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Peter Paul Rubens

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

Uppsala Auction /Feb 16, 2016
420.34 - 525.42
685.75

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
1983

Some works of Peter Paul Rubens

Extracted between 1,983 works in the catalog of Arcadja
Peter Paul Rubens - Venus Supplicating Jupiter

Peter Paul Rubens - Venus Supplicating Jupiter

Original
Estimate:

Price:

Lot number: 9
Other WORKS AT AUCTION
Description:
Lot Description Sir Peter Paul Rubens (Siegen, Westphalia 1577-1640 Antwerp) Venus supplicating Jupiter oil on oak panel, unframed 20 x 14 ¾ in. (50.8 x 37.5 cm.) Provenance Sir Joshua Reynolds, P.R.A. (1723-1792); his sale (†), Christie’’’’’’’’s, London, 11-14 March 1795 [=2nd day], lot 106, as ‘Thetis supplicating Jupiter’’’’’’’’ (25 gns. to the following), James Townley Esq; his sale (†), Foster, Ramsgate, 22-23 August 1830 [=2nd day], lot 139 (52 gns. to Farrer). John Bligh, 4th Earl of Darnley (1767-1831), Cobham Hall, by 1830, and by descent in the collection of the Earls of Darnley to the following, Ivo Bligh, 8th Earl of Darnley (1859-1927), from whom acquired by the following, Otto Gutekunst (1865-1947), and by inheritance to his wife Lena, from whom acquired in 1947 by the following, with Colnaghi, London. Sir Alfred Lane Beit, 2nd Bt. (1903-1994), Russborough, Co. Wicklow, Ireland. Pre-Lot Text Property from the Alfred Beit Foundation (Lots 9, 38 & 39) Literature J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, etc., London, 1830, II, p. 199, no. 721, as ‘Thetis supplicating Jupiter on behalf of her son Achilles’’’’’’’’, and p. 259, no. 878, as ‘Jupiter committing to Woman the Government of the Universe... A free spirited sketch.’’’’’’’’ G.F. Waagen, Treasures of Art in Great Britain, London, 1854, III, p. 24, no. 5, as ‘Jupiter giving up the world to the domination of Love’’’’’’’’, ‘A very spirited sketch’’’’’’’’. F.G. Stephens, ‘On the pictures at Cobham Hall’’’’’’’’, Archeologia Cantaiana, 11, 1877, p. 165. F. Göler von Ravensburg, Rubens und die Antike, Jena, 1882, pp. 165 and 219, no. 34, as ‘Jupiter giving up the world to the domination of Love.’’’’’’’’ M. Rooses, L’’’’’’’’Oeuvre de Pierre-Paul Rubens, Antwerp, 1890, III, p. 167, as ‘Thetis supplicating Jupiter.’’’’’’’’ E. Dillon, Rubens, London, 1909, p. 232, as ‘Jupiter, Venus, and Cupid.’’’’’’’’ ‘Sir Joshua Reynolds’’’’’’’’ Collection of Pictures – II’’’’’’’’, The Burlington Magazine, LXXXVII, 1945, p. 217, no. 106, as ‘Thetis supplicating Jupiter.’’’’’’’’ D. Bax, Hollandse en Vlaamse Schilderkunst in Zuid-Afrika, Amsterdam, 1952, pp. 117 and 118, fig. 68, as ‘Venus supplicating Jupiter.’’’’’’’’ M. Jaffé, ‘Review of Paintings from Irish Collections’’’’’’’’, The Burlington Magazine, XCIX, 1957, p. 276, fig. 38, as ‘Venus supplicating Jupiter.’’’’’’’’ F. Watson, ‘The Collections of Sir Alfred Beit: 1’’’’’’’’, The Connoisseur, CXLV, April 1960, p. 158, as ‘Venus supplicating Jupiter.’’’’’’’’ E. Croft-Murray, Decorative Painting in England, 1537-1837, London, 1962, I, pp. 38 and 208, under Queen’’’’’’’’s House, Greenwich, as ‘Venus supplicating Jupiter’’’’’’’’. J. Held, The oil sketches of Peter Paul Rubens. A critical catalogue, Princeton, 1980, I, pp. 335-6, no. 247, as ‘Jupiter reassuring Venus’’’’’’’’; II, pl. 265. J. Garff and E. de la Fuente Pedersen, Rubens Cantoor: The Drawings of Willem Panneels. A critical catalogue, Copenhagen, 1988, I, no. 125; and II, pl. 127. M. Jaffé, Rubens, Milan, 1989, p. 263, no. 658, illustrated, as ‘Jupiter reassuring Venus.’’’’’’’’ Exhibited Cape Town, National Gallery of South Africa, Old Master Paintings from the Beit Collection, 1949-1950, no. 23. Dublin, Municipal Gallery of Modern Art, Paintings from Irish Collections, May-August 1957, no. 53. View Lot Notes >
Peter Paul Rubens - Massacre Of The Innocents

