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.
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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.
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).
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.
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
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)
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
An early 17th century Limoges enamel oval plaque depicting Venus and Cupid and the blowing windAfter Otto van Veen, also known as Otto Venius or Octavius Vaenius (1556-1629)The nude figure of Cupid standing at a squat column with open folio, the figure of Venus in contrapposto, her left hand gesturing towards the open volume, her chariot just visible to right edge, a celestial figure, probably Jupiter, leaning on rolling clouds, his lightning bolts clasped in the beak of an eagle, the outer border titled in Latin to the top 'Giuramento Parlo al vento' meaning 'This oath I speak to the wind' and to the lower border 'Amoure ne peut mal faire' which means 'Love can't do anything wrong', set within original gilt bronze frame, 16cm wide, 14.9cm high, 1cm deep overall approximately Footnotes:ProvenanceWith Messrs Durlacher Brothers, New Bond Street, London.Offered Christies, 16th century Italian Majolica, Bronzes & Objects of Art, French & Italian Furniture & Tapestries, Lot 34, April 1938.The image utilised by the Limoges artist is taken from the Flemish artist, illustrator and humanist – Otto van Veen (or Otto Venius or Octavius Vaenius) who was working in Antwerp and Brussels in the late 16th and early 17th century. He is remembered for producing in his studio in Antwerp a small series of 'emblem' books and for being the teacher of Peter Paul Rubens, circa 1594/1595 to 1598. The illustration from the offered lot most likely originates from one of van Veen's 'emblem' books, either Amorum emblemata (1608) or Amoris divini emblemata (1615) as illustrations from the two books both use the same oval format with near identical shaped border frames. Amorum emblemata is listed as having one hundred and twenty four putti or cupids enacting the mottoes and quotations from lyricists, philosophers, and ancient writers on the powers of love. It is recorded as one of the most influential books of its day on the subject of love and functioned not only as a template model for other Dutch and foreign 'emblem' books but also as a source of inspiration for many artists in other fields including the Limoges enamel workshops. The plaque is titled in latin 'Giuramento Parlo al vento' meaning 'This oath I speak to the wind' to the upper outer border and 'Amoure ne peut mal faire' meaning 'Love can't do anything wrong' to the lower border A comparable Limoges panel, also unattributed but dated to the late 16th or early 17th century was offered on the European art market in 2015 estimated at 5000-8000 euros.For further information on this lot please visit Bonhams.com
A pair of impressive early 20th century Vienna style porcelain vases and coversCirca 1900Each of slender sectional ovoid pedestal form, the bodies painted with continuous figural scenes, one depicting the Coronation of Marie de' Medici in St. Denis after Peter Paul Rubens, (1622–1625), the other depicting the Triumphant Parade of Katerina Cornaro in Venice, both with gilt tooled titles and signed F.Hölzel within gilt tooled pink panelled wide foliate borders, the lower sections with interlaced pale blue arched borders, all with jewelled border decoration, the flared necks in cobalt blue with gilt tooled foliate and trellis decoration, with matching shallow domed covers with gilt pine cone finials, the corresponding knopped socle bases raised on waisted circular plinths, each decorated with twin cartouches depicting historical scenes, the pedestal bases each with painted blue pseudo factory marks, 112cm high overall, 28cm diameter (2 )This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
![Walker (William) Lions at Play, In the gallery of Houghton [after Rubens], etching and engraving, on thick wove paper wi](https://cdn.globalauctionplatform.com/e418d0d3-aaa9-49f0-998d-b19b0109db6e/578477e3-a1b8-40e3-a588-b19b010c304e/468x382.jpg)
Rubens Barrichello Ferrari Chinese Grand Prix race worn helmet by Schuberth, the red, white and blue with sponsors logos the helmet dedicated (in Portuguese) and autographed by Rubens Barrichello, translated “To My Friend Bica A Big Hug Good Memories From My Last Helmet With Ferrari” with FIA Standard 8860-2004, Model RF1.5 Size 2 label on back of helmet, interior perished with taped section on top of helmet in original carry bag. The above was worn by Rubens Barrichello in his final race for Ferrari at the 2005 Chinese Grand Prix.
