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Peter Paul Rubens (1577 – 1640) – Follower, Delila cuting Samsons hair , oil on canvas, framed. 90X70 cm

Peter Paul Rubens (1577 – 1640) – Follower, elderly lady looking to the side. Oil on wooden panel. 45 x 31,5 cm.

After Peter Paul RUBENS Two Reclining Figures Watercolour, signed 'J.Douglas l'apres Rubens' and dated 1896, 31cm x 39cm, 55cm x 65cm framed. Shipping is available from £32.50 to a UK Mainland address.

Engraving of Lions by Abraham Blooteling (1640-1690), after Rubens, 17th century, plate 2 from a Variae Leonum, unframed

An S Hancock & Sons Rubens ware pomegranate-pattern fruit bowl, diameter 29.5cm

Unbekannter Künstler, deutsch, 18. Jh., Kreuzabnahme, Rubens Rezeption, Öl/Lwd, 64 x 50 cm. Unknown artist, German, 18th century, Descent from the Cross, Rubens Reception, oil on canvas, 64 x 50 cm.

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 without watermark, platemark 435 x 535 mm (17 x 21 in), good margins, small ters in the lower centre, some spotting and browning, handling creases, unframed, 1782

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.

Theodoor van Thulden (Dutch 1606-1669) after Peter Paul Rubens (Flemish 1577-1640): Hercules at the Crossroads, engraving, together with a collection of further engravings and photogravures, max 38cm x 28cm (unframed)

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

AFTER PETER PAUL RUBENS (FLEMISH 1577 - 1640), THE JUDGEMENT OF PARIS oil on canvasunframedoverall size 46cm x 61cm

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 Peter Paul Rubens (1577 - 1640) The head of Saint Peter Oil on canvas  Provenance: Monsignor Clarkson, St Joseph's SeminaryDimensions: (Frame) 36 in. (H) x 30 in. (W)  (Canvas) 28 in. (H) x 22.5 in. (W)

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)

After Peter Paul Rubens (1577-1640) Self-portrait 19th/20th Century Oil on board Dimensions: (Frame) 13 in (H) x 11.5 in (W)  (Board) 11. in. (H) x 9 in. (W)

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

Giovanna RonconeHommage aan Rubens, ongesigneerd, aquarel op papier, 50 x 65 cm.

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.

Time Life Library of Art, 12 volumes, The World of Goya;  Giotto;  Rembrandt;   Rodin;   Durer;  Rubens;  Manet;  Matisse;   Turner;   Michelangelo;   DelacroiX;   Velazques

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.

AFTER PETER PAUL RUBENS (1577-1640): A SELF PORTRAIT OF THE ARTIST, 36cm x 30cm See the original: https://nga.gov.au/exhibitions/rubens-self-portrait-in-focus/

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.

KÜNSTLER DES XX JAHRHUNDERTS "Porträt von Helene Fourment" nach Vorlage von Peter Paul Rubens Mischtechnik, HxB: 20/14 cm. Rahmen, HxB: 39/34 cm.| ARTIST OF THE XX CENTURY "Portrait of Helene Fourment" after a model by Peter Paul RubensMixed media, HxW: 20/14 cm. Frame, HxW: 39/34 cm.

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)

Rubens Southey (1881-1933)Pair of Coastal Scenes Signed, watercolour, together with further two watercolours by different hands, to include "A Summer Garden" by F K Agar and "Griff Mill, Coverdale" By E Charles Simpson, 22cm by 50cm, 18.5cm by 30cm and 26cm by 36cm respectively (4)

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.

