{"title":"6.26 Fashionable Ladies","description":"","products":[{"product_id":"a-pompeian-lady-by-john-william-godward","title":"A Pompeian Lady by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Pompeian Lady\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"J.W. Godward 1904\" (lower right, partially covered by frame)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled \u003cem\u003eA Pompeian Lady\u003c\/em\u003e, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. \u003cbr\u003e\u003cbr\u003e Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pelt. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. \u003cbr\u003e\u003cbr\u003e Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops, was a direct reflection of this pervasive view. \u003cbr\u003e\u003cbr\u003e Godward debuted at London’s Royal Academy exhibition in 1887 at the age of only 26. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton and Sir Edward John Poynter, Godward quickly adopted, if not rivaled, their style. He envisioned similar scenes of the ancient world, seamlessly blending antiquity and beauty in breathtaking compositions and attracting fans across Europe. In 1889, he was elected to the Royal Society of British Artists, and, ten years later, Godward debuted at the Paris Salon, where again he was heaped with critical praise. However, the 20th century brought rapid artistic change, and he was faced with the painful reality that the classical world he loved was being overshadowed by modern art movements. His devotion to the classics never waned, and he moved to Rome in 1912 to surround himself with the physical remnants of the classical world, where he stayed for the major part of his remaining career. \u003cbr\u003e\u003cbr\u003e Dated 1904 \u003cbr\u003e\u003cbr\u003e Canvas: 25“ diameter (63.5 cm)\u003cbr\u003e Frame: 45 3\/4” high x 44 3\/8” wide (116.21 x 112.71 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-3739.pdf%20target=\" new\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Thomas McLean, art dealer, London, 1904\u003cbr\u003e Purchased by Sir Alfred Bird, Tudor Grange Solihull\u003cbr\u003e Cooling Galleries, London and Toronto, Canada\u003cbr\u003e The collection of Maurice and Louella Brown, Toronto and Calgary, Canada\u003cbr\u003e By descent to Keith C. Brown and L. Joan Brown, Calgary, Alberta, 1982\u003cbr\u003e Hodgin’s Art Auctions, Calgary\u003cbr\u003e Fred and Sherry Ross, New Vernon, New Jersey\u003cbr\u003e Sotheby’s, New York\u003cbr\u003e Private collection, New Orleans\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J.W. Godward: The Eclipse of Classicism, 2018, Vern Swanson, page 290, no.12 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Thomas McLean Gallery, London, 1904","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050790613127,"sku":"31-3739","price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3739_1_96367abf-d12d-4f22-9c18-fc2d4b326df3.png?v=1774967315"},{"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":"portrait-of-a-beauty-by-william-clarke-wontner","title":"Portrait of a Beauty by William Clarke Wontner","description":"William Clarke Wontner\u003cbr\u003e 1857-1930 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"W. Wontner 1918\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. \u003cbr\u003e\u003cbr\u003e Entitled \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  \u003cbr\u003e\u003cbr\u003e Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. \u003cbr\u003e\u003cbr\u003e Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mnqq\/cvLbUpnWoYJZe3lo0HCdZEBKb9j75Am6ZYyt0EX4Cvk\" target=\"_blank\"\u003eNational Portrait Gallery (London) and the Harris Museum (Preston, UK)\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Dated 1918 \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 21\" wide\u003cbr\u003e Frame: 36\" high x 32\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42578025513095,"sku":"31-5487","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5487_1.png?v=1746450329"},{"product_id":"la-loge-by-jean-gabriel-domergue","title":"La loge by Jean-Gabriel Domergue","description":"Jean-Gabriel Domergue\u003cbr\u003e 1889-1962 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa loge\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed (lower right)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Jean-Gabriel Domergue presents an elegantly seductive woman seated in a loge in this vibrantly-hued oil portrait. Depicted with her eyes gazing from beneath a gauzy polka-dot veil, his auburn-haired sitter embodies the youth, vitality and sophistication Domergue’s compositions are known for. The woman is exceedingly poised, focused on the performance, her brightly rouged lips parted in concentration. A well-heeled man sits beside her, peering into opera glasses. The slender, modern woman of \u003cem\u003eLa loge\u003c\/em\u003e exudes confidence and style, displaying the qualities of Domergue's work that earned him the reputation of “inventor of the pin-up.” \u003cbr\u003e\u003cbr\u003e Born in Bordeaux in 1889, Domergue studied at the École Nationale Supérieure des Beaux-Arts. He was only 17 years old when he exhibited at the Salon des Artistes Français for the first time, winning the Prix du Rome in 1911 and a gold medal in 1920. While landscapes dominated his early oeuvre, from the 1920s he changed his focus to what would become his trademark subject, \u003cem\u003ela belle Parisienne\u003c\/em\u003e. Domergue enjoyed a tremendously successful career. From 1955 until 1962 he was the curator of the Musée Jacquemart-André, organizing exhibitions of the works of van Gogh, Toulouse-Lautrec and Goya, among others. Domergue was appointed a Chevalier of the Légion d’Honneur and also served as a Fellow of the Academy of Fine Arts. \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e Panel: 21 1\/2“ high x 18 1\/8” wide\u003cbr\u003e Frame: 28 1\/2\" high x 25\" wide x 1 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41779922763911,"sku":"31-5996","price":49850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5996_1_4586d4a5-e89d-4f34-a513-7c88b302d636.png?v=1728289500"},{"product_id":"concours-de-chiens-au-promenade-by-otto-eerelman","title":"Concours de Chiens au Promenade by Otto Eerelman","description":"Otto Eerelman\u003cbr\u003e 1839-1926 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eConcours de Chiens au Promenade\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Watercolor on paper\u003cbr\u003e Signed “O. Eerelman 1904” (lower left) \u003cbr\u003e\u003cbr\u003e A tour de force watercolor by celebrated Dutch artist Otto Eerelman, one of 19th-century Europe's most popular and important animal portraitists, this charming composition captures a bustling cross-section of fashionable elites walking their equally fashionable canine companions. Eerleman takes care to render the detailed attire of his subjects, complete with plumed hats and layers of lace trim. The artist paints the plethora of pets in equally painstaking detail, capturing the nuances of each different breed represented. \u003cbr\u003e\u003cbr\u003e Eerelman mastered the art of depicting not only the dogs’ physical characteristics but also their unique expressions and personalities. His wealthy clientele would bring their pets to his home in The Hague where they would live for a period of time while having their portraits done, allowing for a remarkably true-to-life portrayal. This energetic watercolor, with its profusion of color and texture, harnesses the affluence of its subjects and the leisurely whimsy of their luxurious lives. \u003cbr\u003e\u003cbr\u003e Hailing from Groningen, Netherlands, Eerelman was dubbed the “Northern Rembrandt” during his lifetime. He received his artistic training at the Academy Minerva in Groningen, the Royal Academy of Fine Arts in Antwerp and then private lessons in the studio of the great Lawrence Alma Tadema. He successfully captured the attention of the Dutch court, particularly Princess Wilhelmina, with his meticulous approach to endearing subjects. His artistic contributions were so great and his work so valued in the Netherlands that he was knighted at the age of 80. Eerelman’s paintings have long been coveted on the market for their inherent charm. Other examples of his dog portraits can be found in the Rijksmuseum (Amsterdam), and in 2015, a major retrospective of his work was held at the Museum Nienoord in Leek, Netherlands.  \u003cbr\u003e\u003cbr\u003e Dated 1904 \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/2\" high x 26 1\/2\" wide\u003cbr\u003e Frame: 28 3\/4\" high x 35 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Harry J. Kraaij, 'Otto Eerelman 1839-1926, Groninger kunstenaar', Schiedam 2012, ill. p. 107, no. 135.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43371044864135,"sku":"31-6432","price":52500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6432_1_3c8414ba-9217-46c5-8180-c9fbd0522415.png?v=1762003298"},{"product_id":"la-terrasse-devant-la-mer-by-jean-pierre-cassigneul","title":"La terrasse devant la mer by Jean Pierre Cassigneul","description":"Jean-Pierre Cassigneul\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa terrasse devant la mer\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Terrace by the Sea\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “Cassigneul” (lower left)\u003cbr\u003e Oil on canvas laid on panel \u003cbr\u003e\u003cbr\u003e This monumental, three-paneled oil painting is among the largest ever composed by the celebrated French painter Jean-Pierre Cassigneul. Capturing a woman in grey against a windswept seascape, the composition is classic Cassigneul, exuding a serenity and sophistication that is unique to his aesthetic. Triptychs are highly rare in the artist's oeuvre, and the panels can be displayed apart or attached. Renowned for his portraits that bring together brilliant pops of color with an atmosphere of elegance and tranquility, Cassigneul's upbringing in French fashion is keenly felt in the composition, as he brings the chic Parisian ideal to life. \u003cbr\u003e\u003cbr\u003e One of the most famous living French artists, Cassigneul is set apart by his unique ability to produce works that feel both dramatically contemporary and classic in style. \u003cem\u003eLa terrasse devant la mer\u003c\/em\u003e brings together two of his most common tropes: a sleepy-eyed beauty and a vibrantly hued landscape. The green colors of the sea and the dusky sky provide a sharp contrast to the central figure, whose large hat and billowing scarf exude a timeless fashion. With its vivid, rich palette and flat spatial planes, Cassigneul’s style follows in the tradition of the French Post-Impressionist group known as Les Nabis, which included celebrated French artists such as Pierre Bonnard, Edouard Vuillard and Maurice Denis. Expressionist painter Kees van Dongen was another important influence on the young Cassigneul, whose portraits resemble van Dongen’s elongated, sharply contoured female forms. \u003cbr\u003e\u003cbr\u003e Born in Paris in 1935, Cassigneul's grandfather was the founder of the ground-breaking French fashion house Jean Dessès. Raised among the glamor and excitement of the Parisian fashion world, the young Cassigneul observed models, dressmakers and runway shows from a very young age. His interest in art also manifested early, and he painted his first landscape at Deauville at the young age of 12. He studied at the École des Beaux-Arts, holding his first one-man exhibition at just 17 years of age. Since that first show, his work has been widely exhibited worldwide, particularly in Western Europe, the United States and Japan, where he enjoys an especially devoted following. \u003cbr\u003e\u003cbr\u003e Painted 1975 \u003cbr\u003e\u003cbr\u003e Triptych: 51 1\/4\" high x 71” wide\u003cbr\u003e Panel: 51 1\/4” high x 23 1\/2” wide x 1 3\/8\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44555221205127,"sku":"31-6704","price":268500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6704_1.png?v=1777663316"},{"product_id":"danseuse-by-pierre-carrier-belleuse","title":"Danseuse by Pierre Carrier-Belleuse","description":"Pierre Carrier-Belleuse\u003cbr\u003e 1851-1932 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDanseuse\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Pierre Carrier-Belleuse” (lower right)\u003cbr\u003e Pastel on canvas \u003cbr\u003e\u003cbr\u003e Strikingly elegant, this extraordinary pastel by French impressionist Pierre Carrier-Belleuse displays the artist’s mastery of his medium and his fascination with the intimate and graceful world of the modern ballerina. Carrier-Belleuse captures this classic beauty posed in the fourth position and the playful puff of her tutu shimmers with an incandescent glow filling the center of the composition. This dancer is simultaneously graceful and accessible, as her soft features and alluring eyes draw in the viewer. Much like the work of Degas, Carrier-Belleuse’s dancers are depicted with a common beauty that is at once poetic and attainable. A master of the art of pastel, his works are highly collectible as stunning examples of the art of impressionism. \u003cbr\u003e\u003cbr\u003e Born in 1851, Carrier-Belleuse was the son of the celebrated sculptor Albert Carrier-Belleuse, from whom he learned his artistic trade at a young age. He also studied under Alexandre Cabanel and Galland at the École des Beaux-Arts, and became a regular exhibitor at the Paris Salon beginning in 1875. Successful during his lifetime, he received an honorable mention at the Salon in 1887 and earned a silver medal at the Exposition Universelle in 1889. He mastered the art of working with pastels and was best known for his scenes of ballet dancers, in addition to his popular landscapes, and historical and genre works. \u003cbr\u003e\u003cbr\u003e Circa 1898 \u003cbr\u003e\u003cbr\u003e Frame: 52” high x 26 1\/4” wide\u003cbr\u003e Canvas: 45” high x 20” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44436028457095,"sku":"31-8314","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8314_1_75573afb-f185-4c59-81b2-c20eed3ea5cf.png?v=1775834533"},{"product_id":"the-tent-by-charles-walter-simpson","title":"The Tent by Charles Walter Simpson","description":"Charles Walter Simpson, RBA, RI, ROI\u003cbr\u003e 1885-1971 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Tent\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Charles Simpson\" (lower right) Oil on canvas \u003cbr\u003e\u003cbr\u003e The sunny warmth of a leisurely day on the beach radiates from this composition by acclaimed British genre painter, Charles Walter Simpson. \u003cem\u003eThe Tent\u003c\/em\u003e is an enchanting depiction of pastoral tranquility and youthful contemplation that epitomizes Simpson's mastery of idyllic British scenes. \u003cbr\u003e\u003cbr\u003e Nestled beneath their billowing tent and stylish ribboned hats, the girls share a pensive moment of quiet while protecting their porcelain complexions from the harsh rays of the blaring sun. Simpson's sitters are the quintessence of early 20th-century young womanhood, with their fashionable dresses, coiffured ringlets and docile expressions that take in a day of beachside recreation. \u003cem\u003eThe Tent\u003c\/em\u003e comes to life with a luminous color palette and bold layers of impasto that are the hallmarks of Simpson's oeuvre. \u003cbr\u003e\u003cbr\u003e The son of a major general, Charles Walter Simpson was born in Camberley, Surrey, into a family of esteemed art patrons who had supported important artists including Millais and Watts. Trained in both England and Paris, Simpson would go on to exhibit widely at prestigious venues such as the Royal Academy, the Paris Salon, and many others, even winning the silver medal at the Paris Salon of 1923. He was elected RI in 1914 and ROI in 1921, and Simpson's later years were spent in Cornwall where he and his wife established a painting school in St. Ives. \u003cbr\u003e\u003cbr\u003e 20th century \u003cbr\u003e\u003cbr\u003e Canvas: 20\" high x 24\" wide (50.80 x 60.96 cm)\u003cbr\u003e Frame: 27 1\/4\" high x 31\" wide x 2 3\/4\" deep (69.22 x 78.74 x 6.99 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42911941755015,"sku":"31-8315","price":74500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8315_1.png?v=1752866691"},{"product_id":"la-carmencita-by-john-singer-sargent","title":"La Carmencita by John Singer Sargent","description":"John Singer Sargent\u003cbr\u003e 1856-1925 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Carmencita\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped by artist's estate (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e John Singer Sargent, widely regarded as one of history's most distinguished portraitists, created this captivating oil on canvas titled \u003cem\u003eLa Carmencita\u003c\/em\u003e in 1890, the height of his astonishing career. This portrait masterfully captures the dynamic energy and magnetic allure of the renowned Spanish dancer Carmen Dauset, known as La Carmencita. The painting exemplifies Sargent’s unparalleled ability to combine his technical virtuoso with profound emotional depth. \u003cbr\u003e\u003cbr\u003e In this remarkable composition, Sargent masterfully employs light and shadow to create a sense of movement and vibrancy. La Carmencita is captured mid-performance, her figure animated with the energy and grace that made her an international sensation. The stark contrast between her pale skin and dark hair, accentuated by the vibrant red rose in her hair and the shimmer of her fringed shawl, draws the viewer’s eye and underscores her dynamic presence. Sargent’s minimalist background further enhances the focus on La Carmencita, allowing her expressive features and lively posture to dominate the composition. The careful interplay of colors and the fluidity of Sargent’s brushstrokes bring the portrait to life, making it a true masterpiece of movement and expression. \u003cbr\u003e\u003cbr\u003e La Carmencita was a trailblazing dancer who captivated audiences on both sides of the Atlantic. According to film historian Charles Musser, she was the first woman to appear in a modern motion picture made for commercial purposes and may have been the earliest female to feature in any motion picture. Her performances were characterized by a fiery passion and a magnetic presence, qualities that Sargent skillfully captured in this portrait. \u003cbr\u003e\u003cbr\u003e In 1890, Sargent and Isabella Stewart Gardner arranged a gathering at William Merritt Chase’s Tenth Street studio, where La Carmencita performed for their circle of friends. Sargent then persuaded the dancer to sit for several studio sessions, resulting in two oil paintings and a series of drawings. These works culminated in the renowned full-length portrait that now resides in the Musée d’Orsay. Among Sargent’s many dance-themed works, the d’Orsay’s La Carmencita was called “the picture of the year” when it was shown in London in 1891. Our portrait, with its up-close focus and vivid depiction of movement, is a much more intimate glimpse of Sargent's fascination with this exceptional muse. \u003cbr\u003e\u003cbr\u003e While the full-length composition traveled to France, the present portrait almost certainly remained fondly in the collection of La Carmencita herself until she died in 1910. It then returned to Sargent who kept it until his death. When the artist’s personal collection was sold at Christie's in 1925, our painting was bought by the artist’s sister, Violet Ormond, who knew of her brother’s love for the work, and it remained in her family until 1986. La Carmencita was exhibited widely, most notably in Boston’s Copley Hall in 1899 and the Royal Scottish Academy in 1928. The painting has also been well-represented in major publications. \u003cbr\u003e\u003cbr\u003e Born in Florence to American parents, John Singer Sargent displayed exceptional artistic talent from a young age. He trained in Paris under the tutelage of the great Émile Auguste Carolus-Duran, whose influence helped shape Sargent's distinctive style—a blend of realism with a modernist flair. By the time Sargent painted \u003cem\u003eLa Carmencita\u003c\/em\u003e, he had already established himself as one of the premier portraitists of the late 19th century, known for his ability to capture the essence of his subjects with unparalleled precision. Today, he is widely regarded as one of the greatest painters in history, with works represented in major collections including the Museum of Fine Arts, Boston and the Metropolitan Museum of Art.  \u003cbr\u003e\u003cbr\u003e Painted 1890 \u003cbr\u003e\u003cbr\u003e Canvas: 28\" high x 19\" wide (71.12 x 48.26 cm)\u003cbr\u003e Frame: 38\" high x 29 1\/2\" wide x 3\" deep (96.52 x 74.93 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-9763.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Carmen “Carmencita” Dauset (possibly), from the artist, until her death in 1910\u003cbr\u003e Collection of the artist, until his death in 1925\u003cbr\u003e Sale: Christie’s London, John Singer Sargent’s Studio Sale, July 24, 1925, lot 119\u003cbr\u003e Violet Ormond, the artist’s sister, purchased at the above sale\u003cbr\u003e Jean-Louis Ormond, by descent from the above, 1955–1986\u003cbr\u003e Harry and Brigitte Spiro, New York, 1987\u003cbr\u003e Private collection, 1993\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e William Howe Downes, John S. Sargent, His Life and Work (Boston: Little Brown, 1925 and London: Thornton Butterworth, 1926), p. 161\u003cbr\u003e Evan Charteris, John Sargent (London: London Heinemann, 1927), p. 109; 262\u003cbr\u003e The Sargent Trust List of Paintings and Drawings (London, 1927), p. 32, no. 4\u003cbr\u003e Archibald Standish Hartrick, A Painter’s Pilgrimage, through Fifty Years (Cambridge: Cambridge University Press, 1939), p. 127\u003cbr\u003e Charles Merrill Mount, John Singer Sargent: A Biography (New York: Norton, 1955 and London: Cresset Press, 1957 and New York: Kraus, 1969), p. 432, no. 909\u003cbr\u003e David McKibbin, Sargent’s Boston: With an Essay \u0026amp; a Biographical Summary \u0026amp; a Complete Check List of Sargent’s Portraits (Boston: Museum of Fine Arts, 1956), p. 87\u003cbr\u003e Richard Ormond and Elaine Kilmurray, John Singer Sargent: Portraits of the 1890s, Complete Paintings, Volume II (New Haven and London: Yale University Press, 2002), p. 23 – 24, no. 236 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Boston, MA, Copley Hall, Paintings and Sketches by John Singer Sargent, R.A., February 20 – March 13, 1899, p. 15, no. 69 (as Sketch of Carmencita Singing)\u003cbr\u003e London, Carfax \u0026amp; Co., Loan Exhibition of Sketches and Studies by J.S. Sargent R.A., May – June, 1903, no. 29 (as Carmencita)\u003cbr\u003e Edinburgh, Royal Scottish Academy, One Hundred and Second Annual Exhibition of the Royal Scottish Academy, April 21 – August 25, 1928, no. 207\u003cbr\u003e New York, Coe Kerr Gallery, American Impressionism II, May 19 – June 23, 1989, no. 39 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050950193287,"sku":"31-9763","price":1785000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9763_1.png?v=1774966645"},{"product_id":"portrait-of-emilienne-le-roy-by-giovanni-boldini","title":"Portrait of Emilienne Le Roy by Giovanni Boldini","description":"Giovanni Boldini\u003cbr\u003e 1842-1931 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Emilienne Le Roy\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A dazzling display of Giovanni Boldini’s signature style, \u003cem\u003ePortrait of Emilienne Le Roy\u003c\/em\u003e captures the essence of Belle Époque elegance. Boldini, known as the “Master of the Swish,” infused his portraits with movement, vitality and an unparalleled sense of grandeur. Painted in 1913, this portrait embodies the grace and dynamism that made Boldini the most sought-after portraitist in Parisian high society. \u003cbr\u003e\u003cbr\u003e Rendered in Boldini’s unmistakable fluid strokes, the portrait pulses with energy, as though caught in a fleeting moment of motion. His characteristic loose, swirling brushwork lends an ethereal quality, while the play of light across the figure enhances Le Roy’s presence. Her elegant pose, draped in flowing fabrics, epitomizes the aristocratic glamour of pre-war Paris. Boldini’s ability to merge realism with impressionistic dynamism is fully realized in this composition, showcasing why his work remains unparalleled in the canon of portraiture. \u003cbr\u003e\u003cbr\u003e Boldini was the premier portraitist of the Belle Époque, capturing the era’s most famous figures, from the Marchesa Casati to the Duchess of Marlborough. Emilienne Le Roy (1894–1980) was among the select Parisian socialites who vied for the privilege of sitting for him. His portraits, treasured for their vivacious energy and modern spirit, have been collected by the world’s most prestigious museums, including the Boldini Museum in Ferrara, the Metropolitan Museum of Art, the Art Institute of Chicago and the Petit Palais in Paris, which recently hosted a major retrospective of his work. \u003cbr\u003e\u003cbr\u003e Painted 1913 \u003cbr\u003e\u003cbr\u003e Canvas: 37 5\/8\" high x 27 3\/4\" wide (9557 x 70.49 cm)\u003cbr\u003e Framed: 47 1\/4\" high x 37 1\/2\" wide x 3\" deep (120.02 x 95.25 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0364.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Artist’s studio (inventory no. 29T)\u003cbr\u003e Emilia Cardona Boldini (widow of the artist)\u003cbr\u003e Tino Rossi\u003cbr\u003e Private collection, Milan\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e C.L. Ragghianti, E. Camesasca, \u003cem\u003eL'Opera completa di Boldini, Rizzoli Editore\u003c\/em\u003e, Milan, 1970, no. 512, reproduced in black and white, p. 128.\u003cbr\u003e T. Panconi, \u003cem\u003eGiovanni Boldini. The complete work\u003c\/em\u003e (General catalogue raisonné), Edifir, Florence 2002, p. 551\u003cbr\u003e P. Dini, F. Dini, \u003cem\u003eGiovanni Boldini. 1842-1931. Catalogue raisonné\u003c\/em\u003e, Allemandi, Turin 2002, vol. IV, p. 546, n. 1058\u003cbr\u003e Giovanni Boldini. \u003cem\u003eGeneral catalogue from the Boldini archives\u003c\/em\u003e, edited by B. Doria, Rizzoli, Milan 2000, n. 620 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Boldini: The Genius of Line, the Magic of Color, Campobasso, November 27, 2021 – April 18, 2022\u003cbr\u003e Femme Fatale: The Female Figure in the Belle Époque, Between Archetype and Emancipation, Montichiari, November–December 2022","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44540610052231,"sku":"32-0364","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0364_1_f7e5f6f0-9a3f-4a2a-831b-ecee33a73f87.png?v=1779132155"},{"product_id":"young-woman-in-interior-by-richard-e-miller","title":"Young Woman in Interior by Richard E. Miller","description":"Richard E. Miller\u003cbr\u003e 1875-1943 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eYoung Woman in Interior\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Miller\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Richard E. Miller's \u003cem\u003eYoung Woman in Interior\u003c\/em\u003e exemplifies the artist's exceptional mastery of light, color and feminine beauty that established him as one of the most significant American artists of the early 20th century. This captivating work transports viewers to an intimate domestic scene where a young woman, seated at a window overlooking her garden, delicately stirs her tea in a moment of quiet contemplation. \u003cbr\u003e\u003cbr\u003e This colorful composition demonstrates Miller's sophisticated technique through its masterful contrasts—the sweeping folds of the subject's dark skirt juxtaposed against the sunlit foliage beyond the window, the luminous rendering of her smooth hands and bare shoulders against the energetic brushwork of her garments. These elements create a visual symphony that captures the fleeting quality of light and atmosphere so prized by the Impressionists. \u003cbr\u003e\u003cbr\u003e Miller developed his distinctive artistic voice during his time in Paris at the end of the 19th century, where he was immersed in the vibrant artistic circles of the period. Unlike many American artists who merely adopted European styles, Miller cultivated a personal approach to Impressionism that would define his oeuvre. This evolution reached its peak when he settled in Giverny, France—the legendary artist colony where Claude Monet and numerous other luminaries lived and worked. It was amid this creative community of the \"Giverny Luminists\" where Miller refined his signature subject: young beauties in light-filled domestic settings, like this work. \u003cbr\u003e\u003cbr\u003e Born in St. Louis, Missouri, Richard Edward Miller emerged as one of America's most significant Impressionist painters through his extraordinary sensitivity to light and feminine beauty. After training at Washington University's School of Fine Arts, Miller moved to Paris for nearly fifteen years, where his technical virtuosity earned him acceptance at the prestigious Paris Salon by 1901, and eventually to Giverny where his mature style fully flourished. Following his return to America during World War I, he taught at the Pennsylvania Academy of Fine Arts before settling in Provincetown, Massachusetts, garnering numerous accolades including gold medals at the St. Louis Universal Exposition (1904) and Panama-Pacific International Exposition (1915). Today, his works grace the permanent collections of prestigious institutions, including the Metropolitan Museum of Art, the Art Institute of Chicago and the Smithsonian American Art Museum. \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/landing.rauantiques.com\/miller-insights\/\"\u003e\u003cb\u003eSee auction comparables and market data\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Circa 1910-11 \u003cbr\u003e\u003cbr\u003e Canvas: 35 5\/8\" high x 28 1\/4\" wide (90.49 x 71.76 cm)\u003cbr\u003e Frame: 45 5\/8\" high x 38 1\/4\" wide x 2 3\/4\" deep (115.89 x 97.16 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist\u003cbr\u003e Alexander M. Hudnut, acquired from the above\u003cbr\u003e Walter P. Chrysler Jr., New York, Chrysler Museum of Art, Provincetown, MA, 1966\u003cbr\u003e Hirschl \u0026amp; Adler Galleries, New York, 1980\u003cbr\u003e Brand Galleries, San Francisco\u003cbr\u003e Private Collection, acquired from the above, 1982\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e (Possibly) New York, Macbeth Gallery, \u003cem\u003eExhibition of Paintings by Richard E. Miller\u003c\/em\u003e, April 1-20, 1912, no. 4 (as \u003cem\u003eA Dish of Tea\u003c\/em\u003e)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43673056673927,"sku":"32-0773","price":685000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0773_1_ca32cd0d-bd31-4d30-9718-dc84aa5255dd.png?v=1767189847"},{"product_id":"le-casino-de-monte-carlo-by-edward-cucuel","title":"Le Casino de Monte-Carlo by Edward Cucuel","description":"Edward Alfred Cucuel\u003cbr\u003e 1875-1954 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Casino de Monte-Carlo\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Cucuel\" (lower left)\u003cbr\u003e Watercolor on paper \u003cbr\u003e\u003cbr\u003e American Impressionist Edward Alfred Cucuel was celebrated for his vibrant portrayals of European elegance and leisure. His painting \u003cem\u003eLe Casino de Monte-Carlo\u003c\/em\u003e captures the splendor of the French Riviera’s most renowned destination—a world synonymous with luxury, refinement and modernity in the early twentieth century. \u003cbr\u003e\u003cbr\u003e Against the soft glow of Mediterranean twilight, well-dressed visitors gather before Charles Garnier’s famed Belle Époque casino, their attire evoking the glittering sophistication of Monte Carlo’s social life. The Casino de Monte-Carlo, which opened in 1863, had by the early 20th century become a global attraction, bringing visitors from across Europe and America for gambling, opera and the chance to \"see and be seen.\" \u003cbr\u003e\u003cbr\u003e Cucuel was born in San Francisco and began formal training at the city’s School of Design before continuing his studies in Paris under Jean-Léon Gérôme at the École des Beaux-Arts. After working in France, Italy and Germany, he settled in Munich in 1907, joining the Scholle group led by Leo Putz. There, he refined his Impressionist style—distinguished by radiant color and expressive handling—that would define his career. His paintings were widely exhibited, earning him membership in the Société Nationale des Beaux-Arts and a silver medal at the 1915 San Francisco International Exposition. Today, his works are held in museum collections, including the Williamson Art Gallery and Museum in Birkenhead, England and the Minnesota Marine Art Museum. \u003cbr\u003e\u003cbr\u003e 20th Century \u003cbr\u003e\u003cbr\u003e Paper: 16 1\/2\" high x 12 3\/4\" wide (41.91 x 32.39 cm)\u003cbr\u003e Frame: 26 5\/8\" high x 22 3\/4\" wide x 2\" deep (67.63 x 57.79 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, the Netherlands\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44544331382919,"sku":"32-1459","price":28500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1459_1.png?v=1777554576"},{"product_id":"jeune-fille-au-chien-by-berthe-morisot","title":"Jeune fille au chien by Berthe Morisot","description":"Berthe Morisot\u003cbr\u003e 1841-1895 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJeune fille au chien\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eYoung girl with dog\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped with signature \"Berthe Morisot\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A pioneering figure of Impressionism, Berthe Morisot stands out not only as a leader of this revolutionary movement but also as one of the most groundbreaking women artists in history. This extraordinarily rare masterpiece, \u003cem\u003eJeune fille au chien\u003c\/em\u003e, is among her largest and most beautiful works available today. \u003cbr\u003e\u003cbr\u003e Glowing with a luminous palette and an ethereal softness, \u003cem\u003eJeune fille au chien\u003c\/em\u003e was painted in one of the most important years of Morisot’s life. In the spring of 1892, Morisot achieved a monumental milestone with her first solo retrospective at Paris's prestigious Boussod, Valadon et Cie gallery—a first for a woman Impressionist. Just one month before the exhibition opened, her husband of nearly two decades, Eugène Manet, died. Grief-stricken, Morisot entered the most innovative year of her career, seeking solace in her art and reinventing herself as an artist. \u003cbr\u003e\u003cbr\u003e Set in Morisot's garden at 40 Rue de Villejust, this captivating composition centers the stunning Jeanne Fourmanoir, the famous model who posed for both Morisot and Renoir during this period. Fourmanoir's distinctive cap and hair harmonize with the lush foliage, exemplifying the stylistic dialogue between Morisot and Renoir. This work reveals Morisot's evolution toward her softer, richer textures compared to her earlier energetic brushwork, creating a hazy, dreamlike quality that mirrors the emotional world of the artist in the final years of her life. \u003cbr\u003e\u003cbr\u003e Fourmanoir was one of Morisot’s favorite subjects, frequently appearing in Morisot's iconic masterpieces, most notably as a cherry picker in \u003cem\u003eLe Cerisier\u003c\/em\u003e of 1891, now at the Musée Marmottan Monet. Our painting depicting this famed model also has distinguished provenance, once belonging to the major American collectors Ralph Coe of Cleveland and Harry and Doris Rubin of New York. Its remarkable exhibition history includes the important 1896 Durand-Ruel exhibition, organized shortly after Morisot's death by her distinguished peers: Edgar Degas, Claude Monet, Pierre-Auguste Renoir and Stephane Mallarmé. An incredible tribute to one of Impressionism's most visionary talents, this show was a grand event in the Parisian art scene. \u003cbr\u003e\u003cbr\u003e Born in Bourges, France, in 1841, Berthe Morisot came from a wealthy family. Like many young girls of her social class, she received private art lessons beginning at the age of 11. Her teacher, the painter Joseph Guichard, helped to introduce her to the Parisian art scene. Through him, Morisot made the acquaintance of Jean-Baptiste-Camille Corot and Édouard Manet, both of whom would have a profound impact on her career and artistic style. Morisot exhibited regularly at the Paris Salon from 1864 to 1873 until, in 1874, she officially joined and became a vital leader of the Impressionists, exhibiting in all but one of the eight Impressionist shows. \u003cbr\u003e\u003cbr\u003e Today, Morisot's paintings remain some of the rarest Impressionist works on the market—she produced just 416 oil paintings, significantly less than Monet, Degas and Renoir. The majority of Morisot’s works are held in prestigious museum collections worldwide, including the Metropolitan Museum of Art in New York, the Tate Modern in London, the Musée du Louvre and the Musée d’Orsay in Paris. She has also been the focus of endless scholarship and landmark exhibitions, including a major retrospective at The Barnes Foundation in 2019 that traveled to the Musée National des Beaux-Arts du Québec, the Dallas Museum of Art and the Musée d’Orsay. \u003cbr\u003e\u003cbr\u003e Painted 1892 \u003cbr\u003e\u003cbr\u003e Canvas: 25 1\/4\" high x 31 1\/2\" wide (64.14 x 80.01 cm)\u003cbr\u003e Framed: 35\" high x 41\" wide x 2 3\/8\" deep (88.90 x 104.14 x 5.91 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0999.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e C.W. Kraushaar Galleries, New York\u003cbr\u003e Ralph M. Coe, Cleveland (acquired from the above, 1926)\u003cbr\u003e Sale, Sotheby's New York, January 14, 1959, lot 70 (sold by the above)\u003cbr\u003e Milch Gallery, New York (acquired at the above sale)\u003cbr\u003e Harry and Doris Rubin, New York (acquired from the above in 1959)\u003cbr\u003e Sale, Sotheby’s New York, May 7, 2008, lot 10 (sold by the above)\u003cbr\u003e Private collection (acquired at the above sale)\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J. Rewald, \u003cem\u003eThe History of Impressionism\u003c\/em\u003e, New York, 1961, p. 573 (illustrated in color)\u003cbr\u003e M.-L. Bataille and G. Wildenstein, \u003cem\u003eBerthe Morisot, Catalogue des peintures, pastels et aquarelles\u003c\/em\u003e, Paris, 1961, p. 44, no. 311 (illustrated fig. 318)\u003cbr\u003e A. Clairet, D. Montalant and Y. Rouart, \u003cem\u003eBerthe Morisot, Catalogue Raisonné de l’oeuvre Peint\u003c\/em\u003e, Paris, 1997, p. 267, no. 315 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Durand-Ruel et Cie., \u003cem\u003eBerthe Morisot (Madame Eugène Manet), Exposition de son oeuvre\u003c\/em\u003e, March 1896, p. 19, no. 29 (dated 1887)\u003cbr\u003e Paris, Galerie Bernheim, \u003cem\u003eRetrospective de Berthe Morisot\u003c\/em\u003e, June – July 1922\u003cbr\u003e Chicago, The Arts Club, \u003cem\u003eBerthe Morisot\u003c\/em\u003e, March-April 1943, no. 26 (titled \u003cem\u003eGirl with a Dog in a Garden\u003c\/em\u003e)\u003cbr\u003e New Haven, Yale University Art Gallery, \u003cem\u003ePictures Collected by Yale Alumni\u003c\/em\u003e, May-June 1956, no. 87 (illustrated; titled \u003cem\u003eJeanne Foumanoir in Madame Morsiot’s Garden, with the Little Dog\u003c\/em\u003e)\u003cbr\u003e New York, Wildenstein \u0026amp; Co., \u003cem\u003eBerthe Morisot\u003c\/em\u003e, November-December 1960, no. 58 (illustrated; titled \u003cem\u003eJeanne Fourmanoir et son Petit Chien Colas\u003c\/em\u003e)\u003cbr\u003e Turin, Galleria Civica d’arte Moderna e Contemporanea, \u003cem\u003eBerthe Morisot, Impressionist painter\u003c\/em\u003e, 16 October 2024 – 9 March 2025, no. 38","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44024810176647,"sku":"32-0999","price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0999_1_2b7d756b-c561-4397-91ea-a096d7affdc8.png?v=1780145876"},{"product_id":"femme-au-corsage-blanc-jeanne-samary-by-pierre-auguste-renoir","title":"Femme au corsage blanc, Jeanne Samary by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFemme au corsage blanc, Jeanne Samary\u003cbr\u003e (Woman in a white blouse, Jeanne Samary\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Initialed \"AR\" (lower right)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e Among Renoir's most famous works are those that capture the ladies of his inner circle in his signature style. This vibrant pastel from 1879 depicts the young Jeanne Samary, Renoir’s favorite subject and most important muse at the height of his career. Compared to his 4,000 paintings, the artist made exceptionally few pastels—only about 150 total—making this luminous work an extraordinary Renoir rarity. \u003cbr\u003e\u003cbr\u003e Samary was one of the most captivating figures of late 19th-century Paris. An iconic actress at the Comédie-Française, her fame rivaled that of the great Sarah Bernhardt. Beginning in 1876, Renoir created dozens of portraits of Samary, and she also appeared in all three of the artist’s most important paintings from this pivotal period—\u003cem\u003eBal du moulin de la Galette\u003c\/em\u003e (1876), \u003cem\u003eLa balançoire\u003c\/em\u003e (1876) and \u003cem\u003eThe Luncheon of the Boating Party\u003c\/em\u003e (1880–81). Renoir’s close friend and biographer, Georges Rivière, noted that “no portrait ever gave Renoir greater satisfaction than the ones he made of Samary.” \u003cbr\u003e\u003cbr\u003e This magnificent pastel perfectly embodies this bond between Renoir and Samary. Vivid and spontaneous, the work captures an intimate moment, with Samary’s blouse delicately falling over her shoulder. Renoir typically reserved pastel for his portraits of friends and family, as it allowed him to capture their true essence with speed and ease. \u003cbr\u003e\u003cbr\u003e The year this pastel was created, 1879, was also one of the most important years of Renoir’s career. He entered the prestigious Salon of 1879, where four of his portraits were accepted, including a full-length masterpiece of Jeanne Samary. This pastel stands as a testament to this pivotal chapter for Renoir, portraying the muse who shaped his groundbreaking vision.  \u003cbr\u003e\u003cbr\u003e Renoir’s portraits of Jeanne Samary are exceptionally scarce, with most already held in prestigious museum collections, including the State Hermitage Museum in St. Petersburg and the National Gallery of Art in Washington, D.C. Similar pastels of Samary have commanded millions at auction—among some of the highest prices for Renoir’s works on paper. Importantly, the artist’s pastels are getting recent museum attention, with the major 2025-2026 exhibition organized by the Musée d’Orsay and the Morgan Library, \u003cem\u003eRenoir Drawings\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Wildenstein Plattner Institute, and it will be included in their forthcoming digital catalogue raisonné. \u003cbr\u003e\u003cbr\u003e Drawn 1879 \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1821.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Paper: 22 1\/4\" high x 14 1\/4\" wide (56.5 x 36.2 cm)\u003cbr\u003e Frame: 36 3\/4\" high x 28 1\/4\" wide x 3\" deep (93.4 x 71.8 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Ambroise Vollard, Paris, acquired from the artist (as of 1907)\u003cbr\u003e Étienne Bignou, Paris (as “Jeanne Samary”)\u003cbr\u003e Lafarge, Paris\u003cbr\u003e Victor Hélin, Paris\u003cbr\u003e Succession Victor Hélin, c. 1945\u003cbr\u003e M. and Mme Schmit, acquired from the above, 2009\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44489087746183,"sku":"32-1821","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1821_1.png?v=1777552664"},{"product_id":"a-flower-seller-by-john-william-godward","title":"A Flower Seller by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Flower Seller\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated lower right \"J.W. Godward 96\"\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This stunning painting by John William Godward is a monumental masterpiece of the artist's oeuvre. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e A large-scale masterwork, \u003cem\u003eA Flower Seller\u003c\/em\u003e was exhibited at the prestigious Royal Academy in 1896, the most important venue for artists of the 19th century, where only the best works were shown. Here, the flower seller boldly engages the viewer with her mesmerizing gaze, and her rosy cheeks and glowing skin exude an ethereal beauty. Godward displays his extraordinary talent for rendering every surface with incredible realism, immersing his viewers in the allure of this bygone era. Of Godward's compelling oeuvre, esteemed art historian Vern Grosvenor Swanson wrote, “He sought to portray peace, feminine charm and ideal perfection by marvelously painted and composed classical pictures of beautiful women in halcyon marble environments.”  \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Dated 1896 \u003cbr\u003e\u003cbr\u003e Canvas: 47 1\/2” high x 35 1\/2” wide (120.65 x 90.17 cm)\u003cbr\u003e Frame: 55 1\/2” high x 43 1\/2” wide x 7 3\/4” deep (140.97 x 110.49 x 12.07 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Messrs. Thomas McClean, London, May 2, 1896\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e H.G. Blackburn, Academy Notes, 1896\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1998, p. 194, no. 5, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Royal Academy of Art, Summer Exhibition, London, 1896, no. 597","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43803065876615,"sku":"32-2119","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2119_1_0aaae865-66ad-490b-ae67-d6aea1dd0f69.png?v=1770139471"},{"product_id":"a-pompeian-lady-in-blue-by-john-william-godward","title":"A Pompeian Lady in Blue by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Pompeian Lady in Blue\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated lower right \"J.W. Godward 1916\"\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This masterwork by John William Godward, \u003cem\u003eA Pompeian Lady in Blue\u003c\/em\u003e, evokes the romantic splendor of the Classical world. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e Draped in a brilliant tunic of gold and blue, Godward's signature beauty gazes boldly out at the viewer, inviting them in by pulling back a luxurious curtain. His exceptional talent for jewel-like color and texture is on full display, with each element of the composition rendered with a supreme, naturalistic finish. Godward renders an extraordinary array of marbles and hardstones throughout, with the delightful detail of an agate oculus window shining above the figure's head. Embodying the essence of \"peace, feminine charm and ideal perfection\" that art historian Vern Grosvenor Swanson identified in Godward's best works, this painting is a captivating treasure. \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Dated 1916 \u003cbr\u003e\u003cbr\u003e Canvas: 35 3\/8” high x 17 1\/4” wide (89.7 x 43.8 cm)\u003cbr\u003e Framed: 42 5\/8” high x 24 1\/2” wide x 2 3\/8” deep (108.3 x 62.2 x 5.9 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, New Jersey\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1998, p. 151, plate 147, illustrated. Titled:\u003cem\u003eA Pompeian Lady\u003c\/em\u003e.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44417983152263,"sku":"32-2121","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2121_1_9e88f4bc-d1e8-433d-9f99-b00b5e020412.png?v=1775503340"}],"url":"https:\/\/rauantiques.com\/collections\/6-26-fashionable-ladies.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}