Peter Paul Rubens - Massacre Of The Innocents

Original
Estimate:

Price: Not disclosed
Lot number: 10
Other WORKS AT AUCTION
Description:
Description: Peter Paul Rubens Siegen/Westf. 1577 - Antwerpen 1640 follower Massacre of the Innocents, Ca. 1700, oil/canvas, 157 x 261 cm, some rest., relined. - To avoid concurrence of the newborn king, that was announced to him by the Magi, Herodes, according to the Gospel of Matthew, had all male children under two years in Bethlehem murdered. Jesus survived the crime because his father Joseph was ordered in a dream to escape to Egypt. - The painting is a mirror-inverted copy of Rubens' original in the Alte Pinakothek in Munich and not much smaller.,
Peter Paul Rubens - The Vision Of Saint Augustine

Peter Paul Rubens - The Vision Of Saint Augustine

Original
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Gross Price
Lot number: 106
Other WORKS AT AUCTION
Description:
Sir Peter Paul Rubens (Siegen 1577-1640 Antwerp) The Vision of Saint Augustine oil on panel, shaped top 21 x 13 ¾ in. (53.3 x 34.8 cm.) Provenance Private collection, Europe. Lot Notes The renowned Saint Augustine (354-430) was bishop of Hippo and one of the Four Latin Fathers of the Church. He is shown in bishop’’’’s robes, acting out the popular story in his legend that recounts of how, while meditating on the Trinity, as he walked on the seashore, he came across a child who explained that he was trying to empty the sea into a hole in the sand. In answer to Augustine’’’’s remonstration, the child - a divine messenger - points out that what he was doing was no more futile than the bishop’’’’s trying to fathom the mystery of the Trinity. Not so evocative, but evidence of the story’’’’s popularity in Antwerp early in the 17th century, is a print by Adrianus Collaert (c. 1560-1618). The ancient monastic order of Saint Augustine was only re-established in Antwerp in 1608. Rubens’’’’s greatest work for it - the high altarpiece for its church (too large to be removed from the Antwerp Museum during its current refurbishment) - was painted some twenty years later. Earlier, soon after his return from Italy in 1608, he had painted the saint as one of the Fathers of the Church in the altarpiece of The Real Presence of the Eucharist for St Paul’’’’s Church in the city, and around 1615 he executed for an unknown patron a painting showing the saint in the habit of his order, kneeling between Christ and the Virgin. The present sketch, hitherto unrecorded, was most likely painted at some time between these two large-scale works, c. 1610-1612. The original, rectangular support has been dated dendrochronologically by Ian Tyers to have been ready for use by the 1590s. The composition was engraved in reverse later in the 17th century by Alexander Voet II (1637-1689) (fig. 1; Hollstein XLII, p. 56). Arnout Balis, head of the Rubenianum in Antwerp, has suggested that the print is after a lost painting by Rubens for which the present lot is a modello. An intriguing feature is revealed by X-radiography, which shows the head of a young woman painted on the panel used the other way up. The head fluoresces strongly and much more so than the image of the saint and it seems not directly to relate to any known work by the artist. But its oval contours recall the morphology of the artist’’’’ s favored female types in his early years. Rubens' formulation of the legend, which is here seemingly first devised, would later inform his altarpiece for the Augustinian church in Prague, a late work now in the Národni Galeri v Praze. It also inspired Gaspar de Crayer - a near contemporary of Rubens - in his depiction of the saint now in the Prado Museum, and more evidently another work also in the Prado and described there as from the school of Rubens. Even more directly derivative, but in which the saint’’’’s mitre is held by an angel beside him, is the painting which forms part of the surround of Ribera’’’’s great Immaculate Conception of 1635 in the church of the Barefoot Augustinians in Salamanca. The Ribera was commissioned by the Conde de Monterrey, then viceroy of the kingdom of the Two Sicilies, to be the main element of the high altarpiece of the funerary church of the convent he founded beside his palace in Salamanca. The high altarpiece was only assembled and put in place later in the century. Though now untraced, it is clear that the composition of the finished painting, for which the present work was preparatory, was hugely influential to artists of the following generations.
Peter Paul Rubens - Lejonjakten