Flemish school, follower of Peter Paul Rubens, Erasmus Quellinus II and/or entourage: Mystic marriage of S. Catherine, oil on copper, 17th C.Work: 72 x 55 cm Frame: 95 x 77,5 cm The painting based on the large and impressive 'The Madonna accompanied by saints' by Peter Paul Rubens (1577-1640) in the Augustijnenkerk in Antwerp (link). However, our version (in comparison with the painting by Rubens) opts for a more horizontal approach and a more prominent recognition of the theme: the mystical (or mystic) marriage of Saint Catherine of Alexandria, note the broken wheel in front of the throne. The theme was particularly popular in the course of the 17th century within the Antwerp artistic context, as evidenced by, among others, versions of Theodor Boeyermans (1620-1678, link) and Erasmus Quellinus II (1607-1678, link). The close relations between Rubens and Quellinus support an attribution in the direction of Quellinus and/or entourage (link).

A set of twenty Express Art portfolios. Each featuring the works of a famous artist or genre and containing sixteen coloured plates and information regarding the featured works, including 'Dufy', ' French Impressions', 'Rubens', 'Masterpieces of British Painting' and more

A Jenson Button, Rubens Barrichello and Ross Brawn autographed poster, 30 x 43cm., and another Jenson Button autographed poster, (2)

Michiel Wauters WerkstattKönig Charles II. von England zu Pferde, glorifiziert von antiken Göttern, im Hintergrund das Panorama von London (Entwurf von Abraham van Diepenbeeck)um 1660/1670Tapisserieca. 290 x 500 cm, unterer Rand beschnitten Kunsthandel Wagner-Maurer, Wien, 1974;Sammlung Erna Weidinger (1923–2021)1974 Wiener Kunst- und Antiquitätenmesse, S. 94vgl. David W. Steadman, Abraham van Diepenbeeck. Seventeenth-Century Flemish Painter, Michigan 1982, S. 48 (…"such as Charles II on Horseback, a portrait which indeed was one of those translated into a tapestry.");Wiener Kunst- und Antiquitätenmesse, Wien 1974, S. 94 (mit Abb.)Die monumentale Tapisserie entstammt der Werkstatt von Michiel Wauters, einer der führenden Manufakturen Antwerpens. Die von den Habsburgern regierte Stadt war die herausragende Kunst-, Textil- und Luxusgütermetropole des 17. Jahrhunderts, sowohl in der Produktion als auch im Handel. Die auf den Vertrieb derartiger Kunstgüter spezialisierte Familie Forchondt unterhielt intensive internationale Beziehungen zu allen großen Herrscherzentren wie England oder Spanien. In der kaiserlichen Hauptstadt Wien jedoch wurden die hier sesshaft gewordenen Söhne der Familie Forchondt bereits in den 1660er Jahren nicht nur zu Hofjuwelieren ernannt, sondern erhielten auch eine offizielle Handelslizenz. Sie arbeiteten eng mit Michiel Wauters zusammen, der die seit der ersten Hälfte des 17. Jahrhunderts bestehende Tapisserie-Werkstatt seines Vaters durch die Umsetzung von rubenesken Entwürfen zur Blüte brachte. Einer der bevorzugten Künstler dazu war Abraham van Diepenbeeck (1596-1675), welcher seit den 1620er Jahren selbst eng mit Peter Paul Rubens (1577-1640) zusammenarbeitete. (vgl. Guy Dermarcel, Flemish Tapestry, New York/London 1999, S. 255 ff.)Das Inventar von Michiel Wauters vom 16. Oktober 1679 beschreibt eine Folge von acht Tapisserien mit Pferdedarstellungen von Abraham van Diepenbeeck. Es wurden mehrere Sets gewoben, welche sich heute zumeist in englischen Sammlungen befinden. Die Szenen sind alle inspiriert von Entwürfen, die Van Diepenbeeck für den Duke of Newcastle schuf. Sie wurden in dem 1657 publizierten und ebenfalls König Charles II. gewidmeten Buch über die Reitkünste "Methode et invention nouvelle de dresser les chevaux" als Stiche veröffentlicht. Das Buch war als praktische Anleitung zur Pferdeerziehung konzipiert und so wurden die meisten, eher nüchtern gehaltenen, Darstellungen erst bei der Umsetzung in Wandbehänge durch klassisch-antike Adaptionen auf eine weitere repräsentative Ebene gehoben. Zu nennen wäre hier beispielsweise die Tafel 24 des Buches "Courbettes de coté à gauche", welche erst in der Tapisserie den Pferdetrainer als "eleganten Mars" darstellt (vgl. David W. Steadman, Abraham van Diepenbeeck. Seventeenth-Century Flemish Painter, Michigan 1982, S. 48). Auf der im Archiv des RKD, Den Haag, befindlichen Fotografie von einer Tapisserie dieser Reitschul-Darstellungen ist eine dem vorliegenden Wandbehang vergleichbare Bordürengestaltung dokumentiert (vgl. RKD, Foto-Nr. 235188). Die Komposition mit Charles II. ist jedoch im Gegensatz von Beginn an als durch die Mythologie übergeordnete Huldigung des Herrschers entworfen. Schon das von Cornelis van Caukercken (1626 - 1680) gestochene Blatt "Charles Le Second Roy de la Grande Bretagne" (Abb. 1) zeigt damit u.a. große Nähe zu Jacob Jordaens, welcher um 1650 die Entwürfe zu einer "Reitschule" in Kombination mit antiken Gottheiten geschaffen hatte – auch Kaiser Leopold I. erwarb die gewobene Serie, sodass sich diese heute im Kunsthistorischen Museum, Wien, befindet (vgl. KHM, Inv.-Nr. Kunstkammer, T XL 1). Das am unteren Rand des Stichs nach Abraham van Diepenbeeck angebrachte Spruchband verdeutlicht zudem, dass es sich schon bei der Komposition um die einer Apotheose gleichenden Glorifizierung Charles II. als König, Feldherr und Reiter handelt: "Que Pallas soit vôtre guide, Cupidon vôtre Page, Mars le Capitaine qui conduise vôtre courage; Que votre propre monture foit le Pegase aile, Et Mercure, comme laquaÿ, toûjours a vôtre côte Que la Fortune soit en votre seul pouvoir soûmise, Elle, qui sur nos testes ést jusques icÿ affise."Möge Pallas Euer Führer sein, Cupido Euer Page, Mars der Kapitän, der Eure Courage leitet, Möge Euer eigenes Ross der Flügel des Pegasus sein, und Merkur als Diener, immer an Eurer Seite, Auf dass Fortuna Euch allein untergeordnet ist, Sie, die stets über unser Schicksal bestimmt. Während im Stich der Protagonist von einer Heerschar von Engeln mit Kronen bedacht wird, zeigt die Tapisserie am rechten oberen Rand Pallas Athene, die Göttin des Kampfes, der Weisheit und der Kunst mit nur einem Begleiter, welcher König Charles II. mit einem Lorbeerkranz bekrönt. Rechts unten folgt Cupido seinem Herrscher mit dessen Helm, während in der linken unteren Bildebene der kämpfende Mars neben allerlei Gerätschaften zur Kriegsführung dargestellt wird. Mittig, direkt unter dem stolzen Ross, ist Hermes der Götterbote mit seinem Heroldstab dargestellt – hier, wohl in Bezug auf das Spruchband, als "Glücksbringer" bzw. "Überbringer des Glücks".Im linken Mittelgrund ist die Stadtansicht von London wiedergegeben. Am vorderen Flussufer ist die Kathedrale von Southwark zu sehen, während die alte, damals mit Häusern bebaute London-Bridge das Auge des Betrachters zum Panorama der Stadt führt. Neben zahlreichen anderen Kirchen ist u.a. die St Paul’s Cathedral links über Mars' Schwert zu erkennen. Die Perspektive und Ansicht entsprechen annähernd einem London-Panorama von Claes Visscher (1587-1652), welches 1616 erstmals publiziert wurde und als eine der besten Darstellungen der Metropole noch vor dem ‚Großen Brand‘ im Jahr 1666 gilt.Auch als königliches Siegel hatte Charles II. eine Darstellung zu Pferde vor dem Londoner Stadtpanorama gewählt. Denn Reiterbildnisse verkörpern seit der Antike den Inbegriff des Herrschers, der Macht und des Sieges. Sie wurden spätestens seit der Renaissance in Europa zu einer der bevorzugten Repräsentationsformen erhoben. Die Pose des Pferdes und seines Reiters entsprechen auf vorliegender Tapisserie bis auf kleine Details einer weiteren Komposition Abraham van Diepenbeecks, den spanisch-habsburgischen "Kardinalinfant Ferdinand (1609-1641) zu Pferde" darstellend, entworfen in den 1630er Jahren und von Antony van der Does (1609-1680) gestochen. Auch dieses Werk Diepenbeecks steht in großer Nähe zu Rubens und seinen stilprägenden Reiterbildnissen eines Herrschers auf einem Pferd in klassischer ‚Levade‘.

