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Royal Doulton comprising a Lambeth stoneware silver mounted jar and cover and three figures, together with a Rubens ware 'Pomegranite' bowl etc

A Framed and glazed print, study of a male torso, Peter Paul Rubens 1577-1640

Fairfax (Brian) and others. A Catalogue of the Curious Collection of Pictures of George Villiers, Duke of Buckingham, in which is included the valuable Collection of Sir Peter Paul Rubens, 2 engraved portraits, both lightly foxed and offset, bookplate of Fairfax of Cameron, contemporary green straight-grain morocco, gilt, g.e., inner gilt dentelles, a little rubbed at edges, a few scuffs, 4to, W.Bathoe, 1758.⁂ The first Duke of Buckingham (1592-1628), favourite of James I and Charles I, assembled a great art collection, buying Rubens's collection for £10,000 shortly before his assassination in 1628. Buckigham's collection comprised 220 pictures including 3 Raphaels, 3 Leonardos, 19 Titians, 17 Tintorettos and 13 by Rubens. The second Duke, also George Villiers (1628-87), sent the pictures to Antwerp for sale and several items were purchased by Charles I. The present work also includes a catalogue of the art collection assembled by Sir Peter Lely, a description of Easton Neston in Northamptonshire and a description of the cartoons at Hampton Court.

(Siegen, 1577 - Anversa, 1640)CrocifissioneOlio su tela, cm 54X36Il dipinto è desunto dalla Crocifissione realizzata da Pietro Paolo Rubens nel 1613 oggi conservata al Koninklijk Museum voor Schone Kunsten di Anversa (olio su tavola, cm 221X121).Bibliografia di riferimento:M. Jaffé, Rubens. Catalogo Completo, Milano 1989, pp. 185 ; 186, n. 200

(Bergen op Zoom, 1613 - Anversa, 1654)Cristo con gli angeliOlio su tela, cm 42X33Il dipinto presenta caratteri di stile che evocano il pittore fiammingo Thomas Willeboirts Bosschaert e in modo particolare la Crocifissione custodita al Newport Museum and Art Gallery. L'artista fu allievo di Gerard Seghers ad Anversa, ma la sua arte risentì moltissimo della influenza di Anton Van Dyck e Pietro Paolo Rubens.Bibliografia di riferimento:A. H. Einrich, Thomas Willeboirts Bosschaert (1613/14-1654). Ein flämische Nachfolger Van Dycks, Turnhout 2003, ad vocem

(Bois-le-Duc, 1596 - Anversa, 1675)CrocifissioneOlio su tavola, cm 57X44Allievo e assistente di Peter Paul Rubens Diepenbeeck si dedicò a dipingere temi storici e ritratti esibendo una grande abilità di colorista. Lo vediamo altresì dedito a dipingere su vetro e sue sono le finestre della cattedrale di Anversa raffiguranti gli Atti della Misericordia, mentre per la chiesa dei domenicani dipinse scene della Vita di San Paolo. Nel 1638 l'artista fu registrato alla corporazione dei pittori e divenne direttore dell'Accademia nel 1641.

(Siegen, 1577 - Anversa, 1640)Flora, Sileno e ZefiroOlio su tela, cm 140X98Il dipinto trova confronti con la tela riferita a Pietro Paolo Rubens custodita al Museo Nazionale dell'Agricoltura di Praga e proveniente dalla collezione Srobár, ossia Vavro Srobár (1867-1950), politico della Prima Repubblica di origine slovacca e rappresentante del Partito agrario. Una versione del medesimo soggetto era invece riferita a Jacob Jordaens e apparteneva a una collezione privata italiana.  

(Siegen, 1577 - Anversa, 1640)Paesaggio con arcobalenoOlio su tavola, cm 51X58,5Rubens fu un paesaggista straordinario, naturalista quanto può esserlo un fiammingo, ma capace di sublimare la visione con idealismo, coniugando la lezione pittorica dei Paesi Bassi con il colorismo lagunare di Giorgione e Tiziano. Celebri furono i suoi paesaggi con arcobaleni e la tavola in esame trova confronto con la tela oggi conservata all'Ermitage e realizzata dal Maestro tra il 1635 e il 1638.Bibliografia di riferimento:M. Jaffé, Rubens, Milano 1989, p. 350, n. 1218