Peter Paul Rubens - Lejonjakten

Original 1621
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Net Price
Lot number: 64
Other WORKS AT AUCTION
Description:
Peter Paul Rubens Flandern 1577-1640. Kopia efter. "Lejonjakten". Olja på pannå, 53 x 39,5. Oil on panel, 53 x 39.5 cm. Prototypen från 1621 finns i Alte Pinakothek, München. Proveniens: Doktorinnan Evy Björling, Malmö. Därefter genom arv till nuvarande ägare. The prototype from 1921 is in The Alte Pinakothek, Munich. Provenance: Mrs. Evy Björling, Malmö. Thence by descent to the present owner. Ställvisa retuscher, särskilt längs höger marginal, i himmelspartiet i nedre högra partiet, samt i den vita hästen. Men generella ställvisa retuscher.Stötmärke i kullen under den svarta hästen samt stötmärken i mörkt parti. Rammått: 56 x 70.
Peter Paul Rubens - Saint Norbert Overcoming Tanchelm

Peter Paul Rubens - Saint Norbert Overcoming Tanchelm

Original
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Gross Price
Lot number: 31
Other WORKS AT AUCTION
Description:
Sir Peter Paul Rubens SIEGEN 1577 - 1640 ANTWERP SAINT NORBERT OVERCOMING TANCHELM oil on panel 26 1/4 by 18 1/8 in.; 66.5 by 46 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance J.F. Wolschot, Antwerp; His sale, Brussels, 14 July 1819, lot 17 ("P.P. Rubbens, Sur bois, haut de 23 1/2 pouces, et large de 16. Cette belle esquisse, où l'on voit la fermeté du pinceau de cet artiste, représente Saint-Norbert qui foule à ses pieds l'infame Tanchelin."); There acquired by Léandre Dacosta; With Van Diemen, Berlin and New York, 1930; With Colnaghi, London, by 1933; With P. de Boer, Amsterdam; Dr. Otto Hirschmann, Amsterdam, by 1937; Curtis O. Baer, New Rochelle, NY, by 1954; Thence by descent to George Baer, Atlanta, GA; From whom acquired, via Jill Newhouse, by the present owner. Exhibited Amsterdam, J. Goudstikker, Rubens-Tentoonstelling, August-September 1933, no. 17; Brussels, Musées Royaux des Beaux-Arts de Belgique, Esquisses de Rubens, August-September 1937, no. 27; New York, Schaeffer and Brandt, Inc., Peter Paul Rubens, 23 November-19 December 1942, no. 17; Rotterdam, Museum Boymans, Olieverfschetsen van Rubens, 19 December 1953-14 February 1954, no. 36; Cambridge, MA, Fogg Art Museum; New York, The Pierpont Morgan Library, Drawings and Oil Sketches by P.P. Rubens from American Collections, 14 January-28 April 1956, no. 35; Boston, Museum of Fine Arts; Toledo, The Toledo Museum of Art, The Age of Rubens, 22 September 1993-24 April 1994, no. 25 (catalogue entry by Marjorie E. Wieseman); Greenwich, CT, Bruce Museum of Arts and Sciences, Drawn by the Brush: Oil Sketches by Peter Paul Rubens, 2 October 2004-30 January 2005, no. 13 (catalogue entry by Peter C. Sutton). Literature J. Smith, A Catalogue Raisonné...., vol. 2, London 1830, cat. no. 384; M. Rooses, L'oeuvre de P.P. Rubens. Histoire et description de ses tableaux et dessins, vol. 2, Antwerp 1888, p. 329, cat. no. 476; L. van Puyvelde, Les Esquisses de Rubens, Basel 1940, p. 80, cat. no. 50, reproduced pl. 50; I. Leyssens, "Hans van Mildert, 158?-1638," in Gentsche Bijdragen tot de Kunstgeschiedenis 7, 1941, pp. 122-23, reproduced p. 123; J.-A. Goris and J.S. Held, Rubens in America, New York 1947, cat. no. 63; E. Larsen, P.P. Rubens, With a Complete Catalogue of His Works in America, Antwerp 1952, p. 217. cat. no. 65; W.L. Kitlischka, Rubens und die Bildhauerei: die Einwirkung der Plastik auf sein Werk und Rubens' Auswirkung auf die Bildhauer des 17. Jahrhunderts, Ph.D. dissertation, Vienna 1963, pp. 112-15, 157-58; L. Burchard and R.-A. d'Hulst, Rubens Drawings, Brussels 1963, vol. I, p. 117, under cat. no. 70; M. Jaffé, "Rediscovered Oil Sketches by Rubens, II," in The Burlington Magazine, no. 798, September 1969, p. 529; J.S. Held, The Oil Sketches of Peter Paul Rubens: A Critical Catalogue, Princeton 1980, vol. I, pp. 577-78, cat. no. 420, vol. II, reproduced pl. 408; M. Jaffé, Rubens: Catalogo completo, Milan 1989, pp. 282-83, cat. no. 777, reproduced; P.C. Sutton, The Age of Rubens, exhibition catalogue, Boston 1993, pp. 285-287, cat. no. 25, reproduced p. 286 (entry by M.E. Wieseman); P. C. Sutton, in Drawn by the Brush: Oil Sketches by Peter Paul Rubens, exhibition catalogue, Greenwich, CT 2005-2005, pp. 134-137, cat. no. 13, reproduced p. 135. Catalogue