Hot Wheels - Minichamps - 2 x 1:18 scale F1 cars, a Ferrari F-2002 Rubens Barrichello car # 26738 and a McLaren Honda MP4-5B. The McLaren is a little dusty from display and appears in Excellent condition, the Ferrari appears Mint. The boxes are both tatty with storage wear and creasing. (This does not constitute a guarantee) [ba-2]

Hot Wheels Racing - 2 x boxed 1:18 scale Ferrari F1 cars, an F1-2000 Rubens Barrichello car # 26738 and an F2003-GA Michael Schumacher Japan GP car # N2077. The models appear Mint in Fair boxes with storage wear, one box has a hole cut in the bottom. (This does not constitute a guarantee) [ba-2]

Hot Wheels Racing - 2 x boxed 1:18 scale Ferrari F1 cars, a Fernando Alonso 150 Italia. # W1073 and a Rubens Barrichello F2005 car # B6200-0510. The cars appear in Mint condition in Good boxes with some light storage marks. (This does not constitute a guarantee) [ba-2]

Hot Wheels Racing - 2 x boxed 1:18 scale Rubens Barrichello Ferrari F1 cars, an F2003-GA # B1024 and an F2004 car # B6021. The models appear Mint, the F2003 box has a split window. (This does not constitute a guarantee) [ba-2]

Hot Wheels Racing - 2 x boxed 1:18 scale Ferrari cars, Michael Schumacher F1-2000 car # 26737 and a Rubens Barrichello F2001 car # 50203. The models appears Mint in Fair boxes with storage wear. (This does not constitute a guarantee) [ba-2]

Porzellan-Bildplatte (Heubach), Motiv: "König David spielt die Harfe" von P.P. Rubens,sign.: A. Scherf, bez., ca. 31 x 24 cm, gerahmt (ca. 40,5 x 34,5 cm). Versand nur durch externen Dienstleister möglich.

Gertrude FLORIAN (1875-1958) Die Früchtegirlande,Öl/Leinwand, Großformat, unsigniert, verso mit Klebezettel Gertrude Florian München mit Anschrift, Die Früchtegirlande nach P. Rubens, deutsche Porträtmalerin geb. 1875 in Chotieschau/Böhmen - 1958, Schliersee, H 83 cm x B 130 cm, Rahmen 91 cm x 138,5 cm, nachgebessert

A collection of parian busts, to includeJohn Knox, Sir Peter PaulRubens, Lord Kitchener with the City of London coat of arms, Sir Walter Scott with polychrome coat of arms, Napoleon III, Clytie, and continental bust of Tasso, largest 19.5cm high (7)john knox - chip to brim of hat surface dirt and stainingscott - surface dirt and stainingcontinental military gentleman - chip to base and some firing cracks, surface dirtrubens - possible restoration to back cornerkitchener - surface dirt and staining firing crack to back of head and down the side, v small chip to underside of bustTasso - end of ribbon broken off, top of leaf missing to laurel garland, surface dirt and stainingClytie - restoration to neck, possible break, surface dirt and stainingsee further images for condition

