{"title":"3.26 Towering Treasures","description":"","products":[{"product_id":"venetian-figural-torcheres-17th-century","title":"Venetian Figural Torchères, 17th Century","description":"Carved wooden torchères\u003cbr\u003e Venetian artist\u003cbr\u003e Early 17th century \u003cbr\u003e\u003cbr\u003e Awe-inspiring in size and artistry, these incredible Venetian figural torchères pay homage to two of Italy’s most celebrated merchant explorers–Marco Polo and Amerigo Vespucci. Standing over nine feet high, these impressive carved wood sculptures were crafted in the late Renaissance in the Lombardo manner and are masterpieces of the centuries-old tradition of Venetian woodcarving. Most works executed during this era were ecclesiastical or architectural in nature, such as the Archangel torchères found in the Palazzo Moncenigo in Venice, a fact that makes these substantial secular figures an incredible rarity. Given their depiction of historical figures, these torchères would most likely have been specially commissioned by a wealthy Venetian merchant or public official to be displayed at the entrance of his palace. Outside of the similar pair housed in the Doge’s Palace in Venice, these figures are the only other secular pair known to exist anywhere in the world.  \u003cbr\u003e\u003cbr\u003e Displaying incredible attention to detail, the merchant explorers are rendered in exotic clothing inspired by their travels that forever changed the course of history. Retaining much of their original paint, a combination of gilt, polychrome and natural wood gives these imposing sculptures a dynamic and more life-like appearance. Known in Italy as androne torchère, these figures would have flanked the entrance hall stairwell making an unquestionably grand impression upon visitors.  \u003cbr\u003e\u003cbr\u003e Wooden sculptures of this immense quality and scale would be nearly impossible to survive in the condition of the present pair. The passage of nearly 400 years, combined with the regularity of floods throughout Venice’s history, make these figural torchères among the rarest works of Venetian art on the market today.  \u003cbr\u003e\u003cbr\u003e Each: 114” high x 44” wide x 30” deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231050629255,"sku":"30-3346","price":348500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-3346_1.png?v=1758655492"},{"product_id":"hupfeld-phonoliszt-violina-model-b-music-cabinet","title":"Hupfeld Phonoliszt-Violina Model B Music Cabinet","description":"This incredible Hupfeld Phonoliszt-Violina Model B music cabinet is among the rarest and most advanced automatic music players of its time. The remarkable machine, crafted by the renowned Leipzig firm of Ludwig Hupfeld, is one of the most mechanically complex music players ever made, boasting three self-playing violins accompanied by a self-playing piano. Once made to entertain patrons of upscale hotels, restaurants and cafes, these extraordinary machines have become increasingly rare, with only 63 still in existence today. \u003cbr\u003e\u003cbr\u003e A large step above the popular mechanical piano of the day, the Phonoliszt-Violina was expensive to produce and therefore was only available to the most exclusive clientele. The necessity for its expense is evident when considering the astonishing complexity of the instrument. Three violins playing strings tuned to D, A and E are bowed by a circular 1,350-strand horsehair bow cage, while a cross-strung Rönisch pianoforte accompanies the strings. Remarkably, both the piano and the violins are dynamic, allowing for a previously unheard-of range of volume and tone. From the most delicate pianissimo to a crashing fortissimo, the unparalleled instrument has the ability to render musical pieces with all of the skill and vigor of a real musician. Over 900 music rolls were created for the Phonoliszt-Violina over the decades, of which 50 rolls are included with the present machine. \u003cbr\u003e\u003cbr\u003e The firm of Ludwig Hupfeld was established in Leipzig in 1892, when Ludwig Hupfeld, an accomplished musician, mechanic and businessman, acquired the musical instrument manufacturers J.M. Grob \u0026amp; Co. The firm quickly rose in popularity as its mechanical instruments grew more and more complex. Products made by the firm included various piano-playing machines and orchestrions. The idea of creating an automatic violin came to Hupfeld in 1900, and by 1907, the firm displayed the \u003cem\u003eKlavier mit Streichton,\u003c\/em\u003e or piano with string tone, at the Leipzig Autumn Trade Fair. At the Brussels World’s Fair of 1910, a Phonoliszt-Violina was received with great acclaim and earned a medal, with renowned violinist Ephrem Zimbalist calling the instrument “the wonder and marvel of our time.” \u003cbr\u003e\u003cbr\u003e This Violina model is featured on the cover of \u003cem\u003eThe Violin-Playing Machines\u003c\/em\u003e, 2012, by Q. D. Bowers \u003cbr\u003e\u003cbr\u003e Circa 1910 \u003cbr\u003e\u003cbr\u003e 106” high x 75” wide x 32” deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43057545904263,"sku":"29-9091","price":498500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-9091_1_788020aa-bade-48af-99b2-705a0a5f4b82.png?v=1755545090"},{"product_id":"arburo-orchestrion-organ-by-bursens-and-roels","title":"Arburo Orchestrion Organ by Bursens and Roels","description":"Once a fixture in bustling dance halls, cafés and fairgrounds throughout Belgium and the Netherlands in early to mid-20th century, this incredibly rare, early Orchestrion organ is a masterpiece of automated music. Crafted by the Arburo firm run by Arthur Bursens and Gustav Roels, this mechanical marvel is essentially an entire band set within an elegantly constructed Art Deco cabinet. No two Orchestrions were ever created alike and each was made-to-order, one at a time. Each was crafted entirely by hand, even down to the paper music rolls, and utilized actual standalone musical instruments integrated into the mechanism.  \u003cbr\u003e\u003cbr\u003e The organ operates on electricity and its sound quality is breathtaking. Instruments including a visible accordion, 168-pipe organ, triangle and drums are all controlled by one of 20 rolls included with this Orcestrion. A powerful motor provides high air pressure to operate the pipes and the vacuum, which reads the roll and controls the percussion. This allows the organ to generate the volume necessary to overcome the noise of revelers in a crowded dance hall. Today, very few examples of these musical marvels exist, especially in the exceptional working condition of this example. Such splendid musical antiques generate tremendous attention on the market, making this organ a prized acquisition for musical enthusiasts world-wide. \u003cbr\u003e\u003cbr\u003e Founder Joseph Bursens began his career working with his father at the Mortier organ manufactory in Antwerp. He began creating his own organs in his spare time, and eventually opened his own manufactory in Hoboken in 1908. Bursens quickly became known for his impeccably crafted dance hall organs, each a masterpiece of hand-craftsmanship inside and out. In 1928, Brusens' son, Arthur, took over the business and decided to take on a partner, Gustav Roels, renaming the company ARBURO (ARthur BURsens and ROels). Just like his father before him, Arthur learned the importance of quality, and continued to make each and every organ by hand. The reinvigorated company began creating their prized Orchestrions using the more functional paper roll instead of the accordion books of earlier models. This freed space within the mechanism for incorporating more musical instruments and mechanisms, while also allowing each Orchestrion to play more tunes without interruption. \u003cbr\u003e\u003cbr\u003e The Orchestrion was created from the 1930s through the 1960s. However, this particular example dates to Bursens and Roels very first years of Arburo production. Arburo had moved their operations to the address Bernardsche Steenweg 635 in 1930: a larger locale that allowed them to meet their high demand. The trademark plaque affixed to the Orchestrion includes Bursens previous address \"Bernardsche Steenweg, 181,\" meaning this Orchestrion was created between 1928 and 1929. Further confirming this date is the fact that the music roll is located at the center of the mechanism, while the rolls in later Arburo creations were positioned either to the left or the right. \u003cbr\u003e\u003cbr\u003e This Arburo Orchestrion was showcased at the Arburo centennial exhibition \u003cem\u003eBursens Organs at Hoboken\u003c\/em\u003e on October 4-19, 2008 at the Castle Sorghvliet of Hoboken, Belgium. \u003cbr\u003e\u003cbr\u003e Circa 1928-29 \u003cbr\u003e\u003cbr\u003e 105 1\/2\" wide x 50 1\/4\" deep x 102 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41347120791687,"sku":"29-9092","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-9092_1.png?v=1715329191"},{"product_id":"escher-inspired-sculpture-concentric-rinds-by-zadora-gerlof","title":"Escher-Inspired Sculpture \"Concentric Rinds\" by Zadora-Gerlof","description":"Crafted by the famed sculptor Andreas von Zadora-Gerlof, this compelling kinetic aluminum sculpture entitled \u003cem\u003eConcentric Rinds\u003c\/em\u003e brings to life the work of the great M.C. Escher. Escher was renowned for his mathematically-inspired woodcuts, including his ingenious 1953 engraving \u003cem\u003eConcentric Rinds\u003c\/em\u003e that inspired the present sculpture. Zadora brings Escher’s two-dimensional design into the third dimension with his perfectly envisioned and executed creation. \u003cbr\u003e\u003cbr\u003e During the mid-20th century, Escher created a series of etchings that explored spherical geometry in an attempt to draw attention to the negative space of three-dimensional objects. His work \u003cem\u003eConcentric Rinds\u003c\/em\u003e developed from this exploration. Consisting of four spherical shells that each consist of nine circles, Escher's complex sphere is divided into 48 similarly shaped triangles that emphasize the immense, mysterious dark space within which his creation exists. \u003cbr\u003e\u003cbr\u003e Zadora brings all of the mathematical precision of Escher's genius design into his large-scale version of the work. His four aluminum spheres are nestled together from small to large, creating a rippling effect when the work is set into motion on its axis. It is powered by a motorized mechanism hidden within its base, ingeniously added by Zadora to fully exploit the incredible visual effects of Escher's original design. \u003cbr\u003e\u003cbr\u003e The Canadian-born sculptor Baron Andreas von Zadora-Gerlof is recognized as the world's leading gemstone artist, and his international clientele includes the world’s most discerning connoisseurs. His pieces, which range from intricate sculptures such as this to innovative bespoke jewelry, are regarded as the most prized decorative artworks in modern times. \u003cbr\u003e\u003cbr\u003e The sculpture is accompanied by a certificate of authenticity signed by the artist. \u003cbr\u003e\u003cbr\u003e Created 2014-15 \u003cbr\u003e\u003cbr\u003e 78 3\/4\" diameter \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Design Days Dubai, March 16-20, 2015","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542471250055,"sku":"30-8670","price":295000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8670_1_6dbbc383-b409-4f76-8cb9-5539982d065a.png?v=1743858924"},{"product_id":"the-mills-double-deluxe-violano-virtuoso","title":"The Mills Double DeLuxe Violano Virtuoso ","description":"One of only a handful ever made, this\u003cem\u003e Double DeLuxe Violano Virtuoso\u003c\/em\u003e, created by the Mills Novelty Company, is an extremely rare example of