Peter Paul Rubens

Germany (Siegen 1577Antwerp 1640 ) - Artworks Wikipedia® - Peter Paul Rubens
RUBENS Peter Paul Saint Catherine

Christie's /Dec 3, 2014
10,120.18 - 15,180.26
Not Sold

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Variants on Artist's name :

Sir Peter Paul Rubens

Rubens

Rubens Petr Pavel

 

Artworks in Arcadja
1706

Some works of Peter Paul Rubens

Extracted between 1,706 works in the catalog of Arcadja
Peter Paul Rubens - Two Nude Men Dragged Down By Demons And Lifted Up By Three Partly Robed Figures

Peter Paul Rubens - Two Nude Men Dragged Down By Demons And Lifted Up By Three Partly Robed Figures

Original
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Lot number: 63
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Sir Peter Paul Rubens (Siegen 1577-1640 Antwerp) Two nude men dragged down by demons and lifted up by three partly robed figures, after Michelangelo black and red chalk, stumping, on two sheets of paper, watermark encircled pilgrim (on the left sheet) 18¼ x 27 in. (46.3 x 68.6 cm.) P.H. Lankrink (L. 2090). Sir Thomas Lawrence (L. 2445) with Samuel Woodburn. King William II of Holland, to his daughter Sophie, Grand Duchess of Sachsen Weimar-Eisenach, and by descent; Phillips, London, 7 July 1999, lot 115 (as Attributed to Rubens), where acquired by the present owner. P. Joannides, 'More on Rubens's interest in Michelangelo and Raphael', Paragone, LVII, no. 68, 2006, pp. 31-2, fig. 22. P. Joannides, The Drawings of Michelangelo and his Followers in the Ashmolean Museum, Cambridge, 2007, pp. 411, 435. J. Wood, Corpus Rubenianum XXVI. Copies and Adaptations from Renaissance and Earlier Artists. Italian artists, I. Raphael and his School, London and Turnhout, 2010, p. 67. J. Wood, Corpus Rubenianum XXVI. Copies and Adaptations from Renaissance and Earlier Artists. Italian artists, III. Artists working in Central Italy and France, London and Turnhout, 2011, I, pp. 48, 183-90, no. 190; II, fig. 75. London, National Gallery, Rubens. A Master in the Making, 2005-06, ex-catalogue.
Peter Paul Rubens - A Putto

