Petrus Paulus Rubens was a man and an artist full of contradictions. Flemish by birth, he served 17th century monarchs from both British and Spanish courts as a painter and diplomat. Petrus Paulus Rubens' paintings often reflected his Catholic leanings and his humanitarian upbringing.
Hallmarks of Petrus Paulus Rubens' artwork include complex figure groupings and working on large pieces. The term Rubenesque developed from his depictions of fleshy, curvaceous women. Roman Catholic churches, as well as many members of Europe's royalty, commissioned Petrus Paulus Rubens' paintings.
Like other artists of his time, Petrus Paulus Rubens' drawings were preparatory work for his paintings. They cover a wide variety of subjects, including adult nobles, children, animals, and landscapes. Their richness and attention to detail make them works of art in their own right. Consider some of the many fine portrait paintings for sale or at auction to add to your art display.
RUBENS Pierre Paul (1577 - 1640). D'après. Tableaux Huile sur panneau parqueté "La chasse au loup". D'après Pierre Paul Rubens. Ecole flamande. Epoque: XVIIème. On y joint une documentation ainsi qu'un rapport d'examen et de traitement. Dim.:+/-50,5x64cm.
RUBENS Pierre Paul (1577 - 1640). D'après. Tableaux Huile sur panneau de chêne "La Félicité de la Régence". D'après Pierre Paul Rubens. Ecole flamande. Epoque: début XIXème. Dim.:+/-53,5x41,5cm.
European school, 18th century, copy after Peter Paul Rubens (1577-1640) ‘The Descent from the Cross’, unsigned. Copy after Rubens 'The Descent from the Cross' (1612-1614) in the Cathedral of Our Lady (Onze-Lieve-Vrouwekathedraal) in Antwerp.
Peter Paul Rubens Engraving L'Accouchement De La Reine with Certificate of Authentification, Professionally Framed. Framed measures 23 inches x 20 inches, art measures 10 inches x 8 inches.
After Peter Paul Rubens, 'The Virgin handing Infant Jesus to Francis Of Assisi' Oil on canvas. Dutch Description: Naar Peter Paul Rubens 'Maria reikt het kind Jezus aan de heilige Franciscus van Assisi', olie op doek. Dimensions: (W:100 x H:117 cm)
Flemish school following models of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640); end of the XVII century "Holy Family with St. John and Lamb". Oil on canvas. It presents restorations on the pictorial surface and patches on the back. Measurements: 112 x 191 cm; 128 x 168 cm (frame). The way in which a small angel offers grapes to the Virgin in this painting, is very reminiscent of the type of composition used by Rubens in his work "Holy Family with St. Francis", also the Barnes Foundation in Philadelphia has a work very similar to the present one in terms of the arrangement of the character attributed to the workshop of Rubens (No. BF849). The influence of Rubens is evident in the characterization of the figures and in the canons of generous forms, the plump nudes of the infants and tactile flesh tones. Also the rich palette with which the green and blue shades of the bucolic landscape are contrasted against the emphatic red and blue cloaks and tunics, as well as the white cloth of the child, shows the teaching of the Flemish master. Peter Paul Rubens was a painter of the Flemish school who, however, competed on equal terms with contemporary Italian artists, and enjoyed a very important international importance, since his influence was also key in other schools, as is the case of the transition to full baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated.Rubens had three teachers, the first being Tobias Verhaecht, a painter of precise and meticulous technique who had traveled to Italy, and who instilled in the young painter the first artistic rudiments. It is also possible that Rubens traveled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter also oriented towards the Italian influence, with a language still Mannerist, and who must also have influenced the young man to visit Italy. Finally, his third teacher was Otto van Veen, the most outstanding and the last of them. After his training, Rubens joined the Antwerp painters' guild in 1598. Only two years later he made a trip to Italy, where he remained between 1600 and 1608, and in 1609 he returned to the Netherlands, in the service of the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a chamber painter, Rubens will exercise diplomatic tasks for the court that will take him to visit Spain, London and Paris. In 1609 he married Isabel Brant in Antwerp and organized his workshop, hiring excellent collaborators, with whom he worked side by side, many of them being specialist painters (Frans Snyders, Jan Brueghel de Velours...). He will also welcome disciples and will create an excellent workshop of engravers, who will work from drawings of his own hand, and under his supervision. It presents restorations on the pictorial surface and patches on the back.