American musical automata, featuring not one, but \u003cem\u003etwo\u003c\/em\u003e brilliantly tuned violins. Singled out by the U.S. government in 1909 as one of the eight greatest inventions of the decade when it was introduced at the Alaska Yukon Pacific Exposition, the Mills \u003cem\u003eDeLuxe Violano-Virtuoso\u003c\/em\u003e stands as one of the most important and incredible musical devices ever made. The “Double Mills,” as it was nicknamed, plays classical, operatic and popular music. It can play on a single or up to 15 nickels and has the ability to run for approximately an hour. It produces exceptional sound with a crisp tonal quality and melodious notes. Housed in a beautiful quarter-sawn oak case, each violin produces 64 notes and is accompanied by a 44-note piano. \u003cbr\u003e\u003cbr\u003e It is truly rare to find a historical musical mechanism so complete, with such remarkable sound quality and in excellent condition. This particular Violano has been updated with a digital player system that allows song selections to be made over a WiFi connection. This gives the user a choice between digital downloads or traditional paper rolls for added convenience.  \u003cbr\u003e\u003cbr\u003e Perfected and patented in 1912 by Henry K. Sandell, the \u003cem\u003eViolano-Virtuoso\u003c\/em\u003e was produced in limited quantities until 1929 and could be found in the very finest restaurants, hotels and oceanliners. In fact, the \u003cem\u003eViolano-Virtuoso\u003c\/em\u003e was one of the few American-made mechanical musical devices to be distributed worldwide to the most exclusive international clientele. \u003cbr\u003e\u003cbr\u003e The below testimonial was sent to the Mills Company by the Governor of Idaho, aptly describing the incredible music produced by the \u003cem\u003eViolano-Virtuoso\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDear Sir, Have just had the pleasure of listening to your wonderful Automatic Violin and Piano on exhibition at the Government Building here. This marvelous instrument certainly far surpasses anything that I have eve heard in automatic music. The tone and expression of the violin and the piano are so perfect and clear that is really hard to believe but that there is the human hand playing...\"\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Indeed, for the price of a nickel, the Mills \u003cem\u003eViolano-Virtuoso\u003c\/em\u003e delivered a wide variety of musical entertainment ranging from classical operatic arrangements to the popular tunes of the day. Using rolls of perforated paper in much the same way as a player piano, it could play music on either the violins, the piano or both, offering an unparalleled combination of sound. The violins vary from the usual in that they have no fingerboard. Instead, a small metal “finger” rises from under the string lifting it in a “V” shaped slot thus stopping off the string. The strings are bowed by four small wheels made of discs of celluloid clamped together, applying just the right amount of pressure to the strings. These are driven by a delicate variable speed controlled motor to vary the volume of sound produced. The vibrato is produced by shaking the tailpiece of the violin with a series of pneumatic pistons operated by a vacuum pump. The frame of the piano is shield shaped, supporting the bass strings in the center and the treble strings on either side, which evens the stress on the frame and assists in maintaining the piano's tuning. \u003cbr\u003e\u003cbr\u003e Up to 15 coins could be accommodated and, depending on the number of songs on each of the music rolls, the \u003cem\u003eViolano-Virtuoso\u003c\/em\u003e could play for up to an hour. \u003cem\u003eDe Luxe Violano-Virtuoso\u003c\/em\u003e machines of this caliber and condition, retaining such a superb tonal quality, are extremely rare today. \u003cbr\u003e\u003cbr\u003e A similar Mills Novelty Company DeLuxe Violano Virtuoso is featured in Q. David Bowers' \u003cem\u003eEncyclopedia of Automatic Musical Instruments\u003c\/em\u003e on page 520. \u003cbr\u003e\u003cbr\u003e Circa 1920 \u003cbr\u003e\u003cbr\u003e 49 3\/8\" wide x 34 3\/4\" deep x 68 1\/2\" high \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42260321337479,"sku":"30-5245","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-5245_1.png?v=1738728814"},{"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":"regulator-clock-by-jean-aime-jacob-and-adam-weisweiler","title":"Regulator Clock by Jean-Aimé Jacob and Adam Weisweiler","description":"This important regulator clock beautifully demonstrates the heights of precision clockmaking. While regulator clocks are known for their incredible accuracy, this timepiece is truly exceptional in its mechanical proficiency. Crafted and signed by Jean-Aimé Jacob, one of the most important French horologists of his age, the clock features a weight-driven movement with a deadbeat, or “Graham” escapement, the most accurate escapement that is still used to this day. Its ingenious construction eliminates the recoil, and therefore the inaccuracy, of the more common anchor escapement. \u003cbr\u003e\u003cbr\u003e While most regulator clocks were created purely for function rather than aesthetics, this timepiece is set apart by its equally important case. Crafted of rare plum pudding mahogany, the case is attributed to the atelier of Adam Weisweiler, one of the foremost ébénistes of the Louis XVI period. The German-born cabinetmaker is best remembered for his neoclassical creations that were beloved by the French court, including Queen Marie-Antoinette, the king of Naples and England's Prince Regent (later George IV). Not only did he use the finest of materials, but his craftsmanship also showed a remarkable level of precision and proportion that is perfectly displayed in this clock case. The incorporation of ebony and gilded accents is also typical of his work, and