{"title":"10.26 Marvelous Marble","description":null,"products":[{"product_id":"tomb-of-the-scipios-grand-tour-souvenir","title":"Tomb of the Scipios Grand Tour Souvenir ","description":"This incredible Grand Tour inkwell relic takes the form of the ancient Tomb of the Scipios, a family of Roman war heroes and generals. Beautifully carved entirely of Siena marble, the inkwell's design is masterful and precise to the original monument, even down to the inscription. Simply remove the lid to reveal a pair of ink wells and a pen holder. The Tomb of the Scipios was erected around 150 B.C.E. Widely copied many times and produced as a model along with other ancient monuments, it was a particular favorite of those on the Grand Tour in the 18th and 19th century when such models were purchased as souvenirs.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1880\n\u003cbr\u003e\u003cbr\u003e\n8\" wide x 2 1\/4\" deep x 4 1\/4\" high \n ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43873354121351,"sku":"30-4919","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-4919_1.png?v=1770665368"},{"product_id":"grand-tour-siena-marble-columns","title":"Grand Tour Siena Marble Columns","description":"This elegantly crafted pair of Grand Tour models evoke the lasting grandeur of ancient Rome. Produced in Rome in the second half of the 19th century, the exquisite architectural models were likely a souvenir from the Grand Tour of an affluent tourist. The ruins of the temples of ancient Rome were considered the grandest examples of Roman architecture, and diminutive models such as this one were among the most sought after souvenirs. Crafted of Siena marble, the duo is a lasting relic of the extraordinary grandeur of the ancient world.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1880\n\u003cbr\u003e\u003cbr\u003e\n6” high x 2 1\/2” diameter","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41237956460679,"sku":"30-4257","price":2985.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-4257_1.png?v=1717921298"},{"product_id":"french-bronze-and-marble-inkwell","title":"French Bronze and Marble Inkwell","description":"Crafted of brilliant doré bronze and fine brocatelle marble, this wonderful Napoleon III-period inkwell is as functional as it is beautiful. In a style reminiscent of Louis XV Rococo, two acanthus leaf urns, an inkwell and powder shaker, are joined by soldierly putto upon the serpentine marble base. This well-balanced design is enhanced by the exceptional quality of materials and skillful execution. A revival of the luxurious Louis XV style took place in France in the mid 19th century. It came about as part of the preference during this period, known as the Second Empire, for a mixture of styles from previous centuries. Largely due to the influence of Emperor Napoleon III, who wished to have his name associated with the classical grandeur of Rome and cement his place in French history. Pieces from this period are highly prized, as artisans exhibited not only an incredible grasp of a wide variety of style, but an immense talent for innovation as well. \n\nCirca 1860 \n\n20 ½” wide x 11” deep x 9 ¼” high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42215144521863,"sku":"29-3185","price":19850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-3185_1.png?v=1736118773"},{"product_id":"17th-century-italian-carved-marble-plaques","title":"17th-Century Italian Carved Marble Plaques","description":"Incredibly well-preserved and stunning in their execution, this pair of marble plaques depict St. Jerome and Mary Magdalene. Hard-carved in Italy in the mid-17th century, these pieces epitomize the dramatic forms that took shape during the Baroque Period. Unlike the preceding Renaissance Period, which prized perfection of form above all else, the Baroque Period heralded in an era of theatricality in art. These figures, in their slightly twisted, dramatic poses, exude that sense of dynamic movement that was so prized.\u003cbr\u003e\u003cbr\u003e\nEach depicted with skulls and crosses, these images of St. Jerome and Mary Magdalene suggest a dramatic moment of repentance and prayer. The expressive, beautifully detailed images form a wonderfully emotional and spiritual image that is typical of the period.\n\u003cbr\u003e\u003cbr\u003eBeautifully crafted, this pair is a true rarity. Not only are decorative works from this period increasingly difficult to find on the market, they are also exceptionally scarce due to their frailty.  \u003cbr\u003e\u003cbr\u003e\nItalian, Circa 1670\u003cbr\u003e\n12\" high x 14\" wide x 2 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42215160316039,"sku":"30-2084","price":38500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-2084_1_7d15ef84-bc9d-4b53-b2f2-6381f6763f98.png?v=1736115784"},{"product_id":"grand-tour-marble-and-ormolu-obelisks","title":"Grand Tour Marble and Ormolu Obelisks","description":"Perfectly proportioned and impressive in size, this striking pair of obelisks is crafted from specimens of rosso antico and Siena marble with ormolu accents. The duo were almost certainly made in Italy in the 19th century during the height of the Grand Tour, when the fervor for all things ancient pervaded the decorative arts. Egyptian-inspired objects such as these were particularly prized, especially those crafted in fine examples of Italian hardstones.  \u003cbr\u003e\u003cbr\u003e Interest in Egyptian art first began to grow in the 1790s when Napoleon invaded Egypt, which lead to an influx of Egyptian art and design into French culture. The acquisition of Egyptian-inspired decorative arts, particularly those of such quality materials, was a pursuit in which only the most privileged members of society initially indulged, and the wealthy filled their drawing rooms with the new, extravagant decor. The fervor for Egyptian-style art and architecture continued to grow over the coming decades, and the style remains highly fashionable among both collectors and designers today. \u003cbr\u003e\u003cbr\u003e Circa 1850 \u003cbr\u003e\u003cbr\u003e 4 5\/8\" wide x 4 5\/8\" deep x 34 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672870420615,"sku":"31-0206","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0206_1_3724cee9-53e5-4149-adbc-a246e84f265a.png?v=1767207132"},{"product_id":"18th-century-marble-jardiniere","title":"18th-Century Marble Jardiniere","description":"Beautifully grained rouge marble distinguishes this 18th-century jardiniere. Measuring nearly three-feet wide, this oval-form garden