Peter Paul Rubens - A Putto

Original
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Lot number: 62
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Sir Peter Paul Rubens SIEGEN 1577 - 1640 ANTWERP A PUTTO Black, red and white chalk 267 by 135 mm; 10½ by 5 1/3 in Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Georges Bourgarel, Paris; sale, Bern, Gutekunst & Klipstein, 22 November 1956, lot 272; Private Collection, England This extremely refined, carefully observed study relates to the figure of a putto at the top left of Rubens’’s major 1618 altarpiece, The Virgin and Child, surrounded by the Holy Innocents (fig. 1; Paris, Musée du Louvre). Though the figure in the drawing corresponds very closely with its painted counterpart, even down to the fact that neither arm is visible, it gives the strong impression of being a rapid study of a real child, made from life, rather than an image of an ethereal putto. This, together with the fact that the face in particular is much more naturalistic than in the painting, as well as the apparent alteration in the positioning of the child’’ s right foot, argues strongly for this being a study, almost certainly made from life, that Rubens used in the creation of the painting. It is entirely consistent with Rubens’’s working method during this period for him to take a rather specific life study and incorporate it more or less exactly into one or more paintings. A good example of this is the very spontaneous black chalk study of a standing child (or, to be more precise, of a small child supported on its feet by the hands of an invisible adult), in the Albertina, Vienna. 1 The child in question was probably the artist’’s son Albert, born on 5 June 1614, and if so, the drawing must have been made around a year later. Rubens then used it as the basis for the Christ Child in his Holy Family with Saint Elizabeth and the Infant Saint John the Baptist, in the Wallace Collection, London, painted circa 1616, and also adapted the figure slightly in his 1619-20 Virgin with Jesus and the Infant Saint John the Baptist, in Kassel. 2 Other studies by Rubens of his own children also served the dual purpose of recording the much-loved offspring’’ s appearance, and providing the artist with a figure to use in a painting: for example the famous study of Nicholas Rubens wearing a coral necklace of around 1619, also in the Albertina 3 , though surely made as a portrait study in its own right, was also used as the basis for the head of the Christ Child in the above-mentioned Kassel painting. These other studies of children are both slightly different from the present work in terms of handling – the first is more rugged, the second more extensively and carefully hatched and shaded – but like all truly great draughtsmen Rubens did not adhere to a simple formula in his drawings, and throughout his life, drawings of a similar period often demonstrate striking differences in technique and handling, reflecting more than anything else their function. Other studies are known from the period around 1618 that closely parallel the technique seen here, with its rapid and elegant cursive lines and shading that combines bold hatching and softer, more delicate touches. One of the most closely comparable is another drawing in the Albertina, a black and white chalk study of a seated old man, which, though unconnected with any known painting, must also date from 1618-20. 4 Both a beautiful image and a fascinating document of Rubens’’s working method, this recently rediscovered drawing is an important addition to the corpus of Rubens’’s works on paper. While the attribution of works to Rubens is rarely unanimous amongst modern scholars, the present drawing is accepted as an autograph work by all of the Rubens specialists who have seen it at first hand. One, judging from a digital image, has suggested that the drawing is substantially later in date, but the forensic paper historian Peter Bower has confirmed from his first hand inspection that the paper is consistent with a dating of circa 1618. 1. Inv (17 639); A.-M. Logan and M.C. Plomp, Pieter Paul Rubens, The Drawings, exh. cat., New York, Metropolitan Museum of Art, 2005, pp. 192-3, no. 59 2. Logan/Plomp, op. cit., p. 238, fig. 126 3. Inv. 17650; Logan/Plomp, op. cit., pp. 237-8, no. 81 4. Vienna, Albertina, inv. 8296; Logan/Plomp, op. cit., pp. 204-5, no. 65 Fig. 1 Sir Peter Paul Rubens, The Virgin and Child, surrounded by the Holy Innocents , Musée du Louvre, Paris
Peter Paul Rubens - Assumption Of The Virgin

Peter Paul Rubens - Assumption Of The Virgin

Original 1620
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Lot number: 10
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AFTER SIR PETER PAUL RUBENS (flemish 1577-1640)/span ASSUMPTION OF THE VIRGIN Red chalk on paper 9 7/16 x 13 3/4 in. (23.9 x 34.9cm) provenance: /spanPrivate Collection, New Jersey. note:/span The present drawing resembles the Sir Peter Paul Rubens's altarpiece (1620) currently in the Hermitage, St. Petersburg, Russia.
Peter Paul Rubens - Saint Catherine

Peter Paul Rubens - Saint Catherine

Original 1630
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Lot number: 48
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Description:
Peter Paul Rubens (1577-1640) Saint Catherine (Holl. 1) 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 P. 293 x 198 mm. , S. 298 x 203 mm. T. Lundh (not in Lugt).
Peter Paul Rubens - The Martyrdom Of Saint Paul