here both materials beautifully complement the rich texture and mottled finish of the plum pudding mahogany. \u003cbr\u003e\u003cbr\u003e After his retirement, his son Jean oversaw Weisweiler’s atelier until 1844. This clock case typifies the ebony and gilded neoclassical aesthetics made popular by his father that prevailed during the last decades of the Ancien Régime. Today, Weisweiler’s furniture can be found in all of the most important museums around the world, including the Metropolitan Museum of Art (New York), the J. Paul Getty Museum (Los Angeles), the Royal Collection Trust (London), the Museum of Fine Arts (Boston), the Philadelphia Museum of Art and many others. \u003cbr\u003e\u003cbr\u003e Once primarily found in prominent public and government buildings, regulator clocks have been the most accurate of the weight-driven clocks since their inception in the mid-18th century. Because of the expense to create them and their primary duty of being the keepers of time by which other clocks would be calibrated, relatively few regulator clocks were ever made, as evidenced by the small number of antique specimens that exist today. This fact, in conjunction with its incredible mechanism and overall workmanship, makes this regulator a true mechanical marvel. \u003cbr\u003e\u003cbr\u003e Circa 1830 \u003cbr\u003e\u003cbr\u003e 22 3\/4\" wide x 12 5\/8\" deep x 84 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41347070230663,"sku":"31-3803","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3803_1_f7d1e6e8-b3cb-4a7e-a3b6-72a8543df2a2.png?v=1715329659"},{"product_id":"month-going-regulator-clock-by-deshays-a-paris","title":"Month-Going Regulator Clock by Deshays à Paris","description":"This Louis-Philippe-period month-going longcase regulator clock is an exceptional example of French clockmaking, and its complicated mechanism marks several different aspects of passing time. Crafted by Deshays à Paris, the timepiece displays sleek silvered steel dials that indicate the time, date, month, equation of time and weight descent. The outer chapter ring indicates the time in Roman numerals with three blued steel hands, including two Breguet hands and a seconds hand, and under the main dial sits an engraved silvered wheel that displays the date and month.   \u003cbr\u003e\u003cbr\u003e This clock features three highly rare complications: a month-going movement, equation of time and weight descent. Within the chapter ring lie two semi-circles. The upper circle is engraved with the French phrases \u003cem\u003eSoleil avance\u003c\/em\u003e and \u003cem\u003eSoleil retarde\u003c\/em\u003e meaning “Sun in advance” and “Sun behind,” simulating solar time as it would be shown by a sundial. The lower circle is marked “Descente du Poids” or “weight descent” and is engraved with indications of the weeks, showing the changing position of the driving weight. This serves as a countdown to when the weight will need to be raised again to keep the clock running accurately. \u003cbr\u003e\u003cbr\u003e The case, neoclassical in style and crafted of striking “bird’s eye” mahogany, is a work of superb artistry. The structure features a dentil frieze, an elegantly sloped cornice and a tall, molded quadrangular base, and the case’s understated, balanced composition highlight the beauty and complexity of the clock’s dial and pendulum. The pendulum itself boasts another interesting trait — a pyrometer device that bears information on the temperature of dilation of metal. \u003cbr\u003e\u003cbr\u003e Once primarily found in prominent public and government buildings, regulator clocks have been the most accurate of the weight-driven clocks since their inception. This regulator would have been the master clock by which all other clocks and watches within a building would have been set. Because of the expense to create them and their function keeping time accurate enough to calibrate other clocks by, relatively few regulator clocks were ever made, as evidenced by the small number of antique specimens that exist today.  \u003cbr\u003e\u003cbr\u003e Circa 1830 \u003cbr\u003e\u003cbr\u003e 25 5\/8\" wide x 14 1\/2\" deep x 91 1\/2\" high \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43448815583367,"sku":"31-3802","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3802_1_67fb4bf0-abf1-4498-9336-8544a7627a91.png?v=1764593691"},{"product_id":"the-twelve-princesses-by-gustave-max-stevens","title":"The Twelve Princesses by Gustave-Max Stevens","description":"Gustave-Max Stevens\u003cbr\u003e 1871-1946 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed and dated “G.M. Stevens \/ 1899” (lower right) \u003cbr\u003e\u003cbr\u003e The greatest triumph of the artist’s career, this extraordinary and monumental oil on canvas by Gustave-Max Stevens perfectly represents the highly detailed compositions and richly hued palettes championed by the Pre-Raphaelite Brotherhood. The composition’s larger-than-life-size, brilliant coloring and myriad details enhance the drama of its subject, the Brothers Grimm fairy tale, \"The Twelve Princesses.\" The artist exhibited this work extensively, including at the 1901 Paris Salon, testifying to both the artist’s regard for the work and its exceptional quality. \u003cbr\u003e\u003cbr\u003e Monumental in subject, style and size, it is clear that the artist himself knew that \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e was his masterpiece, and he took every opportunity to show it publicly. It was first shown shortly after its creation at an exhibition of the artist’s work at the Cercle Artistique et Littéraire in Brussels in 1899 and then at the Salon d’Art Idéaliste in Brussels. It was then accepted into the prestigious Paris Salon of 1901, the annual exhibition where artists showcased only the very best examples of their work. The artist also exhibited it with Sächsischer Kunstverein (Saxon Art Association) in Dresden in 1900, the Antwerp Triennial Salon of 1901 and the Salon des Beaux-Arts d’Ostende of 1907. Additionally, Stevens kept \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e in his own personal collection for the entirety of his life, and it descended within his family — a testimony to the artist’s particular attachment to this work.  \u003cbr\u003e\u003cbr\u003e The fairy tale \"The Twelve Princesses,\" also called \"The Shoes That Were Danced to Pieces\", tells the story of twelve sisters who are kept locked up in their bedroom every night by their father, the king. Despite this, the king finds his daughters’ shoes “danced to pieces” every morning when he releases them. He presents a challenge to his kingdom: “Whoever could discover where they went dancing each night could choose one of them for his wife and become king after his death.” After many before him fail, a man accepts the challenge and, with the help of an invisibility cloak, discovers the sisters travel to a magical underground realm where they attend a lavish ball every evening. \u003cbr\u003e\u003cbr\u003e Stevens chooses to depict the moment of the sisters' escape. They adorn themselves in their finest gowns and jewels, with each princess dressed more extravagantly than the last. His approach to the painting is meticulous yet romantic, and the entire composition is a feast for the senses. The long, graceful silhouettes of the princesses occupy the entirety of the colossal canvas, and the artist revels in a painstaking depiction of detail for each and every figure. Strongly-patterned, iridescent fabrics combine with lush jewel tones to create a highly expressive aesthetic that brings a sense of realism to the mythical narrative. \u003cbr\u003e\u003cbr\u003e Stevens captures the princesses with the precise detail and symbolism that were tenets of the Pre-Raphaelite Brotherhood. They are shown standing before a window barred with iron, emphasizing the wonder of their nightly escape. The central figure gazes into a mirror, serving not as a symbol of vanity, but rather representing the ephemeral, alternate world they are about to enter. The mirror holds their secret and points beyond exterior appearances. Only two of the sisters look out at the viewer, the oldest and the youngest, who have the most significant roles in the story. The eldest, dressed the most austerely and almost hidden behind her sisters, wears a knowing look of secrecy and mystery, while the youngest looks at us apprehensively, foreshadowing their eventual exposure. Combining thoughtful detail, symbolism and aestheticism, this work showcases the enigmatic, dreamlike style of painting for which the Pre-Raphelites were renowned. \u003cbr\u003e\u003cbr\u003e Apart from the fact that it is an exceptional example of a Pre-Raphaelite painting, it is also exemplary of the 19th-century interest in legends and fairy tales; the story of the dancing princesses would have been a well-known tale in affluent households of the age. These tales were popularized by Andrew Lang’s \u003cem\u003eFairy Book\u003c\/em\u003e series, a collection of 12 volumes that was hugely successful. \"The Twelve Dancing Princesses\" was the first story printed in the \u003cem\u003eRed Fairy Book\u003c\/em\u003e edition of the series in 1890 — an edition the artist would have certainly been familiar with. \u003cbr\u003e\u003cbr\u003e Born in Saint-Gilles, Belgium, just outside of Brussels, in 1871, Stevens began his artistic studies at the Académie Royale des Beaux-Arts in Brussels in 1886 under the instruction of Jean-François Portaels. He then studied with Fernand Cormon and Louis-Joseph-Raphaël Collin at the École des Beaux-Arts in Paris. He then returned to Brussels, a city that at the time was a major center for artistic innovation. There, he co-founded and led \u003cem\u003eLe Sillon\u003c\/em\u003e in 1893, an artistic movement that sought a different approach to painting from the Neo-Impressionists and instead espoused a philosophy of decorative realism and luminous coloring.  \u003cbr\u003e\u003cbr\u003e The great Pre-Raphaelite Edward Burne-Jones was a supporter and honorary member of \u003cem\u003eLe Sillon\u003c\/em\u003e, and the group hosted an exhibition of the master’s works in 1895. Stevens, who was already an admirer of Burne-Jones, was heavily involved in the planning of this exhibition and must have taken immense inspiration from his aesthetic approach. He completed \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e only a few years after the Burne-Jones show, embracing the Pre-Raphaelite ideals of truth to nature, complexity of composition and brilliance of color. He also won a coveted bronze medal at the Paris Exposition Universelle of 1900 for \u003cem\u003eAnnunciation\u003c\/em\u003e, another painting with strong Pre-Raphaelite connections. \u003cbr\u003e\u003cbr\u003e Today, his works reside in the National Gallery of Canada (Ottowa), Minneapolis Institute of Art, Musées royaux des Beaux-Arts de Belgique (Brussels) and the British Museum (London), but none surpass the current painting. Staggering in size, magnificent in palette, exceptional in technique, and fascinating in subject, \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e represents the very best from the artist. \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/landing.rauantiques.com\/stevens-insights\/\" target=\"new\"\u003e\u003cb\u003eSee auction comparables and market data\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Dated 1899 \u003cbr\u003e\u003cbr\u003e Canvas: 76 1\/8\" high x 114\" wide (193.36 x 289.56 cm)\u003cbr\u003e Frame: 100 1\/4\" high x 138 5\/8\" wide (254.64 x 352.11 cm) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Exhibition Gustave-Max Stevens, Cercle Artistique et Littéraire, Brussels, 1899\u003cbr\u003e Salon d’Art Idéaliste, Brussels\u003cbr\u003e Paris Salon, 1901, number 