centerpiece features fine carved handles that give the jardiniere an additional decorative touch. \n\u003cbr\u003e\u003cbr\u003e\nCirca 1790\n\u003cbr\u003e\u003cbr\u003e\n33\" wide x 22\" deep x 11 3\/4\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41239109795975,"sku":"30-1596","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-1596_1_1f2dab2a-a130-4351-873b-30c260c0f166.png?v=1712737917"},{"product_id":"masquerade-by-fortunato-galli","title":"Masquerade by Fortunato Galli","description":"Fortunato Galli\u003cbr\u003e 1835-1918 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMasquerade\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F. Galli FIRENZE\"\u003cbr\u003e White Carrara marble \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMasquerade\u003c\/em\u003e, a traditional yet playful composition by Fortunato Galli, reflects the realism and intricacy that defined Italian sculpture at the end of the 19th century. Magnificently carved, the monumental work captures a beautiful woman at a masquerade as she peels her mask from her face, revealing her secret identity. The virtuosity of the sculpture is breathtaking, from her delicate lace bodice to the hint of stockings that encase her shapely legs. Masterfully rendered, she represents the perfect marriage of classical beauty and a romantic sentiment that has come to define the work of this Italian master.  \u003cbr\u003e\u003cbr\u003e Born in Livorno on the west coast of Tuscany, Fortunato Galli spent most of his life in Florence, where he enjoyed a faithful following. The majority of his sculptures were religious subjects, which he crafted for the major Tuscan churches, including his principal work, his famed statue of Pope Gregory VII that resides in the Duomo in Florence. His decorative sculptures such as this were far more playful in style, capturing gypsies and beautiful women in charming narratives. \u003cbr\u003e\u003cbr\u003e Circa 1883 \u003cbr\u003e\u003cbr\u003e 18 1\/2\" wide x 20\" deep x 52 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238362259591,"sku":"31-2390","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2390_1_105d9000-d556-46ca-b081-90aead2fdd02.png?v=1717921786"},{"product_id":"clio-by-studio-of-romanelli","title":"Clio by Studio of Romanelli","description":"Studio of Raffaello Romanelli\u003cbr\u003e Early 20th Century | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eClio\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Inscribed \"Executé sous la Direction du Prof. Romanelli\" (on base)\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e Clio, the muse of history from Greek mythology, is the subject of this compelling neoclassical marble sculpture that hails from the studio of Raffaello Romanelli. Romanelli was the son of the celebrated Pasquale Romanelli, a collaborator of Lorenzo Bartolini who assumed control of his studio following the master's death. He was renowned for his marble studies of the female form, and both his masterful eye and studio were inherited by his son Raffaello. Where Raffaello differed from his father was in his use of multi-colored marbles, a design choice that is displayed in the present work, which was executed by a student in his atelier.  \u003cbr\u003e\u003cbr\u003e The stark, pure white of this Clio is perfectly complemented by her robes carved from Siena marble, lending texture and visual interest to her overall form. Her tablet is inscribed \"\u003cem\u003eHistoria non assentationi, sed fidei veritatique componitur. Pinius\u003c\/em\u003e,\" a quote from the letters of Pliny the Younger that roughly translates to \"History is written not for display but in the interests of strict truth.\" The quote was the perfect choice for the mythological figure, who was heralded as \"the Proclaimer\" of historical truths. \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e 22 1\/4\" wide x 15\" deep x 52 1\/8\" high\u003cbr\u003e Base: 23\" wide x 23\" deep x 27 1\/4\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238685614215,"sku":"31-3877","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3877_1_09cd74fa-4dcd-4ad0-9b74-f847f80ef31f.png?v=1786987306"},{"product_id":"rosso-antico-marble-and-gilt-bronze-potpourri-vases","title":"Rosso Antico Marble and Gilt Bronze Potpourri Vases","description":"This exquisite pair of rosso antico marble and gilt bronze potpourri vases epitomize opulent artistry. A popular material for sculpture in ancient Greece, Rome and Italy, rosso antico is identifiable by its pink to reddish hue. These vases exhibit an exceptionally lustrous and even deep maroon color, which is further enhanced by rich, elegant gilt bronze. These vases are topped by elaborately decorated pierced lids which allow the scent of the perfume or potpourri within to disperse throughout the room, while the bronze handles appear as intricately coiled serpents. Similar attention is paid to the legs, reminiscent of bird legs culminating in sharp talons. These highly unique vases rest on square blue marble bases. \u003cbr\u003e\u003cbr\u003e 18th century \u003cbr\u003e\u003cbr\u003e 7 1\/4\" wide x 4 3\/4\" deep x 8 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43873974583431,"sku":"31-4735","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4735_1_cb935f23-5a05-4069-a059-617a8f138652.png?v=1772351488"},{"product_id":"griotte-rouge-vases-attributed-to-charles-henri-joseph-cordier","title":"Griotte Rouge Vases attributed to Charles-Henri-Joseph Cordier","description":"Fashioned of rare and precious griotte rouge marble and gilt bronze, these vases embody neoclassical elegance at its finest. Borrowing its forms and motifs derived from classical Roman and Greek antiquity, the gilt bronze contrasts beautifully with the griotte rouge marble, a material that has been highly prized for centuries. Each urn features two mounts depicting a resplendent African King in all his finery, sculpted without the intent of caricature. These superb urns show the influence and similarity to the work of the French master Charles-Henri-Joseph Cordier, a highly talented Parisian sculptor of the 19th century. \u003cbr\u003e\u003cbr\u003e Griotte rouge marble gets its name from the morello cherry (\u003cem\u003egriotte\u003c\/em\u003e in French), which has a distinctively vivid red color. Louis XIV was especially fond of this color and ordered fireplaces made of this marble for the Palace of Versailles. Fireplaces in the Château de Fontainebleau, and the grand foyer of the Opéra Garnier in Paris are also crafted of griotte rouge marble. From the opulent color and rich veins running along the surface, it is clear why royalty preferred this marble in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Charles-Henri-Joseph Cordier was appointed the ethnographic sculptor to the Muséum national d’histoire naturelle in Paris in 1851, and established an international reputation for his warm renderings of different ethnicities. Originally inspired by Orientalists like Delacroix, his ethnographic interests led the sculptor to focus more intently on the costuming and posing of his non-European subjects. In 1862, Cordier is quoted as saying: \"Beauty does not belong to a single, privileged race, I have promoted throughout the World of art the idea that beauty is everywhere. Every race has its own beauty, which differs from that of others.