Peter Paul Rubens - The Martyrdom Of Saint Paul

Original
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Gross Price
Lot number: 32
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Description:
Sir Peter Paul Rubens SIEGEN 1577 - 1640 ANTWERP THE MARTYRDOM OF SAINT PAUL oil, with traces of graphite underdrawing on panel, within a painted arch: a modello 38 by 22.9 cm.; 15 by 9 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Mr. Wallace; From whom purchased in Florence in 1847 by; Sir Robert Staynor Holford (1808-1892) and first housed at Russell Square and then from 1856 at Dorchester House, Park Lane, London; Thence by descent to Holford's son, Sir George Lindsay Holford (1860-1926), Dorchester House, London; His sale, London, Christie's, 17-18 May 1928, lot 38, to Knoedler's; With M. Knoedler & Co., London, 1930; With Scott and Fowles, New York, 1937; Joseph J. Kerrigan, New York, by 1947; Charles E. Roseman, Cleveland Heights, Ohio; With Frederic Mont, New York, circa 1963; With Newhouse Galleries, New York; From whom purchased by Thomas Mellon Evans, Greenwich, CT, 1963; His sale, New York, Christie's, 22 May 1998, lot 32, for $717,500; Whereby purchased by a private collector by whom anonymously sold, ('Property of a Private Collector'), New York, Sotheby's, 27 January 2011, lot 161, where acquired shortly afterwards by the present owner. Exhibited Winston-Salem, Public Library, Collectors' Opportunity, 1963 (lent by Newhouse Galleries); Worcester, Worcester Art Museum, The Collectors' Cabinet, 6 November 1983 - 29 January 1984, no. 29 (lent by Thomas Mellon Evans); Berkeley, The Berkeley Art Museum and Pacific Film Archive; Cincinnati, The Cincinnati Art Museum, Drawn by the Brush: Oil Sketches by Peter Paul Rubens , 2 March - 11 September 2005, no. 38. Literature G.F. Waagen, Treasures of Art in Great Britain, London 1854, vol. II, p. 200 (as by Anthony van Dyck, The Beheading of a Saint); M. Rooses, L'Oeuvre de P.P. Rubens. Histoire et description de ses tableaux et dessins, Antwerp 1888, vol. II, pp. 333-5, no. 478; A. Rosenberg, ed., PP. Rubens: des Meisters Gemälde, part of the series, Klassiker der Kunst, vol. V, Stuttgart 1906 (and subsequent editions), p. 418; R. Benson, The Holford Collection, Dorchester House: With 200 Illustrations from the Twelfth to the end of the Nineteenth Century, Oxfor 1927, vol. II, no. 116, reproduced pl. 104; W. Gibson, 'The Holford Collection', in Apollo, vol. VII, May 1928, pp. 198-9; J.-A. Goris and J.S. Held, Rubens in America, New York 1947, p. 36, cat. no. 67; E. Larsen, P.P. Rubens. With a Complete Catalogue of His Works in America, Antwerp 1952, p. 219, no. 92; F. van Molle, 'Nieuwe Noa's bij een Verloren Werk van P.P. Rubens', in Revue Belge d'Archéologie et d'Histoire de l'Art, vol. XXI, 1952, pp. 127-33; H. Vlieghe, 'De marteldood van der H. Petrus, en olieverfschets door Gaspar de Crayer', in Bulletin Boymans-van Beuningen, vol. XVII, 1952, p. 18, reproduced fig. 12; L. Burchard and R.-A. d'Hulst, Rubens Drawings, Brussels 1963, vol. I, p. 311; Collectors' Opportunity, exhibition catalogue, Winston-Salem 1963, pp. 38-9; J.S. Held, 'Jan van Boeckhorst as Draughtsman', in Bulletin des Musées royaux des Beaux-Arts de Belgique, vol. XVI, 1967, p. 142; H. Vlieghe, Saints I-II, Corpus Rubenianum Ludwig Burchard, Brussels 1972-3, pt. 8, vol. II, p. 133-4, no. 137a, reproduced pl. 91; J. Rowlands, Rubens Drawings and Sketches, Catalogue of an exhibition at the Department of Prints and Drawings in the British Museum, London 1977, under no. 190; J.S. Held, The Oil Sketches of Peter Paul Rubens. A Critical Catalogue, Princeton 1980, vol. I, p. 582, no. 423, reproduced, vol. II, pl. 412, color pl. 23; G. Langemeyer, 'Kunsthistorische Nachbemerkkungen zum Katalog der Werke des Johann Bockhorst', in Westfalen, vol. LX, 1982, p. 194, reproduced, fig. 13; J. Welu, ed., The Collectors' Cabinet, exhibition catalogue, Worcester 1983, no. 29; P. Sutton, catalogue entry for the present painting in, Drawn by the Brush : Oil Sketches by Peter Paul Rubens, P. Sutton, ed., exhibition catalogue, Greenwich, Berkeley, and Cincinnati 2005, pp. 244-247, no. 38, reproduced in color (with image reversed).
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