maler (1857 Wien bis 1929 München-Maria Einsiedel), galt als »Lenbach der Stillebenmalerei«, zunächst Studium der Bildhauerei bei Victor Oskar Tilgner, 1873-75 Studium der Bildhauerei an der Wiener Akademie, 1875 Hinwendung zu Malerei und bis 1878 Schüler des Genremalers Josef Fux in Wien, ab 1878 weitergebildet in München bei Franz von Lenbach und Friedrich August von Kaulbach, beeinflusst von der Malerei von Peter Paul Rubens und Hans Makart, 1885-96 Aufenthalt in Paris und gefördert von Mihály von Munkácsy, ab 1896 lebte Kunz im Asam-Schlössl im Münchner Ortsteil Thalkirchen-Maria Einsiedel, 1896 zum Professor der Münchner Akademie ernannt, Mitglied der Münchner Künstlergenossenschaft, beschickte unter anderem die Wiener, Dresdner und Berliner Kunstausstellungen, die Madrider Kolumbus-Ausstellung 1892 und 1917-27 den Münchner Glaspalast, erhielt diverse Ehrungen wie 1897 die Große Goldene Medaille der Internationalen Kunstausstellung München, freundschaftlich mit Lenbach verbunden, schufen beide Künstler mitunter gemeinsame Werke in Arbeitsteilung, wie ihre künstlerischen Vorbilder Rubens und Brueghel malte Lenbach die Portraits und Kunz die rahmende Blumengirlande, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", ÖBL, Boetticher, Müller-Singer, Bruckmann "Münchner Maler des 19./20. Jh.", Dressler, Fuchs, Paviere und Wikipedia.

A GROUP OF CLASSICAL ENGRAVINGS AND PRINTS (7) TO INCLUDE: After Rubens 'The Head of Cyrus brought to Queen Tomyris' by Gaspard Duchange. Robert Bylth: 'Banditti Returning'. The burning of William Flower, 1555 (two prints). Nicholas Dufour 'Vue Sur La Meuse'. Matthaus Greuter 'Joseph fleeing from Potiphar's wife). Two small classical engravings, Bernard Picart.

Großer Lawa-Gemmen-Anhänger, Metall vergoldet, mit einer ovalen sehr fein mit einem Portrait im Hochrelief von Sir Peter Paul Rubens geschnittenen Lawa-Gemme in hellem Erdton 49 x 41 mm, mit einem Haarriss, L. 64 mm, Rahmen 28,4 g

Peter Paul Rubens (1577-1640), Kopie nach ''Christus mit dem Johannesknaben und Engeln'', anonyme Kopie des 19. Jh. nach dem Original in der Berliner Gemäldegalerie, Öl auf Lwd., unsign., rest. u. retusch., 95 x 122 cm

Friedrich Seering, unbekannter Künstler 1. H. 20. Jh., ''Toilette der Venus'', das Gemälde zeigt einen weiblichen Rückenakt, welcher durch einen Spiegel, der von einem nackten Jungen gehalten wird, den Betrachter anblickt. Die Komposition geht auf ein Gemälde von Rubens zurück, welches sich in der fürstlichen Sammlung Lichtenstein befindet. Seering hat, noch ganz verhaftet im Stil des Nationalsozialismus', den Putto der Originalkomposition in einen deutschen Jüngling im Stil der Zeit verwandelt. Das Gesicht der Venus geht auf ein reales Modell zurück. Öl auf Lwd., o. re. sign. u. dat. ''Fried. Seering 1949'', neu auf Keilrahmen montiert, partiell retusch., unger., 110 x 80 cm

Jean Daullé (1703-1763), nach einer Zeichnung von Charles François Hutin (1715-1776), nach einem Gemälde von Peter Paul Rubens (1577-1640), mythologische Szene mit Neptun, der dem Wind befiehlt abzuflauen, kol. Kupferstich mit Schriftrand, rest., Altersmängel, 40 x 46 cm, hinter Glas u. Pp. ger. 60 x 65 cm

A large Baroque style gilt painted on composite frame with print on canvas of Peter Paul Rubens' Portrait of Maria Serra Pallavicino painting. The framed having scrolled foliate mouldings throughout on a canted outer frame with matching inner frames. Measures approx. 168cm tall x 117cm wide. 