(attivo a Milano tra il 1690 e il 1730)Caccia al leone Olio su tela, cm 165X220Attivo a Milano come pittore di genere e documentato dal 1662 al 1730, Crivelli si specializzò nella rappresentazione di animali, soprattutto in temi di caccia, ispirandosi alle opere dei fiamminghi Hondecoeter, Weenix, Snyders e Fyt. L'opera in esame, di misure parietali, può essere considerata tipica della produzione e ben confrontabile con quelle custodite presso il Castello Sforzesco di Milano. La tecnica pittorica dell'artista è raffinata, ricca di lacche e velature, spessori della stesura ben calibrati e ricchi di luminosità, secondo una accuratezza espressiva già decantata dall'Orlandi. Nel nostro caso appare evidente la precisa matrice nordica della scena, fiamminga in particolare, ispirata dai pittori della cerchia di Rubens, quali Frans Snyders e Paulus de Vos, e altri specialisti quali Jan Fyt. Bibliografia di riferimento:P. A. Orlandi, Abecedario Pittorico..., Firenze 1788, p. 78F. Arisi, Crivellone e Crivellino, Piacenza 2004, tav. 109; fig. 216L. Beltrame, Museo d'Arte Antica del Castello Sforzesco, a cura di M. T. Fiorio, Milano, pp. 73; 77, nn. 860-861

(Amsterdam, 1583 - 1633)Abramo e i tre angeliOlio su tela, cm 105X171La tela esibisce inequivocabili stilemi nordici che suggeriscono l'attribuzione ad un autore olandese o fiammingo. Il tema e il sapore italianizzante, tuttavia, indicano che l'artista abbia visitato la nostra penisola e verosimilmente soggiornato a Roma. Infatti, i caratteri evocano le opere di Cornelis Van Poelenburgh (Utrecht, 1595-1667) ma in modo particolare quelle di Pieter Lastman. Quest'ultimo, il cui soggiorno a Roma è documentato dal 1603 al 1607, fu influenzato dall'arte di Adam Elsheimer e Peter Paul Rubens sviluppando un linguaggio figurativo che esercitò un ascendente decisivo sulla pittura dei Paesi Bassi nel Seicento, coniugando la tradizione del realismo nordico e l'ideale classico italiano.Bibliografia di riferimento:P. Schatborn, Een tekening van Pieter Lastman uit Italië, Kroniek van het Rembrandthuis 2011, pp. 36-41

Michel after Rubens/The Three Graces/colour stipple engraving, 49cm x 38.5cm/and other engravings

Gérard Edelinck (Flemish 1640-1707)/The Battle of Anghiari after Rubens, after Da Vinci/black and white engraving, 47cm x 61cm CONDITION REPORT: Top and side margins cut, bottom right hand corner missing, visible tears and creases, mounted under perspex

After Sir Peter Paul RubensLot and his daughtersoil on canvas73 x 120cmProvenance: Acquired by the vendor's late husband at Sotheby's, London, in the 1950s, as 'a Rubens copy by Delacroix';From a Kensington town house.Condition report: Oil on canvas which is unlined but has several patches on the reverse covering holes and damage to the canvas. The canvas tension is poor and there are undulations across the surface. The areas of damage have been crudely overpainted. The paint layer is in a good, stable condition overall. The varnish is probably original. It is very yellowed but even and semi-glossy. Minor losses to the gilding at the edge of the frame.

Henk Serfontein (South African 1971-) CONFIGURATIONS: HOMAGE TO RUBENS AND AUDREY FLACK etching, signed, dated '92, inscribed with the title and numbered A/P in pencil in the margin sheet size: 31 by 42cm

After Rubens, circa 1900, watercolour on ivory, Figures beside a fountain, 9 x 12.5cm

Dutch School after Rubens, Oval Portrait of a Gentleman in a Florentine Frame, oil on board, Label verso for Flor and Findel picture dealers of Florence. Measurements 22 x 17.5 cm, frame 42 x 34 cm

Rubens SOUTHEY (1881-1933) watercolour "A grey day, Dartford", pencil signed to mount, framed25 x 36 cm

Twenty-eight sterling silver proof medallic first day covers, 'In Commemoration of the 400th Anniversary of the Birth of Peter Paul Rubens', each medallion, minted by the Franklin Mint, is housed within an 'International Society of Postmasters Official Commemorative Issue' cover, with accompanying certificate (28)[image code: 7mc] - Condition Report

* Prints & engravings. A mixed collection of thirty-four prints, mostly 19th century, engravings, photogravures and chromolithographs of genre scenes, portraits, historical and topography, with examples by or after Landseer, Turner, Pollard, Nutter, Simmons, Davey, and Rubens, mostly large format but various sizes and condition, including Cother Webb (John). Floreat Etona (Battle of Laing's Neck), Henry Graves & Co., 1889 , uncoloured mixed-method engraving after Lady Butler (Elizabeth Thompson), slight spotting and staining and some surface abrasion, laid on later card, 720 x 610 mm, and Jukes (Francis), Four engraved views of Malmsbury, circa 1789, a set of 4 aquatint views of Malmesbury Abbey, all with contemporary hand colouring, each trimmed to the image, slight marginal chipping, each approximately 330 x 450 mm, with another unidentified topographical rural aquatint view, 310 x 430 mm, and Weixelgärtner (Ed. lithographer). Eber von Wölfen Überfallen, Nach der Bärenjagd [and] Füchse mit dem Raube. published Druck & Verlags, Wien, circa 1880, together three tinted lithographs after F. Gauermann, with titles repeated in French and English, some mount staining and marginal spotting, typed collection labels below each image, each approximately 660 x 490 mmQty: (34)

Bilbo (Jack). Jack Bilbo, An Autobiography, 1st edition, The Modern Art Gallery, 1948, tipped-in colour plates, numerous monochrome plates, mostly after photographs, original cloth gilt in bright condition, in frayed and chipped dust wrapper, with card slipcase (some wear), large 4toQty: (1)NOTESAuthor's presentation copy, inscribed to front endpaper 'To Mark Rubens, a heavy book on his poor shoulders from Jack Bilbo 1948'.

A Rubens Ware "Pomegranate" rectangular dish; toby jugs, biscuit barrel; other decorative china

A Phoenix Ware vase with Peacock and Rising Sun, by John Forester & Sons, 37cm, and a Hancocks Rubens Ware Pomegranate design vase, 24cm.

Rubens ware plant pot, Gibbson & Son bowl together with a ducal vase (Vase 32 cm high)

Mixed media collage of nude females, 28.5cm x 22cm; and a print after Rubens of a young child

Flemish school, follower of Peter Paul Rubens (1577-1640): Three angels accompany a sheep, oil on panel -- Description: Work: 35,1 x 22,7 cmÊ Frame: 49 x 36 cmÊ Ê This group is inspired by a similar group on 'Landscape with the Rest on the Flight to Egypt and several saints' by Rubens (link).

Ten Medals From The Thomason Medallic Bible Series19th century medals depicting passages from the bible. Every coin is based on the painting of important painters such as Rembrandt, Rubens, Titian. The reverse shows the biblical text for each passage. Tin metal73mm each

Art and architecture related volumes, to include Rubens, Raphael, Bruegel, the magic of obelisks etc. (qty)

A Hancock & Sons Rubens Ware Bowl, hand painted by F.X Abraham "Pomegranate", approx 32 x 11 cm. Maker marks to the base. Diameter measures 31cm. 

An 19th century hard-backed leather-bound volume 'Twelve Heads from Rubens'; dedication to Sir Thomas Lawrence (President of the Royal Academy) by his much obliged servant J. Scarlett Davis, containing various monochrome engraving head studies (some water damage)

Decorative china and glass, to include Imari style meat plate, Hancock and Sons Rubens ware vase, porcelain figures etc. (qty)

A PAIR OF FLEMISH CARVED MARBLE ALLEGORICAL FIGURES ATTRIBUTED TO JAN CLAUDIUS DE COCK (1667-1735), LATE 17TH / EARLY 18TH CENTURY possibly representing Day and Night, one in the form of the infant Hercules holding a club, the other as a young girl, possibly Omphale, weeping and holding probably a torch in her left hand, now missing, on rectangular bases and later concrete plinths (4) the figures: 91.8cm and 90.5cm high, 30.5cm wide the plinths: 68.7cm high PROVENANCE Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury HouseCOMPARATIVE LITERATUREJ. Leeuwenberg and W. Halsema-Kubes, Beeldhouwkunst in het Rijksmuseum, Catalogus, The Hague/Amsterdam, 1973, no. 339a ; H. Bussers, La Sculpture au Siècle de Rubens dans les Pays-Bas méridionaux et la Principauté de Liège, exh. cat., Musées Royaux des Beaux-Arts de Belgique, Brussels, 1977, p. 38, nos. 5-6; H. Bussers, « Enkele Gegevens over de Antwerpse beeldhouwer Joannes Claudius de Cock », in Bulletin des Musées Royaux des Beaux-Arts de Belgique, i-iii, 1992, pp. 331- 42; C. Lawrence, 'Cock', in J. Turner [ed.], The Dictionary of Art, London/New York, 1996, 7, pp. 500-1.CATALOGUE NOTEJan Claudius de Cock was born in Antwerp and became a sculptor, draughtsman and writer.  He trained during the early 1680s in the workshop of Peeter Verbrugghen the Elder, and after his death in 1686 continued to work with Peeter the Younger, joining the Guild in 1688-89 and gaining his independence in 1691.  In 1693 he went to Holland to work on the Palace of Breda for King William III, Stadtholder of the Netherlands, making portrait busts of members of the House of Orange."By 1697-98 De Cock had returned to Antwerp, where he established a large workshop of assistants who helped produce his vast oeuvre of sacred and profane subjects on both a small and a monumental scale.  As well as being influenced by the later Antwerp school of the Verbrugghen family, he admired antique art and the sculpture of François Duquesnoy (1597-1643)" (Lawrence, 1996). The famous 'putti' in all materials by the latter had become an important part of the common heritage of Flemish and Dutch sculptors thereafter.The present statues are close in style and spirit to the secular statuary that De Cock produced for gardens, courtyards and stairwells in Dutch and Flemish houses in the 18th century, notably a marble statue of a little black boy at life-size and wearing a mural crown (a veritable crenellated fortress!), which is signed and dated 1704 (fig. 1: Rijksmuseum, Amsterdam, inv. R.B.K. 1972-134, 94-7 cm high: see Leeuwenberg & Halsema-Kubes 1973 and Bussers 1977).  This is probably an allegory of Africa from a set of the Four Continents.One of our figures clearly represents the Infant Hercules with the club that he was to use in his Labours, slaying a variety of horrible monsters; while the little girl perhaps held the standard symbol of Omphale, a distaff - in her lowered left hand: the piercing in her clenched fist indicates that this was perhaps fashioned in metal, for the sake of durability. In a rare moment of weakness, the hero surrendered the club, a symbol of his machismo in exchange for her ('girly') distaff, to show how much he was in love with her. The fact that she is now weeping and that both have their proper symbolic attribute returned may refer to the end of the brief love-affair.The fact that the present pair is neither signed nor dated may be a reflection of the fact that they are not quite finished, witness the uncarved wedge of marble behind the ankles of the infant Omphale. Even so, close parallels may be found in other marble putti that are signed and dated: a pair of allegories from 1715 (a year after the Battle of Blenheim had put an end to the conquest of the Low Countries by King Louis XIV of France) representing Day - 'Dies' in Latin (wide awake, holding a torch and accompanied by a cockerel) and Night - 'Nox'(sleepy and with an owl) that was exhibited by Agnew's, London, in 1981, no. 8, 86.5 cm high (fig. 2). They are thought possibly to be identical with 'Two Statues Life and Death by de Cock' listed in the inventory of 1728 of the Dutch collector A. Grill, though this is at odds with the very obvious Latin inscriptions (unless those were posthumous).Another comparable putto, this time seemingly a laurel-wreathed Cupid with a torch, setting fire to a hideous hag trying to pull him down to the ground, probably the normal allegory for Envy (fig. 3):  bought for the Virginia Museum of Fine Arts, Richmond, VA, (58.5 x 31cm), this is dated 1731 and demonstrates Jan Claudius de Cock's versatility, vivid imagination and technical prowess.