846, p.27 (illustrated under the title “Filles de Rois”)\u003cbr\u003e Sächsischer Kunstverein, Dresden, 1900, number 1864\u003cbr\u003e Triennial Salon, Antwerp, 1901, number 46\u003cbr\u003e Salon des Beaux-Arts d'Ostende, 1907 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist, Brussels\u003cbr\u003e Thence by descent\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672916230279,"sku":"31-4687","price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4687_1.png?v=1767201297"},{"product_id":"tete-de-cariatide-by-amedeo-modigliani","title":"Tête de cariatide by Amedeo Modigliani","description":"Amedeo Modigliani\u003cbr\u003e 1884-1920 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTête de cariatide\u003cbr\u003e Head of Caryatid\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Modigliani” and numbered “1\/8” (near base)\u003cbr\u003e Bronze \u003cbr\u003e\u003cbr\u003e The figural works of the iconic modernist Amedeo Modigliani are known for their instantly recognizable style, and they are among the most coveted in the world of art collecting, with Modigliani ranking among the world’s ten most valuable artists of all time. This monumental bronze, conceived by the artist in 1910, demonstrates his mastery of sculpture. Sculpting was the artist’s self-proclaimed first and true passion — a fact sometimes overlooked due to the success of his paintings and the overwhelming rarity of his sculptures. His famed \u003cem\u003eTête\u003c\/em\u003e series from which this bronze hails stands as his most important sculptural output, with works recognized for their timeless quality and strong, stoic presence. \u003cem\u003eTête de cariatide\u003c\/em\u003e reflects these qualities and provides a compelling glimpse into Modigliani’s greatest artistic passion. \u003cbr\u003e\u003cbr\u003e This bronze is an enlarged casting of a wooden sculpture — the only known sculpture that Modigliani carved in wood rather than stone. Commissioned posthumously by Modigliani’s daughter Jeanne alongside the Modigliani Institute, the bronze iteration here perfectly captures the rich woodgrain texture of Modigliani’s original carving and retains its careful compositional balance. Soulful and intense, it reflects the exaggerated yet elegant elongation of the artist’s figural paintings, which became his much sought-after signature style. \u003cbr\u003e\u003cbr\u003e Modigliani’s interest in African and other non-Western art is well-documented. This bronze is reminiscent of a tribal mask or ancient deity, both due to its exaggerated features and the totemic appearance achieved by the work’s texture, meditative presence and sheer size. Yet the work also alludes to the artist’s Italian heritage and training. A \u003cem\u003ecaryatid\u003c\/em\u003e is a staple of classical architecture, an ornate column typically found on the façade of a temple that takes the form of a female figure, with the most famous examples being on the Acropolis of Athens. The present sculpture exudes the same striking, memorable quality. \u003cbr\u003e\u003cbr\u003e Born in Livorno, Italy in 1884, Modigliani dreamed of becoming a sculptor from a young age when he first encountered the grand marbles of Michelangelo. He moved to Paris in 1906, but it was not until 1909 after meeting modernist sculptor Constantin Brancusi that he began carving figures. For a time, he devoted himself almost entirely to sculpting, completing very few paintings between 1911 and 1914 but producing several sketches and gouaches relating to his sculptural projects. Modigliani exhibited a series of his sculptures in the 1912 Salon d'Automne. \u003cbr\u003e\u003cbr\u003e Among the reasons Modigliani’s work is so highly sought after is the fact that the artist died at the premature age of 35, limiting his entire lifetime production to under 400 total artworks. Within that number, his sculptures are exceedingly rare; he only created around twenty-six total, most of which are held in museums such as the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mkwr\/_r4uxYiGjjJa8_gf3TQ_8yguH7YnCN6LUqZNokwL0Hg\" target=\"_blank\"\u003eMuseum of Modern Art (New York), the Metropolitan Museum of Art (New York) and the Tate Gallery (London).\u003c\/a\u003e Modigliani suffered from tubercular meningitis his entire life, which ultimately limited his ability to continue to pursue the physical and laborious art of sculpting, emphasizing this bronze’s importance and rarity with the artist's oeuvre.  \u003cbr\u003e\u003cbr\u003e The other editions of this series can be found in public collections worldwide, including Morocco, Saudi Arabia and the exterior of the Casa Natale Modigliani in Rome, which houses the Modigliani Institut archives. \u003cbr\u003e\u003cbr\u003e Conceived in 1910. Posthumous, contemporary casting circa 2006. \u003cbr\u003e\u003cbr\u003e Bears the foundry mark of Paolo Olmeda as well as the artist’s signature and edition number “1\/8” \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/landing.rauantiques.com\/modigliani-insights\/\" target=\"new\"\u003e\u003cb\u003eSee auction comparables and market data\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e 24\" wide x 34\" deep x 90\" high\u003cbr\u003e Base: 35 3\/4\" wide x 45 3\/4\" deep x 28\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44422086721671,"sku":"31-4791","price":1850000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4791_1.png?v=1775582550"},{"product_id":"escher-inspired-mobius-strip-ii-by-zadora-gerlof","title":"Escher-Inspired Mobius Strip II by Zadora-Gerlof","description":"Crafted by the famed jeweler and sculptor Andreas von Zadora-Gerlof, this compelling sculpture brings to life the work of the great M.C. Escher. Escher was renowned for his so-called impossible creations, such as his 1963 woodcut \u003cem\u003eMöbius Strip II (Red Ants)\u003c\/em\u003e that inspired the present sculpture. Zadora