Circle of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640); 17th century. "The Triumph of the Eucharist over Idolatry". Oil on copper. It has a label of the Board of Seizure, Protection and Conservation of the National Artistic Treasure, Madrid. It presents faults in the pictorial surface. It has a XIX century frame. Measurements: 70 x 87 cm: 94 x 108 cm (frame). Painting of the Flemish school of the circle of Rubens, in which we recognize the model that the painter takes to represent this scene: the "Triumph of the Eucharist over Idolatry" of Rubens, one of the cartoons that served as models for the tapestry makers to make the tapestries of the Triumph of the Church destined to the Monastery of the Descalzas of Madrid. Specifically, the model corresponds to one of the six panels in the Museo del Prado. The painting in question is of a high technical and compositional level, appreciable in every detail. The sculptural forcefulness of each character turns the foreshortenings into a striking scene that configures an authentic trompe-l'oeil. An angel, allegory of the triumphant Church, appears in the upper right corner. He carries a monstrance whose brightness seems to dazzle and drive away idolatry, incarnated in the calf whose horns the idolater pulls. The force of Good pushes the group to the right, making each of the figures, representatives of paganism, fall. The angels, among festoons and garlands of fruit, allude to abundance and ecclesiastical virtues. The image of the classical god in the background reproduces the sculpture of Olympian Zeus by Phidias. The combination of pagan and Christian elements is characteristic of the culture of Christian humanism that predominated in Europe in the 16th and 17th centuries. Around 1625, the Infanta Isabel Clara Eugenia, governor of the Spanish Netherlands, commissioned Rubens to design a series of twenty tapestries for the Descalzas Reales Monastery, where all of them are still preserved. All the designs, painted on panel, deal with the theme of the Eucharist, the main dogma of Catholicism that the Infanta defended. Rubens made several preparatory sketches for this series, which are among the best of his entire production, and show his characteristic expressiveness and vitality, and his great knowledge of the works of art of Antiquity and the Renaissance. It has a label of the Board of Seizure, Protection and Conservation of the National Artistic Treasure, Madrid. It presents faults in the pictorial surface.
José Maria Galván y Candela (19th century) after Peter Paul Rubens (1577 Siegen - 1640 Antwerp): The chaste Susanna and the two old men/elders, 1898, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Rubens p^. / Galvan d. 98". At the lower part inscribed in the printing plate: "La Casta Susana". Date: 1898 Description: The artwork depicts the biblical scene "Susanna and the Elders" from the Book of Daniel. A naked Susanna is being harassed by two older men standing in a lascivious pose. The depiction emphasises morality and virtue over misogynistic oppression. Keywords: Susanna; Elder; Bible; Book of Daniel; biblical scene; women's rights; morality; virtue; art history; pressure; femininity; oppression; harassment; figure; religious art; invitation; symbolism; narration; history; justice;, 19th century, Baroque, Biblical, Spain, Size: Paper: 31,6 cm x 44,8 cm (12,4 x 17,6 in), Plate: 21,8 cm x 30,5 cm (8,6 x 12 in), Depiction: 18,3 cm x 21,2 cm (7,2 x 8,3 in)
William French (1815 Sussex - 1898 East Grinstead) after Peter Paul Rubens (1577 Siegen - 1640 Antwerp): Nude with fur coat, 19th century, Etching Technique: Etching on Paper Inscription: Signed by the artist below the image in the printing plate and inscribed in French: "La Pelisse". Date: 19th century Description: After the original by Rubens from around 1638. Full-length depiction of a female nude with a precious fur coat wrapped around her. The depiction is surrounded by a frame of tendrils of wild wine. Keywords: 19th century, Romanticism, Fashion, France, Size: Paper: 30,5 cm x 21,5 cm (12 x 8,5 in), Depiction: 16,9 cm x 10,5 cm (6,7 x 4,1 in)
Peter Paul Rubens - "Hunting Diana" Lithograph This lithograph is a limited-edition reproduction of Peter Paul Rubensâ dynamic oil painting 'Hunting Diana', originally housed in the Museo del Prado, Madrid, Spain. The artwork captures the Roman goddess Diana in motion, leading a group of huntresses. Rubens' mastery of movement and anatomy is showcased, while the vivid colors and expressive forms typical of the Baroque style are preserved. Printed on specially manufactured paper, this piece features an authentication stamp on the reverse side, adding to its collectible appeal. A valuable addition for art lovers and Rubens enthusiasts.