HANDPAINTED RUBENS WARE POMEGRANATE SWEET DISH

* Vasi (Giuseppe, 1710-1782). Monastero, e Chiesa di S. Egidio in Trastevere delle Suore Carmelitane, Chiesa e Monastero di S. Maria Annunziata, delle Suore Domenicane Neofite, Monastero, e Chiesa della SS. Annunziata delle Religiose Turchine, & Collegio de Neofiti, from Delle Magnificenze di Roma Antica e Moderna, Rome, 1747-1761, together 4 etchings on laid paper, numbered 147, 150, 157 and 169 respectively, each with narrow margins, plate size 220 x 337 mm (8.7 x 13.3 ins), sheet size 235 x 350 mm (9.25 x 13.75 ins), or very similar, together with: Bolswert (Boetius Adamsz, 1580-1633). Landscapes with Farmhouses after Abraham Bloemaert, 1613-14, 3 etchings on cream laid paper, each with posthorn watermark, being plates 8, 15 and 18 from the set of 20 landscapes by Bolswert after Abraham Bloemaert (Hollstein 338-357 for the set), each with wide margins, plate size 151 x 243 mm (6 x 9.5 ins), sheet size 233 x 317 mm (9.2 x 12.5 ins) or very similar, plus a duplicate of plate 8 from the same series, trimmed to plate margin, and laid down on modern card, and Swanevelt (Herman van, 1600-1655). The Little Waterfall, etching on laid paper (Bartsch 80; Hollstein 106, IV), trimmed to plate margins, and tipped onto old laid backing paper, 182 x 277 mm (7.1 x 10.9 ins), plus other various Old Master prints: 16 etchings on laid paper by Abraham van Diepenbeeck (1596-1675), from Michel de Marolles Tableaux du Temple des Muses (Paris, Nicolas Langlois, 1655), some full sheet, others trimmed to margins and mounted on old card, and 5 others various (Weisbrod after Pieter Bout, Le Chasseur prenant des forces, Ridinger, Die Wilde Sau oder Schwein, William Barnard after John Meheux, View of Hopping Dick's House, mezzotint, Fantetti after Raphael, Extendit Moyses manum contra mare, and Eynhoudts after Rubens (the last two with some damage to margins), various sizesQty: (30)