\" \u003cbr\u003e\u003cbr\u003e Mid-19th century \u003cbr\u003e\u003cbr\u003e 26\" high x 12 1\/4\" wide x 9\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41790108041351,"sku":"31-5794","price":44500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5794_1_c0597c1c-cf47-4201-9366-bf2b6b3bf2e3.png?v=1728289728"},{"product_id":"louis-xvi-style-gilt-marble-vases","title":"Louis XVI Style Gilt Marble Vases","description":"The bodies of this pair of Louis XVI-style vases, measuring nearly two feet in height, are formed from stunning specimens of white marble. Doré bronze mounts in the Louis XVI style perfectly contrast with the bright hues of the hardstone. Classical goat masks surmount the legs, which terminate in hoofed feet, while highly detailed foliate scrolls chase the marble forms. Crowned by a pinecone finial, the mounts add the perfect amount of luxury to the timeless white marble. \u003cbr\u003e\u003cbr\u003e This type of paired vases are often known as cassolettes. The term \"cassolette\" is from the French word \u003cem\u003ecassole,\u003c\/em\u003e meaning \"small container.\" While the word has other meanings in culinary respects, in the decorative arts, cassolettes are small covered vases meant to hold perfumed substances or incense. Popular during the 18th and 19th centuries, these \u003cem\u003eobjets d'art\u003c\/em\u003e were crafted from all manner of materials, including marble, porcelain and bronze. \u003cbr\u003e\u003cbr\u003e Circa 1860 \u003cbr\u003e\u003cbr\u003e 18\" high x 7 1\/2\" diameter","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231105351815,"sku":"31-7407","price":16850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7407_1_67c6609e-ea32-42b4-8c2b-aaed5d31bb78.png?v=1758655658"},{"product_id":"louis-xvi-style-gilt-marble-cassolettes-and-clock","title":"Louis XVI Style Gilt Marble Cassolettes and Clock","description":"The bodies of this exquisite pair of Louis XVI-style cassolettes, along with a complementary annular clock, are crafted from exceptional specimens of Carrara white marble, each measuring almost a foot in height. Doré bronze mounts, emblematic of the Louis XVI style, create a striking contrast with the vibrant hues of the hardstone. Classical eagle masks adorn the legs, featuring intricately detailed foliate festoons held in their beaks. These mounts imbue the neoclassical pieces with a distinct aura of luxury. The cassolettes are accompanied by a matching clock, executed in the same design. \u003cbr\u003e\u003cbr\u003e The annular clock, a crown wheel with a deadbeat escapement, is distinguished by a gilt timepiece at its summit, instead of a removable lid. Its winding mechanism at the base bears the signature of the maker, Victor Athanase Pierret (1806-1893). Operating in Paris, Pierret was the innovator behind lamp clocks featuring rotating globes marked with hour figures, patented in 1863. This clock, marked \"SGDG,\" indicates that innovation, marking its accordance with Parisian patent law. \u003cbr\u003e\u003cbr\u003e The term \"cassolette\" is from the French for \"small container.\" While the word has other meanings in culinary respects, in the decorative arts, cassolettes are small covered vases meant to hold perfumed substances or incense. Popular during the 18th and 19th centuries, these objets d'art were crafted from all manner of materials, including marble, porcelain and bronze. \u003cbr\u003e\u003cbr\u003e Circa 1865 \u003cbr\u003e\u003cbr\u003e Clock marked: VAP \/ BREVETE \/ SGDG \u003cbr\u003e\u003cbr\u003e Cassolettes: 11\" high x 4 1\/4\" wide x 4 1\/2\" deep\u003cbr\u003e Clock: 10“ high x 4 5\/8” wide x 4 1\/2“ deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42508331286663,"sku":"31-6965","price":29850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6965_1_785b1714-8730-4502-9e00-301488836020.png?v=1743858787"},{"product_id":"19th-century-gilt-bronze-egitto-serpentino-urn-after-pierre-gouthiere","title":"19th-Century Gilt Bronze \u0026 Egitto Serpentino Urn After Pierre Gouthière","description":"This 19th-century gilt bronze \u0026amp; Egitto Serpentino urn is modeled after the opulent design of one of the last gilders of the Versailles Court, Pierre Gouthière. An identical urn is held in the Musée du Louvre, Paris, modeled after a drawing by François-Joseph Bélanger, and appeared at The Musée des Arts Décoratifs and the Frick Collection in New York in a joint exhibition of Gouthière’s work. This was the first exhibition to concentrate on his career, with objects loaned from private collections and institutions like the Louvre and the Royal Castle of Warsaw. The drawing by François-Joseph Bélanger represents a vase from the Duke of Aumont’s collections. \u003cbr\u003e\u003cbr\u003e Elevated on a square Ormolu pedestal beneath a circular mottled marble socle, the green marble urn features intricate detailing, such as a chased pierced Ormolu band embellished with foliate scrolls and a central reserve. The urn is further accentuated by ornate Ormolu rams' heads adorning each side, their expressions remarkably lifelike, perhaps even identifiable as Pyrenean goats. Their dynamic hair is delicately chased on the noses and ears, which contrasts with the tight tufts elsewhere on their heads, showcasing the mastery of technique employed by the artisan. The horns, meticulously burnished and matte gilded to emulate nature's elegance, imbue the work with a sense of refinement and luxury. \u003cbr\u003e\u003cbr\u003e Pierre Gouthière was an unrivaled metal worker, born in Troyes, France, and traveling to Paris at an early age as the pupil of Martin Cour. During his brilliant career, he executed a vast quantity of metalwork of astounding variety, becoming the most famous Parisian bronze chaser and gilder of the late 1700s. Gouthière was a master of chasing and invented a new type of gilding that left a matte finish. Combining polished with matte finishes to create varied effects on the surfaces of his bronzes, he made many types of objects, including furniture mounts, ornaments for mantelpieces and coaches, and mounts for porcelain or marble vases. He received commissions from some of the leading connoisseurs of his day. The collection of the duc d'Aumont served almost as a retrospective of Gouthière's work, displaying a range of items, including lacquer cabinets and chandeliers, all mounted with the artist's excellent bronze. Most notable were the many commissions he received for furniture from the court of Louis XVI, creating several bronzes, especially for Marie Antoinette. \u003cbr\u003e\u003cbr\u003e Gouthière was successful and enjoyed an extravagant lifestyle. After 1775, however, the death of two of his major patrons and unwise financial speculations left him in dire financial difficulty. Madame du Barry, Louis XV's mistress, owed him 750,000 livres for nearly 20 years of work, and his inability to collect this debt finally forced him into bankruptcy in 1787. He died in poverty, still trying to make her heirs repay him. \u003cbr\u003e\u003cbr\u003e Circa 1840 \u003cbr\u003e\u003cbr\u003e 18 1\/8“ high x 15” wide x 12“ deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41790390009991,"sku":"31-8847","price":48850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8847_1_595f9b9d-8b68-4d97-a9f7-c8d2e38b46aa.png?v=1730880890"},{"product_id":"la-casta-susanna-by-urbano-lucchesi","title":"La Casta Susanna by Urbano Lucchesi","description":"Urbano Lucchesi\u003cbr\u003e 1844 - 1906 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Casta Susanna\u003cbr\u003e (The Chaste Susanna)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e This elegant statue entitled \u003cem\u003eLa Casta Susanna\u003c\/em\u003e depicts the virtuous biblical figure Susanna, expertly crafted by Italian sculptor Urbano Lucchesi—the most important sculptor of nineteenth-century Lucca, Italy. The narrative of Susanna—found in versions of the Book of Daniel—portrays her as a virtuous wife unjustly accused of adultery by two elders when she rejects their advances. Daniel's intervention reveals discrepancies in the elders' stories, ultimately vindicating Susanna and highlighting her moral integrity. Numerous artists have depicted this narrative, notably during the early Christian era and the later Renaissance and Baroque periods. \u003cbr\u003e\u003cbr\u003e This stunning marble statue presents Susanna in a classically inspired pose, her figure exemplifying an elegant contrapposto crafted by a master artisan. A sheet covers her form in modesty, carved to appear soft and light—a remarkable achievement in marble. Likewise, her features are rendered with an expert hand, appearing almost lifelike in stone. \u003cbr\u003e\u003cbr\u003e Urbano Lucchesi, renowned for his significant contributions to the artistic heritage of Lucca and beyond, is the most prominent artist in nineteenth-century Lucca. His works are integral to the city’s cultural landscape, with prominent sculptures adorning its streets and squares. Notable works include busts of Giuseppe Mazzini, Benedetto Cairoli and Vincenzo Consani, as well as monuments to Giuseppe Garibaldi and the fallen of Italy’s battles. Lucchesi’s influence extended to Florence, where he created the monument to Donatello outside the sculptor’s studio, and to Viareggio, where he crafted the impressive monument to the romantic poet Percy Bysshe Shelley. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Casta Susanna\u003c\/em\u003e is not only a stunning representation of a biblical tale but also a sculpture that embodies the artistic and cultural essence of its era. Statues of the same figure can be seen in museums worldwide and at churches such as the Santa Maria di Loreto. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Signed “Lucchesi” \u003cbr\u003e\u003cbr\u003e Inscribed “La Casta Susanna” \u003cbr\u003e\u003cbr\u003e 54 1\/2\" high x 15\" wide x 14 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43511184130183,"sku":"31-8802","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8802_1_0cf44c73-91e7-4a84-af35-a89139f0a9e9.png?v=1764593387"},{"product_id":"young-st-john-the-baptist-by-domenico-menconi","title":"Young St. John the Baptist by Domenico Menconi","description":"Masterfully carved with remarkable detail, a youthful Saint John the Baptist folds his hands in prayer in this stunning marble by the important Italian sculptor Domenico Menconi. The adolescent John is represented with his signature curly hair and shawl of camel's hair, both rendered with an astonishing lifelike texture. He is posed in a graceful contrapposto with eyes upturned, which adds a dynamic sense of movement to the work. \u003cbr\u003e\u003cbr\u003e A ribbon at the child's feet bears the inscription \"Ecce Agnus Dei,\" which translates to \"Behold the Lamb of God,\" a title first used by John the Baptist in reference to Jesus. As the patron saint of Florence, many Italian sculptors—including Michelangelo—represented the saint in a variety of ways, sometimes with the Virgin and Jesus as infants and sometimes as an adult bearing a cross. Michelangelo's 1495 version was famous for being one of the earliest to represent John as a young boy of only 5 or 6 years old, a model that Menconi has chosen to follow here. Evoking childlike innocence and pure beauty, this magnificent marble displays the extraordinary technical accomplishment and neoclassical grace for which Italian sculptors of this era are so loved. \u003cbr\u003e\u003cbr\u003e Circa 1860 \u003cbr\u003e\u003cbr\u003e 38\" high x 13 1\/2\" wide x 13\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42085911494791,"sku":"31-9178","price":29850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9178_1.png?v=1736063445"},{"product_id":"pair-of-carrara-marble-busts-of-the-emperor-napoleon-and-empress-marie-louise","title":"Pair of Carrara Marble Busts of the Emperor Napoleon and Empress Marie Louise","description":"\u003cem\u003e\"I am a true Roman Emperor; I am of the best race of the Caesars—those who are founders.\" –Napoleon Bonaparte, 1812\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Among the most iconic and celebrated figures in history, Napoleon Bonaparte's legacy has been immortalized in countless works of art. Yet few pieces carry the personal significance and rarity of this extraordinary pair of Carrara marble busts, almost certainly commissioned by the Emperor himself. These stunning sculptures, depicting Napoleon and his second wife, Empress Marie Louise, stand as some of the most exceptional examples of Napoleonic busts not currently housed in a museum—masterpieces of both historical and artistic importance. \u003cbr\u003e\u003cbr\u003e The busts were likely imperial commissions created to adorn key locations during Napoleon’s reign, embodying the grandeur of his empire. After Napoleon fell from power, these sculptures passed from his personal collection to the next most significant ruler of 19th-century France: his nephew, Emperor Napoleon III. During his reign, both busts were prominently displayed at the imperial Château de Compiègne, one of Napoleon III’s most important palaces. Following his abdication in 1870, the Emperor and Empress Eugénie took the busts with them into exile in England. They were among the few treasured possessions they could bring. After Napoleon III’s death, the busts were separated by Empress Eugénie and later reunited in 1936 by the esteemed Parisian art dealer Élie Fabius. \u003cbr\u003e\u003cbr\u003e As a visionary leader and cultural influencer, Napoleon was known to commission only the finest artists to craft his likeness in marble. The bust of Empress Marie Louise is signed by the renowned Italian sculptor Gaetano Matteo Monti of Ravenna, likely created around 1810 to commemorate her marriage to the Emperor. Monti’s skill in rendering her delicate features in marble exemplifies his exceptional talent, immortalizing her elegance in stone. \u003cbr\u003e\u003cbr\u003e The accompanying bust of Napoleon, attributed to the celebrated sculptor Lorenzo Bartolini, was almost certainly carved earlier, around 1807. Bartolini was one of Napoleon’s favored artists, personally selected by the Emperor to direct the prestigious Carrara sculpture workshop in 1807. The exemplary craftsmanship of this bust, particularly the detailed laurel wreath and the nuanced portrayal of Napoleon's facial musculature, is consistent with Bartolini’s renowned imperial bust now housed at Versailles. This attribution places Napoleon's bust as one of the finest not presently housed in a museum collection. \u003cbr\u003e\u003cbr\u003e The only other similar pair of marbles is the one attributed to Angelo Pizzi at the Museo Correr in Venice, highlighting the exceptional rarity and quality of our pair. The finesse of the carving and the elegant compositions of these busts surpass their Venetian counterparts, suggesting that the Pizzi busts in Venice may have been modeled after these superior works by Bartolini and Monti. Napoleon revered the legendary leaders of the Roman Empire—especially the military genius of Julius Caesar—and many of his iconic images, including these busts, posed Napoleon and his Empire as heirs to the great dynasty of Caesars. \u003cbr\u003e\u003cbr\u003e Standing on beautiful matching bases, these monumental busts possess both an imposing presence and an undeniable beauty. Their storied provenance—having graced the imperial residence of both Napoleon I and Napoleon III—makes them an extraordinary find. To own these very works, once displayed with pride by two of history’s most significant rulers, is a once-in-a-lifetime opportunity. These busts are more than fine marble sculptures. They are tangible links to the grandeur and legacy of the Napoleonic Empire, embodying the iconic reign and strategic genius of one of the most legendary leaders in history, Napoleon Bonaparte. \u003cbr\u003e\u003cbr\u003e Bust of Marie Louise signed \"GMR\" for Gaetano Matteo Monti of Ravenna \u003cbr\u003e\u003cbr\u003e Circa 1807 and 1810 \u003cbr\u003e\u003cbr\u003e Bust of Napoleon: 30 1\/16\" high x 24\" wide x 12 1\/2\" deep\u003cbr\u003e On base: 74 3\/8\" high \u003cbr\u003e\u003cbr\u003e Bust of Marie Louise: 30 9\/16\" high x 20\" wide x 13 1\/8\" deep\u003cbr\u003e On Base: 74\" high \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-9781.pdf\" target=\"new\"\u003e\u003cb\u003eView the Book\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e \u003cb\u003eProvenance of the Bust of Napoleon:\u003c\/b\u003e\u003cbr\u003e Commissioned by Napoleon I, Château de Compiègne (likely), circa 1807\u003cbr\u003e The personal collection of Emperor Napoleon III at Château de Compiègne\u003cbr\u003e Thence to Napoleon III’s widow, the Empress Eugénie\u003cbr\u003e Gifted to Firmin Rainbeaux by Empress Eugénie on 18th April 1881\u003cbr\u003e By descent from Firmin Rainbeaux to his son Félix Rainbeaux\u003cbr\u003e Sale, Hôtel Drouot, Paris, “Succession de M. Félix Rainbeaux, Fils de Firmin Rainbeaux, écuyer de l’Empereur Napoleon III souvenirs napoléoniens: fusils, pistolets, couteaux de vénerie, dagues, miniatures etc,” 23rd October 1936, lot 267\u003cbr\u003e Élie Fabius, purchased from the above sale\u003cbr\u003e Private collection, Stuttgart, Germany\u003cbr\u003e Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Marie Louise, both illustrated on the front cover\u003cbr\u003e Private collection, Switzerland\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \u003cb\u003eProvenance of the Bust of Marie Louise:\u003c\/b\u003e\u003cbr\u003e Commissioned by Napoleon I, Château de Compiègne (likely), circa 1810\u003cbr\u003e The personal collection of Emperor Napoleon III at Château de Compiègne\u003cbr\u003e Thence to Napoleon III’s widow, the Empress Eugénie\u003cbr\u003e Sale, Hampton \u0026amp; Sons of London, “English and French Furniture, the Remaining Library, Porcelain, Sculpture, Bronzes, Table Plate, China and Glass Services, Pictures, Drawings, Prints, Vintage Wines etc” from Empress Eugénie’s home at Farnborough Hill, Hampshire, 18–27th July 1927, lot 1328\u003cbr\u003e Élie Fabius, purchased from the above sale\u003cbr\u003e Private collection, Stuttgart\u003cbr\u003e Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Napoleon, both illustrated on the front cover\u003cbr\u003e Private collection, Switzerland\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \u003cb\u003eLiterature:\u003c\/b\u003e\u003cbr\u003e Georges Mauguin, “L’Iconographie Napoléonnienne au Palais National des Arts”, in \u003cem\u003eRevue de l’Institut Napoléon\u003c\/em\u003e, 1er trimestre, 1938; opposite p. 40, illustrated\u003cbr\u003e Gérard Hubert, \u003cem\u003eLa Sculpture dans l’Italie Napoléonienne\u003c\/em\u003e, 1964, p. 349, illustrated\u003cbr\u003e Galerie Koller, Zürich, Sale catalogue, \u003cem\u003eEine Hochbedeutende Europäische Privatsammlung: Napoleonica, möbel, bronzen, pendulen, skulpturen, gemälde, miniaturen\u003c\/em\u003e, 02 November 1995, lot 4162, illustrated\u003cbr\u003e Gérard Hubert and Guy Ledoux-Lebard, \u003cem\u003eNapoléon, portraits contemporains bustes et statues\u003c\/em\u003e, 1999, p. 98, pl. 70, illustrated\u003cbr\u003e Olivier Gabet, \u003cem\u003eUn marchand entre deux empires - Élie Fabius et le monde de l’art\u003c\/em\u003e, 2011, p. 77\u003cbr\u003e Enrico Noè, “Lo scultore Angelo Pizzi (Milano 1775–Venezia 1819)” in \u003cem\u003eSaggi e Memorie di storia dell’arte\u003c\/em\u003e, vol. 36, 2012, p. 264, pl. 48 \u0026amp; p. 265, pl. 49, illustrated \u003cbr\u003e\u003cbr\u003e \u003cb\u003eExhibited:\u003c\/b\u003e\u003cbr\u003e Musée National de Malmaison, \u003cem\u003eDe Napoleon Ier à Napoleon III, Souvenirs de la Famille Impériale, Conservés par l’Impératrice Eugénie dans sa Résidence de Farnborough et Provenant de sa Succession\u003c\/em\u003e 1928, no. 15, p. 10\u003cbr\u003e Musée de l’Orangerie, Paris, \u003cem\u003eSouvenirs du Roi de Rome\u003c\/em\u003e, 1932, no. 209\u003cbr\u003e Bibliothèque National, Paris, \u003cem\u003e318 Lettres de Napoléon à Marie-Louise\u003c\/em\u003e, 1935, no. 10\u003cbr\u003e Palais National des Arts, Paris, \u003cem\u003eChefs d’Oeuvre de l’Art Français\u003c\/em\u003e, 1937, nos. 1105 \u0026amp; 1106\u003cbr\u003e The World’s Fair, New York, \u003cem\u003eFive Centuries of History Mirrored in Five Centuries of French Art\u003c\/em\u003e, 1939, no. 322, pl. LV \u0026amp; no. 323, pl. LIV","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231128420487,"sku":"31-9781","price":1650000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9781_1_6f3246a8-b8cc-49da-b85d-30668472d908.png?v=1758656468"},{"product_id":"cleopatra-by-oscar-spalmach","title":"Cleopatra by Oscar Spalmach","description":"Oscar Spalmach\u003cbr\u003e 1864-1917 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCleopatra\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e This exquisite 19th-century white and grey marble sculpture of Cleopatra, signed by Oscar Spalmach and created in the renowned Studio O. Andreoni in Rome, captures the tragic grace of one of history's most important figures. Spalmach masterfully portrays Cleopatra in a poignant moment of introspection, just before her famous and fateful decision to take her own life. As she gazes at her arm, Cleopatra appears lost in contemplation, reflecting on the act she is about to commit—placing a venomous snake upon it. The sculpture conveys her inner turmoil and resolve, capturing the complexity of her final moments with striking realism. The intricate details—from the finely rendered folds of her garments to her dignified yet resigned expression—showcase Spalmach's remarkable ability to imbue marble with lifelike emotion and texture. \u003cbr\u003e\u003cbr\u003e Oscar Spalmach, working within the studio of Orazio Andreoni—a name synonymous with excellence in Italian sculpture—exhibited his work at the World's Fairs and across Europe, gaining recognition for his contribution to the art world. The collaboration within Andreoni's studio, noted for its influential role in the artistic renaissance of the period, offered Spalmach an unparalleled platform for his talent. This sculpture, likely produced under Andreoni's supervision, stands as a testament to the studio's legacy and Spalmach's artistry, securing their place in the pantheon of great sculptors. \u003cbr\u003e\u003cbr\u003e Brief History of Cleopatra:\u003cbr\u003e Cleopatra VII, the last active ruler of the Ptolemaic Kingdom of Egypt, remains one of history's most compelling figures, celebrated for her intelligence, political acumen and legendary beauty. This sculpture is said to be one of the finest portrayals of the ancient queen in existence. Born in 69 BCE, Cleopatra ascended the throne alongside her brothers, later consolidating power as sole ruler. Cleopatra's reign was marked by alliances and relationships with two of Rome's most powerful figures, Julius Caesar and Mark Antony, through which she sought to preserve Egypt's independence amidst Roman expansion. \u003cbr\u003e\u003cbr\u003e After the defeat of her and Antony's forces at the Battle of Actium in 31 BCE, and Antony's subsequent suicide, Cleopatra faced the prospect of capture by Octavian (the future Emperor Augustus). Rather than endure humiliation as a captive in Rome, she chose to take her own life in 30 BCE. According to tradition, she used a venomous snake, to administer the fatal bite. This act symbolized both her defiance of Roman domination and her desire to control her own fate, solidifying her legacy as a powerful and tragic figure in history. \u003cbr\u003e\u003cbr\u003e 19th century \u003cbr\u003e\u003cbr\u003e 75\" high x 37\" wide x 30\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43743333580935,"sku":"31-8588","price":278500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8588_1.png?v=1769785547"},{"product_id":"pair-of-napoleon-iii-royal-rouge-griotte-athenienne","title":"Pair of Napoleon III Royal Rouge Griotte Athenienne","description":"Royal Rouge Griotte Marble Athenienne\u003cbr\u003e After Pierre Gouthière\u003cbr\u003e Late 19th Century \u003cbr\u003e\u003cbr\u003e This monumental pair of Napoleon III gilt bronze-mounted Royal Rouge Griotte athenienne perfume vases epitomizes the splendor of 19th-century French artistry. Designed in the neoclassical palatial taste, these vases are crafted from the finest Royal Rouge Griotte marble, a rare and vibrant stone historically reserved for French royalty. Their superb gilt bronze mounts showcase intricate Greco-Roman motifs, including exquisitely detailed lion paw feet and masks, which contrast beautifully with the rich red marble. These magnificent works reflect the influence of Pierre Gouthière, the most celebrated Parisian chaser and gilder of his era. \u003cbr\u003e\u003cbr\u003e The Royal Rouge Griotte marble, named after the Morello cherry (\"griotte\" in French) is a prestigious stone that often features fossilized goniatites filled with white calcite, creating a striking pattern referred to as \"oeil de perdrix\" (“partridge eye”). The quarries in the Caunes-Minervois and Félines-Minervois regions, northeast of Carcassonne, have a history dating back to Antiquity. Rediscovered in 1615 by Italian sculptors Stefano Sormano and Antoine Lignani, these quarries gained fame under the patronage of sculptor Bernini, who drew the attention of the French court. Declared \"Royal Quarries\" by decree in 1692, the marble became a hallmark of opulence, adorning the Palace of Versailles and other royal apartments. The stone used in this pair is among the finest examples of Royal Rouge Griotte marble. \u003cbr\u003e\u003cbr\u003e 28 1\/2\" high x 11 1\/2\" diameter","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42604536103047,"sku":"32-0091","price":38850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0091_1_bc1ff590-17a2-43d3-a263-16ef33841b7e.png?v=1746450590"},{"product_id":"the-night-after-james-pradier","title":"The Night after James Pradier","description":"After James Pradier\u003cbr\u003e 1790–1852 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Night\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e White marble on a grey marble socle \u003cbr\u003e\u003cbr\u003e Drifting in a dreamlike ascent, this exquisite allegorical sculpture, \u003cem\u003eThe Night\u003c\/em\u003e, pays tribute to James Pradier’s iconic vision of feminine beauty and romantic symbolism. Executed in luminous white Carrara marble, the work once belonged to the celebrated actress and sculptor Gina Lollobrigida. Pradier’s ability to imbue classical forms with emotion and sensuality is fully realized here, in a scene that radiates both serenity and mystery. \u003cbr\u003e\u003cbr\u003e The female figure lifts a flowing cloak above her head while a cherubic putto beneath her presents a garland of flowers. With one hand shielding her eyes as if to retreat from the waking world, the maiden embodies Night as both protector and dream-bringer. The natural finish of the marble accentuates the softness of her skin and the subtle movement of fabric and hair, giving the work a sense of ethereal lightness and grace. \u003cbr\u003e\u003cbr\u003e The composition is a masterful homage to Pradier’s 1846 works \u003cem\u003eLa Nuit\u003c\/em\u003e and \u003cem\u003eLe Jour\u003c\/em\u003e, celebrated examples of Romantic sculpture. Pradier, a Prix de Rome-winning sculptor, was widely regarded for his neoclassical forms infused with emotional vitality. \u003cbr\u003e\u003cbr\u003e This marble was once part of the private collection of Italian actress, sculptor and photojournalist Gina Lollobrigida, one of the most iconic stars of European cinema in the 1950s and 1960s. Known as “La Lollo,” she began her artistic life studying sculpture in Rome before achieving international fame in films such as \u003cem\u003eFanfan la Tulipe\u003c\/em\u003e, \u003cem\u003eBeat the Devil\u003c\/em\u003e and \u003cem\u003eTrapeze\u003c\/em\u003e. Lollobrigida later returned to sculpture and became a renowned photojournalist, capturing powerful images of global figures including Indira Gandhi, Salvador Dalí and Fidel Castro. A passionate art collector with refined taste, she curated a personal collection that reflected her lifelong dedication to beauty and the arts. \u003cbr\u003e\u003cbr\u003e Circa 1900 \u003cbr\u003e On base: 78 1\/2\" high x 26 5\/8\" wide x 24\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of Gina Lollobrigida, Italy\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231147491463,"sku":"32-0835","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0835_1.png?v=1758656338"},{"product_id":"allegory-of-peace-by-albert-ernest-carrier-belleuse","title":"Allegory of Peace by Albert-Ernest Carrier-Belleuse","description":"Albert-Ernest Carrier-Belleuse\u003cbr\u003e 1824–1887 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAllégorie de la Paix\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Allegory of Peace)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Carrier-Belleuse” White marble \u003cbr\u003e\u003cbr\u003e A vision of serenity and grace, \u003cem\u003eAllégorie de la Paix\u003c\/em\u003e (\u003cem\u003eAllegory of Peace\u003c\/em\u003e) by Albert-Ernest Carrier-Belleuse captures an elegant female figure holding two doves. Carved in luminous white marble, the classical figure’s flowing drapery and gentle posture reflect the elegance of antiquity. Her downward gaze and serene expression imbue the composition with quiet strength, while the soft detailing reveals Carrier-Belleuse’s exceptional skill and sensitivity. \u003cbr\u003e\u003cbr\u003e Albert-Ernest Carrier-Belleuse was one of the most influential French sculptors of the 19th century. A founding member of the Société Nationale des Beaux-Arts and an officer of the Légion d’honneur, he was celebrated throughout Europe for his expressive, elegant style. He served as artistic director at the Sèvres porcelain manufactory and mentored a young Auguste Rodin, who later credited Carrier-Belleuse with shaping his early sculptural language. \u003cbr\u003e\u003cbr\u003e A favorite of the Parisian public, Carrier-Belleuse enjoyed immense popularity. As noted in the catalogue of the 1878 Universal Exhibition, “Even the English come from London to ask him to work for them.” Today, his works are held in major museum collections around the world, including the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e Carved after 1868 \u003cbr\u003e\u003cbr\u003e 23 5\/8\" high x 8\" wide x 9\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231155093639,"sku":"32-1007","price":9850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1007_1_c5426901-bf37-4a2c-9dfb-a9514860d55b.png?v=1781306516"},{"product_id":"louis-xvi-style-gilt-marble-vases-1","title":"Louis XVI Style Gilt Marble Vases","description":"Louis XVI Style Gilt Marble Vases\u003cbr\u003e 19th Century \u003cbr\u003e\u003cbr\u003e A celebration of neoclassical taste, this exquisite pair of garniture vases embodies the grandeur and refinement of Louis XVI's French court, whose elegant aesthetic inspired decorative arts well into the 19th century. Each is sculpted from luminous white marble, creating a striking contrast with the richly gilded bronze mounts that cascade down the sides. Delicate floral garlands and acanthus leaves are gathered with finely sculpted bows, exemplifying the symmetry and balance characteristic of the Louis XVI style. Twin architectural handles rise above the shoulders, crowned with sculpted spheres that create a pleasing contrast between organic ornament and architectural form. Each vase rests on a square marble plinth accented by gilt bronze Louis XVI-style toupie feet and finely chased acanthus leaf, rose and ribbon ormolu decoration. \u003cbr\u003e\u003cbr\u003e The lavish floral