(Siegen 1577–1640 Antwerp) Madonna and Child, red chalk, heightened with white and cream gouache, reworked with red chalk, on laid paper, two strips of paper added at the upper margin, 24.4 x 13.4 cm, mounted and framed Provenance: Collection of Jonathan Richardson, Sr. (1665–1745), London, Lugt 2183; Collection of Arthur Pond (circa 1705–1758), London, Lugt 2038, according to an inscription on the old mount; Galerie Jan de Maere, Brussels, 1991; sale, Dorotheum, Vienna, 18 October 1994, lot 216 (as reworked by Peter Paul Rubens); sale, Phillips, London, 6 July 2000, lot 126 (as Peter Paul Rubens); Private collection, Austria Exhibited: Metz, Musées de Metz, La Réalité Magnifée. Peinture flamande 1550–1700, 26 June 1993 - 26 October 1993, cat. no. 26 (as Italian School, 16th Century, retouched by Peter Paul Rubens). Literature: La Réalité Magnifée. Peinture flamande 1550–1700, exhibition catalogue, Musées de Metz, Metz 1993, p. 178, cat. no. 26 (as Italian School, 16th Century, retouched by Peter Paul Rubens); P. Joannides, More on Rubens’ Interest in Michelangelo and Raphael, in: Paragone, LVII, third series, no. 68, 2006, pp. 35, 38, note 16, fig. 30 (as Peter Paul Rubens); J. Wood, Corpus Rubenianum Ludwig Burchard, XXVI: Copies and Adaptations from Renaissance and Later Artists: Italian Artists, I. Raphael and His School, London 2011, cat. no. 33, pp. 232–234, fig. 76 (as after Raphael, retouched by Peter Paul Rubens) The present study of a Madonna and Child is related to a similar drawing in red chalk at the Museum Kunstpalast, Düsseldorf (inv. no. KA [FP] 13v., 39.1 x 27 cm), which has been attributed to Giulio Romano (see P. Joannides, More on Rubens‘ Interest in Michelangelo and Raphael, in: Paragone, LVII, third series, no. 68, 2006, p. 35, 39, note 20, fig. 32). However, the prototype of this composition seems to be based on an earlier design by Raphael for his Madonna of Humility Crowned by Angels at the Musée Condé, Chantilly (inv. no. DE 64, 28.6 x 23.6 cm), which can be dated to circa 1507/8 – about eight years before Giulio entered Raphael’s workshop around 1518–1520. The drawing by Raphael is a detailed compositional study in brush, pen, and brown ink showing a further group of figures and two hovering angels in addition to the principal group of the Madonna and Child, whereas Giulio’s study concentrates solely on the figure of the Christ Child and on the Madonna’s hands. Her left arm and the folds of her dress are only summarily indicated, while the Madonna’s head is lacking completely in the Düsseldorf drawing. It could have been lost over time, as is suggested by the poor state of preservation and considerable traces of abrasion, so that the part in question might no longer be visible now. While the lower part of the sheet with the figure of the Christ Child corresponds closely to Giulio’s study, the drawing expanded by Rubens highlights the personal interaction between mother and child. The question whether Rubens used Giulio’s model as a direct source for his copy or whether he owned a second version based on the design in red chalk and reworked the earlier drawing in the same medium has repeatedly been discussed by Rubens scholars but has not been clarified with certainty. In either case, as a reworked model by another hand and adaptation of a copied pictorial motif, the present drawing is an exemplary document of Rubens’ working method, which can be observed in numerous further examples of copies and adaptations based on other artists’ models (see K. Lohse Belkin, Corpus Rubenianum Ludwig Burchard, XXVI: Copies and Adaptations from Renaissance and Later Artist, German and Netherlandish Artists, vols. I and II, London 2009; J. Wood, Corpus Rubenianum Ludwig Burchard, XXVI: Copies and Adaptations from Renaissance and Later Artists, Italian Artists, London 2011.) Anne-Marie Logan, whose attention had been brought to the present drawing by Julius Held in 1989, described it in the Dorotheum’s auction catalogue (Vienna, 18 October 1994, lot 216), and before that in the Metz exhibition catalogue (see A.-M. Logan, in: La Réalité Magnifée, Peinture flamande 1550–1700, exhibition catalogue, Metz 1993, p. 178, cat. no. 26), as a Renaissance drawing reworked by Peter Paul Rubens. In her opinion, the lower part of the drawing dates from the time after Rubens’ return from his Italian journey to Antwerp around 1609/10, while the two small strips at the top were added much later, towards the end of the artist’s life, and need not necessarily be by the hand of Rubens himself, but could have been executed by one or more assistants working in his studio. This was contradicted by Paul Joannides in 2006, who was the first to identify the model of Giulio Romano’s drawing in Düsseldorf and concluded that the drawing must be an autograph study by Rubens based on Giulio’s drawing, which could possibly have been owned by the artist (see P. Joannides 2006, op. cit., p. 35, 38, note 16, fig. 30). Similar to Logan he was of the opinion that the upper and lower parts of the drawing were executed at different points in time, but he believed that the additions at the upper margin, as well as the partial retouching and white highlights, all came from Rubens himself and were likely added in preparation of a two-figure devotional panel of the Madonna and Child. In 2011 Jeremy Wood published the drawing in the Corpus Rubenianum, agreeing with Logan that it was an earlier drawing after Raphael reworked by Rubens (see J. Wood 2011, op. cit., cat. no. 33, pp. 232–234, figs. 76–78), rightly pointing out that “the Virgin and Child can also be compared to drawings entirely by Rubens such as a black chalk study in the Albertina of a standing naked body (inv. no. 17639, 39.6 x 26.5 cm), which was used around 1616–1618 for the figure of Christ in the Holy Family with Saint John the Baptist at the Wallace Collection, London. This drawing has a similar softness of handling and concern with fleshiness of the child’s stomach. The main difference between these two drawings is that one was made from life, while the other was adapted from a work of art” (J. Wood 2011, op. cit., p. 233, no. 11). Whereas in his publication of 2011 he still described the drawing of the Madonna’s head at the upper margin as a possible addition or ‘restoration’ by another hand dating from the time after Rubens’ intervention and before the drawing passed into the possession of Jonathan Richardson, Sr., Wood later revised his hypothesis after examining a high-resolution digital photograph of the drawing (written communication, 13 September 2024). In his opinion, it is much more likely that Rubens himself was responsible for the additions at the upper margin and that the Madonna’s head is also by his hand. As can be seen with the aid of a microscope, several additions and retouches have been executed in chalk of a slightly different tone. They include not only Mary’s head, but also the outline of her right arm; moreover, the fingers of the Christ Child’s left hand have been elongated, and the heel of his right foot has been enlarged. As has been revealed through the microscope, the lighter-coloured chalk used for the upper part of the drawing has also been used for retouching the earlier drawing below. According to Wood it is therefore highly plausible that both the retouches of the earlier drawing and its extensions are by Rubens’s hand. The attribution of the added head is confirmed by the fact that Rubens used Mary’s head in profile in the reverse direction, yet in a very similar fashion for the painted addition in the painting by Henri met de Bles that was offered at Sotheby’s London on 3 July 2024 (lot 5, as Herri met de Bles and Sir Peter Paul Rubens). The profile, which might give a somewhat awkward impression, can probably be interpreted as a way of historicising the motif, as Rubens attempted to render a more ancient type of Madonna, which can similarly be observed in Mary’s head in the reworked de Bles painting. The drawing offered here is thus not only an impressive document of Rubens’s approach when appropriating an Italian model and translating another artist’s pictorial motif into his own artistic idiom. Moreover, it is also one of the master’s rare known drawings in red chalk, a medium Rubens chose for the present work in imitation of the model adapted by him. Due to its rarity, the present drawing can be considered of special importance within the artist’s drawn oeuvre. We are grateful to Prof. Dr. Nils Büttner, chairman of the Centrum Rubenianum in Antwerp, for examining the drawing in the original and for his scholarly support.