* Scolari (Stefano, active circa 1650-1687). The Wedding Feast at Cana, etching on two sheets of laid paper, some marks and scattered water stains, trimmed to the image, laid down on old backing paper, sheet size 399 x 644 mm (15.7 x 25.3 ins), together with other various Old Master prints, various, including Wenceslaus Hollar, Spring, and Winter, from The Four Seasons, 1641, etching on laid paper, with watermark, both trimmed inside the plate mark, some overall browning and one or two marks to margins, sheet size 247 x 176 mm (9.75 x 6.9 ins), two further etched portraits of Lady Guildedord and Lord Anthony Denny by Hollar after Holbein, 1647, Sebastien Vouillemont after Raphael, The Supper at Emmaus, 1642, A.V. Hoorn after Rubens, Venus and Mars, Pieter van der Borcht (1530-1608), Adam Naming the Animals (Genesis II, 20), Lucas van Leyden, Saint with a Setsquare (with some damage), Johann Theodore de Bry after Abraham Bloemaert, The Golden Age, etc., mostly 16th & 17th centuryQty: (19)

Old masters.- Beham (Hans Sebald) Dido, engraving on laid paper, sheet 117 x 90 mm (4 5/8 x 3 1/2 in), laid on old paper support with some areas of loss restored with pen and ink facsimile, small tears visible, collector's ink stamp 'H de T./ Stat' in the block lower right, [Hollstein 84], unframed, 1520; together with seven others, including six engravings after paintings by Rubens by Frans Harrewyn and others, the other after Theodor van Thulden, various sizes, between 380 x 270 mm (15 x 10 5/8 in) and 530 x 390 mm (20 7/8 x 15 1/4 in), trimmed, minor nicks and tears, all unframed, late 17th and 18th century (8)

After Peter Paul Rubens, portrait of a young girl, Oilograph in an ornate gilt frame, size overall 30 x 36.5cm

an antique scrap book of more than 250 engravings and prints, mostly 18thC including Teniers, Raphael, Rubens. Poussin and Van Dyke and some original sketches

Two ornate framed Prints on canvas depicting "Sir Peter Paul Rubens" after Anthony Van Dyck and "Margaret Countess of Blessington" by Thomas Lawrence

AMENDED ESTIMATE 16th century style full length portrait believed to be Anne of Austria dressed in fleur-de-lys decorated dress with lace high collar and sleeves, Oil on canvas, appears unsigned Framed (After the original by Peter Paul Rubens in The Norton Simon Foundation. Accession Number F1965.1.059.P)120cm x 98cm

A Berlin (KPM) plaque depicting the Rape of the Daughters of Leucippus, mid 19th centuryDepicting a classical figural scene after Rubens, signed and dated Original Copie F.Sturm, Munchen 60, mounted within a contemporary Florentine gilt wood frame, the plaque: 33cm by 39cm, impressed KPM and sceptre markFor further information on this lot please visit Bonhams.com

MATISSE HENRI: (1869-1954) French Artist. An excellent illustrated A.L.S., with his initials H. M., four pages, 8vo, Nice, 6th January 1922, to his wife Amelie, in French. Matisse states that he has received Jean's paintings, including a portrait of Marguerite, a bowl of mandarins and a viola, adding that he has placed them on his wall to replace his own which are currently being packed ('I have the trunk and am trying to roll the biggest paintings around a stick, but haven't quite figured out the right way, and we've had to redo the first one, which I didn't do well, three times') and which he hopes will be sent tomorrow afternoon, remarking 'You can look at them at your leisure once they have been put on their stretcher bars. But don't show the whole lot because the Bernheims [Bernheim-Jeune, one of the oldest art galleries in Paris] could find out about it and reclaim them', further going into more detail about the paintings and his current work, 'The smallest are paintings of 3. One of them is an unprimed one of 4 that is coming back for the gallerists, but I intend to keep it because I worked on it a lot at the same time as a large design on the same subject that I have here. Another small one of 3 which I worked on in at least 15 sessions will not be with the lot because I have not finished it. I work on it 2 ½ to 4 hours every day, and it is going well. I will send it to you separately once it is done, and I hope you will like it. From now until my departure, I will not have enough time to finish what I have started. I am enclosing in my letter 2 photos (no longer present) one of a painting of 30, the nude, and one of a 15, a young girl seated on the arm of a chair, looking at the window'. Matisse returns to the subject of their son, Jean's, paintings, commenting 'I would say that my first impression made me see qualities but I also saw that he is at the peak of his instinctive elan and that he is starting to dissociate the various elements of the painting (colour, design, value). It shows that he has not studied it. For example in the viola…..and in the portrait, and also the mandarins, but the bowl is good. There are good parts in all paintings, next to flaws. He really has to go and see the Chardins at the Louvre, especially the pipe [at this point in the letter Matisse has drawn a small pen and ink sketch representing Jean Simeon Chardin's still life Pipes and Drinking Vessels] the peaches and the glass of wine, the brioche, the grapes, and he will come to understand that the different parts hold each other together and that the tone of one is not lesser than the one next to it (adding in the margin that he would like Jean to do a modelling course, 'He will learn to draw shapes in other ways than he does now….') But I suspect he will like the Rubens better, but in them the tones hold each other together as well. At least he is working, and I will speak to him more when I am back. I will take him to the Antiquities section of the Louvre and the School of B. Arts to show him how to look at antiquities. He should ask for permission to copy the pipe……I can then critique his work when I come back. I will try to make it easy for him to understand' and concludes by writing of his wife's art, 'The music of your painting, represented by red and green and blue-black is good overall [at this point in the letter Matisse has drawn a small diagram, within a square, identifying the juxtaposition of the colours] but the green does not work well next to the blue, nor does the red next to the black. It is normal and work will correct it. Experience, and the study of the masters, the paintings of Cezanne…..'  A letter of wonderful content relating to painting and enhanced by the two small illustrations by Matisse. Some extremely light, very minor age wear, VG  Amelie Noellie Parayre (1872-1958) Wife of Henri Matisse from 1898 until their divorce in 1939. Matisse and his wife had two sons, Jean and Pierre, and they also raised the artist's illegitimate daughter, Marguerite, who served as a model for the artist and is mentioned in the present letter.

Rubens Floor Lamp Brushed Gold An on trend mid century inspired, clean line floor lamp. Finished in brushed brass plating, perfect when paired with filament LED lamps to create a modern look for today's living spaces. 24 x 24 x 160cm

Rubens Table Lamp Chrome An on trend mid century inspired, clean line table lamp. Finished in brushed brass plating, perfect when paired with filament LED lamps to create a modern look for today's living spaces. 15 x 24 x 45cm

A late 19th Century German porcelain plaque, probably Berlin, painted after Peter Paul Rubens with cherubs, a lamb and fruit in a garden setting, titled to the reverse 'Kinder nach Rubens', 12cms x 17cms, in modern mount and gilt frame.

Théodore Géricault (Rouen 1791-1824 Paris)Portrait of a man, probably the engraver Francois Godefroy (d. 1819), on his deathbed oil on canvas19.1 x 24.5cm (7 1/2 x 9 5/8in).Footnotes:Provenance(Possibly) Charles-Emile Callande de Champmartin (1797-1883)(Possibly) His sale, Hotel Drouot, Paris, 28-29 January 1884, lot 273 (as Géricault, Portrait de Godefroy, graveur, this sale was cancelled)(Possibly) His sale, Hotel Drouot, Paris, 28 January 1888, lot 112 (as 'Attributed to Géricault, Godefroy, graveur, sur son lit de mort)Private Collection, ParisLiteratureB. Chenique, Géricault, au coeur de la creation romantique; etudes pour la Radeau de la Meduse, exh. cat., Clermont-Ferrand, 2012, p.230, no. 37, ill.ExhibitedClermont-Ferrand, Musee d'Art Roger-Quillot, Géricault, au coeur de la creation romantique. Etudes pour le Radeau de la Meduse, 2 June - 3 September 2012, cat. no. 37This intimate oil sketch, painted the same year as Géricault's masterpiece The Raft of the Medusa, represents an extremely important addition to this major artist's oeuvre. It is almost certainly the picture from the collection of Émile Champmartin, who was Géricault's friend and fellow apprentice in the studio of Pierre Guérin. Long known to scholars only through sale catalogues, its recent rediscovery adds considerably to our understanding of an artist working at the forefront of the emerging Romantic movement, during the turbulent early years of the Bourbon Restoration. Until this painting surfaced recently in a private collection in Paris, references to a portrait of 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues were believed to describe a work acquired by the Art Institute of Chicago in 1937. That work, likewise a small oil sketch of a man's head, bore an old label that seemingly confirmed its provenance: 'Géricault (Th)/69 – Tête d'homme sur son lit de mort, provident de la coll. Champmartin'. Evidently a cutting from an old sale catalogue, the label had yet to be traced in 1991. The art historian Lorenz Eitner defended the attribution to Géricault in his two major studies of the artist (1971 and 1983), albeit without attempting to identify the model. It was Philippe Grunchec (1978) who first doubted the attribution of the Chicago picture to Géricault on the grounds that the drapery, in particular, bore no resemblance to other works by the artist. When the Chicago picture was finally cleaned of old restorations in 1985, Grunchec's suspicions were confirmed: the cleaning revealed a bold signature in red, 'E. Champmartin'. By the time of the Géricault exhibition, held at the Grand Palais in Paris in 1991, the Chicago picture was known to be by Champmartin. Curator Sylvain Laveissière revisited the question of the model's identity at this point, postulating 'si l'on croit les catalogues des ventes Champmartin, le modele serait Godefroy, graveur'. Parmi les artistes de ce nom contemporains, le meilleur candidats est François Godefroy, né en 1743...et mort l'année meme du Radeau de la Meduse.' Laveissière's identification of the model as 'probably François Godefroy' is based on the mention of the aforementioned painting entitled 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues. M. Laveissière further restates Grunchec's hypothesis that the painting in the Champmartin sale catalogues (1884 and 1888) was in fact the Chicago picture, now known to be a signed work by Champmartin. Born in Rouen in 1743, Godefroy was a successful and prolific engraver with a thriving studio in Paris. He can be linked to Géricault through the Coiny family of engravers, father and son; the younger Coiny, Joseph, was awarded the Prix de Rome in 1816, the same year in which Géricault competed unsuccessfully. Even more tellingly, Godefroy died in Paris on 28 April 1819, aged 76 – just four months before the Salon at which Géricault unveiled the Raft of the Medusa, in preparation for which he made a number of studies in oil of cadavers. Unusual though it might seem to us today, for 19th century artists the practice of painting corpses followed a longstanding