ornamentation lends the composition a sense of movement and abundance characteristic of the finest work of 18th-century Parisian bronziers. Combined with the vases' architectural elements, these details reflect the enduring influence of French neoclassicism. Standing approximately 12 inches high, the pair rewards close examination with an extraordinary wealth of detail, showcasing the exceptional precision of its decorative casting. \u003cbr\u003e\u003cbr\u003e Each: 12 1\/4\" high x 5 1\/2\" wide x 4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44945894703239,"sku":"32-2586","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2586_1.png?v=1782141674"},{"product_id":"marble-bust-of-napoleon-from-the-workshop-of-antoine-denis-chaudet","title":"Marble Bust of Napoleon from the Workshop of Antoine-Denis Chaudet","description":"Marble Bust of Napoleon Bonaparte\u003cbr\u003e From the Workshop of Antoine-Denis Chaudet\u003cbr\u003e 1763–1810 | French \u003cbr\u003e\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e Few images embody the grandeur of the Napoleonic Empire quite like this monumental marble bust of Napoleon Bonaparte. Created in the workshop of Antoine-Denis Chaudet, the celebrated sculptor responsible for Napoleon’s official portrait bust, this imposing likeness derives from the model Chaudet created in 1799. Its survival is particularly remarkable, as while over a thousand official replicas were produced during Napoleon’s reign, most were destroyed following the Bourbon Restoration in 1814. \u003cbr\u003e\u003cbr\u003e Chaudet’s portrait presents Napoleon with the idealized dignity of a sovereign. His gaze is commanding and composed, while the flowing hair and bare shoulders recall the visual language of classical antiquity. Carved in luminous marble, the bust transforms the living ruler into an enduring symbol of imperial authority, precisely the image Napoleon sought to project as he consolidated his power. \u003cbr\u003e\u003cbr\u003e Chaudet’s original model became Napoleon’s favored official portrait after the marble version was completed in 1804, shortly after his proclamation as Emperor of the French. Its popularity was extraordinary. The image was reproduced in marble and Sèvres biscuit porcelain and became one of the most recognizable representations of Napoleon throughout the Empire. Between 1807 and 1809, Carrara workshops in Italy produced at least 1,200 marble replicas for public buildings and official spaces across France. Following the Bourbon Restoration, many of these imperial portraits were destroyed as symbols of the fallen regime. Surviving examples are therefore rare reminders of the immense visual program created to celebrate Napoleon’s rule. \u003cbr\u003e\u003cbr\u003e The present bust likely derives from this official Carrara production, connecting it directly to one of the most ambitious portrait campaigns of the Napoleonic era. Large, commanding and deeply evocative of the Empire, it stands as a remarkable surviving testament to the power of art to construct—and preserve—the image of a ruler. \u003cbr\u003e\u003cbr\u003e Early 19th century \u003cbr\u003e\u003cbr\u003e 18 1\/2\" high x 10 1\/2\" wide x 10 3\/4\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, South of France\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45527959208071,"sku":"32-2616","price":64500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2616_1.png?v=1788470466"},{"product_id":"la-sorpresa-by-cesare-lapini","title":"La Sorpresa by Cesare Lapini","description":"Cesare Lapini\u003cbr\u003e 1848-after 1891 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Sorpresa\u003cbr\u003e (The Surprise)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, dated and titled on the base\u003cbr\u003e Carrara marble \u003cbr\u003e\u003cbr\u003e This extraordinary Carrara marble sculpture by Cesare Lapini is one of the earliest and largest known examples of his celebrated \u003cem\u003eLa Sorpresa\u003c\/em\u003e. Dated 1882 and standing over four feet high, the sculpture predates Lapini’s exhibition of the model at the Esposizione Generale Italiana in Turin in 1884. \u003cbr\u003e\u003cbr\u003e Lapini captures a young woman at the instant she has been unexpectedly observed, gathering her diaphanous garment around her body in a spontaneous gesture of modesty and surprise. The subject provided the sculptor with a formidable technical challenge. Supple flesh, translucent folds of fabric, delicate lace and individual tendrils of hair are all carved from a single material, yet each assumes a distinct texture. The figure’s polished skin contrasts with the intricate surface of her garment, demonstrating Lapini’s command of the demanding medium of Carrara marble. \u003cbr\u003e\u003cbr\u003e Born in Florence in 1848, Lapini specialized in allegorical and genre sculpture, portrait busts and works inspired by antiquity. His virtuoso marbles found an international clientele among travelers and collectors visiting Florence, and his successful workshop produced sculptures for buyers throughout Europe and the United States. Contemporary writer Angelo De Gubernatis singled out \u003cem\u003eLa Sorpresa\u003c\/em\u003e among Lapini’s most notable sculptures in his 1889 \u003cem\u003eDizionario degli Artisti Italiani Viventi\u003c\/em\u003e. Lapini’s work is also represented in the Musée d’Orsay, whose collection includes his marble group \u003cem\u003eDeux enfants\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Sorpresa\u003c\/em\u003e became one of Lapini’s defining compositions. Its success led to further versions in varying sizes. This example, dated two years before the Turin exhibition, represents an unusually early and monumental realization of the celebrated subject. \u003cbr\u003e\u003cbr\u003e Dated 1882 \u003cbr\u003e\u003cbr\u003e 50 1\/2\" high x 15\" wide x 21\" deep (128.27 x 38.10 x 53.34 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Alfonso Panzetta, \u003cem\u003eNuovo Dizionario degli Scultori Italiani dell’Ottocento e del primo Novecento: Da Antonio Canova ad Arturo Martini\u003c\/em\u003e, Torino: Adarte, 2003, p. 513 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Turin, Esposizione Generale Italiana, 1884 (the model)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45746217779335,"sku":"32-2029","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2029_1.png?v=1788362451"}],"url":"https:\/\/rauantiques.com\/collections\/10-26-marvelous-marble.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}