William Hogarth (British 1697-1764): 'Frontispiece and its Explanation (for Samuel Butler's Hudibras)' and 'St Hudibras', pair 18th century engravings; After George Cruikshank (British 1792-1878): Frontispiece to 'Prince Egan's Finish to the adventures of Tom, Jerry and Logic...', engraving with hand-colouring; together with 17th century engraving after Peter Paul Rubens and a collection of other antique engravings including an original 18th century pen sketch on canvas (approx. 15)

Circle of Sir Peter Paul Rubens (1577 - 1640) Derived from the Raphael fresco of The Battle of the Milvian Bridge in the Apostolic Palace, Vatican. Painted circa 1600 oil on canvas, this derivative painting shows the Battel of the Milvian Bridge that took place in 312 between the Roman Emperors Constantine I and Maxentius. Legend has it that Constantine had a dream where he would win the battle if using a cross as his standard. He used the cross as a standard and won the battle, attributing his victory to the God of Christianity. The Ponte Milvio still stands in Rome to this day, crossing the river Tiber. Unframed Oil on canvas Provenance: In the collection of Sir Herbert E. White, Villa Tingitana, Saint-Jean-de-Luz, France by 1923; and thence by descent in the family of the current owners. Dimensions: 30 in. (H) x 82 in. (W)

A large mid 17th century Flemish tapestry (possibly Antwerp) depicting Samson sleeping in the lap of Delilah while one of the Philistines is cutting off his locks, after the painting by Rubens. Cut in half, then re joined. possibly the top and bottom and sides also cut. The sides having two maroon curtains attached either side. 409cm wide(not including curtains). Appears to have been turned in around the edges but these have not been inspected 409 cm wide x 208cm high Provenance- Brede Place, East Sussex, a former residence of the Frewen family from 1712-1936.***CONDITION REPORT***The tapestry has been cut down from a larger tapestry. It is in need of specialist conservation cleaning and needs repairing.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Wilhelm Busch 1832 Wiedensahl bei Hannover - 1908 Mechtshausen bei Seesen/Harz Esel und Huhn im Stall. Um 1880. Öl auf Holz. Links unten in der nassen Farbe signiert. Verso typografisch nummeriert sowie handschriftlich bezeichnet. 27,5 x 34 cm (10,8 x 13,3 in). PROVENIENZ: Privatbesitz. Privatsammlung Niedersachsen. LITERATUR: Hans Georg Gmelin, Wilhelm Busch als Maler, Berlin 1981, S. 412, WVZ-Nr. 947 (m. Abb.). - - Christie's, London, Auktion 20.4.1979, Los 158 (m. Abb.). Wilhelm Busch erreicht vor allem mit seinen humoristischen Geschichten größte Bekanntheit. Als begnadeter Zeichner und pointierter Karikaturist schafft er Bildergeschichten, die ab den 1860er Jahren veröffentlicht werden. Seine Eltern hatten für den Sohn eigentlich die Laufbahn des Ingenieurs vorgesehen, Busch jedoch hatte sich in den Kopf gesetzt, Maler zu werden. Das Studium in Düsseldorf scheitert an mangelndem Pflichtbewusstsein, ein Wechsel an die Akademie nach Antwerpen bringt ihn allerdings den so verehrten alten Meistern wie Rembrandt, Rubens, Adriaen Brouwer und Frans Hals näher. Deren Leichtigkeit und Unbefangenheit im Umgang mit der Farbe und das tonige Kolorit faszinieren ihn und prägen seine eigene Malweise. In seinen Gemälden sowie auch in seinen Bildergeschichten tauchen immer wieder neben den Menschen Tiergestalten auf, denen er zeichnerisch und malerisch nicht weniger große Aufmerksamkeit widmete. Ähnlich wie bei den Figurenszenen sind es die alltäglichen, gewöhnlichen Tiere, die Busch hier als bildwürdig erachtet und malerisch festhält. [KT] Aufrufzeit: 08.06.2024 - ca. 14.37 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONWilhelm Busch 1832 Wiedensahl bei Hannover - 1908 Mechtshausen bei Seesen/Harz Esel und Huhn im Stall. Um 1880. Oil on panel. Signed in the wet paint in lower left. Numbered in typography and with an inscription on the reverse. 27.5 x 34 cm (10.8 x 13.3 in). PROVENANCE: Private collection. Private collection Lower Saxony. LITERATURE: Hans Georg Gmelin, Wilhelm Busch als Maler, Berlin 1981, p. 412, no. 947 (illu.). - - Christie's, London, auction on April 20. 1979, lot 158 (illu.). Wilhelm Busch became particularly well known for his humorous stories. The gifted draftsman and caricaturist he was, Busch created illustrated stories that were published from the 1860s onward. While his parents wanted their son to become an engineer, Busch was determined to become a painter. A lack of conscientiousness, however, led to him dropping out of university in Düsseldorf. Instead he transferred to the academy in Antwerp, which brought him closer to the much revered old masters such as Rembrandt, Rubens, Adriaen Brouwer and Frans Hals. Fascinated with their lightness and free treatment of color and their earthy palette, he developed his own style. In his paintings as well as in his picture stories, animals appear alongside people, to whom he devoted no less attention in his drawings and paintings. As in the figure scenes, it is the common animals that Busch considered worthy of depicting. [KT] Called up: June 8, 2024 - ca. 14.37 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