academic tradition. In-depth studies of human anatomy, based on dissections and drawing from nude models and ancient sculpture, were fundamental for Renaissance masters, such as Leonardo and Michelangelo. It was in this classical Academic tradition that Géricault received his earliest training, in the studio of Pierre-Narcisse Guérin. However, the talented but disobedient Géricault did not last long in this environment of strict instruction. Abandoning his apprenticeship, Géricault began his own programme of independent study, setting up his easel in the Louvre, recently renamed the Musée Napoleon and filled with the artistic spoils of conquest from Italy and Flanders. He bypassed the classicists such as Raphael and turned instead to works by Rubens, Titian, Velázquez and Rembrandt. These were the masters of colorito painting, in which the tones and physicality of the paint medium reign supreme over elegant contours. Travel to Italy in 1816-17 reinforced Géricault's reliance on colorito, which lends itself readily to the turbulence and emotion that characterise the Romantic style. As one of the early proponents of Romanticism, Géricault laid the groundwork for the subsequent generation of French masters, including Delacroix and Courbet. It was in Italy that Géricault began his practice of painting contemporary events in the elevated manner of history painting. Upon his return to France, Géricault chose as his subject for the 1819 Salon The Raft of the Medusa, a monumental representation of man's struggle against nature (fig. 1). In order more accurately to depict the shipwrecked passengers, Géricault made a number of studies at local hospitals and of victims of the guillotine. A friend of the artist, Théodore Lebrun, recalls posing for Géricault when he fell sick with jaundice; Géricault, upon spotting Lebrun's sickly pallor, exclaimed 'Ah! Mon ami, comme vous êtes beau!' It is to this important moment in Géricault's career that the oil sketch of Godefroy can be dated. Demonstrating all the hallmarks of Géricault's mature style, the forms are defined by heavy impasto brushwork, with alternating areas of illumination and deep shadow suggesting a candlelit interior. The small scale of the work lends it an air of intimacy: although it can be linked, artistically, to such grim studies as the Severed head of a man (private collection, Paris) and Le Guillotiné (Musée Royale d'Art Moderne, Brussels), it is a dignified rather than a gruesome representation of death and in this regard recalls Renaissance postmortem portraiture, and even religious iconography. There is an ambiguity to the old man's half-closed eyes and sunken cheeks that suggests the space between living and dead, sleeping and dying. It is altogether a subtler, more sensitive painting than that by Champmartin in Chicago and is a testament to Géricault's enduring appeal among today's contemporary artists, including Lucien Freud. This work has historically been excluded from Géricault scholarship simply because it has, until now, been unknown to experts. Charles Clément, the first chronicler of Géricault's work, was unable to interview the elderly M. Champmartin, which explains why works in his collection receive no mention in his monograph. This omission has been compounded in all subsequent scholarship. However M. Bruno Chenique, who has had the opportunity to study this work first-hand and has confirmed its attribution in a letter, dated 8 September 2013, will include it in his forthcoming catalogue raisonné, currently in preparation.... For further information on this lot please visit Bonhams.com

M.E. Gale: watercolours, two studies, North Indian town scenes, in strip frames, and Rubens Southey: watercolours, Highbridge, 14" x 10", in gilt frame

Attributed to Jan Cossiers (Antwerp 1600-1671)Portrait of a young man, half-length, in a green mantle, with a miniature portrait of a lady and a violin oil on panel98.9 x 73.5cm (38 15/16 x 28 15/16in).Footnotes:ProvenanceWith Dr. Herbert Leyendecker, Berlin/Wiesbaden, 1938 (as Rubens)Private Collection, South Germany, 1960Sale, Christie's, South Kensington, 9 December 2011, lot 19 (as 'Circle of Justus van Egmont')For further information on this lot please visit Bonhams.com

Engraved gems.- Vandergucht (G.) Antique Greek and Roman Coins, Gems, & c., Engraved from Original Drawings of Rubens, engraved title and 31 plates, occasional spotting or soiling, contemporary calf-backed boards, upper cover becoming detached, rubbed, 1740 § Dagley (Richard) Gems, Principally from the Antique, engraved additional title and 20 plates, original boards, paper label to spine, spine spotted, 1822 § Catalogue of the Marlborough Gems, 14 plates, original printed boards, browning, some slight chipping to spine, 1899, 8vo (3)