Henry Bone R.A. (1755-1834)The Shipwreck of Aeneas. Enamel on copper, signed and dated, HBone/ Aug 1817, inscribed along the top edge, London, July 1817, Painted by Henry Bone R.A. Enamel painter in Ordinary to his Majesty and Enamel painter to H.R.H. the Prince Regent after the Original by Rubens in the Collection/ of Thomas Hope Esqr, pierced gilt-wood frame with rocaille and acunthus leaf detail. Rectangular, 231mm (9 1/8in) highProvenance: Bonhams London, 18 November 2003, lot 148;The Twinight CollectionFootnotes:The present lot is an unusual example of Bone's work in that it is not portrait based. Whilst he is recorded as having enamelled historical and mythological subjects, they are still predominantly figurative, whereas the present enamel is almost purely a landscape.The Shipwreck of Aeneas off the Carthaginian coast in 1176 BC forms the first book of Vigil's Aeneid. The original by Rubens, painted during his Italian stay circa 1605, is currently in the Berlin-Dahlem, Staatliche Museen. The landscape was identified in 1677 by Roger de Piles, secretary to the then owner, the Duke of Richlieu in Paris. It shows the Medieval Castle built by the Genoese in 1161, situated at the top of a point dominating the now called Grotto of Byron at Porto Venere. At the foot of the hill is the Church of San Lorenzo, built in 1116 in the Lombardian style. For an illustration of the prototype, cf. Michael Jaffé, Catalogo Completo Rubens, Milan, 1989, pp.92-3.This publication states that the painting was owned by a Lady Stuart, until 1841. However as the present lot indicates, the enamel was owned by Thomas Hope (1769-1831) by at least 1817. This is a good example of how important Nineteenth Century enamel copies, with their detailed inscriptions, are in confirming the ownership and provenance of Old Master paintings. After Thomas Hope, the Rubens painting (and presumably the present enamel) passed to Henry Thomas Hope (1808-1862) and thence to his nephew Lord Francis Pelham Clinton Hope (later 8th Duke of Newcastle under Lyne) (1866-1941) and then to Sir Alfred Beit Bart, who gave the painting to the Kaiser-Friedrich-Museums-Verein in 1899. Thomas Hope was in possession of a number of Old Master paintings belonging to his younger brother Henry Philip Hope (1774-1839), which had formed part of the Hope Collection, formed by their father John and great-uncle Adrian. However once the paintings had been inherited by Lord Francis, they were to leave the family as a result of his bankruptcy through gambling in 1894. At the same time, the famous 45.52 dark blue 'Hope' diamond (now in the Smithsonian Institute), which had also been passed down through two generations of the illustrious banking family, was sold. It is most probable that Francis owned the present lot in addition to his other heirlooms and that it too was sold to ease his debts.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Sèvres plaque depicting Anne d'Autriche after Rubens, circa 1814-1824Signed Arsène and C in black enamel, the Archduchess seated on a red velvet chair under a red baldachin, facing sinister and wearing elaborate jewellery, holding a bouquet of flowers, an elaborate baroque interior with Corinthian columns and enfilade of rooms behind her, ina modern giltwood frame, 22.7cm x 18.5cm unframed printed factory mark of interlaced double L enclosing fleur de lys and Sèvres, incised 9oU I and title inscription in green,Footnotes:Provenance: Christie's, Paris, 17th December 2009, lot 53;With Michel Vandermeersch; The Twinight CollectionPainted by Mlle Arsène Trouvé (1818-22; 1827) and Jean-Marie-Dominique Troyon (1802-1817). The portrait is titled on the reverse as 'Portrait d'Elisabeth de Bourbon, Peint d'après Rubens. This is erroneous however, as the painting is based on a copy after a lost original painted by Rubens dating to 1620-1625. Anne of Austria was the eldest daughter of King Philip III of Spain and his consort Margaret of Austria. She not only held the titles of Infanta of Spain and of Portugal but also that of Archduchess of Austria. She married Louis XIII in 1615 at the age of thirteen, and was the mother of Louis XIV (1643-1715) and Philippe I, Duke d'Orléans.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
FORMULA 1 INTEREST: An '04 Foster's British Grand Prix (Silverstone) programme, bearing the siggnatures of Jensen Button, Juan Pablo Montoya, Kimi Raikkonen, Feliope Massa, Rubens Barrichello, Jarno Trulli and others, together with programme supplement, 2 baseball caps, a large frame emblazoned wih motor stickers and a framed limited edition Lotus print, 'Wingman', signed by artist Andrew Kitson, number 60/500(unauthenticated by Keys Auctioneers)
Circle of Rubens (1577 - 1640) Combat at Sea, with three male figures Red chalk and wash on paper Multiple indistinct inscriptions to bottom of mount, and 'Rubens' and 'R' inscribed bottom right. Extensive indistinct inscription verso, many references to 'Rubens' and perhaps a former report on the work. Dimensions: 19.5 in. (H) x 13 in. (W) (inc. mount)
National Gallery, The,: of Pictures by the Great Masters, presented by Individuals or purchased by Grant of Parliament. 2 Bde. London, Jones (Mitte 19. Jh.). 4°. Mit gest. Titel u. Front., sowie 114 Stahlst.-Taf. jwls. mit Textbl. Hldrbde. d. Zt. mit Rverg. u. Goldschn. (Etw. berieb. u. best.). Die Tafeln zeigen verschiedene Genreszenen, Landschaften, Ansichten etc. aus der Nationalgalerie in London. Enthält kontrastreiche und klare Darstellungen zu den Gemälden von Raphael, Rubens, Rembrandt, Poussin, Tizian, Velasquez, etc. - Etw. fleckig. - Exlibris.
Thulden,T.van.: Les travaux d'Ulisse desseignez par le Sieur de Saint Martin, de la facon qu'ils se voyent dans la maison royalle de Fontaine-bleau. Paris, F. L'Anglois (um 1640). Gr.Fol. Mit 58 Kupfertaf. 2 Bl. Lwd. des 19. Jh. (Etw. berieb. u. best., Bindebänder fehlen). Thieme/B. XXXIII, 110. - Der franz. Drucktitel mit der Impressums-Variante wie bei Hollstein VI, aber ohne Datierung (nur von alter Hand in Tinte "1640" ergänzt), Tafel I ohne eine Verlegeradresse (Hollstein 39, IV [von IV]). - Späterer Abzug der erstmals 1632 erschienenen Serie: "After the lost frescoes by Primaticcio and Niccolo dell'Abate in Fontainebleau" (Hollstein III, 37). - Der flämische Kupferstecher Theodor van Thulden (1606-69) war Schüler von Rubens und wurde 1626 Freimeister der Lukasgilde. - Alle Blätter beschnitten (Advertissement) unter Verlust der typographischen Bordüre; die Tafeln meist mit einem kl. Rd. von etwa einem halben Zentimeter zunächst auf Unterlagsblätter mont. und diese dann auf großformatige Kartons. Stellenw. gering gebräunt und etw. stockfleckig. - With 58 copper plates. Cloth of the 19th century (somewhat rubbed and bumped, ties missing). All sheets trimmed, plates mounted, in places slightly browned and with somewhat foxing.
Sammlung: von 7 Mokkatassen u. 2 Kaffeetassen, u. 1 Kuchenteller. KPM Rubens, Rosenthal, Porzellanfabrik Schönwald, GVD Bavaria. - ╔Dabei:╗ 5 Untersetzer Hoechst Motiv Aster u. kl. Blüten (4x Dm. 11 u. 1x 13,5 cm) in Orig.-Schachteln, 1 kl. Pillendöschen mit Blumenmuster außen u. innen (Paris od. Vincennes), 2 Kopjes mit Untertassen (H mit Korb). - Tls. Chips außen. Zus. 18 Tle. D
Victor Jean Nicolle1754 Paris - 1826 ebendaTivoliAuf dem Untersatz bezeichnet "Tivoli". Auf alter Rahmenrückseite Klebetikett Galerie "À la palette de Rubens [...] Leroy [...]", Paris. Aquarell und Feder in Grau und Braun auf Velin. Ca. 7,2 x 11,3 cm. Alt auf Untersatz montiert. Min. unfrisch. Rahmen der ersten Hälfte des 19. Jhs. mit Palmettendekor min. besch. (20,8 x 23,8 cm).Provenienz: Galerie Leroy, Paris. - Kunsthandel Thomas Le Claire, Hamburg. - Süddeutsche Privatsammlung.
A Flemish tapestry fragment, early 18th century, depicting the gathering of manna in the desert, Moses stands to the foreground with a staff giving thanks to God while figures around him collect the falling bread of heaven from the ground into baskets, the cut and re-joined borders with fruit, flowers, parrots and figures holding urns of fruit and flowers, later backed, approx. 337 x 332cm Footnotes: Note: This tapestry depicts the events of Exodus 16: 14-35 in the Old Testament, the story of the Israelites receiving food from heaven as they wander in the desert. God promises Moses that he will send bread to feed the starving Israelites and one morning small round loaves of bread, manna, fall from heaven and save the people from starvation. This scene has been depicted in art through the centuries, famously by Peter Paul Rubens (1577-1640), in c.1625.Condition Report: This tapestry is heavily worn overall. There are splits, frayed patches and fading overall. Some areas of reworking, particularly to the lower section which also has a heavily worn and split edge. The colours are faded throughout with discolouration, especially to the sky. It is later backed and there are losses visible to the edges. As noted in the description the borders are cut and re-joined, the tapestry is reduced.
Follower of Sir Peter Paul Rubens Bacchus;A satyra pair, oil on panel16 x 14.5cm (2)Condition Reportoverall: 25.5 x 24cmMay be 17th century, but difficult to tell age.Both paintings are executed in oil on small wooden panel supports. The panels are in a good condition overall. The thin paint layers have areas of loss following the horizontal woodgrain and in localised areas the paint is slightly raised. Areas of loss have been retouched, the overpaint has darkened over time, particularly evident around the head of the Satyr. The overpaint lies beneath the varnish which has yellowed with age. The varnish layer on the Satyr has an uneven surface texture making the painting problematic to read in normal light. There are small scuffs and scratches across the surface of both works. Under UV light some small spots of retouching fluoresce however a thick application of varnish makes reading difficult and may conceal further restoration. Please see additional condition images.
Geometrische Abstraktion 9 Arbeiten. 1967 - 1989. Mit 6 Lithographien und 3 Serigraphien, je auf verschiedenen Velin. Blattmaße von 29,5 x 21 cm bis 35 x 25 cm. 4 Arbeiten je signiert bzw. monogrammiert, nummeriert, einige datiert und betitelt. 4 Blätter je punktuell auf Unterlage montiert, dort verso mit typographischem Text. 5 Arbeiten je mit vertikaler Mittelfalz und verso typographischer Künstlerbezeichnung, diese auf dem linken Blatt jeweils mit einem typographischen Gedicht.. - Vereinzelt mit wenig merklichen Bereibungen. 1 Blatt verso mit leichten Spuren der vorherigen Montierung. Insgesamt gut. Ausgezeichnete bis hervorragende Drucke der nahezu formatfüllenden Darstellungen. Enthält je 1 Arbeit von: - Albert Rubens - Ray masters - Soto Mek - Tadeusz Myslowski - Allan D'Arcangelo - Giorgio Cavallon - Nell Blaine - Jane Freilicher - Matsumi Kanemitsu. 9 works. With 6 lithographs and 3 silkscreens, each on one wove paper. 4 works each signed or monogrammed, numbered, some dated and titled. 4 sheets each mounted on underlying mat with typographic text on verso. 5 works each with vertical centrefold and typographic artist's name on the verso, each with a typographic poem on the left sheet. - Isolated with little noticeable rubbing. On the verso of 1 sheet with slight traces of previous mounting. Overall good. Superb to excellent impressions of the nearly full-sized depictions. - With works of artists as listed above.
Art Reference, History and Other Books, including: Mary Cassatt: Modern Woman, The Art Institute of Chicago, 1998; St Petersburg: Architecture of the Tsars, Abbeville Press, 1996; others on Rubens, Renoir, Impressionism, Art Nouveau, etc.; several volumes of The Idler Magazine; architecture; fashion; Becassine; French history, etc. (11 boxes)
Otto van Veen (1556-1629): 'Amoris divini emblemate...', Antwerp, Plantin press, 16604to. Full title: 'Amoris divini emblemata, studio et aere Othonis Vaeni concinnata'. Gilt spine with five raised bands. Printed by Balthasar Moretus. Title + 60 pl. Otto van Veen (or Otto Vaenius ) was trained as a painter and humanist. He was born in Leiden in 1556. In 1572, because of the political situation, he fled to the Southern Netherlands with his family. In Liege he studied for a few years under Dominicus Lampsonius, then left for a five-year stay in Italy. After his return to the Southern Netherlands he stayed in Liege, Brussels and then settled in Antwerp. In each of these locations, he always tried to maintain favour with the Court. Until the return of his pupil Rubens from Italy, Vaenius was the leading painter in Antwerp. In his later years he turned to producing emblem books, notably Q. Horatii Flacci emblemata(1607),Amorum emblemata and Amoris divini emblemata. In 1612 he was appointed Master of the Archducal Mint. He moved to Brussels in 1615, where he died in 1629 (link). TheAmoris divini emblemata was published in 1615 (second edition: 1660). In the intro to the book, Vaenius relates how the archduchess Isabella suggested his earlier love emblems (Amorum emblemata, 1608) might be reworked ‘in a spiritual and divine sense.' After all, ‘the effects of divine and human love are, as to the loved object, nearly equal.' Both books indeed look very similar. Formally, the emblems are very much alike in structure: on the left-hand page first a Latin motto, then a group of quotations in Latin, and finally verses in several vernacular languages, on the right-hand page the picture. The visual unity ofAmorum emblemata, established among other things by the presence of the Cupid figure on all emblems but one is echoed inAmoris divini emblematain the ubiquitous presence of Amor Divinus and the soul (conveniently identified as such in the second emblem, link). Ref.: -Praz, p. 526 note. - Brunet V, p. 1025. - Landwehr, Low Countries 702.
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