World.- Bibliography.- Gay (Jean) Bibliographie des ouvrages relatifs a l'Afrique et l'Arabie, limited edition, half-title, ex-library with ink-stamp to title, scattered spotting, modern cloth, San Remo & Paris, 1875 § De Moraes (Rubens Borba) Bibliographia Brasiliana, 2 vol., illustrations, original cloth, fractional bumping to corners and extremities, dust-jackets, tears, chipping and small loss to edges, vol. 2 with loss to foot, Amsterdam & Rio de Janeiro, 1958; and another, 8vo (4). 

After Peter Paul Rubens, a 20th century self portrait miniature, 7 x 6cm, together with another after Leonardo da Vinci. A pair (2)

PETER PAUL RUBENS, Rubens Portfolio of twenty plates, lithographs, 50cm x 43cm, published Aurora Art Publishers, Leningrad 1985.

A well painted Dresden or Vienna porcelain plaque painted with cherubs after Rubens, impressed marks verso, 11" x 14 1/2".

Rubens A J N Southey (British, 1881-1933) : Dartmoor Landscape with Shepherd and Sheep, watercolour, signed, 50 cm x 72 cm, framed.

Paulus Pontius (1603-1658) after Peter Paul Rubens (1577-1640), "CHRISTI FVNVS", engraving partly (left side) laid on card, 1628, The lamentation with two angels at right: the body of Christ rests on a white shroud at centre with Mary standing behind him and looks at the sky. St Francis wearing a habit and clasping his hands looking on at the body. In the foreground kneeling is St Mary Magdalene examining the nails used in the crucifixion, the thorn crown before her and two angels at the right. 39x50cm, unframed.

Jan Witdoeck (circa 1615-1642), after Peter Paul Rubens (1577-1640), The Entombment, with weeping female saints and the Sulphuchre, engraving laid on card, mid 17th century, 37x49cm, unframed

Paulus Pontius (1603-1658), after Peter Paul Rubens (1577-1640), "ANIMIS ILLABERE NOSTRIS", engraving laid on paper, 1627, 42x60cm, unframed

Jan Witdoeck (circa 1615- 1642), after Peter Paul Rubens (1577-1640), Melchizedek gives Abraham bread and wine to the followers of Abraham before Van Meerlen's address, engraving,1638, 42x47cm, unlaid, unframed.

A VIENNA WHITE PORCELAIN PLAQUE DEPICTING CHRIST AND THE PENITENT SINNERS AFTER PETER PAUL RUBENS MID 19TH CENTURY Our Lord depicted partially robed and with attendant penetants Blue beehive mark and impressed marks, including date 1859 Gilt framed, 60 x 50cm overall Condition Report: Rear examined out of frame and no damage or condition issues detected, with fragment of old newspaper dated 1872   Condition Report Disclaimer

After Peter Paul Rubens (1577-1640, Flemish Baroque), print, 'Study of a Male Torso', framed, mounted, and under glass, measuring 26cm x 29cm, & 64cm x 66cm overall, and another after Michelangelo Buonarroti (1475-1564, Italian) (2)

Abraham van Diepenbeeck (1596, 's-Hertogenbosch - 1675, Antwerpen), nach Peter Paul Rubens (1577, Siegen - 1640, Antwerpen) Jesus und Johannes der Täufer als Kinder, Öl auf Leinwand, u.r. signiert "A. v. Dieppenbeek", ca. 53x64cm, gerahmt (66,5x78cm), partiell retuschiert, Krakelee, u.r. kleine Farbfehlstelle, Rahmen mit GebrauchsspurenRubens und Diepenbeeck haben ab den 1620er Jahren eng zusammengearbeitet

* After Peter Paul Rubens (1577-1640). The Triumph of the Eucharist over Idolatry, probably late 18th or early 19th century, oil on canvas, relined, old auction stencils to verso of stretcher '131 NB' and '838 LD' canvas size 41 x 52 cm (16 x 20 1/2 ins), old stained wood frame with inner gilt decorative boarder (48.5 x 60.5 cm)QTY: (1)NOTE:Provenance: Collection of Michael Jaffé (1923 –1997), Rubens scholar, former director of the Fitzwilliam Museum, Cambridge.Rubens' original 1625 oil on panel of The Triumph of the Eucharist over Idolatry (65 x 91 cm) is housed in the Museo del Prado in Madrid. The work was held in various royal palaces throughout the 17th to 19th centuries, before finally residing in the Museo Real de Pinturas on the death of Fernando VII, Madrid, from 1834. Preparatory studies and later copies of the same work are known and listed.

