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Peter Paul Rubens

Germany (Siegen 1577 -  Antwerp 1640 ) Wikipedia® : Peter Paul Rubens
RUBENS Peter Paul Massacre Of The Innocents

Stahl /Apr 23, 2016
9,000.00 - 10,800.00
Not disclosed

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
2016

Some works of Peter Paul Rubens

Extracted between 2,016 works in the catalog of Arcadja
Peter Paul Rubens - The Entombment

Peter Paul Rubens - The Entombment

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Gross Price
Lot number: 51
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Description:
Peter Paul Rubens (Siegen 1577–1640 Antwerp) The Entombment, oil on panel, 74.5 x 106 cm, framed Provenance: probably collection of Graf von Werschowitz (1654–1720); probably by whom sold in Prague, 1723 (as by Rubens after Titian); private collection, England; Leonard Koetser Gallery, London (as by Rubens); Sir Ian Rankin, Baronet; Michael Simpson Gallery, London (as by Rubens); Dodie Rosekrans collection, San Francisco; sale, Sotheby’’’’’’’’s, New York, 26th January 2012, lot 148 (as Studio of Peter Paul Rubens) Literature: H. E. Wethey, The Paintings of Titian, The Religious Paintings, I, London, 1969, pp. 89/90, under no. 36 copies, no. 4 (as a free copy by Rubens after Titian); M. Jaffe, Rubens, Catalogo Completo, Milan, 1989, p. 173, no. 129 (as by Rubens); C. Brown, Van Dyck Drawings, New York, 1991, p. 63, fig. 5, note 3 (as ‘the attribution to Rubens seems correct’’’’’’’’); J. Wood, Corpus Rubenianum Ludwig Burchard, XXVI, Copies and Adaptations from Renaissance and later Artists, London/Turnhout, 2010, I: Italian artists, II: Titian and Northern Italian Art, p. 440, no. R23 (as Flemish artist after Titian) We are grateful to Professor Christopher Brown and Ben van Beneden for their assistance in cataloguing this lot and for each independently confirming the attribution after inspection of the original. They both give a date of execution of circa 1612–15. The present painting is a fine example by Peter Paul Rubens of a work that was inspired by one of the great 16th century Italian Renaissance masters. The artist was first confronted with the work of Titian in May 1600, when he arrived in Venice. Rubens would ultimately stay in Italy for eight years with his first appointment at the court of the Gonzagas in September 1600 in Mantua. It was in this city that he must have first seen the famous Entombment by Titian (oil on canvas, 148 x 212 cm, Musée du Louvre, see fig. 1), which was in the Gonzaga collection at the time. It was Michael Jaffé, in his well-known ‘Catalogo Completo’’’’’’’’ of 1989, who suggested that the painting was executed by Rubens after his return from Italy in 1608. This is further supported by a recent dendrochronological report on the panel (available on request), which indicates that the youngest tree ring dates to 1598, suggesting a felling date of circa 1606 onwards. In addition, Dr. Peter Klein has also shown that a study on panel by Rubens of a monk (Museum der Bildenden Künste, Leipzig) comes from the same tree as the present lot. These reports are available on request. Christopher Brown first recognized the painting as autograph in his catalogue of van Dyck’’’’’’’’s drawings which he published in 1991. In a private letter, dated 15th July 2015, following its revelatory cleaning and the removal of old over-paint which previously had completely obscured the original sky, Christopher Brown writes: ‘The palette of colours too is entirely characteristic of these years. The evidence of the dendrochronology also supports the argument that it was painted around 1610. My own suggestion is 1612-15.’’’’’’’’ The fact that Rubens used an oak support for this Entombment led Ben van Beneden to conclude the following in a private written communication, dated 7th February 2016: ‘…it is not likely that he would have used an oak support for a painting when in Italy, which has led to the suggestion that it must have been painted on his return to Antwerp, perhaps from a drawing./…/ It is consistent with his style of the early 1610s. Like Dr Christopher Brown, I would date ‘The Entombment’’’’’’’’ to circa 1612–15.’’’’’’’’ Christopher Brown continues: ‘The figure of Joseph of Arimathea, most strikingly, can be found again and again in his work from the years around 1610.’’’’’’’’ A good example where the same model re-appears can be seen in Rubens’’’’’’’’ The Four Evangelists of circa 1614 in the Bildergalerie, Alte Meister, Sanssouci, Potsdam. The present panel is considerably smaller in its dimensions than Titian’’’’’’’’s picture and Rubens rendered the composition with fluid brushstrokes of thinly applied paint making the painting more akin to a sketch than a fully worked out painting. This freedom of execution is certainly an indicator of how Rubens was not just interested in making direct copies of the earlier Masters, but also wanted to interact with them to give his own version full expression. After Rubens’’’’’’’’ death in 1640, an inventory was made of his private collection, which listed a number of copies after Italian Masters including Titian. This is further testament to the idea that the present work was probably made for the artist’’’’’’’’s own study and enjoyment and kept in his private collection until the very end. This last point is made by Michael Jaffé in a letter, dated 7th February 1989 (available on request). Additional image: Tiziano Vecellio, called Titian, The Entombment of Christ, Musée du Grand Palais, Paris © bpk | RMN - Grand Palais | Stéphane Maréchalle Specialist:
Peter Paul Rubens - Venus Supplicating Jupiter

Peter Paul Rubens - Venus Supplicating Jupiter

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Lot number: 9
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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 - St. Catherine

Peter Paul Rubens - St. Catherine

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Lot number: 209
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Sale 2412 Lot 209 PETER PAUL RUBENS St. Catherine. Etching, circa 1620. 293x198 mm; 11 5/8x7 7/8 inches. Third state (of 3). Arms of Amsterdam watermark. With thread margins or trimmed on the plate mark. A superb, richly-inked, early impression of this extremely scarce etching, with traces of the foul-biting marks in the lower right corner and the delicate wiping scratches indicative of the earliest impressions (see Riggs, Cincinnati Art Museum, Six Centuries of Master Prints: Treasures from the Herbert Green French Collection, 1993, pp. 151-52).
Peter Paul Rubens - Massacre Of The Innocents

Peter Paul Rubens - Massacre Of The Innocents

Original
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Price: Not disclosed
Lot number: 10
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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

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Lot number: 106
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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.
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