Peter Paul Rubens (1577 – 1640) – Follower, portrait of a female. Oil on canvas. Framed. With an old brass lable described Martin Johann Schmidt 1718 – 1801. 45 x 34 cm.
Peter Paul Rubens Engraving L'Accouchement De La Reine with Certificate of Authentification, Professionally Framed. Framed measures 23 inches x 20 inches, art measures 10 inches x 8 inches.
PORTRAIT DER ANNA VON ÖSTERREICH, INFANTIN VON SPANIEN, KÖNIGIN VON FRANKREICH UND NAVARRA (1601-1666) Öl auf Leinwand. 50 x 40 cm. Brustbildnis nach dem Ganzkörperportrait von Peter Paul Rubens von 1640, das sich im Rijksmuseum Amsterdam befindet. Rest. (1411241) (18)
DIE HEILIGE FAMILIE MIT EINEM PAPAGEI Feinmalerei in Öl auf Holz. 38 x 46 cm. In dekorativem Rahmen. Kopie nach dem Gemälde von Peter Paul Rubens (1577-1640) um 1714, im Antwerpener Kunstmuseum (dortige Originalmaße 163 x 192 cm). Im Mittelpunkt vor einer steinernen Wand Maria in blau-rotem Gewand, vor ihr der fast nackte, stehende Christusknabe, dessen blonde, lockige Haare sie behutsam mit ihrer rechten Hand berüht. Rechts neben beiden Josef in dunklem Gewand mit hellbraunem Überwurf, der mit seiner Rechten sich an sein Kinn fasst und nachdenklich die beiden betrachtet. Auf der linken Seite auf der Basis einer Säule stehend ein gelb-blauer Papagei, der mit seinem Schnabel eine Weinranke erfasst hat, vor weiter Landschaft im warmen Licht der untergehenden Sonne. (1411718) (2) (11) Balthasar Beschey, 1708 Antwerp – 1776 ibid., attributed THE HOLY FAMILY WITH A PARROT Fine painting in oil on panel. 38 x 46 cm. In decorative frame. Copy after Peter Paul Rubens (1577-1640) ca. 1714, in Antwerp Art Museum (with original dimensions 163 x 192 cm).
DIE DREI GRAZIEN Öl auf Leinwand. Doubliert. 145 x 110 cm. In teilvergoldetem Profilrahmen. Die „Drei Grazien“ stellen die drei Töchter des Zeus dar, von denen jede als fähig beschrieben wird, den Menschen eine bestimmte Gabe zu verleihen: Euphrosyne (Fröhlichkeit), Aglaia (Eleganz) und Thalia (Jugend und Schönheit). Hier stehen sie jeweils zueinandergewandt inmitten einer Landschaft mit Parkvase mit Füllhorn haltendem Putto, links auf einem Repoussoirgeäst textiler Behang. Wiederholung des Themas, das Rubens 1636 ausgeführt hat und welches sich heute im Museo del Prado in Madrid befindet. Wenngleich einige Partien summarisch wiedergegeben wurden, erscheint uns das vorliegende Werk doch als frische, farbkräftige Hommage an Rubens. (1410111) (2) (13) Peter Paul Rubens, 1577 Siegen – 1640 Antwerp, after THE THREE GRACES Oil on canvas. Relined. 145 x 110 cm.
Oil on panel painting, after Peter Paul Rubens, 1577 to 1640, a Flemish Baroque painter. The artwork depicts crowned Virgin Mary with Christ Child. Ca. early 18th century. Unsigned. Golden frame. Collectible Fine Art, Christian Catholic Icon Painting.
Die Flucht der Cloelia aus dem Lager des Porsenna In bewaldeter hügeliger Landschaft zu Pferd beim Überschreiten des Tiber zusammen mit anderen Geiseln, um nach Rom zu gelangen. Links die allegorische Figur des Tibers, gestützt auf die kapitolinische Wölfin. Wohl eine der kleineren Werkstattfassungen auf Kupfer nach dem Prototyp von Rubens und seinem Mitarbeiter Jan Boeckhorst, heute in der Dresdner Gemäldegalerie. Kupfer mit Nägeln auf parkettierter Holzplatte. 64×48,5 cm. R. (60544)
CIRCLE OR SCHOOL OF PETER PAUL (ALSO PIETER PAUWEL) RUBENS 28 June 1577 Siegen - 30 May 1640 Antwerp THE TRIBUTE MONEY Oil on canvas (old relined). 75 x 106 cm (F. 98 x 129 cm). Verso: Old London auction number of Christie's auction house on stretcher: '223 CD'. Part. slightly old rest., min. old retouching. Frame. Provenance: Private collection Lower Saxony. PETER PAUL (AUCH PIETER PAUWEL) RUBENS (UMKREIS/SCHULE) 28. Juni 1577 Siegen - 30. Mai 1640 Antwerpen DER ZINSGROSCHEN Öl auf Leinwand (altdoubl.). 75 x 106 cm (R. 98 x 129 cm). Verso: Auf dem Keilrahmen alte Londoner Auktionsnummer des Auktionshauses Christie's: '223 CD'. Part. leicht altrest., min. Altretuschen. Rahmen. Provenienz: Privatsammlung Niedersachsen.
CIRCLE OF PETER PAUL RUBENS 1577 Siegen - 1640 Antwerp DESCENT FROM THE CROSS Oil on canvas (old relined). 175 x 137 cm (F. 196 x 159 cm). Partly dam., old rest., old retouching, cleaning losses of colour. Frame. Provenance: Rhenish private collection. PETER PAUL RUBENS (UMKREIS) 1577 Siegen - 1640 Antwerpen KREUZABNAHME Öl auf Leinwand (altdoubl.). 175 x 137 cm (R. 196 x 159 cm). Part. besch., altrest., Altretuschen, Reinigungsverluste. Rahmen. Provenienz: Rheinische Privatsammlung.
Peter Paul Rubens Engraving L'Accouchement De La Reine with Certificate of Authentification, Professionally Framed. Framed measures 23 inches x 20 inches, art measures 10 inches x 8 inches.
(1577 Siegen - 1640 Antwerpen) nach Porträt 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.
Peter Paul Rubens (1577-1640), copy after, Diana and Aktaion, who is transformed into a stag and mauled by his dogs. Copy by B. Witt, 1929, oil on canvas, signed and dated lower right, 80 x 140 cm, framed 103 x 163 cm
Peter Paul Rubens (1577-1640), copy after ''Christus mit dem Johannesknaben und Engeln'', anonymous 19th century copy after the original in the Berlin Gemäldegalerie, oil on canvas, unsigned, restored and retouched, 95 x 122 cm
Peter Paul Rubens (1577-1640), after, ''The Banquet of Herodias'', anonymous 18th century copy after the original in the National Gallery of Scotland, oil on canvas, unsigned, relined, restored and retouched, 100 x 165 cm
Peter Paul Rubens (1577 Siegen - 1640 Antwerp): Portrait of a Young Woman with Curly Hair, 1905, Photogravure Technique: Photogravure on Paper Inscription: Petrus Paulus Rubens fec. Date: 1905 Description: High-quality heliogravure after the original by Peter Paul Rubens from the Royal Picture Gallery Dresden. Published by the Verlag der Gesellschaft zur Verbreitung Klassischer Kunst GmbH 1905, Berlin. Keywords: Portrait, Woman, Curls, 20th century, Figurative, Portraits, Germany, Size: Paper: 47,5 cm x 36,5 cm (18,7 x 14,4 in)
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.