imparts a remarkable degree of skill and planning in the construction of the piece, bringing Escher’s two-dimensional mathematically-inspired work into the third dimension. The design itself seems to defy gravity, illustrating the genius of these two artistic greats, Escher and Zadora. \u003cbr\u003e\u003cbr\u003e During the mid-20th century, Escher created a series of works on the concept of the Möbius strip, discovered by the German mathematician and astronomer Ferdinand Möbius (1790-1868). A looping surface with one continuous side, a Möbius strip appears at first glance to be physically impossible, but it can, in fact, exist in reality. Escher incorporated the complex in his work for the first time in 1946 with his woodcut \u003cem\u003eHorseman\u003c\/em\u003e. \u003cem\u003eMöbius Strip I\u003c\/em\u003e from 1961 represents his first fully developed conceptualization of the form, with \u003cem\u003eMöbius Strip II\u003c\/em\u003e following shortly after in 1963. \u003cbr\u003e\u003cbr\u003e Zadora brings Escher's vision to life in this large-scale work. Constructed from aluminum, copper and carbon fiber, the piece incorporates gigantic ants into its continuous form. Through a series of complex gear and wheel mechanisms powered by a magnetic and electrical propulsion system, the ants march endlessly around the infinity symbol, making Escher's vision a reality.  \u003cbr\u003e\u003cbr\u003e The Canadian-born sculptor Baron Andreas von Zadora-Gerlof is recognized as the world's leading gemstone artist, and his international clientele includes the world’s most discerning connoisseurs. His pieces, which range from intricate sculptures such as this to innovative bespoke jewelry, are regarded as the most prized decorative artworks in modern times. \u003cbr\u003e\u003cbr\u003e The sculpture is accompanied by a certificate of authenticity signed by the artist. \u003cbr\u003e\u003cbr\u003e Created 2014-15 \u003cbr\u003e\u003cbr\u003e 157 1\/2\" high \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Design Days Dubai, March 16-20, 2015","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542472986759,"sku":"30-8669","price":295000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8669_1_040f692a-287e-46fe-930c-cb9bf2682af4.png?v=1743858924"},{"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":"the-linke-grand-regulator-worlds-fair-clock","title":"The Linke Grand Regulator World's Fair Clock","description":"Grand Regulator World's Fair Clock\u003cbr\u003e François Linke\u003cbr\u003e Circa 1900 \u003cbr\u003e\u003cbr\u003e Widely regarded as the greatest sculptural clock ever created, this monumental régulateur by François Linke was conceived as a statement for the 1900 Paris Universal Exposition, a moment when the world’s finest artisans competed on an international stage. Linke, the most celebrated ébéniste of the Belle Époque, was awarded the prestigious gold medal for his display, which critics described as “the biggest event in the history of furnishing art in the year 1900.” Designed in collaboration with the sculptor Léon Messagé, the clock exemplifies Linke’s ambition to elevate furniture and timepieces to the realm of fine art. \u003cbr\u003e\u003cbr\u003e The clock represents over a decade of design and craftsmanship. Only six examples of this model were ever completed due to the extraordinary labor and cost involved. Building just one had a production cost of 22,966 francs, the equivalent of approximately eight years' wages for the average French worker in 1900. The clock is illustrated on the spine of Christopher Payne’s definitive monograph on Linke. Mahdi Al-Tajir, one of the world’s most important collectors, later acquired the present model. Another is located at Whitehall, the Flagler Museum in Palm Beach. It was acquired by Rockefeller’s partner, Henry Flagler. Payne himself identified our clock as one of Linke's earliest models because of its \u003cem\u003evert de mer\u003c\/em\u003e marble plinth.  \u003cbr\u003e\u003cbr\u003e Standing over 10 feet tall, the case is constructed from inlaid tulipwood and fruitwood and adorned with masterfully cast ormolu. A celestial globe dial sits at the center, surmounted by Chronos, the Greek god of time, wielding his scythe. Naturalistic ornament, such as cascading water, oak branches, apple blossoms and bulrushes, echoes the dynamic forms of Art Nouveau while grounding the piece in the symbolism of time’s passage. Even the hidden mounts and bell are cast to the highest standards, each stamped with Linke’s name. \u003cbr\u003e\u003cbr\u003e Signed \"F. Linke\" \u003cbr\u003e\u003cbr\u003e 123\" high x 38 3\/4\" wide x 22\" deep \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Payne, Christopher, \u003cem\u003eFrançois Linke, 1855-1946: The Belle Époque of French Furniture\u003c\/em\u003e, Woodbridge: Antique Collectors’ Club, 2003, pp. 121, 130-132","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43028955857031,"sku":"32-0442","price":785000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0442_1.png?v=1754688289"},{"product_id":"tiffany-studios-mermaid-window","title":"Tiffany Studios Mermaid Window","description":"Six-Panel Mermaid Window\u003cbr\u003e Tiffany Studios\u003cbr\u003e 1899 \u003cbr\u003e\u003cbr\u003e A masterwork of American design, this monumental six-panel stained glass window by Tiffany Studios stands among the most ambitious achievements of Louis Comfort Tiffany’s career. Commissioned in 1899 by Hawaiian sugar magnate James Bicknell Castle for his grand Waikiki Beach estate, \u003cem\u003eKainalu\u003c\/em\u003e, this extraordinary work is the only privately commissioned Tiffany window ever created in the Hawaiian Islands. Conceived for the sweeping stairwell of Castle’s seaside mansion, the window is an inspired marriage of myth, light and technical mastery that captures the full creative range of Tiffany’s