NASH a 19th century coastal scene, signed and dated 1879, 28cm x 49cm; Rubens Southey, a highland scene, 50cm x 34cm, watercolour and a further Highland Loch scene, watercolour and other 19th century and later watercolours and prints At present, there is no condition report prepared for this lot This in no way indicates a good condition Please contact the saleroom for a full condition report

AFTER PETER PAUL RUBENS (1577-1640) 'Venus and Cupid', possibly late 17th century, oil on canvas, 145cm x 107cm

Artist: Andy Warhol (American, 1928 - 1987). Title: "Portrait of Andy Warhol [poster]". Medium: Color offset lithograph. Date: Composed 1982. Dimensions: Overall size: 22 x 20 in. (559 x 508 mm).Lot Note(s): Signed by Warhol in black marker, lower right. Edition unknown, presumed small. Light cream wove paper. The full sheet. Fine impression. Very good to fine condition. Provenance: Private collection, Sweden, thence to our consignor. Comment(s): Warhol had a joint exhibition with the German-born photographer Hans Namuth (1915-1990) at New York’s Castelli Gallery from January 9th to the 30th, 1982. Namuth specialized in portraits and is most famous for his photographs of Jackson Pollock creating his iconic drip paintings. This portrait of Warhol is part of Namuth’s project to photograph the artists represented by Castelli. It shows Warhol standing in front of Rubens’s painting ‘Reconciliation of the Queen and her Son’, which was part of his Marie de Medici Cycle. Rubens was famous for painting the celebrities of his day, providing them with an image to bolster their power. Warhol did the same with his pop portraits; indeed Robert Rosenblum described him as “an ideal court painter”. Rubens also employed a large studio of assistants which is paralleled in Warhol’s ‘Factory.’ An impression of this work is included in the collection of the National Galleries of Scotland, accession no. AR00437. Image copyright © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London; and image copyright © Estate of Hans Namuth. [29234-5-800]

Plantin.- Siege of Breda.- Hermannus (Hugo) Obsidio Bredana armis Philippi IIII, second edition, fine engraved allegorical title by Cornelis Galle the Elder after Peter Paul Rubens, 7 double-page and 6 full-page engraved plans, final f. with colophon recto otherwise blank, marginal staining, occasional spotting, modern half calf, gilt spine in compartments and with double red morocco labels, [Cockle 817], folio, Antwerp, House of Plantin, 1629.⁂ 'This is the best of the histories of the siege of Breda under Spinola; and it attained immediate popularity.' (Cockle)

Judaica.- Rubens (Alfred) A Jewish Iconography, one of 500 copies, 1954; Anglo-Jewish Portraits, 1935, frontispieces and plates, illustrations, original half vellum, gilt, t.e.g., others uncut, the second with some pages unopened, The Jewish Museum; A Jewish Iconography, one of 650 copies, revised edition, illustrations, original goatskin, slip-case, 1981; and 3 others, by the same, Judaica, 4to & 8vo (6)

After Sir Peter Paul Rubens, The Lion Hunt, sanguine chalk, 20cm x 28cm. Illustrated.

A collection of 18th century and later engravings after Rubens, Wouvermans, Zuccarelli, Hogarth and others, also, after W R Bigg, 'Shipwrecked Sailor Boy' and a companion, 'The Sailor Boy's Return', coloured prints and other engravings. .

A pair of unusually large commemorative patinated metal roundels, one in relief with an image of Rubens, the other Van Dyck. Diameter 98cm

including two later issued Cuala Press coloured racing prints after Jack B Yeats (nos. 3 and 4); 'The Cherub Choir' after Rubens, early 20th century oil on board; a double bust length oil portrait (damaged), etc

17th Century Northern European School after Peter Paul Rubens (1577-1640) - Oil painting - "The Descent from the Cross", oak panel 48ins x 36.5ins, in ebonised frame Provenance: Purchased in Belgium in the early 20th Century, thence by family descent

NO RESERVE Dutch & North European Art.- Held (Julius S.) Rubens: Selected Drawings, 2 vol., 1959 § Downes (Kerry) Rubens, 1980 § Corpus Rubenianum Ludwig Burchard, Parts I, VIII (2 vol.), IX & XVI in 5, London & New York, 1968-72 § Jaffé (Michael) Van Dyck's Antwerp Sketchbook, 2 vol., 1966 § Brown (C.) Van Dyck, Oxford, 1982, illustrations, original cloth or boards with dust-jackets, the first also with slip-case; and c.10 others on Rubens and Van Dyck, 4to & 8vo (c.20)

19th Century School, portrait of Helene Fourment, wife of Peter Paul Rubens, oil on canvas, 64cm x 50cm, framed