Rubens Peale Paintings & Artwork for Sale | Rubens Peale Art Value Price Guide

Jan. 24, 2024
Attributed to Rubens Peale (American, 1784-1865) Still Life
Est: $500 - $800
Oil on canvas. Giltwood frame.
Cottone Auctions
Jul. 22, 2023
Attributed to Rubens Peale. Still Life with Fruit, oil
Est: $200 - $400
(American, 1784-1865). Oil on canvas, unsigned, 12 x 16 in., framed.
Alex Cooper
Apr. 27, 2023
RUBENS PEALE (attributed), American (1784-1865), Fruit on a Tabletop, oil on canvas, 18 x 24 inches
Est: $6,000 - $8,000
RUBENS PEALE (attributed) American, (1784-1865) Fruit on a Tabletop oil on canvas unsigned
Shannon's
Jul. 14, 2020
RUBENS PEALE (AMERICAN 1784-1865) STILL LIFE WITH FRUIT
Est: $1,000 - $3,000
Artist: Rubens Peale (Attributed) Created: First half, 19th century Frame: Period frame, original stretcher Medium: Pastel on Velum Signature: Signed lower left "R Peale" Title: "Still Life of Fruit" Work Size: 11.5" x 15.5" Condition: Dimensions: Frame: 24" x 20" x 2".
Morphy Auctions
Apr. 13, 2019
ATTRIBUTED TO RUBENS PEALE (AMERICAN, 1784-1865) STILL LIFE Oil on canvas: 12 x 16 in.
Est: $1,500 - $3,000
ATTRIBUTED TO RUBENS PEALE (AMERICAN, 1784-1865) STILL LIFE Oil on canvas: 12 x 16 in. Framed; verso label Provenance: Private Collection
Potomack Company
Mar. 27, 2019
Attributed to Rubens Peale Fruit on a Tabletop
Est: $12,000 - $18,000
Attributed to Rubens Peale Fruit on a Tabletop Oil on canvas 18 x 24 inches C
DOYLE Auctioneers & Appraisers
Jun. 05, 2017
Rubens Peale (American, 1784-1865) Still life with orange and grapes 10
Est: $3,000 - $5,000
Rubens Peale (American, 1784-1865) Still life with orange and grapes 10 x 14in Painted in 1861
Bonhams
Mar. 02, 2017
Rubens Peale (attributed to)
Est: $10,000 - $15,000
Rubens Peale (attributed to) (Pennsylvania, 1784-1865) STILL LIFE WITH FRUIT (Watermelon and Peaches) oil on canvas, framed, unsigned, verso inscribed: painted by Rubens Peale, 1857 (presumably from original canvas) H20" W26 1/2" Provenance: Millicent Rogers Estate of Arturo Peralta Ramos II Literature: Kloss, William. ART IN THE WHITE HOUSE: A NATION''S PRIDE. Washington, DC: White House Historical Association, 2008, p.367 Seller, Charles Coleman. A PAINTER''S DECADE. Art Quarterly, Summer 1960, pp.139-151 Other Notes: Closely related to painting with pink watermelon and same table setting, sold at Freeman''s (6 Dec. 2015, Lot 12); and another in the White House collection (ID# 3060)
Charlton Hall
Dec. 18, 2016
Oil on canvas painting, colorful work of a plate of red & green apples, unsigned, attributed to Rubens Peale (Peale family of painters see accompanying newspaper article & attached early handwritten work reporting history of painting) purchased by the Worobecs at the Candor Estate Auction Williamsport PA - in a proper gilt plaster over wood tall molding frame, 13T X 19W image size (G- professionally relined on new stretcher) Attached handwritten tag reads: painted for Fleming W. Pollock by his friend Rubens Peale, son of Charles William Peale at Milton Pennsylvania, copied from the Record by Sarah Pollock? 20th Oct. 1928 or 9
Est: -
Oil on canvas painting, colorful work of a plate of red & green apples, unsigned, attributed to Rubens Peale (Peale family of painters see accompanying newspaper article & attached early handwritten work reporting history of painting) purchased by the Worobecs at the Candor Estate Auction Williamsport PA - in a proper gilt plaster over wood tall molding frame, 13T X 19W image size (G- professionally relined on new stretcher) Attached handwritten tag reads: painted for Fleming W. Pollock by his friend Rubens Peale, son of Charles William Peale at Milton Pennsylvania, copied from the Record by Sarah Pollock? 20th Oct. 1928 or 9
Roan Inc. Auctioneers & Appraisers
Oct. 28, 2016
Rubens Peale
Est: $2,000 - $3,000
Rubens Peale Am. 1784–1865 Fruit Signed and dated "Rubens Peale" on an early label verso. The signature is under an affidavit signed by Gustav A.Berger verso which reads as follows: "This painting, 'Fruit', by Rubens Peale, was transferred by me onto a new canvas. On the back of the old canvas there was the following “Original by Rubens Peale, Sep. 26, 1862” An image of the original backing is also attached as part of the affidavit Oil on canvas 12 1/2 x 19 3/4 in. 31.8 x 50.2 cm Artist Full Name:Rubens Peale Medium:Oil on canvas Please note the condition report in an informal email from our restorer: We took a good look at the painting and while we don't question that it is a Peale, it seems to have had quite a lot of restoration not all of which is visible under UV light. According the the labels on the reverse the painting was restored by Gustav Berger. Berger was a very well respected conservator and innovator in the field of conservation. He was the inventor of the original Berger's Ethyl Vinyl Acetate also known as BEVA which has become the industry standard for lining paintings. It also seems that for some reason the original canvas was removed leaving only the original gesso and paint layers. The painting was likely lined onto a new canvas or a piece of fiberglass with BEVA on a vacuum table. A piece of what seems to be the original canvas is taped to the backing card. As I stated previously, some restoration is visible under UV light but most of it is obscured. I would say the there is anywhere from 60-80% inpaint. I cant say for certain but the still life portion of the painting seems more intact and original than the rest of the painting. Very difficult to be precise on the exact amount because the Acryloid varnish is obscuring so much. It also seems that someone may have tried to test clean the pear on the left side more recently. Overall, the painting seems in poor to fair condition.
Barridoff Auctions
Oct. 22, 2016
American School (Mid-19th Century)
Est: $800 - $1,200
Portrait of Eliza Burd. Oil on canvas, mounted on board. Canvas size 46.125 x 36 inches. Framed. Provenance: Ex. coll. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution (86.4765). Likely a portrait of Eliza Burd Patterson Peale (1795-1864), wife of Rubens Peale (American, 1784-1865) son of noted artist Charles Willson Peale (American, 1741-1827). Notice to bidders: Condition reports and additional photographs are provided by request as a courtesy to our clients, as such any condition report is only an opinion and should not be treated as a statement of fact. The absence of a condition report does not imply that the lot is in perfect condition or completely free of defects, imperfections, restoration, wear and tear, or the effects of aging. Capo Auction shall have no responsibility for any error or omission, additionally all lots are sold 'As Is' and in accordance with the conditions of sale.
Capo Auction
Dec. 06, 2015
RUBENS PEALE, (AMERICAN 1784-1865), STILL LIFE WITH FRUIT
Est: $25,000 - $40,000
RUBENS PEALE (american 1784-1865)/span STILL LIFE WITH FRUIT Signed 'Rubens Peale' bottom right; also inscribed 'Presented to Louisia H. Peale/ Jun. 1st 1863 by R.P.' verso, oil on canvas 20 x 27 1/8 in. (50.8 x 68.9cm) provenance: /spanPrivate Collection, Pennsylvania. literature:/span Charles Coleman Sellers, "A Painter's Decade", Art Quarterly, Summer 1960, pp. 139-151. note:/span In the aforementioned article, the author quotes the artist's records regarding the present painting: "Another Copy of Uncle James' fruit piece, varied, red watermelon, white and dark grapes, &c." (p. 149). The painting was started on December 10, 1862 and finished on January 12, 1863. As the inscription verso states, it was presented to Mrs. Edward Burd Peale (Louisa H. Peale), who was one of Rubens Peale's daughters-in-law. A similar version of another copy by Rubens Peale of James Peale's fruit compositions can be seen in the collection of the White House, featuring a white watermelon rather than a pink, and is mentioned in William Kloss, Art in the White House: A Nation's Pride, Washington D.C.: White House Historical Association, 2008, p. 367 (illustrated).
Freeman's | Hindman
Apr. 23, 2015
RUBENS PEALE (attributed), American (1784-1865), Fruit on a Tabletop, oil on canvas, unsigned., 18 x 24
Est: $12,000 - $18,000
RUBENS PEALE (attributed) American (1784-1865) Fruit on a Tabletop oil on canvas, unsigned. 18 x 24 Provenance: Private collection, Pennsylvania. Other Notes: Richardson-Clarke Gallery, Peale catalogue number PPP583. A letter from Dr. William H. Gerdts discussing this painting accompanies the lot.
Shannon's
Jun. 22, 2013
American School (Mid-19th Century) #
Est: $2,000 - $3,000
Portrait of Eliza Burd. Oil on canvas, mounted on board. 46 1/8 x 36 inches. Framed. Provenance: Ex. coll. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution (86.4765). Likely a portrait of Eliza Burd Patterson Peale (1795-1864), wife of Rubens Peale (American, 1784-1865) son of noted artist Charles Willson Peale (American, 1741-1827).
Capo Auction
Nov. 19, 2012
Attributed to Rubens Peale View of Belfield, circa 1869
Est: $15,000 - $25,000
Attributed to Rubens Peale View of Belfield, circa 1869 Bears inscription View of Charles W. Peale Homestead Near Germantown/Copied from his original by Rubens Peale for his daughter Mary Jane Peale on the stretcher Oil on canvas laid to panel 28 1/8 x 36 1/8 inches Provenance: The artist Mary Jane Peale (included in an 1884 list of paintings owned by Mary Jane Peale, and also mentioned in her will) Mr. and Mrs. Andrew Weisenburg, Wynnewood, PA Kennedy Galleries, Inc., New York Exhibited: Philadelphia, Pennsylvania Museum of Art, date unknown (lent by Mr. and Mrs. Andrew Weisenburg, Wynnewood, PA) New London, CT, Lyman Allyn Museum, American Romantic Paintings of the 18th and 19th Centuries from the Collection of Lee B. Anderson, Feb. 26-Mar. 26, 1961, no. 62, as Belfield, The Peale Homestead Literature: Jesse Poesch, Germantown Landscapes: a Peale Family Amusement, Antiques 72 [Nov. 1957, p. 439]. Lillian B. Miller, et al, The Peale Family: Creation of a Legacy, 1770-1870, Washington, DC, 1996, pp. 172, 174, 183, 291 (footnote 25) Andrew Weisenburg was married to Helen Elizabeth Mills (1885-...). Born in 1885 in Philadelphia, she was the daughter of Dr. Charles Krasner Mills and his wife Clara Elizabeth Peale, and was a practicing artist. She married Andrew Weisenburg of Philadelphia on September 4, 1918. In 1810, Charles Willson Peale moved with his third wife, Hannah, to Belfield, a farm outside Philadelphia. Over the ensuing decade, he developed the property into a pleasure garden that eventually attracted many visitors. His son, Rubens planted the gardens, which Charles Willson Peale painted in 1816. Paul D. Schweizer discussed the painting extensively in his essay, "Fruits of Perseverance: The Art of Rubens Peale, 1855-1865" ["The Peale Family: Creation of a Legacy, 1770-1870," Washington, DC, 1996, pp. 172, 174]: "... in the summer of 1869, Rubens began painting The Garden at Belfield (private collection), a copy of his father's View of the Garden at Belfield and one of his most ambitious landscapes... Although this may be the only work by Charles Willson that Rubens ever copied, it would be a mistake to regard this as a measure of Charles Willson's influence on his son... 'I am now eighty years and seven months of age,' Rubens remarked in a letter to this historian, Benson Lossing, 'and hope to make improvement in the art.' In doing so, he became the only member of his family who pursued four of his father's occupations: agriculturalist, naturalist, museum manager, and artist. "It is significant that the only work by Charles Willson that Rubens copied was a landscape that his father had painted more for amuseument than anything else. Peale's View of the Garden at Belfield depicted the garden Rubens had planted at the Germantown farm as a young man. The painting, therefore, had special significance for him... When he and Mrs. Peale visited Belfield on July 7, 1857, he remarked proudly in his journal that the farm's owners 'keep up the garden as I left it, the trees that I planted are now grown to an immense size, scarcely to be recognized by me.' The opportunity to copy the painting occurred three years later, when his daughter Mary Jane, in response to her mother's pleas that she should 'try and bring something new for . . . [Rubens] to copy' when she returned to the farm from Washington, D.C., arranged to have Charles Willson's painting sent to him. Rubens's enthusiasm about copying the picture may also have been sparked by the recollection that his father had originally called the place Farm Persevere, a name that would have reminded Rubens of the encouragement he had received as a boy from Benjamin Franklin." Dr. Schweizer believes that the present work may possibly be the landscape depicted on the rear wall in Rubens Peale in his Studio, painted by Rubens Peale, with Mary Jane Peale, circa 1860-62 ["The Peale Family: Creation of a Legacy, 1770-1870," Washington, DC, 1996, fig. 5.8, p. 183]. In his article Germantown Landscapes: a Peale Family Amusement, Jessie Poesch wrote that this work bore an inscription on the back indicating that it was painted for Mary Jane Peale [as noted in "The Peale Family," op cit, p. 291, note 25]. We thank Dr. Paul D. Schweizer for his very kind assistance in documenting the present work. C Sold to Benefit the Lee B. Anderson Memorial Foundation
DOYLE Auctioneers & Appraisers
Sep. 22, 2012
American School (Mid-19th Century) #
Est: $3,000 - $4,000
Portrait of Eliza Burd. Oil on canvas, mounted on board. 46 1/8 x 36 inches. Framed. Provenance: Ex. coll. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution (86.4765). Likely a portrait of Eliza Burd Patterson Peale (1795-1864), wife of Rubens Peale (American, 1784-1865) son of noted artist Charles Willson Peale (American, 1741-1827).
Capo Auction
Mar. 03, 2011
Rubens Peale (1784-1865)
Est: $30,000 - $50,000
Rubens Peale (1784-1865) Quail in Landscape signed and dated 'Painted by Rubens Peale/aged 80 years/june 3 1864' (on the reverse prior to lining) oil on canvas 19 x 26 in. (48.3 x 66 cm.)
Christie's
May. 20, 2010
Rubens Peale (1784-1865)
Est: $60,000 - $80,000
Rubens Peale (1784-1865) Quail in Landscape signed and dated 'Painted by Rubens Peale/aged 80 years/june 3 1864' (on the reverse prior to lining) oil on canvas 19 x 26 in. (48.3 x 66 cm.)
Christie's
May. 22, 2008
Rubens Peale 1784-1865 , From Nature in the Garden oil on canvas
Est: $60,000 - $80,000
signed and inscribed RP to CWP and dated 1856, l.c. and inscribed By Rubens Peale from Nature in the Garden 1856 on a label on the reverse oil on canvas
Sotheby's
Nov. 29, 2007
Still Life
Est: $40,000 - $60,000
Rubens Peale (1784-1865) Still Life signed, dated and inscribed '1857/copied by Rubens Peale/aged 72/by from the original by/James Peale' (on the reverse) oil on canvas 19¼ x 27¼ in. (48.9 x 69.2 cm.)
Christie's
Jun. 26, 2005
ATTRIBUTED TO RUBENS PEALE (american 1784-1865) STILL LIFE OF FRUIT oil on canvas 18.125 x 24in. (46 x 60.9cm) note: This lot is listed in the Peale catalogue as number PPP583
Est: $10,000 - $15,000
ATTRIBUTED TO RUBENS PEALE (american 1784-1865) STILL LIFE OF FRUIT oil on canvas 18.125 x 24in. (46 x 60.9cm) note: This lot is listed in the Peale catalogue as number PPP583
Freeman's
Mar. 03, 2005
Rubens Peale (1784-1865)
Est: $20,000 - $30,000
Basket of Spring Flowers oil on canvas laid down on panel 14 x 17 in. (35.6 x 43.2 cm.) Painted circa 1854-58.
Christie's
Nov. 29, 2001
Rubens Peale (1784-1864)
Est: $150,000 - $250,000
Partridges in a Landscape signed 'Rubens Peale' (lower right) oil on canvas 201/4 x 27 in. (51.5 x 68.6 cm) PROVENANCE Private collection, Greenwich, Connecticut, acquired circa 1935. By descent in the family to the present owner. NOTES One of Charles Willson Peale's seventeen children, Rubens Peale was born in Bucks County, Pennsylvania in 1784. His entire professional career was dedicated to museum work, and it was not until he retired that he undertook art courses, and "with the help of his daughter Mary Jane, he produced a good-size oeuvre of still lifes and landscapes." (L.B. Miller, The Peale Family, Creation of a Legacy, 1770-1870, New York, 1996, p. 38). More than many formal art schools or movements, the distinguished Peale family of artists contributed to the history of American painting not only in the scope of work it produced, but in the innovation and new directions that it brought to American art. Lillian Miller notes, "In subject matter, the Peales' work followed changes in taste that took place in America in the nineteenth century, from portraiture to history, which in some works approached anecdotal or genre art, to landscape and still life, as Americans discovered the nature of their land and its rich promise. Through a study of the Peales' art, we can trace the course of American painting as it made its way out of its colonial, British-oriented beginnings to a more national expression under the impact of political and social change in America; Charles Willson Peale's early radicalism and democratic inclinations, his willingness to innovate and experiment, his optimistic sense of unlimited opportunity, his commitment to republican ideology and principles, his interest in natural history, public education and the museum, and his familial relationships -- all were transferred to his children, who dared new horizons and new artistic and scientific practices." ( The Peale Family, Creation of a Legacy, 1770-1870, p. 10) Despite a late start at painting, Rubens was an extremely accomplished artist. There is no doubt that "his rapid progress in learning the craft of painting was facilitated by his lifelong exposure to the painting traditions of his family and the knowledge he had gleaned from the art exhibitions he personally had organized at his Baltimore and New York museums and those he attended from time to time in Philadelphia and elsewhere." (P.D. Schweizer, "Fruits of Perseverance, The Art of Rubens Peale, 1855-1865" in The Peale Family, Creation of a Legacy, 1770-1870, p. 170) Many of the paintings that Rubens Peale produced were direct copies of compositions by family members James and Raphaelle Peale. In addition to these, his original works are divided between landscapes, still lifes and bird paintings. Perhaps the most original of all of the three types, the bird paintings were not derivative of the work of Rubens's relatives. Although the direct impetus for their origin is not documented, we know that "sometime between March 22, 1861 and November 11, 1864, Rubens began painting Bobwhite Quail in a Landscape, one of a series of fourteen bird pictures he had started during the summer of 1860. Rubens painted the most characteristic type in this series in 1861, when he completed 'Mrs. Peale's Happy Family of Partridges'. He completed the last picture in the series in early June 1865, about five weeks before he died. Neither his father, uncle, nor older brothers painted game pictures, although his younger brother Titian Ramsay did, late in his painting career. Rubens's exploration of this type of subject matter reveals his growing confidence as a painter during the 1860s. All of the works in the series depict live game birds in naturalistic settings which, in at least two instances, included representations of moss, ferns, laurel, and rhododendron branches, and a variety of other small plants that Mrs. Peale had gathered in the woods and brought to her husband's studio. Rubens's interest in subject matter appropriate to an out-of-door setting parallels the general tendency that emerged in the 1860s for displaying still-life subjects in natural surroundings. In another respect, the game pictures replicate the pictorial formula of his still-life paintings in their depictions of the subjects on a flat surface near the picture plane, in front of a shallow background." (P.D. Schweizer, "Fruits of Perseverance, The Art of Rubens Peale, 1855-1865" in The Peale Family, Creation of a Legacy, 1770-1870, pp. 179-80) It would be easy to assume that the art of Rubens Peale was directly related to the work of his accomplished father, but Paul Schweizer has pointed out that Rubens's professional life was in museum work. In fact, "Rubens was not taught the art of painting by Charles Willson Peale as were Raphaelle and James, nor did he emulate his father's effort to paint lofty subject matter. Rather, the most important lesson Rubens received from Charles Willson Peale was the example of industry and ambition in old age. Charles Willson believed that happiness in life depended on the cultivation of the mind, and Rubens's decision to take up painting late in life indicates his belief in that principle." ("Fruits of Perseverance, The Art of Rubens Peale, 1855-1865" in The Peale Family, Creation of a Legacy, 1770-1870, p. 172) Thus, painting had a much more personal meaning for Rubens Peale. In fact, most of the paintings he created were given as gifts to family and friends, perhaps more important for the therapeutic powers they bestowed on the painter than anything else.
Christie's
Dec. 11, 1993
AMERICAN SCHOOL IN THE MANNER OF RUBENS PEALE (AMERICAN 1784-1864) "Fruit Still Life", oil on canvas, 12 3/4" x 19 3/4". Note: Attached to the frame
Est: $800 - $1,200
backing is a letter dated 1972 from the notable conservator Gustav A. Berger (Berger Art Conservation Inc., New York) indicating the conservation. Berger indicated in the letter that during relining he kept a fragment of original canvas which bears the inscription "Original by Rubens Peale, Sept. 23, 1862." This fragment accompanies the letter on the frame backing.
Neal Auction Company