RUBENS SOUTHEY (1881-1933), Coastal storm scenesigned and dated 1904 lower left, watercolour, 52cm x 74cm, in gilt moulded frame and glazed

Fully hallmarked in two places, detailed with coat, hat and goggles, height 9cm, head removes for refilling.These pepper pots were based upon the character of Mr Popple and were made when the most popular musical comedy on stage was 'Mr Popple of Ippleton' by Paul Rubens, which opened on 14th November 1905 at the Apollo Theatre and ran for 173 performances. In the last act, all of the characters attended the Motor Carnival of the Magpie Club, at Wrexhill-on-Sea, muffled in huge white motor coats made from blankets, the designs varied a little, but large gold buttons, huge turn-back cuffs, peaked caps and goggles are the chief adornments.Click here for more details and images

A French bronze group of Europa and the Bull, Late 19th century, The Phoenician princess depicted perched upon the kneeling bull, both with floral garlands in their hair, on an oval base with ribbon tied laurel wreath border, 30cm high, 29.3cm wide, 20cm deep       Footnotes: Note: The story of the meeting of Europa and Zeus appears in Ovid Metamorphoses (Bk 2, verses 833-875). While strolling on a beach in Sidon, the beautiful Phoenician princess Europa encounters Zeus, who transforms himself into a bull in order not to draw attention to his wife Hera. Europa approaches the impressive animal to stroke it and it kneels and entices her to climb onto its back. The Bull then carries her off to the Island of Crete, where their union results in the birth of Minos, Rhadamanthus and Sarpedon. The iconography was popular in the Ancient world, depicted in wall paintings, mosaics and vases, and was painted by artists such as Titian in 1559-1562, Rubens in 1628 and Rembrandt in 1632.    

2 F/G coloured Lithographs Rubens, David church of St Helena, chapel of St Helena

Rubens (Alfred), A Jewish Iconography, limited to 500 copies, Jewish Museum, 1954; together with Roth (Cecil), editor, The Ritual Murder Libel and the Jew, Woburn Press. (2)

Lindenschmit d. J., Wilhelm von1829 München - 1895 EbendaKünstlerköpfe (Von links: Alfred Rethel, Albrecht Dürer, Rembrand van Rijn, Tizian Vecelli, Raffael Santi, Leonardo da Vinci, Diego Velasquez, Claude Lorrain, Peter Paul Rubens, Michelangelo Buonarroti) Bleistift auf Pergament · 25,5 x 47,2 cm (Sichtmaß). Nicht signiert. Blatt unregelmäßig beschnitten. Papiereinrisse. Durschlagende Montagespuren. Ohne Rahmen. Provenienz: Sammlung Fritz Aigner, Prien am Chiemsee (Im Passepartout von Aigner handschriftlich bezeichnet).

