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Peter Paul Rubens

Germany (Siegen 1577 -  Antwerp 1640 ) Wikipedia® : Peter Paul Rubens
RUBENS Peter Paul Holy Trinity

Bernaerts
Dec 11, 2017
Find artworks, auction results, sale prices and pictures of Peter Paul Rubens at auctions worldwide.
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Variants on Artist's name :

Sir Peter Paul Rubens

Rubens

Rubens Petr Pavel

 

Artworks in Arcadja
2285

Some works of Peter Paul Rubens

Extracted between 2,285 works in the catalog of Arcadja
Peter Paul Rubens - A Satyr Holding A Basket Of Grapes And Quinces With A Nymph

Peter Paul Rubens - A Satyr Holding A Basket Of Grapes And Quinces With A Nymph

Original
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Lot number: 41
Other WORKS AT AUCTION
Description:
Sir Peter Paul Rubens (Siegen 1577-1640 Antwerp) A satyr holding a basket of grapes and quinces with a nymph oil on panel transferred to canvas, laid down on board 41 ¼ x 29 7/8 in. (104.8 x 75.8 cm.) Provenance (Possibly) The artist, when recorded in the Specificatie as 'No. 174 Une piece d\’une Nymphe et Satyre avec un panier, plein de raisins, sur fond de bois'; from whose estate given between 1640 and 1645 to Salomon Nobeliers, Brussels. Sir Alfred Chester Beatty (1875-1968), New York and Dublin, 1936, and by whom given in 1967 to his mother Comtesse d'Aubigny d'Esmyards, Monte Carlo; Hôtel George V, Paris, 17 June 1980, lot 65, as Studio of Sir Peter Paul Rubens. Private collection, Geneva, until circa 1985. George Drago, Antibes. with Galería Caylus, Madrid, by 1998, from whom acquired by the present owner.
Peter Paul Rubens - Lot And His Daughters

Peter Paul Rubens - Lot And His Daughters

Original
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Lot number: 1092
Other WORKS AT AUCTION
Description:
Lot and his Daughters Pieter Paul RUBENS (a set of 3) engraving, sheet size 38.8x26.1cm, this lot accompanies other works; Jacques CALLOT【The Great Miseries of War】(etching, 7.8x18.2cm) Charles-Francois DAUBIGNY【Sunset】(etching, 12.5x26.7cm), two of them are framed.* *Not examined out of frame.
Peter Paul Rubens - Saint Catherine

Peter Paul Rubens - Saint Catherine

Original 1630
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Gross Price
Lot number: 110
Other WORKS AT AUCTION
Description:
PETER PAUL RUBENS (1577-1640) Saint Catherine etching with engraving, circa 1620-30, without watermark, a fine, strong impression of this rare print, third, final state, printing with very little wear, with narrow margins, two tiny holes in the clouds below, with a horizontal central fold, the sheet toned, with some foxing and staining Plate 293 x 198 mm., Sheet 298 x 203 mm.
Peter Paul Rubens - Holy Trinity

Peter Paul Rubens - Holy Trinity

Original
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Net Price
Lot number: 118
Other WORKS AT AUCTION
Description:
Description: PIETER PAUL RUBENS (1577-1640) XVIII (follower) XVIII Holy Trinity. The original painting is in the collection of the Royal Museum of Fine Arts in Antwerp (panel, 152 x 158, nr. 314). 45.5 x 33 PIETER PAUL RUBENS (1577-1640) XVIII (navolger) Heilige Drievuldigheid. Koper. Het origineel bevindt zich in de collectie van het Koninklijk Museum voor Schone Kunsten te Antwerpen (paneel, 152 x 158, inv. nr. 314). 45.5 x 33
Peter Paul Rubens - The Three Graces

Peter Paul Rubens - The Three Graces

Original 1620
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Gross Price
Lot number: 59
Other WORKS AT AUCTION
Description:
Workshop of Peter Paul Rubens (Siegen 1577–1640 Antwerp) The Three Graces, oil on panel, 46 x 33.5 cm, framed The female figures depicted in the present composition can be identified as the three Graces Thalia, Aglaea, and Euphrosyne, daughters of Zeus. The present painting is a workshop variant based on a motif invented by Rubens. The version to which the present composition is most closely related was made around 1620–23 and is now in the Palazzo Pitti in Florence, another autograph version is preserved at the Museo del Prado, Madrid. The present painting dates from Rubens\’s most productive phase and financially most successful years. His arrival in Antwerp coincided with the truce of 1609, which allowed the economy to recover as a whole. During his following years in Antwerp, the master received numerous prestigious commissions, including an altarpiece for the church of St. Bavo (The Raising of the Cross and The Deposition), an Assumption of the Virgin for the Cathedral of Our Lady, and an Adoration of the Magi for the Town Hall, meant to mark the signing of the truce. Rubens also worked for European courts – for the Habsburg and Medici families and for the English royal household – as well as members of the higher aristocracy. Among his clients were also patricians and the Jesuits, who fervently pursued the programme of the Counter-Reformation in their cultural policy. The artist was only able to cope with such a workload with the aid of a smoothly functioning workshop. Even for such important commissions as the famous Ildefonso altarpiece Rubens employed numerous pupils and assistants, including Anthony van Dyck (1616–1620) and Jacob Jordaens (1615–1617). In a letter to Sir Dudley Carleton, the English envoi in The Hague, Rubens explained the collaborative practice of working together with his students, pointing out that a work he had invented and designed and which was finally retouched by him after it had been executed by his assistants must be considered an original (see Rooses/Ruelens, La Corerspondance de Rubens, vol. II, reprint Soest 1974, p. 139). Specialist: Dr. Alexander Strasoldo
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