Note Rubens’’’’ oil sketch depicting Saint Norbert Overcoming Tanchelm, dated to circa 1622-23, was painted to serve as a model for a large-scale sculpture in white alabaster executed by Hans van Mildert (1588-1638) (fig. 1). The sculpture, along with one depicting the Virgin and Child and another of Saint Michael Subduing Lucifer, were part of a tabernacle surrounding Rubens’’’’ own painting of the Adoration of the Magi, painted for the high altar of the Abbey Church of Saint Michael in Antwerp, and now in the Koninklijk Museum voor Schone Kunsten, Antwerp (fig.2). Rubens was closely involved with the Abbey of Saint Michael over the course of two decades and, as both his mother and brother Philip were buried there, had a deep personal connection as well. He was commissioned to paint the altarpiece by the Abbot Mattheus Yrsselius (1541-1629) whose portrait Rubens had painted in circa 1622 and which also hung in the church to one side of the altar. Rubens’’’’ companion sketch for the Saint Michael sculpture is still extant, though the whereabouts of the sketch for the Virgin and Child is unknown. The tabernacle and three sculptures were removed from Saint Michael’’’’s when the abbey was secularized during the French occupation (1796-97) and were subsequently purchased in 1803 by the church of Saint Trudo, in Zundert, Noord Brabants, where they remain today. Tanchelm was a heretical itinerant preacher active in the Low Countries in the early 12th century. A severe critic of established Catholic practices and doctrines, he rejected the authority of bishops and priests, opposed tithing, and even went so far as to claim that the sacrament of the Eucharist would not lead to salvation. Antwerp and the surrounding area became a stronghold of the Tanchelmian heresy. In an effort to counter this movement, Norbert (circa 1080-1134), who had founded the Premonstratensian order in 1120, went to Antwerp accompanied by twelve members of his order. He took over the old church of Saint Michael and reinstituted the rite of the Eucharist, which had ceased to be practiced there. Norbert left Antwerp in 1124 to become archbishop of Magdeburg, though he left behind the twelve “Norbertinians” who continued to combat the heresy and eventually succeeded in suppressing it. The church and abbey of Saint Michael thrived and became one of the most powerful and prestigious religious institutions in Antwerp. Saint Norbert, who was canonized in 1582 for his defense of the sacrament of the Eucharist and the authority of the clergy, was fervently venerated in Counter-Reformation Antwerp. Rubens depicts Norbert in the white habit worn by the Premonstratensians and a bishop’’’’s mitre; he holds a crozier in his left hand and a monstrance, used in the Eucharistic sacrament, is held aloft victoriously in his right hand. In a powerful representation of Norbert’’’’s triumph, he stands on the prostrate figure of Tanchelm who writhes helplessly underneath, glaring up at the triumphant saint. Painted mostly in a monochrome brunaille palette, Rubens has introduced delicate touches of blue pigment in the sky, with greens in the distant landscape and Tanchelm’’’’s stockings. Examination under infrared-reflectography reveals a free and loosely sketched underdrawing (fig. 3) that shows a change in the placement of the crozier which was leaning at more of an angle to the right and altered to a more upright position. Van Mildert’’’’s sculpture shows some notable differences in respect to Rubens’’’’ sketch. The figures of Norbert and Tanchelm now stare straight ahead, whereas in the sketch there is an energy and connection between the two figures, as Norbert cocks his head slightly to look down towards Tanchelm who twists his head around to look up at his vanquisher. In the sculpture, Norbert wears the pallium over his white gown and holds a chalice in his right hand (though this is likely a later replacement as the figure is described in 1629 as holding a monstrance). 5 Tanchelm’’’’s costume has been elaborated with puffed up pants and sleeves and his right leg now hangs down limply at a right angle. Overall, Van Mildert’’’’s sculpture seems more static than Rubens’’’’ sketch, which is far more dynamic and emotionally charged.
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