UMFASSENDES KONVOLUT VON GRAFIKEN (CA. 70 BLÄTTER) AUS DEM UMFELD DER KÄTELHÖNER DRUCKEREI UND DER KÜNSTLERKOLONIE WAMEL ca. 70 Blätter. Verschiedene Maße und Drucktechniken. Größstenteils signiert, teilw. mit Widmung. Künstler u.a.: Horst Antes, Bernd Völkle, Maurilio Minuzzi, Gabriele Grosse, Eva Janoskova, Albert Rubens, Dietmar Lemcke, Christian Mischke, Hans Nagel. Teilw. mit Knickspuren, teilw. leicht besch., teilw. leicht fleckig, teilw. leicht gebräunt. Ungerahmt. Provenienz: Privatsammlung Essen.

Niederländisch -- 1. Hälfte 18. Jh. Rückkehr der Heiligen Familie aus Ägypten.Rötel und Graphit auf Pergament. 40 x 31,3 cm.Die äußerst fein ausgeführte Zeichnung nimmt das Motiv des gleichnamigen Stichs von Lucas Vorstermann I. nach Rubens (vgl. Hollstein 11) gekonnt auf und hebt dabei die Figurengruppe durch die farblich akzentuierte Gestaltung plastisch vom Hintergrund ab. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Flämisch -- 17. Jh. Maria als Himmelskönigin mit dem Christusknaben. Öl auf Leinwand, doubliert. 32 x 25,5 cm.Der Bildtypus der Jungfrau als Himmelskönigin im roten Kleid mit blauem Gewand, die das unbekleidete Christuskind auf dem Arm hält, ist in der flämischen Kunst des 17. Jh. im Umkreis Peter Paul Rubens sehr verbreitet. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

After Rubens Arthur Moore (fl. 1881-1920) - three oil on canvas paintings depicting scenes of London, comprising Interior of La Belle Sauvage, Ludgate Hill London; Belle Sauvage Ludgate Hill and The Cock Tavern, Bishopgate Street, London. Each framed & glazed in 19th century frames. Largest measures approx. 51cm x 38cm to include frame.

Suyderhoef, Jonas -- Der Sturz der Verdammten. Kupferstich von zwei Platten nach Peter Paul Rubens. 69 x 53,6 cm. 1642. Wurzbach 104, Hollstein 2 I (von III). Vor der Adresse von Frederick de Wit. Ganz ausgezeichneter Druck knapp in die Darstellungen geschnitten, unten mit dem Schriftrand. Die beiden Blätter zusammengefügt und auf einem Untersatzkarton aufgezogen. Etwas angestaubt und vereinzelt stärker fleckig, umlaufend kleinere Randschäden und vereinzelt geschlossene Randeinrisse, oben rechts offener Randeinriss, weitere Erhaltungsmängel, sonst noch gut. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Bolswert, Boetius Adams -- Nächtliche Waldlandschaft mit Fuhrwerk. Radierung und Kupferstich nach Peter Paul Rubens. 33,6 x 45,5 cm. Wurzbach, aus 86, Hollstein, aus 305-325 IV (von V). Wz. Schrift (undeutlich).Ganz ausgezeichneter, gegensatzreicher Druck mit Rändchen um die Plattenkante. Leicht stockfleckig und lichtrandig, gelegentlich unauffällige Bereibungen, geschlossener Randeinriss unten mittig, kleine Ausbesserung mit Federretusche rechts im dunklen Laub, weitere kleine Gebrauchsspuren, sonst in sehr guter Erhaltung. Aus der Sammlung Prinz Soutzo (Lugt 2341) sowie mit alter Sammlerannotation in griechischer Schrift, u.a. datiert "1858". - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.