Representing Abigail in front of King David and Salome next to the head of St. John the Baptist, large and important pair of oil paintings on canvas attributed to the workshop of Peter Paul Rubens and from a series of seven of which one of them is preserved in the Museum of Marseille. Measurements framed: 223 x 318 cm, canvas measurements: 207 x 302 cm. Provenance: liquidation of an important estate from a villa in Marbella, Costa del Sol, Spain. Reference Bibliography: Díaz Padrón, Matías (1995). El Siglo de Rubens en el Museo del Prado. Catálogo Razonado de Pintura Flamenca del Siglo XVII. Barcelona / Madrid: Editorial Prensa Ibérica / Museo Nacional del Prado. ISBN 84-87657-89-3. Notice to buyers: lot is offered without reserve.
Reproduction of the major altarpiece in Antwerp Cathedral. An original autograph drawing by Rubens of the same subject is also preserved at the Mauritshuis in The Hague (inv. no. 926). Etching (447 x 630mm) third state, apres la lettre with the address of G. Hendrix and with the dedication to 'Lucae Lancellotto' (some minor antique restoration, trimmed at the stop). Within modern frame. (1)
After Sir Peter Paul Rubens, Flemish 1577-1640- Portrait of Ansegisus and St. Bega; pencil and watercolour on paper, oval, inscribed 'The Duke of Brabant / and his Daughter Bega / copied by Anne Chambers / from one by Mary Cambers / after Jordaens / In the Collection of the / Earl of Egremont at / Petworth' verso, 24 x 19.1 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Rubens' original, which is held in the Kunsthistorisches Museum in Vienna [GG_521].
Peter Rubens (1577-1640) lithograph titled The Three Graces, which is after the original which was painted in 1639. With frame, it measures 12 inches x 15 inches. It is matted and framed under glass in a wooden frame. This piece was acquired from a Metro Washington DC estate.
AFTER PETER PAUL RUBENS (1577-1640). Five Engravings of Devotional Subjects. Sheet 597 x 437 mm (H. 3) Plate 623 x 464 mm., Sheet 625 x 466 mm. (H. 5) Sheet 538 x 398 mm. (H. 7) Plate & Sheet 656 x 440 mm. (H. 8) Sheet 573 x 441 mm. (H. 20) (5).
Engraving, 43,7 x 51,0 cm, laid paper, signed "P. P. Rubens pinxit. / B. à Bolswert sculp. et excudit.", Latin text (some foxing, mostly in text). - After the painting by Rubens from c. 1617 in Copenhagen (Statens Museum for Kunst, inv. KMSsp185). - Ref. Hollstein III.61.3.II (of II).
KOPIE NACH DEM MEDICI-ZYKLUS: GEBURT DER MARIA DE' MEDICI Öl auf Leinwand. 56 x 44 cm. Ende 17. Jahrhundert. Die Allegorie einer Stadt in Gestalt einer Frau mit Mauerkrone zwischen Blumen, ein Kind in den Armen, umgeben von glücksbringenden Göttern, darunter ein Genius mit Krone, Zepter und Füllhorn. Der Flussgott links unten weist auf die Lage der Stadt an einem Fluss. (1390561) (11)
![RUBENS, Peter Paul (1577-1640). the Assumption of the Virgin. Antwerp: Maarten van den Enden, [1630-1645].](https://stageimg.invaluable.com/housePhotos/Wannenes/30/774530/H21162-L376918475.jpg)