* Follower of Peter Paul Rubens (1577-1640). Mother and Child, 17th or 18th century, red and white chalk on laid paper, with old (probably 18th century) inscription 'No. 7741', and collector's mark in pencil to lower right corner, apparently a drawn copy or version of the printed mark of the Hermitage Museum, St. Petersburg (Lugt 2061), some light spotting and marginal toning, sheet size 195 x 115 mm (7 3/4 x 4 1/2 ins), later frame, glazedQTY: (1)NOTE:Provenance: The collector's mark at lower right bears comparison to the black printed stamp of the Hermitage Museum, St. Petersburg (Lugt 2061), a stamp which was placed on the Russian collection of drawings and prints during the reign of Emperor Paul I (1796-1801); Collection of Philip Allen, Bedford, UK.Another Madonna and Child in red chalk, given to Peter Paul Rubens, measuring 24.4 x 13.4 cm was offered by Phillips, London, Old Master Drawings, Thursday, July 6th, 2000, lot 126 (estimate £120,000-£150,000).

* Circle of Peter Paul Rubens (1577-1640). Profile Head of an Old Man (Nicolo da Uzzano), after Leonardo da Vinci, black chalk on laid paper, some scattered spots and discolouration to sheet edges, several creases to left margin, small loss to lower left margin and a little insect damage to the lower edge of the sheet with minor loss, sheet size 232 x 178 mm (9 1/8 x 7 ins), hinge-mounted in 20th century window-mount with pencil annotation to the backing card by Michael Jaffé 'copy of 'Nicolo da Uzzano' [from Rubens copy after Leonardo]'QTY: (1)NOTE:Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge; Dominic Winter, South Cerney, 5 March 2020, lot 261.

Oil on canvas painting after Peter Paul Rubens (Flemish, 1577-1640). After the Rubens 1619 painting "Two Satyrs" depicting a pair of the mythical creatures. Signed illegibly along the lower right. The original work is held in the collection of the Alte Pinakothek in Munich, Germany.Sight; height: 30 3/4 in x width: 25 1/2 in. Framed; height: 42 in x width: 36 1/2 in x depth: 4 in.Condition: There are no major losses to the painting. There is a thick varnish throughout, making it difficult to discern the extent of any possible repairs. There are several evident areas of inpainting along the lips and hair of the figure as well as along the elbow. The spot along the elbow corresponds to ta patch along the verso of the canvas. Craquelure throughout. Wear including losses to the gilt wood/plaster frame.

* Houston (Richard, c.1721-1775). Haman's Condemnation, 1775, mezzotint on paper, after Rembrandt, plate size 50.5 x 35.6 cm (19 7/8 x 14 ins), sheet size 52.4 x 36.8 cm (20 5/8 x 14 1/2 ins), in a gilt frame with ornate corners (with some loss), plus Atkinson (Thomas Lewis, 1817-1898). The Free Kirk or Highland Conversation, mezzotint on paper, laid on board, after Sir Edwin Henry Landseer, signed by the engraver in pencil to lower margin, Currie and Co label to board verso, image size 63.5 x 53 cm (25 x 21 ins), sheet size 73.5 x 60.5 cm, lacking frame, and other miscellaneous 19th and 20th century prints by and after H. M. Bateman, E. Delarue, Vincent New, George Baxter after Rubens 'The third day he rose again', and Robert Morden engraved map of MonmouthQTY: (15)

After Sir Peter Paul Rubens(1577-1640)Self Portrait,oil on canvas,21.5 x 16cms, in a fine scrolling acanthus frame.

F.V.D.W. after Peter Paul Rubens (Flemish, 1577-1640), oil on canvas, 'The Flight into Egypt', monogrammed and dated 1922, 35 x 49cm, ornate gilt frame. Condition - fair, canvas sagging slightly

ANONYMUS, Peter-Paul-Rubens-Schule, Erasmus Quellinus II. (?),Werkstatt oder Umkreis, 1. Hälfte 17. Jh., Öl/ Lw., Muttergottes mit Kind, in Tempelarchitektur mit Blick in weite Landschaft, unsigniert, 155 x 110 cm, unrestauriert, stark beschädigt, Provenienz: westfälischer Privatbesitz, erworben aus der Sammlung Schloss Velen (Reichsfreiherr Landsberg-Velen)/ Münsterland, Expertise: Prof. Dr. Christoph Stiegemann, Museumsdirektor i.R. (siehe Zusatzfoto), Paketversand nicht möglich

Rubens Southey: a rustic gilt framed watercolour, depicting trees on a Dartmoor pathway - signed - 35cm X 25.5cm