genius. \u003cbr\u003e\u003cbr\u003e At the center of the composition, a radiant mermaid glides through the depths astride a sea dragon, her flowing hair and scaled tail rendered in cascades of iridescent Favrile glass. Surrounding panels adorned with seashell and marine motifs envelop the siren in a shifting symphony of light and magnificent color play. Tiffany’s pioneering technique of layering two to three sheets of opalescent, mottled and rippled glass produces extraordinary depth and color variation, transforming light itself into a painterly medium. Even the painted elements—fused permanently into the glass—are impervious to peeling or fading, preserving Tiffany’s original surface brilliance for over a century. \u003cbr\u003e\u003cbr\u003e The mermaid composition was inspired by \u003cem\u003eThe Mermaid\u003c\/em\u003e (1883) by Hudson River School painter Frederick Stuart Church, whose work deeply influenced Tiffany’s sense of color and atmosphere. Remarkably, only one other window featuring a mermaid is known from Tiffany Studios—the \u003cem\u003eMermaid with Goldfish\u003c\/em\u003e window, which Tiffany kept in his personal collection and refused to sell. That work now resides in the Field Museum of Natural History in Chicago. \u003cbr\u003e\u003cbr\u003e Designed in perfect harmony with its original oceanside setting, this window reflected both the natural splendor of Hawaii and Castle’s stature as one of its most powerful industrialists. As a leading member of Hawaii’s “Big Five” business elite, Castle played a decisive role in the islands’ transformation from monarchy to U.S. territory. His residence was among the grandest private homes ever constructed on Waikiki Beach—a four-story architectural landmark whose interiors embodied cosmopolitan refinement. Unlike most Tiffany windows that have been lost or fragmented, this one was carefully preserved when Castle’s mansion was demolished in 1959. It has since remained in distinguished private collections, a rare survival of monumental Tiffany glass in private hands. \u003cbr\u003e\u003cbr\u003e Louis Comfort Tiffany (1848–1933) revolutionized decorative arts in the United States through his mastery of glassmaking, pioneering the use of iridescent Favrile glass, patented in 1894. His windows transformed architectural spaces into living artworks and secured his place as one of America’s foremost designers. Today, Tiffany’s works are preserved by institutions including the Metropolitan Museum of Art, the Art Institute of Chicago and the Crystal Bridges Museum of Art, and they continue to achieve record results at international auction houses. \u003cbr\u003e\u003cbr\u003e Overall with light box: 8’ 11” high x 10’ 5” wide x 10 1\/2” deep (271.78 x 317.50 x 26.67 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e James Bicknell Castle, Diamond Head, Waikiki Beach, U.S. Territory of Hawaii (1899–1918)\u003cbr\u003e Mrs. Castle, by descent from the above (1918–1920)\u003cbr\u003e Elks Lodge 616, Diamond Head, Waikiki Beach, U.S. Territory of Hawaii (1920–1959)\u003cbr\u003e Private Collection, Honolulu, Hawaii (1959–1987)\u003cbr\u003e Private Collection, Colorado \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Tokyo, Tokyo Metropolitan Teisen Art Museum, \u003cem\u003eMasterworks of Louis Comfort Tiffany\u003c\/em\u003e, January 12–March 17, 1991; traveled to:\u003cbr\u003e Kobe, Kobe City Museum, April 6–May 12, 1991\u003cbr\u003e Nagoya, Electricity Museum Gallery, May 18–June 23, 1991\u003cbr\u003e Toyama, Toyama Citizens Plaza, June 30–July 26, 1991\u003cbr\u003e (Expanded version of the exhibition originally organized by the Smithsonian Institution’s Renwick Gallery and The Metropolitan Museum of Art)\u003cbr\u003e Roslyn Harbor, New York, Nassau County Museum of Art, \u003cemlouis comfort tiffany and stanford white their circle\u003e, September 24, 1998–January 4, 1999 (Sponsored by Tiffany \u0026amp; Co.)\u003cbr\u003e Simi Valley, California, Ronald Reagan Presidential Library and Museum, \u003cem\u003eThe Spirit of Tiffany\u003c\/em\u003e, November 27, 1999–March 19, 2000\u003cbr\u003e Paris, Musée du Luxembourg, \u003cem\u003eLouis Comfort Tiffany: Couleurs et Lumière\u003c\/em\u003e, September 16, 2009–January 10, 2010; traveled to:\u003cbr\u003e Montreal Museum of Fine Arts, \u003cem\u003eTiffany Glass: A Passion for Colour\u003c\/em\u003e, February 12–May 2, 2010\u003cbr\u003e Virginia Museum of Fine Arts, Richmond, \u003cem\u003eTiffany: Color and Light\u003c\/em\u003e, May 29–August 15, 2010, no. 60 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eThe American Architect and Building News\u003c\/em\u003e, June 28, 1902, illustrated in residence, p. 103\u003cbr\u003e Don Hibbard and David Franzen, \u003cem\u003eThe View from Diamond Head: Royal Residence to Urban Resort\u003c\/em\u003e, Honolulu, 1986, illustrated in residence, p. 35\u003cbr\u003e \u003cem\u003eMasterworks of Louis Comfort Tiffany\u003c\/em\u003e, Tokyo Metropolitan Teisen Art Museum, 1991, illustrated pp. 44–45 (detail)\u003cbr\u003e Robert Jay, \u003cem\u003eThe Architecture of Charles W. Dickey\u003c\/em\u003e, Honolulu, 1992, pp. 59–60\u003cbr\u003e Constance Schwartz and Franklin Hill Perrell, \u003cem\u003eLouis Comfort Tiffany and Stanford White and Their Circle\u003c\/em\u003e, New York, 1998, p. 15, illustrated p. 1 (color)\u003cbr\u003e Holly J. Walcott, “Simi Under Glass,” Los Angeles Times, November 25, 1999\u003cbr\u003e Jake Finch, “Exhibit Captures Spirit of Tiffany,” Ventura County Star, November 26, 1999, illustrated\u003cbr\u003e Metropolitan Museum of Art, \u003cem\u003eTiffany Windows\u003c\/em\u003e, 1999 Calendar, December\u003cbr\u003e Rosalind M. Pepall et al., \u003cem\u003eTiffany Glass: A Passion for Colour\u003c\/em\u003e, Paris, 2009, p. 94, illustrated p. 100 (color)\u003c\/emlouis\u003e","brand":"M.S. 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