Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Peter Paul Rubens

Germany (Siegen 1577 -  Antwerp 1640 ) Wikipedia® : Peter Paul Rubens
RUBENS Peter Paul Venus Supplicating Jupiter

Christie's /Jul 7, 2016
1,519,794.90 - 2,279,692.35
Not Sold

Find artworks, auction results, sale prices and pictures of Peter Paul Rubens at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert

 

Variants on Artist's name :

Sir Peter Paul Rubens

Rubens

Rubens Petr Pavel

 

Artworks in Arcadja
2079

Some works of Peter Paul Rubens

Extracted between 2,079 works in the catalog of Arcadja
Peter Paul Rubens -  Head Study

Peter Paul Rubens - Head Study

Original
Estimate:
Starting price:

Price:

Lot number: 6492
Other WORKS AT AUCTION
Description:
RUBENS, PETER PAUL (FOLLOWER) (Siegen 1577 - 1640 Antwerp) Head study. Oil on panel. 43.5 x 40.3 cm. Provenance: European private collection. --------------- RUBENS, PETER PAUL (NACHFOLGER) (Siegen 1577 - 1640 Antwerpen) Kopfstudie. Öl auf Holz. 43,5 x 40,3 cm. Provenienz: Europäische Privatsammlung.
Peter Paul Rubens - Study Of A Horse With A Rider

Peter Paul Rubens - Study Of A Horse With A Rider

Original -
Estimate:

Price:

Gross Price
Lot number: 17
Other WORKS AT AUCTION
Description:
Sir Peter Paul Rubens STUDY OF A HORSE WITH A RIDER SIEGEN 1577 - 1640 ANTWERP oil on canvas 46 1/2 by 22 in., 118 by 56 cm. Provenance Possibly With Galerie Georges Petit, Paris; Lucien Lambiotte, Brussels, by 1955; Eric Lippens, Vlezenbeek, Belgium; Anonymous sale, Amsterdam, Christie’’’’’’’’s, 23 June 2015, lot 11 (as After Sir Anthony Van Dyck, measuring 118 by 82 cm., with later additions); There purchased by the present owner. Exhibited Genoa, Palazzo dell’’’’’’’’Academia, Cento Opere di Van Dyck, June - August 1955, no. 5 (as by Sir Anthony van Dyck). This newly discovered work is a rare example of a large-scale animal study by Rubens. Until recently, the painting had been associated with Sir Anthony Van Dyck, and was exhibited as a work by that artist in Genoa in 1955. However, the picture’’’’’’’’s attribution has been impossible to discern with any certainty until now, thanks to a later added background that all but overwhelmed the original (fig. 1). The removal of this later addition has revealed a work of high quality, and a typical example of the spirited and rapidly painted oil sketches – seemingly "drawn by the brush" – for which Rubens is so celebrated. The painting can be dated to the early 1610s, when Rubens made a series of equestrian studies for use in both portraits and subject pictures. Such studies were required to help him cope with the increasing demands on his time. By his mid-thirties Rubens was one of the leading painters in Northern Europe, and commissions flooded in. To maximize his output he began to rely on studio assistants to help him, and key to guiding them wasa large number of studies by Rubens himself like the present example. Today, Rubens’’’’’’’’ best known studies are the characterful heads designed to be repeated (or in modern parlance "cut and pasted") in multi-figural compositions. As a result, we often see the same characters appear with unnerving regularity in Rubens’’’’’’’’ larger works (and sometimes even within the same painting).1 But the same was true of Rubens’’’’’’’’ equestrian studies. For example, the same horse in the same pose can be seen in a number of Rubens’’’’’’’’ equestrian portraits from this stage of his career, including his 12 foot high Portrait of Don Rodrigo Calderon on Horseback dated to 1612-15 (fig. 2, Royal Collection),2 the lost circa 1615 Portrait of Albert, Archduke of Austria,3 and the slightly later Portrait of Ladislas-Sigismund, Prince of Poland (Wawel Castle, Cracow).4 The two extant portraits are today believed to have been painted with significant studio assistance. Since such large works would have been among the most complex for Rubens’’’’’’’’ assistants to master it is hardly surprising that he sought to replicate a well-established pattern through the repeated use of one original study, which would be copied and scaled up by assistants. Rubens would then apply much of the final detail himself. A concession to originality in such pictures was to change the color of the horse from grey to brown. But the original studies on which Rubens’’’’’’’’ early equestrian works were based has until now remained something of a mystery. Three of the poses he used most often have been known through a now lost painting formerly in the Kaiser Friedrich Museum in Berlin, which was traditionally called The Riding School.5 In 1987 Hans Vlieghe recognized that the Berlin picture was not in fact intended to show an actual riding school, but was perhaps instead a “studio ‘prop’’’’’’’’ [to be used] whenever an equestrian portrait was called for.”6 The Berlin picture showed three horses arranged together on a single canvas, on a landscape background, and in the three "attitudes" 17th Century viewers might have expected to see horses performing. The horse on the left was that used in the above mentioned equestrian portraits. The central horse is a semi-rearing grey horse in profile (performing a pesade), which can be seen in the large Wolf and Fox Hunt of about 1616 (New York, Metropolitan Museum of Art) painted by Rubens and his studio.7 The horse on the right showed a "piebald" horse from behind. This pose, evidently unsuitable for both portraits and hunting compositions, is only known to have been used once by Rubens: in the foreground of his circa 1630 Henry IV at the Siege of Amiens in the Gothenburg Museum of Art (fig. 3).8 However, it has long been accepted by scholars that the Berlin canvas was not painted by Rubens himself, but by an unknown assistant.9 Furthermore, another picture in the Royal Collection, also attributed to Rubens’’’’’’’’ studio (fig. 4),10 shows the horses placed in different positions and on a plain background. The varying presentation of the horses therefore makes it clear that Rubens’’’’’’’’ missing original studies were not painted on one piece of canvas, as suggested in the Berlin picture, but were instead separate pictures. The discovery of the present painting now allows us to appreciate Rubens’’’’’’’’ original equestrian studies for the first time. While it matches the basic design seen in the Berlin and Royal Collection pictures, the unfinished and sketchy nature of both the horse and rider is far more apparent. Indeed, the rider is hardly described at all, with only the outline of his body and legs quickly drawn in. The emphasis of the painting is clearly on the balance and pose of the horse itself; the careful weighting of the legs; the raised rear left leg; and the poise with which the rider is seated in the saddle. Rubens was an enthusiastic rider, and the study demonstrates not only his facility for painting animals, but also his deep understanding of horses and horsemanship. Like a large number of Rubens’’’’’’’’ studies, the present painting was "completed" by later hands over time. The aesthetic of the unfinished has historically been far less appreciated than it is today, and even Rubens’’’’’’’’ most detailed head studies were often, after his death, transformed into finished pictures with the addition of bodies or hands in order to make them more saleable.11 The same was true of Van Dyck’’’’’’’’s head studies. What is unusual about the present lot is the extent to which it had been altered by later intervention. An entirely new landscape background was added (almost certainly in France in the mid-to-late 19th Century), which incorporated later strips of canvas (as seen by x-ray, fig. 5) to accommodate a landscape in the style of an artist like Gustave Courbet.12 The rider’’’’’’’’s body was given a yellow jacket, while his hat was turned into something from a Hollywood western. But new developments in conservation techniques, in particular the use of solvent gels (which allow a far more controlled removal of overpaint layer by layer), have allowed this later overpaint to be successfully removed. Fortunately, the horse itself had remained unaffected by the later interventions, as can be seen in the perfectly intact, almost calligraphic strokes of dark pigment in areas such as the saddle and the rider’’’’’’’’s accessories. The two other studies from the series of three recorded in the Berlin picture have also now been identified. The semi-rearing grey horse in profile has been discovered in a private collection in England. As with the present painting, later intervention had led to the rider being substantially overpainted, and a landscape background added. Originally, as with the present lot, only the outline of the rider had been drawn in by Rubens. The whereabouts of the final study, showing a grey horse from the front, remains unknown, but was previously in the collection of the Earls of Portarlington in England.13 All three studies were originally painted on a plain ground layer, as seen in the present lot, and are of the same height. The Portarlington study was of a similar width to that of the present lot, but had also been made wider at a later date with the addition of two strips of canvas. What seems to be the same piebald horse as the present lot, similarly painted, appears in Rubens’’’’’’’’ Act of Devotion by Emperor Rudolf I.14 Other artists seem also to have admired Rubens’’’’’’’’ equestrian studies; the three horses appear, for example, in various works by Sebastian Vrancx. We are grateful to Ben van Beneden, Director of the Rubenshuis Museum, and Professor Arnout Balis, Director of the Rubenianum, for confirming the attribution to Rubens after first-hand inspection. 1. For example, in Rubens’’’’’’’’ 1618 "Theodosius and Ambrose" [Kunshistorisches Museum, Vienna], which was painted with Van Dyck, the same model is used for both the Emperor Theodosius and the bystander immediately next to him. When Van Dyck made his own smaller version of the composition (National Gallery, London) he amended this error and re-cast the figure of the Emperor with a different model. 2. Windsor Castle, RCIN 404393. 3. See Hans Vlieghe, Corpus Rubenianum Vol. XIX, "Rubens Portraits of Identified Sitters Painted in Antwerp," (Brussels 1987), no.58, p.36. 4. Ibid, no.114, p.124. 5. Destroyed by fire in 1945. 6. Hans Vlieghe, Corpus Rubenianum Vol. XIX, "Rubens Portraits of Identified Sitters Painted in Antwerp", (Brussels 1987), p.30. 7. Accession no. 10.73. Rubens claimed that the wolves were certainly by his own hand. 8. Inventory no. GKM 1380. 9. For example, Hans Vlieghe, Corpus Rubenianum Vol. XIX, ’’’’’’’’Rubens Portraits of Identified Sitters Painted in Antwerp’’’’’’’’, (Brussels 1987), p.37 fn.2, ‘This painting appears to be a copy rather than an authentic work’’’’’’’’. 10. Oil on panel, 36 x 65.7cm, RCIN 404806. 11. See for example Rubens’’’’’’’’ ‘Head of a Bearded Man in Profile holding a Bronze Figure’’’’’’’’, Christie’’’’’’’’s London, 2nd July 2013, lot 30, in which the hand and bronze figure were later additions by Jan Boeckhorst. 12. Old French newspaper clippings were discovered in the joins of the later canvas. 13. An extensive illustrated file on the painting is held at the Rubenianum in Antwerp. It was widely published throughout the early-to-mid 20th Century as a Rubens, but is not recorded after the 1970s. 14. This painting is currently dated to circa 1625 by the Prado, but others have suggested an earlier date. See Elizabeth McGrath, Corpus Rubenianum Vol. XIII, "Subjects from History" (Brussels 1997), Vol II p. 311-317 cat. 56.
Peter Paul Rubens - The Entombment

Peter Paul Rubens - The Entombment

Original -
Estimate:

Price:

Gross Price
Lot number: 51
Other WORKS AT AUCTION
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

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 - St. Catherine

Peter Paul Rubens - St. Catherine

Original -
Estimate:

Price:

Net Price
Lot number: 209
Other WORKS AT AUCTION
Description:
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).
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr