{"title":"7.26 Drawings","description":"","products":[{"product_id":"portrait-d-une-jeune-femme-by-alexei-harlamoff","title":"Portrait d’une Jeune Femme by Alexei Harlamoff","description":"Alexei Alexeievich Harlamoff\u003cbr\u003e\n1840-1925 | Russian\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003ePortrait d'une Jeune Femme\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nSigned “Harlamoff” (lower right)\u003cbr\u003e\nCharcoal on paper\n\u003cbr\u003e\u003cbr\u003e\nOne of Russia's most important portrait painters, Alexei Harlamoff’s is perhaps best known for his romanticized images of Bohemian children and young girls. He painted his subjects with enormous sensitivity, and by the 1880s, he gained international fame and recognition for his work. As is evident in the present drawing, Harlamoff was particularly skilled at using very subtle and natural lines when composing faces - the soft lines of the charcoal clearly reveal Harlamoff’s extraordinary level of draftsmanship. His technical skill is evident in each and every inch, from his modeling of light to his delicate depiction of his subject's features.\n\u003cbr\u003e\u003cbr\u003e\nThe viewer is instantly drawn to the subject's face thanks to Harlamoff's masterful composition. The somewhat coy and withdrawn air of the sitter is a staple of his portraiture, along with the informality of his execution. His ultimate talent lay in his ability to evoke the natural beauty of his models, engaging the viewer with his unparalleled aesthetic impact. \n\u003cbr\u003e\u003cbr\u003e\nBorn in Saratoff in 1848, Harlamoff first attended the Academy of Fine Arts in St. Petersburg, where he won a gold medal and a travel scholarship in 1868. He used this scholarship to travel to Paris, where he attended the \u003cem\u003eÉcole des Beaux-Arts\u003c\/em\u003e and worked with Leon Bonnat. He was particularly inspired by Rembrandt and frequently emulated the work of the Dutch master. During his early career, Harlamoff painted many genre and religious themes and also became an established portrait painter. He exhibited one of his masterpiece, \u003cem\u003eYoung Flower Girls\u003c\/em\u003e, at the Glasgow International Exhibition of 1888, where it was greatly admired by Queen Victoria - thereafter he was recognized as \"a favorite of Queen Victoria.\" He painted cultural giants such as writer Yvan Tourgueniev and singer-composer Pauline Viardot-Garcia, and soon counted many distinguished members of Russian aristocracy as subjects. Two of his more important works were of the Tsar Alexander II and Prince Demidoff-San Donato.\n\u003cbr\u003e\u003cbr\u003e\nPaper: 18 3\/4” high x 14” wide\u003cbr\u003e\nFrame: 30 1\/2\" high x 25 1\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42648741642375,"sku":"30-8529","price":58500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8529_1.png?v=1747321228"},{"product_id":"homme-a-lagneau-mangeur-de-pasteque-et-flutiste-by-pablo-picasso","title":"Homme à l'agneau, mangeur de pastèque et flûtiste by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003cbr\u003e (Man with Lamb, Watermelon Eater and Flautist)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, dated and numbered “Picasso \/ 3.2.67 \/ II” (upper right)\u003cbr\u003e Crayon on paper \u003cbr\u003e\u003cbr\u003e Hailed among the fathers of modern art, Pablo Picasso possessed a seemingly endless supply of creativity that allowed him to master nearly every genre and style. Though he constantly reinvented himself as an artist, his compositions are always distinctively “Picasso” with their playful lines and imaginative figures. \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003c\/em\u003e reflects his unique artistic signature; rendered in just a few sparing lines, his subjects nevertheless convey a myriad of themes and art historical references. It is this complexity and ingenious artistry that places Picasso among the most renowned masters in the whole of art history. \u003cbr\u003e\u003cbr\u003e Composed in 1967, \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003c\/em\u003e was part of a playful series of drawings on the subject of Bacchus and bacchanalian pursuits. Here, he captures the god Bacchus himself eating a watermelon with relish; the watermelon was a favored motif of the artist, first appearing in his seminal \u003cem\u003eDemoiselles d'Avignon\u003c\/em\u003e of 1907 (Museum of Modern Art) and frequently re-appearing as a symbol for summer, heat and sensuality. Bacchus himself recalls the artistic legacy of Caravaggio, revealing the depth of Picasso's link to the Spanish Baroque tradition. \u003cbr\u003e\u003cbr\u003e The influence of the brothers Le Nain is also felt in the work. The three brothers, who were active in Paris during the 1630s and 1640s, were renowned for their poignant images of peasants surrounded by farm animals and playing musical instruments such as the flute. Picasso is known to have owned at least one painting by the brothers, whose work he referenced frequently throughout his career. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. It was around 1907 that Picasso became very influenced by African masks and art that had begun making its way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eDemoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a letter of authenticity signed by the artist’s son, Claude Ruiz-Picasso. \u003cbr\u003e\u003cbr\u003e Executed on 3 February 1967 \u003cbr\u003e\u003cbr\u003e Paper: 19\" high x 25\" wide\u003cbr\u003e Frame: 32\" high x 37 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Louise Leiris, Paris\u003cbr\u003e Private Collection (acquired by the above in 1968; sale: Christie's, New York, 10th May 2001, lot 149)\u003cbr\u003e Sotheby's London: Thursday, June 25, 2009 [Lot 00169]\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e Charles Feld, \u003cem\u003ePicasso, Dessins 27.3.66-15.3.68,\u003c\/em\u003e Paris, 1969, no. 92 (illustrated) Christian Zervos, \u003cem\u003ePablo Picasso, Oeuvres de 1967 et 1968\u003c\/em\u003e, Paris, 1973, vol. XXVII, no. 435 (illustrated)\u003cbr\u003e The Picasso Project, \u003cem\u003ePicasso's Paintings, Watercolors, Drawings and Sculpture, the Sixties II 1964-1967\u003c\/em\u003e, San Francisco, 2002, no.67-041, (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44262229901447,"sku":"31-3820","price":648500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3820_1_2073e58e-8cf8-4eb8-868e-8a69111a3b4c.png?v=1774967264"},{"product_id":"apres-le-bain-by-pierre-auguste-renoir","title":"Après le bain by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAprès le bain\u003cbr\u003e (After the bath)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Renoir” (lower left)\u003cbr\u003e Sanguine and white chalk on Western wove paper stretched over canvas \u003cbr\u003e\u003cbr\u003e For Pierre-Auguste Renoir, Impressionism's preeminent figure painter, depicting the nude was an exercise in bringing the canvas to life. He once said, “I look at a nude, I see myriads of minuscule shades. I have to find those which will make the flesh on my canvas come to life and resonate.” This compelling portrait by Renoir entitled \u003cem\u003eAprès le bain\u003c\/em\u003e presents the nude figure of a woman in a serene, private moment, absorbed in the task of drying herself after a bath. The artist’s mastery of light and shading is incredible, achieving a sense of vitality in this otherwise ordinary scene. \u003cbr\u003e\u003cbr\u003e Renoir is celebrated for his figural work, especially his Rubenesque female nudes, however, it was not until the artist was in his forties that he depicted the nude with any frequency. In 1881, Renoir traveled to Italy, where he studied the works of the Renaissance masters and the ancient art of Pompeii and Rome. Upon his return to France, the nude became his favored subject, and he used the motif to combine the spontaneity of Impressionism with the solid modeling of classical painting. Renoir’s medium here, sanguine, a reddish-brown chalk, was used extensively in the Renaissance by Leonardo (who employed it in his sketches for the Last Supper), Michelangelo and Raphael. Its warm hue lends itself well to depicting flesh, and the chalk drawing allows for a greater focus on line, form and texture in a departure from the aspects of color and light that so often preoccupied the Impressionists. \u003cem\u003eAprès le bain\u003c\/em\u003e conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. \u003cbr\u003e\u003cbr\u003e The sitter is almost certainly Gabrielle Renard, the nanny to Renoir’s children and a frequent model for the artist. Gabrielle was the cousin of Renoir’s wife, Aline, and came to Montmartre to work for the family at the age of 16. She developed a strong bond with the family and became a favorite subject for Renoir, appearing in several of his most important works, including his 1911 \u003cem\u003eGabrielle with a Rose\u003c\/em\u003e (Musée d'Orsay). When Renoir began to suffer from severe rheumatoid arthritis that would eventually leave him unable to walk and scarcely able to grasp a paintbrush, it was Gabrielle that would assist the artist by positioning the paintbrush between his crippled fingers.  \u003cbr\u003e\u003cbr\u003e Born in Limoges, France in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also when he met Claude Monet and several other classmates, with whom he would later form the Impressionists. \u003cbr\u003e\u003cbr\u003e Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused on composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with acute attention to his subject, have placed him among the finest painters in history. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a certificate of authenticity and will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir from the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1898 \u003cbr\u003e\u003cbr\u003e Canvas: 43 1\/2\" high x 35 1\/2\" wide (110.49 x 90.17 cm)\u003cbr\u003e Frame: 57 3\/4\" high x 49 1\/4\" wide (146.69 x 125.10 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-3793.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 Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899)\u003cbr\u003e J. Pereire Collection, France (1966)\u003cbr\u003e Sam Salz, New York (before 1981)\u003cbr\u003e Claus Virch, Paris\u003cbr\u003e French Compagny, Inc., New York\u003cbr\u003e Larry Silverstein, New York (circa January 1987)\u003cbr\u003e Le Clos de Sierne Gallery, Geneva\u003cbr\u003e Galerie Heyram, Paris (October 1987)\u003cbr\u003e Francis Gross\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e B. Schneider, \u003cem\u003eRenoir\u003c\/em\u003e, Berlin, 1957, p. 95 (illustrated in color, p. 83)\u003cbr\u003e M. Gauthier, \u003cem\u003eRenoir\u003c\/em\u003e, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet')\u003cbr\u003e F. Fosca, \u003cem\u003eRenoir, L'homme et son obra\u003c\/em\u003e, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath')\u003cbr\u003e G.-P. and M. Dauberville, \u003cem\u003eRenoir, Catalog raisonné des tableaux, pastels, dessins et aquarelles\u003c\/em\u003e, Paris, 2010, vol. III, p. 515-516, no. 2597 (illustrated, p. 515) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Galerie Durand-Ruel, Paris, Watercolors, Pastels and Drawings by Renoir, April 1921, p. 3, no. 53 (erroneously dated '1906' and titled 'Baigneuse s'essuie').\u003cbr\u003e Kunsthalle, Basel, Meisterzeichnungen französischer Künstler von Ingres bis Cézanne , June-August 1935, p. 30, no. 223.\u003cbr\u003e Galerie des Beaux-Arts, Paris, Exhibition of “La Gazette des Beaux-Arts”, Renoir, The sculpted work, the engraved work, watercolors and drawings, October-November 1935, p. 30, no. 22.\u003cbr\u003e Musée national d'art moderne, Paris, From Impressionism to the present day , June 1958, no. 175 (illustrated, pl. 9).\u003cbr\u003e The Metropolitan Museum of Art, New York, 1966-1973.\u003cbr\u003e The Musée d'Orsay and the Morgan Library, \u003cem\u003eRenoir Drawings\u003c\/em\u003e, Oct 17 2025-Feb 8 2026, no. 179, p. 207; will travel to Musée d'Orsay, Mar 17-Jul 5, 2026","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050780487815,"sku":"31-3793","price":2450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3793_1_ce85eb12-2496-439f-88b3-c8ab4bf2e8a3.png?v=1774967208"},{"product_id":"a-study-of-two-models-by-sir-william-russell-flint","title":"A Study of Two Models by Sir William Russell Flint","description":"Sir William Russell Flint, R.A., P.R.W.S. 1880-1969 | Scottish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Study of Two Models\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"WRussell Flint\" (bottom right)\u003cbr colored chalks on buff paper\u003e\u003cbr\u003e Ethereal and sensual, Sir William Russell Flint's \u003cem\u003eStudy of Two Models\u003c\/em\u003e highlights the artist's skillful mastery in capturing the female form. One of the most celebrated watercolorists of the 20th century, Flint enjoyed considerable success during his lifetime, and today his lasting reputation is tied to his remarkable talent for portraying women, like the two models featured here. This study gives an alluring view of the artist's process in rendering his famous nude watercolors. \u003cbr\u003e\u003cbr\u003e Though six figures are visible in this study, Flint was working with only two models, each of which has been rendered in a different color: red or black chalk. The artist captured both women in a variety of poses and angles, paying meticulous attention to their facial expressions and the drapery of their clothing. A semi-nude woman lays across the foreground with her hair flowing above her head, and Flint has masterfully captured her wistful expression with a few deft strokes of chalk. \u003cbr\u003e\u003cbr\u003e Born in Edinburgh, Flint began his artistic training at the age of 14 when he embarked upon a six-year apprenticeship as a lithographic draughtsman. In 1903 he joined The Illustrated London News, earning him a reputation as a gifted illustrator. After serving in World War I, Flint devoted his time to painting, and soon became an Associate Member of the Royal Academy in 1924. In a career spanning 70 years, it would be his treatment of the female figure that was considered most masterful. He was honored in 1962 by the Royal Academy with a retrospective exhibition of his works - the highest such recognition an artist can achieve during his lifetime. \u003cbr\u003e\u003cbr\u003e 20th century \u003cbr\u003e\u003cbr\u003e Unframed: 17\" high x 34½\" wide Framed: 24\" high x 39¾\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The Fine Art Society, London, by May 1958\u003cbr\u003e Sale: Sotheby's, London, 10 November 1981, lot 123\u003cbr\u003e Richard Green, London\u003cbr\u003e Private Collection, Germany\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42215088750727,"sku":"31-5745","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5745_1_ef82deb7-2181-48ce-b098-4821270705fe.png?v=1736115887"},{"product_id":"tete-de-mannequin-by-erte","title":"Tête de mannequin by Erté","description":"Erté (Romain de Tirtoff)\u003cbr\u003e 1892-1990 | Russian-French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTête de mannequin\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Erté” (lower right)\u003cbr\u003e Inscribed “No. 1744 \/ Deuxième aspect de la tête de mannequin # 1742\" (en verso)\u003cbr\u003e Silver and black pencil on paper \u003cbr\u003e\u003cbr\u003e Erté’s \u003cem\u003eTête de mannequin\u003c\/em\u003e offers a tantalizing glimpse of the artist's ability to push the boundaries of fashion through cosmetics. Erté renders the figure's multihued hair with a unique spotted pattern, accented by the metallic shine of his silver pencil. Quintessentially modern, Erté finishes the composition with bold strokes to accentuate the figure's eyes and eyebrows. \u003cbr\u003e\u003cbr\u003e Paris in the Art Deco era stood at the crossroads of tradition and modernity, establishing itself as a global epicenter of art, literature and intellectual thought. Amidst the echoes of World War I, avant-garde movements like Surrealism and Cubism intermingled with jazz melodies wafting through the city’s smoky salons. As cocktails flowed, intellectuals, writers and artists from around the world found themselves drawn to the cosmopolitan allure of Paris. Erté, with his revolutionary costuming and otherworldly sets, was perfectly poised to unleash his creativity. He worked with many of the city’s premier entertainment venues, and his striking visuals, full of bold patterns and vibrant colors, came to define the modernity of the era. \u003cbr\u003e\u003cbr\u003e Russian-French visionary Romain de Tirtoff (1892-1990), popularly known as Erté, began his artistic journey in the culturally rich city of St. Petersburg, where he developed an early fondness for ballet and theatrical performances. He moved to Paris in 1912 to study architecture, and quickly found his creative niche in crafting fantastical costumes for the city’s bustling nightlife. Erté‘s expertise, refined under the guidance of the famed Paul Poiret, captured the attention of \u003cem\u003eHarper’s Bazaar\u003c\/em\u003e, marking the beginning of a significant partnership that spanned from 1915 to 1936. The artist also designed sets for notable cinematic masterpieces including \u003cem\u003eBen Hur\u003c\/em\u003e and \u003cem\u003eLa Bohème\u003c\/em\u003e, and created sets and costumes for cabarets, operas and other performances at the Folies-Bergères, Bal Tabarin, the Théâtre du Bataclan and Le Casino de Paris. Erté was a trailblazer whose colorful creations shaped the groundbreaking Art Deco era more than any other, leaving an indelible mark on the history of art and design. His artworks reside in prestigious museum collections worldwide, including the Metropolitan Museum of Art in New York, the Victoria \u0026amp; Albert Museum in London and the Los Angeles County Museum of Art. \u003cbr\u003e\u003cbr\u003e Circa 1930 \u003cbr\u003e\u003cbr\u003e Paper: 8\" high x 6 1\/2\" wide\u003cbr\u003e Frame: 17 1\/4\" high x 14\" wide x 5\/8\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e M.S. Rau, New Orleans, \u003cem\u003eErté and the Era of Art Deco\u003c\/em\u003e, October 14, 2023 - January 3, 2024","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41902633484423,"sku":"31-7598","price":14850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7598_1_c5e9479e-9b43-4399-9126-65d9827b8fc9.png?v=1726274133"},{"product_id":"chevaux-de-courses-by-raoul-dufy","title":"Chevaux de courses by Raoul Dufy","description":"Raoul Dufy\u003cbr\u003e 1877-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eChevaux de courses\u003cbr\u003e (Racing Horses)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Raoul Dufy 1929\" (lower right)\u003cbr\u003e Watercolor and gouache on Arches paper \u003cbr\u003e\u003cbr\u003e Raoul Dufy's fascination with horse racing first emerged in his art as early as 1913. However, it was not until the early 1920s, when couturier Paul Poiret encouraged him to observe the races to study fashionable dress, that horse racing began to solidify as a central theme in Dufy's work. Friends who joined Dufy on his initial visits to the racecourse noted his keen interest in the vibrant colors of the horses and jockeys, rather than the fashionable crowd. Over time, Dufy's racecourse scenes evolved to highlight the dynamic interplay of green turf, blue railings and multicolored crowds set against a backdrop of nature, capturing the energetic and colorful essence of the races. \u003cem\u003eChevaux de courses\u003c\/em\u003e exemplifies the dynamic scenes and vibrant colors that characterize Dufy's oeuvre, capturing the lively spirit of the 1920s. \u003cbr\u003e\u003cbr\u003e This scene bursts to life with vibrant colors and the dynamic movement of majestic horses. In the foreground, horses and their jockeys prepare for their moment in the spotlight, while in the background, a race unfolds at full speed. A vivid snapshot of sport, fashion and culture, this painting is brimming with life and energy. \u003cbr\u003e\u003cbr\u003e Born in Le Havre, Normandy, both Dufy and his brother Jean showed a talent for drawing at an early age. He would eventually enroll in the École d'Art in Le Havre, and later, the École Nationale Supérieure des Beaux-Arts in Paris. After viewing Matisse's \u003cem\u003eLuxe, Calme et Volupte \u003c\/em\u003ein 1904, Dufy adopted the bright color and flat compositions of the Fauvists. By 1909, the artist sought more austerity in his painting, and he became drawn to the works of Cézanne and the Cubists. From this point forward, Dufy's compositions presented a blend of the ideals upheld by these two artistic groups. His use of bold lines and colors, dynamic brushstrokes and other painterly qualities found in his paintings are a testament to his unique Expressionist ideals. \u003cbr\u003e\u003cbr\u003e Dated 1929 \u003cbr\u003e\u003cbr\u003e Paper: 18\" high x 24\" wide (45.72 cm x 60.96 cm)\u003cbr\u003e Frame: 29\" high x 35\" wide x 2 1\/2\" deep (73.66 cm x 88.90 cm x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Fanny Guillon-Laffaille, Raoul Dufy, \u003cem\u003eThe supplement to the Catalogue raisonné des aquarelles, gouaches et pastels\u003c\/em\u003e, Paris, reference As-0773 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, California\u003cbr\u003e Sale: Christie's New York, Sale 7452, May 13, 1992, Lot 253\u003cbr\u003e Private collection, Atlanta, GA\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42618970079367,"sku":"31-9436","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9436_1_23392fb1-6cf9-47f2-ac6a-5f8213127dcd.png?v=1746450821"},{"product_id":"nu-allonge-avec-bracelet-by-tamara-de-lempicka","title":"Nu allongé avec bracelet by Tamara de Lempicka","description":"Tamara De Lempicka\u003cbr\u003e 1898-1980 | Polish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu allongé avec bracelet\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eNude lying down with bracelet\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “Lempicka”(bottom right)\u003cbr\u003e Pencil on paper \u003cbr\u003e\u003cbr\u003e This exquisite pencil on paper by Tamara de Lempicka radiates Art Deco's signature blend of elegance and modernity, a movement that Lempicka defined in her trailblazing career. This nude drawing of a woman, elegant in its minimalism and fluidity, exemplifies Lempicka’s superb draftsmanship and compositional finesse. \u003cbr\u003e\u003cbr\u003e With a few deft strokes, she confidently portrays her subject in a languid pose, with delicate bracelets gracing her wrists. Her model represents the popular ‘20s aesthetic, featuring the classic Flapper bob hairstyle. Unique, semi-erased lines are visible beneath the completed drawing, showcasing the experimental nature of Lempicka’s process. Her talent seamlessly merges various modern art movements and design principles, capturing the streamlined sophistication of modern architecture with the more avant-garde nature of her fellow painters. Best known for her paintings of stylish women, this anonymous nude offers the rare opportunity to peek behind the curtain to see the working process of one of the 20th century’s most glamorous artists. \u003cbr\u003e\u003cbr\u003e Born in Poland in 1898, Lempicka’s life was marked by constant movement. At the beginning of the Russian Revolution, Tamara’s life was turned upside down, and her family found refuge in Paris, where she lived for twenty years. Building on a love of art that began during a visit to Italy in her youth, Lempicka enrolled in Académie de la Grande Chaumière in Paris to study painting. Under the mentorship of famed avant-garde artists Maurice Denis and André Lhote, who introduced her to Cubism, Lempicka began exhibiting avant-garde art in Parisian salons in 1922. Lempicka won first prize at the Exposition Internationale des Beaux-Arts in 1927 with her iconic Cubist-Art Deco style, a year before this drawing was made. \u003cbr\u003e\u003cbr\u003e With a resurgence of appreciation for the Art Deco period beginning in the 1960s, combined with the upcoming first major museum retrospective exhibition of her work in the United States at the de Young in San Francisco, Lempicka’s work is reaching new heights of acclaim in recent decades. Much of her work resides in collections worldwide, including the Metropolitan Museum of Art, the Musée des Beaux-Arts du Havre, and the National Museum Warsaw, to name a few. Not only did Lempicka flout gender expectations by establishing a successful career as a fine artist and defying traditional artistic trends, but she also created a unique genre found only in her oeuvre. \u003cbr\u003e\u003cbr\u003e Circa 1928 \u003cbr\u003e\u003cbr\u003e Paper: 10 3\/8\" high x 16 1\/2\" wide (26.35 x 41.91 cm)\u003cbr\u003e Frame: 18\" high x 24 3\/8\" wide x 7\/8\" deep (45.72 x 61.91 x 2.22 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e By descent, from the artist","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875382263943,"sku":"31-9607","price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9607_1.png?v=1772362436"},{"product_id":"smiling-nude-by-tamara-de-lempicka","title":"Smiling Nude by Tamara de Lempicka","description":"Tamara de Lempicka\u003cbr\u003e 1898-1980 | Polish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSmiling Nude\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Lempicka”(bottom right)\u003cbr\u003e Pencil on paper \u003cbr\u003e\u003cbr\u003e “Everything that I did was never done like the others were doing... I wanted to do what I want.” - Tamara de Lempicka \u003cbr\u003e\u003cbr\u003e This captivating pencil on paper by Tamara de Lempicka captures the artist's exceptional draftsmanship in all its glory. This work, entitled \u003cem\u003eSmiling Nude\u003c\/em\u003e, evokes Lempicka's signature blend of elegance and modernity that was quintessentially Art Deco, a movement that Lempicka defined in her artistic career. \u003cbr\u003e\u003cbr\u003e With confident and fluid lines, Lempicka beautifully portrays a woman with the classic 1920s flapper hairstyle in a languid pose. This drawing is unique for its facial details, such as the wide eyes and slightly upturned mouth, which Lempicka most often left out of her fast-paced drawings. Her talent seamlessly merges various modern art movements and design principles, capturing the streamlined sophistication of modern architecture with the more avant-garde nature of her fellow painters. This anonymous nude offers a rare glimpse into the acclaimed artist's inner world and witness her fascinating artistic process.  \u003cbr\u003e\u003cbr\u003e Born in Poland in 1898, Lempicka’s life was marked by constant movement. At the beginning of the Russian Revolution, Tamara’s life was turned upside down, and her family fled to Paris, where they found refuge for twenty years. Building on a love of art that began during a visit to Italy in her youth, Lempicka enrolled in Académie de la Grande Chaumière in Paris to study painting. Under the mentorship of famed avant-garde artists Maurice Denis and André Lhote, who introduced her to Cubism, Lempicka began exhibiting avant-garde art in Parisian salons in 1922. Lempicka won first prize at the Exposition Internationale des Beaux-Arts in 1927 with her iconic Cubist-Art Deco style, a year before this drawing was made. \u003cbr\u003e\u003cbr\u003e With a resurgence of appreciation for the Art Deco period beginning in the 1960s, combined with the upcoming first major museum retrospective exhibition of her work in the United States at the de Young in San Francisco, Lempicka’s work is reaching new heights of acclaim in recent decades. Much of her work resides in collections worldwide, including the Metropolitan Museum of Art, the Musée des Beaux-Arts du Havre and the National Museum Warsaw, to name a few. Not only did Lempicka flout gender expectations by establishing a successful career as a fine artist and defying traditional artistic trends, but she also created a unique genre found only in her oeuvre.  \u003cbr\u003e\u003cbr\u003e Circa 1928 \u003cbr\u003e\u003cbr\u003e Paper: 7 3\/4\" high x 10 3\/8\" wide (19.69 x 26.35 cm)\u003cbr\u003e Frame: 15\" high x 17 3\/4\" wide x 1 1\/4\" deep (38.10 x 45.09 x 3.18 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e By descent, from the artist","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875383181447,"sku":"31-9608","price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9608_1.png?v=1772362475"},{"product_id":"thinking-by-tamara-de-lempicka","title":"Thinking by Tamara de Lempicka","description":"Tamara De Lempicka\u003cbr\u003e 1898-1980 | Polish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThinking\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Lempicka”(bottom right)\u003cbr\u003e Pencil on paper \u003cbr\u003e\u003cbr\u003e This enchanting pencil on paper by Tamara de Lempicka radiates Art Deco's signature blend of elegance and modernity, a movement that Lempicka defined in her esteemed career. This composition, entitled \u003cem\u003eThinking\u003c\/em\u003e, displays Lempicka’s superb draftsmanship and her talent for capturing the essence of alluring femininity. \u003cbr\u003e\u003cbr\u003e With fluid lines and bold minimalism, Lempicka confidently portrays a woman deeply immersed in thought while in a languid seated pose. Even without the facial features, Lempicka evokes a sense of introspection and sensuality, emphasizing the contours of the body to convey the subject's emotional depth and physical presence. Her talent seamlessly merges various modern art movements and design principles, capturing the streamlined sophistication of modern architecture with the more avant-garde nature of her fellow painters. This anonymous nude offers a rare glimpse into Lempicka’s unique vision as well as her fascinating artistic process.  \u003cbr\u003e\u003cbr\u003e Born in Poland in 1898, Lempicka’s life was marked by constant movement. At the beginning of the Russian Revolution, Tamara’s life was turned upside down, and she fled to Paris, where she found refuge for twenty years. Building on a love of art that began during a visit to Italy in her youth, Lempicka enrolled in Académie de la Grande Chaumière in Paris to study painting. Under the mentorship of famed avant-garde artists Maurice Denis and André Lhote, who introduced her to Cubism, Lempicka began exhibiting avant-garde art in Parisian salons in 1922. Lempicka won first prize at the Exposition Internationale des Beaux-Arts in 1927 with her iconic Cubist-Art Deco style, a year before this drawing was made. \u003cbr\u003e\u003cbr\u003e With a resurgence of appreciation for the Art Deco period beginning in the 1960s, combined with the upcoming first major museum retrospective exhibition of her work in the United States at the de Young in San Francisco, Lempicka’s work is reaching new heights of acclaim in recent decades. Much of her work resides in collections worldwide, including the Metropolitan Museum of Art, the Musée des Beaux-Arts du Havre and the National Museum Warsaw, to name a few. Not only did Lempicka flout gender expectations by establishing a successful career as a fine artist and defying traditional artistic trends, but she also created a distinctive genre found only in her oeuvre.  \u003cbr\u003e\u003cbr\u003e Circa 1928 \u003cbr\u003e\u003cbr\u003e Paper: 9 7\/8\" high x 7 3\/4\" wide (25.08 x 19.69 cm)\u003cbr\u003e Frame: 17 3\/4\" high x 15\" wide x 1 1\/8\" deep (43.82 x 38.10 x 2.86 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e By descent, from the artist","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875383378055,"sku":"31-9609","price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9609_1_bfca87c4-fa7d-4a77-99c6-f6d382033cb3.png?v=1772362513"},{"product_id":"charcoal-portrait-of-sir-winston-churchill-circa-1935","title":"Charcoal Portrait of Sir Winston Churchill, Circa 1935","description":"Portrait of Sir Winston Churchill\u003cbr\u003e English I 1874-1965 \u003cbr\u003e\u003cbr\u003e Charcoal on paper\u003cbr\u003e Signed lower right (indiscernible) \u003cbr\u003e\u003cbr\u003e This lifetime charcoal portrait of Winston Churchill, dating to around 1935, is a remarkable and rare find. Drawn by an artist who spent time with Churchill during his \"Wilderness Years,\" it represents an extraordinary opportunity for collectors. With his resolute expression and signature hat, this emotive drawing was clearly done by the hand of someone who knew Churchill during the trying and formative years before World War II.  \u003cbr\u003e\u003cbr\u003e The Wilderness Years (1929-1939) marked a period when Churchill, out of government, found himself sidelined in British politics due to his early warnings about Nazi Germany. During this time, Churchill dedicated himself to writing, delivering speeches and persistently warning Parliament and the public of the growing threat from Hitler. Though marginalized, his prescient views would ultimately lead to his rise as Britain’s Prime Minister during WWII. \u003cbr\u003e\u003cbr\u003e Churchill turned to painting and drawing during these years—a pastime that became essential to his well-being, helping him cope with political isolation and later the immense pressures of wartime leadership. Encouraged by influential artist friends, Churchill embraced plein air painting, gathering techniques and friendships that enriched his work. This 1935 charcoal sketch, likely drawn by one of these artist contemporaries, embodies both the friendship and creative influence that shaped Churchill. \u003cbr\u003e\u003cbr\u003e The circa date of this drawing is unmistakably signaled by Churchill’s signature Homburg hat, a dark gray hat with a curled brim and center crease, which became synonymous with his public image throughout the 1930s and was worn by the icon while painting. While the artist’s signature remains enigmatic—despite extensive efforts by art historians to identify it—it presents a captivating research opportunity for a connoisseur familiar with Churchill’s fascinating social circles. \u003cbr\u003e\u003cbr\u003e Circa 1935 \u003cbr\u003e\u003cbr\u003e Paper: 15\" high x 11 1\/2\" wide (38.10 x 28.21 cm)\u003cbr\u003e Frame: 25\" high x 20 3\/4\" wide x 1 3\/4\" deep (63.50 x 52.71 x 4.45 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875514286215,"sku":"32-0187","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0187_1.png?v=1772364258"},{"product_id":"the-penance-of-st-chrysostom-by-albrecht-durer","title":"The Penance of St. Chrysostom by Albrecht Dürer","description":"Albrecht Dürer\u003cbr\u003e 1471-1528 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Penance of St. Chrysostom\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Monogrammed in the plate lower center \"AD\"\u003cbr\u003e Copper engraving on laid paper  \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Whatever was mortal in Albrecht Dürer lies beneath this mound.” — Albrecht Dürer’s epitaph\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e This exceptionally rare copper engraving of St. Chrysostom is one of the very few nude engravings ever created by Albrecht Dürer, a master of the Northern Renaissance. With extraordinary precision and a synthesis of Northern humanism and Italian Renaissance ideals, this engraving is a striking convergence of religious tradition, artistic mastery and an infamous saint's complex narrative. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Penance of St. Chrysostom\u003c\/em\u003e is based on a medieval legend surrounding John Chrysostom, an early Christian theologian and hermit saint. According to the tale, an emperor’s daughter sought refuge in his cave during a storm, but in a moment of weakness, he broke his vow of chastity. Wracked with guilt, he cast the woman from a cliff before retreating into the wilderness, where he crawled like a beast in penance for years. Miraculously, the woman survived and gave birth. Later, she was found with her child, and St. Chrysostom was ultimately absolved. \u003cbr\u003e\u003cbr\u003e This is the scene Dürer captures with remarkable precision—the woman sits in an alcove, breastfeeding her child, while the saint, seen crawling in the distance, repents in exile. Set against a quintessential medieval German town, Dürer’s engraving is a masterclass in depth, perspective and anatomical perfection. His ability to render human figures in idealized proportions—influenced by Italian Renaissance principles—demonstrates his pioneering approach to the nude form. \u003cbr\u003e\u003cbr\u003e Albrecht Dürer, born in Nuremberg in 1471, is regarded as the most influential artist of the Northern Renaissance. Early in his career, Dürer apprenticed with his father, a goldsmith, and later with Michael Wolgemut, whose workshop introduced him to woodcut illustration. Fascinated by the Italian Renaissance, Dürer made two formative visits to Italy, where he absorbed the classical techniques of masters like Pollaiuolo, Mantegna and Michelangelo. The stay marked a turning point in his career, and this engraving reveals Dürer's deepened understanding of classical form, as well as his mastery of naturalistic effects in light and shade. His ability to merge these Italian influences with the Northern tradition of intricate detail established Dürer as a leading figure in Renaissance art. \u003cbr\u003e\u003cbr\u003e Throughout his career, Dürer created works that transcended the boundaries of woodcuts, engravings and paintings, demonstrating unmatched intellectual and artistic depth. Dürer was the most influential German artist of his time, serving as court artist to both Holy Roman Emperor Maximilian I and his successor Charles V. The few known examples of this particular work are held in the permanent collections of the Metropolitan Museum of Art, the National Gallery of Art in Washington, D.C. and the Clark in Williamstown, MA.  \u003cbr\u003e\u003cbr\u003e Paper: 6 7\/8\" high x 4 1\/2\" wide (17.46 x 11.43 cm)\u003cbr\u003e Frame: 17 1\/2\" high x 13 1\/2\" wide x 1 1\/2\" deep (44.45 x 34.29 x 3.18 cm) \u003cbr\u003e\u003cbr\u003e Circa 1497 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch, Adam von. \u003cem\u003eLe Peintre-Graveur\u003c\/em\u003e. Vol. 7. Vienna: J.V. Degen, 1808, no. 63\u003cbr\u003e Holzschnitte, und Zeichnungen. \u003cem\u003eVienna: Gilhofer \u0026amp; Ranschburg\u003c\/em\u003e, 1932, no. 54 d\/e (from f)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875571204231,"sku":"32-0468","price":42500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0468_1.png?v=1772364816"},{"product_id":"l-heure-du-gouter-by-jules-emile-saintin","title":"L’Heure du goûter! by Jules-Émile Saintin","description":"Jules-Émile Saintin\u003cbr\u003e 1829-1894 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eL’Heure du goûter!\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Snack Time!)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Jules-Émile Saintin\" (lower right)\u003cbr\u003e Charcoal and white chalk on paper \u003cbr\u003e\u003cbr\u003e A tender moment unfolds as a young girl leans over her bowl of soup, savoring her midday snack with focus and delight. Her spoon rests beside a slice of bread on the polished tabletop, while a cup, perhaps filled with tea or chocolate, and a second piece of bread complete the simple yet cozy scene. Nearby, her stuffed toy lies temporarily forgotten atop a shawl, hinting at the world of play just briefly paused. \u003cbr\u003e\u003cbr\u003e The setting is intricately detailed. The dining room showcases a marble fireplace adorned with a clock, fine porcelain and delicate cups. Saintin’s composition captures the quiet grace of the moment as well as the interplay of light and texture, skillfully rendered using only charcoal and white chalk. His ability to infuse luminosity into a monochrome drawing speaks to his refined technique and observational sensitivity. This work resonates with Saintin’s charming studies of children during his American period, such as \u003cem\u003eA Little Girl Dozing Over Her Drawing\u003c\/em\u003e (possibly a portrait of Jennie Walters), now in the Walters Art Museum in Baltimore. \u003cbr\u003e\u003cbr\u003e Born in 1829 in Lemé, Saintin began painting at age 11 and was admitted to the Académie des Beaux-Arts in Paris by 16. Trained under Martin Drölling and Édouard Picot, he became an accomplished portraitist and debuted at the Salon des Artistes Français in 1848, earning several medals. \u003cbr\u003e\u003cbr\u003e In 1853, he moved to New York to work in a photography studio, soon dedicating himself fully to painting. He exhibited regularly at the National Academy of Design—becoming a member in 1858—and gained a strong reputation for his portraits of American elites, as well as for his depictions of landscapes and Native American clothing. \u003cbr\u003e\u003cbr\u003e Returning to France in 1860, Saintin continued to paint prominent sitters, including Princess Mathilde. Encouraged by his friend Paul Baudry, he also explored intimate genre scenes such as \u003cem\u003eL’Heure du goûter!\u003c\/em\u003e, which showcases his remarkable ability to capture fleeting, everyday moments. In 1876, he was appointed commissioner of the World’s Fair in Philadelphia and was awarded the Legion of Honor upon his return to France. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Paper: 18 1\/4“ high by 14 1\/2” wide (46.36 x 36.83 cm)\u003cbr\u003e Framed: 30 3\/8“ high by 25 7\/8“ wide by 2\" deep (77.15 x 65.72 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42891175329927,"sku":"32-0865","price":44500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0865_1.png?v=1752276289"},{"product_id":"nu-tenant-un-miroir-by-pablo-picasso","title":"Nu tenant un miroir by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu tenant un miroir\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Nude holding a mirror)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Picasso\" (lower right)\u003cbr\u003e Pen and ink on paper \u003cbr\u003e\u003cbr\u003e Pablo Picasso's Rose Period is among the most iconic bodies of work in art history. This beautiful drawing, entitled \u003cem\u003eNu tenant un miroir\u003c\/em\u003e, exemplifies the refined elegance and simplicity that characterized this pivotal period and laid the foundation for his visionary career. Picasso's Rose Period works are highly rare and coveted by collectors, making this ink drawing an extraordinary treasure of modern art. \u003cbr\u003e\u003cbr\u003e Created in 1906, \u003cem\u003eNu tenant un miroir\u003c\/em\u003e captures the artist's companion Fernande Olivier with remarkable minimalism, demonstrating Picasso's extraordinary ability to convey form and emotion through a few precise, self-assured gestures. This drawing served as the foundation for Picasso's monumental oil painting, \u003cem\u003eLa Toilette\u003c\/em\u003e, now in the permanent collection of the Buffalo AKG Museum. In the drawing, Picasso synthesizes the dual vision of Fernande's personality—combining the nude figure and the mirror holder into one person, which he would later split in two in the final painting. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu tenant un miroir\u003c\/em\u003e also reveals Picasso's growing interest in classical antiquity, with unmistakable references to Roman and Egyptian artistic traditions. The figure exists in an undefined space, creating a sense of timelessness and eternity. Through masterful restraint, Picasso achieves a composition that is simultaneously ancient and thoroughly modern, balancing naturalistic representation with elements of abstraction. \u003cbr\u003e\u003cbr\u003e The summer of 1906 marked a transformative period in Picasso's artistic development. Having relocated from his native Spain to Paris in 1904, Picasso and Fernande temporarily retreated to the remote Spanish village of Gósol in the Pyrenees. This rural sojourn provided Picasso with the solitude and focus to refine his artistic direction, resulting in works of remarkable clarity and purpose such as this one. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid before traveling to Paris in 1900. Landing in the epicenter of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Works from his pivotal Rose Period are especially prized by collectors and institutions for their historical significance and aesthetic sophistication. Comparable drawings from this critical year can be found in prestigious collections worldwide, including the Musée Picasso in Paris, the Metropolitan Museum of Art in New York and the National Gallery of Art in Washington, D.C. \u003cbr\u003e\u003cbr\u003e Created 1906 \u003cbr\u003e\u003cbr\u003e Paper: 9 3\/4\" high x 6 1\/2\" wide (24.77 x 16.51 cm)\u003cbr\u003e Framed: 21 1\/2\" high x 17 3\/8\" wide x 1 3\/4\" deep (54.61 x 44.01 x 4.45 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Gustave \u0026amp; Leon Bollag Collection, Zurich\u003cbr\u003e Sale, Galerie Bollag, Zurich, 3rd April 1925, lot 167\u003cbr\u003e Constance Charlotte Bailward, United Kingdom, acquired during the 1920s\u003cbr\u003e Thence by descent\u003cbr\u003e Private Collection, California \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Pierre Daix, \u003cem\u003ePicasso 1900-1906: Catalogue raisonne l'oeuvre peint\u003c\/em\u003e, Paris, 1966, no. XV.29, illustrated p. 300\u003cbr\u003e Christian Zervos, \u003cem\u003ePablo Picasso, Supplement aux annees de 1903-1906\u003c\/em\u003e, Paris, 1970, vol. XXII, no. 430, illustrated p. 151\u003cbr\u003e Alberto Moravia, \u003cem\u003eL'opera completa di Picasso blu e rosa\u003c\/em\u003e, Milano, 1979, no. 270A, illustrated p. 109\u003cbr\u003e Joseph Palau i Fabre, \u003cem\u003ePicasso Vivo (1881-1907)\u003c\/em\u003e, Barcelona, 1980, no. 1242, illustrated p. 448\u003cbr\u003e \u003cem\u003eLe miroir noir, Picasso, sources photographiques 1900-1928\u003c\/em\u003e (exhibition catalogue), Musée Picasso, Paris, 1997, fig. 45, illustrated p. 58","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43894124380295,"sku":"32-0866","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0866_1.png?v=1772378242"},{"product_id":"standing-female-nude-by-gustav-klimt","title":"Standing Female Nude by Gustav Klimt","description":"Gustav Klimt\u003cbr\u003e 1862-1918 | Austrian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eStanding Female Nude\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped by the artist's estate (lower right)\u003cbr\u003e Pencil on paper \u003cbr\u003e\u003cbr\u003e Gustav Klimt stands as one of the most influential figures of modern art, celebrated for his richly ornamental vision of modern beauty. More than any other subject, Klimt’s mesmerizing female figures were his most important motif—singularly powerful in their beauty, sensuality and psychological depth. This exceptional drawing, \u003cem\u003eStanding Female Nude\u003c\/em\u003e, is a rare work connected to one of the artist’s now-lost masterpieces and a remarkable example of his genius as a draftsman. \u003cbr\u003e\u003cbr\u003e By 1916-17, when this drawing was created, Klimt was at the height of his powers. His golden phase had given way to a freer, more daring late style, marked by heightened color, exotic patterning and an increasingly modern vision of the female form. It was during these final years of the artist’s life that he created some of his most sought-after portraits and figural compositions, including \u003cem\u003eFreundinnen II\u003c\/em\u003e, the masterwork to which our drawing is linked.  \u003cbr\u003e\u003cbr\u003e In preparation for his ambitious portraits, Klimt made dozens of drawings, often created spontaneously in his studio where models lounged around him endlessly. In our \u003cem\u003eStanding Female Nude\u003c\/em\u003e, Klimt’s signature fluid linework brings the figure remarkably to life, as if captured perfectly in an instant. Her elongated form, lifted arm and direct gaze give the drawing both sensuality and authority. This rhythm between freedom and control is central to Klimt’s greatest drawings, and one can see how this work directly informed the alluring figures pictured in \u003cem\u003eFreundinnen II\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Tragically, this painting was destroyed in 1945 in the fire at Schloss Immendorf, where numerous works by Klimt were lost in the final days of World War II. The drawings for \u003cem\u003eFreundinnen II\u003c\/em\u003e thus survive as the last direct witnesses to that vanished masterpiece. \u003cbr\u003e\u003cbr\u003e As a founding figure of the Vienna Secession, Klimt helped lead Austrian art away from academic convention and toward a radical modern language, uniting Symbolism, Byzantine splendor, Japanese design and Art Nouveau elegance in some of the most recognizable images ever painted. His famed “Golden Phase” produced icons such as \u003cem\u003eThe Kiss\u003c\/em\u003e and \u003cem\u003ePortrait of Adele Bloch-Bauer I\u003c\/em\u003e, while his late portraits and landscapes reveal an artist of remarkable range, refinement and decorative genius. \u003cbr\u003e\u003cbr\u003e Klimt’s enduring importance is affirmed not only by his presence in major institutions—including the Belvedere in Vienna, which holds the world’s largest collection of his paintings, as well as the Neue Galerie New York, The Metropolitan Museum of Art and The Museum of Modern Art—but also by his extraordinary market performance. His \u003cem\u003ePortrait of Elisabeth Lederer\u003c\/em\u003e reached an astonishing $236.4 million at Sotheby’s in 2025, becoming the most expensive modern artwork ever sold at auction. \u003cbr\u003e\u003cbr\u003e Circa 1916-17 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie St. Etienne, New York\u003cbr\u003e Private collection, acquired from the above circa 2005\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Marian Bisanz-Prakken, Albertina, Vienna, will include this work in her forthcoming Supplement to Alice Strobl’s catalogue raisonné of Klimt’s drawings","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44819653820551,"sku":"32-2728","price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2728_1_bfb5336f-dccc-405f-9870-d0c488065df7.png?v=1781018474"},{"product_id":"woman-in-a-chair-by-henri-matisse","title":"Woman in a Chair by Henri Matisse","description":"Henri Matisse\u003cbr\u003e 1869–1954 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eWoman in a Chair\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Henri Matisse 31” (lower right)\u003cbr\u003e Pen and ink on paper \u003cbr\u003e\u003cbr\u003e Hailing from the artist’s celebrated Nice period, \u003cem\u003eWoman in a Chair\u003c\/em\u003e is an exceptional example of Henri Matisse’s mastery of line, rhythm and form. Drawn in 1931, the work captures the elegance and vitality of the female figure with remarkable skill, transforming a traditional subject into a distinctly modern expression. \u003cbr\u003e\u003cbr\u003e The seated woman is rendered in the fluid, confident line that became one of Matisse’s most recognizable artistic signatures. Both graceful and energetic, the drawing balances simplicity with extraordinary expressive power. The subject belongs to Matisse’s enduring exploration of the odalisque, a theme that occupied him throughout his Nice years and allowed him to unite the female figure with beauty, leisure and decoration. \u003cbr\u003e\u003cbr\u003e Few artists shaped modern art as profoundly as Matisse. During the 1920s and 1930s, he increasingly distilled his compositions to their essential elements, using line as a primary vehicle of expression. Drawings such as \u003cem\u003eWoman in a Chair\u003c\/em\u003e demonstrate the mastery that made him one of the defining artists of the 20th century, while related works are held in the collections of the Museum of Modern Art, the Art Institute of Chicago and the Musée Matisse in Nice. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a certificate of authenticity from the Archives Henri Matisse. \u003cbr\u003e\u003cbr\u003e Dated 1931 \u003cbr\u003e\u003cbr\u003e Paper: 10 1\/2\" high x 14 1\/2\" wide (26.7 x 36.8 cm)\u003cbr\u003e Framed: 19 1\/2\" high x 23\" wide x 2\" deep (49.5 x 58.4 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44992521732231,"sku":"32-2727","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2727_1.png?v=1782336015"},{"product_id":"cheval-en-course-by-claude-monet","title":"Cheval en course by Claude Monet","description":"Claude Monet\u003cbr\u003e 1840–1926 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCheval en course\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Racehorse)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “O. Monet” (lower right)\u003cbr\u003e Pencil and watercolor on paper \u003cbr\u003e\u003cbr\u003e Claude Monet is widely considered one of the most important artists of all time—revered for his groundbreaking contributions to art history. This exceptional drawing, \u003cem\u003eCheval en course\u003c\/em\u003e, is the earliest recorded work by the Impressionist master. Highly rare and full of detail and movement, this artwork captures the origins of Monet’s visionary genius.   \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCheval en course\u003c\/em\u003e reveals the same sharp eye and expert draftsmanship that would later define Monet’s monumental career. His linework is confident and highly detailed, bringing the racehorse to life in a “flying gallop”—a traditional 19th-century convention for depicting speed, which inaccurately shows the horse with all four legs outstretched and airborne at once. Monet brings a striking vitality to the composition, balancing the tension of the rider with a wonderful sensation of forward momentum. \u003cbr\u003e\u003cbr\u003e As his earliest artwork, this drawing held particular significance to Monet. He kept it for decades and finally gifted it directly to his beloved stepdaughter, Suzanne Hoschedé-Butler, who held a meaningful place in Monet’s personal and artistic world. She frequently appeared in some of his most celebrated Giverny figure paintings. \u003cbr\u003e\u003cbr\u003e It is quite rare to find such early Monet drawings today, with very few surviving and the overwhelming majority now in major museums, including the Musée d’Orsay, the Museum of Fine Arts, Boston and the Art Institute of Chicago. \u003cem\u003eCheval en course\u003c\/em\u003e also has the distinction of bearing the desirable signature “O. Monet,” a rare occurrence as the artist then went by his formal name, Oscar-Claude Monet. \u003cbr\u003e\u003cbr\u003e Circa 1855 \u003cbr\u003e\u003cbr\u003e Paper: 8 1\/2\" high x 11\" wide (21.6 x 27.9 cm)\u003cbr\u003e Frame: 17 1\/2\" high x 20\" wide x 1 1\/2\" deep (44.5 x 50.8 x 3.8 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Collection of Suzanne Hoschedé-Butler, gifted by the above\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Daniel Wildenstein, \u003cem\u003eClaude Monet: Catalogue raisonné\u003c\/em\u003e, volume V, 1991, no. D405, p. 121 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45061943787655,"sku":"32-1919","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1919_1_6c1025f6-d2ab-407b-bfdb-0265ee852680.png?v=1782926608"},{"product_id":"christ-returning-from-the-temple-by-rembrandt-van-rijn","title":"Christ Returning from the Temple by Rembrandt van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606-1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eChrist Returning from the Temple\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Etching on paper\u003cbr\u003e New Hollstein 276, state 1\/1\u003cbr\u003e Signed \"Rembrandt\" (lower right) \u003cbr\u003e\u003cbr\u003e \u003cem\u003eChrist Returning from the Temple\u003c\/em\u003e is an intimate and masterful etching by the legendary Rembrandt van Rijn. Referencing an episode in the Gospel of Luke, the etching depicts Mary and Joseph walking with a 12-year-old Jesus, returning to Nazareth after the young Christ had gone missing in Jerusalem during Passover. This exceptionally rare composition demonstrates the Dutch master's unparalleled ability to transform biblical text into a narrative of extraordinary human complexity. \u003cbr\u003e\u003cbr\u003e In this strikingly intimate scene, the Holy Family walks along the road holding hands, with a small dog racing past their feet. The relief on Mary's face is palpable, and the rocky landscape that surrounds them foreshadows the long journey ahead. Rembrandt's technical mastery is evident at every turn, with thousands of precise lines creating a dramatic interplay between light and shadow that is quintessentially Rembrandt. \u003cbr\u003e\u003cbr\u003e This intricate etching is the final scene in a series of six prints Rembrandt produced in 1654 depicting moments of Christ’s youth. The subject matter may also reflect Rembrandt’s own family circumstances around this time, as his son Titus had turned 12 just one year before and his companion Hendrickje Stoffels gave birth to their daughter Cornelia in 1654. \u003cbr\u003e\u003cbr\u003e Rembrandt van Rijn remains the most celebrated artist of the Dutch Golden Age and one of history's greatest printmakers. His etchings revolutionized the medium through innovative techniques and unprecedented psychological insight, elevating printmaking to the level of his celebrated paintings. Working primarily in Amsterdam, Rembrandt produced approximately 290 etchings throughout his career, each demonstrating his mastery of light, shadow and human emotion. His biblical scenes, in particular, transformed religious narrative into intensely personal human drama, influencing generations of artists who followed. Other examples of this etching are held in the world's most prestigious collections, including the Metropolitan Museum of Art, the National Gallery of Art, the British Museum and many more. \u003cbr\u003e\u003cbr\u003e Dated 1654 \u003cbr\u003e\u003cbr\u003e Etching: 4“ high x 6” wide (10.2 x 15.2 cm)\u003cbr\u003e Frame: 20“ high x 16 1\/4” wide x 1\" deep (50.8 x 41.3 x 2.5 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e With P. \u0026amp; D. Colnaghi \u0026amp; Co., London; A Catalogue of Fine Prints, 1496-1956, 1979, no. 40\u003cbr\u003e Sam Josefowitz (Lugt 6094); acquired from the above in 1979\u003cbr\u003e Thence by descent\u003cbr\u003e Private collection, The Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch, Hollstein 60\u003cbr\u003e Hind 278\u003cbr\u003e New Hollstein 276 (this impression cited)\u003cbr\u003e Stogdon 25","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45063648051335,"sku":"32-2627","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2627_1.png?v=1782789677"},{"product_id":"the-blindness-of-tobit-by-rembrandt-van-rijn","title":"The Blindness of Tobit by Rembrandt van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606-1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Blindness of Tobit\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Etching on paper\u003cbr\u003e The New Hollstein Dutch 265, state 1 (of 2)\u003cbr\u003e Signed and dated \"Rembrandt f. 1651\" (lower right) \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Blindness of Tobit\u003c\/em\u003e is an extraordinary etching and drypoint by the master Rembrandt van Rijn, created in 1651. This work captures a poignant moment from the apocryphal Book of Tobit (Tobit 11: 5-11), where the blind Tobit knocks over a spinning wheel in his anxious rush to greet his long-lost son. This etching exemplifies Rembrandt's unparalleled ability to convey deep emotion and narrative complexity through the etching technique. \u003cbr\u003e\u003cbr\u003e In this finely detailed etching, Rembrandt uses light and shadow to heighten the emotional impact of the scene. The dark ink behind Tobit emphasizes his isolation, while the brightness of his beard, untouched by ink, draws attention to his anguished expression. The careful composition, with everyday objects such as the spinning wheel and fish hanging from the hearth, adds depth to the narrative, illustrating Tobit's impoverished life. The small dog nestled into Tobit's garment symbolizes his son's approaching return. \u003cbr\u003e\u003cbr\u003e The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Then 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. \u003cbr\u003e\u003cbr\u003e Though known today primarily for his paintings, Rembrandt's fame spread outside the Netherlands thanks to his etchings. He made hundreds of etchings over the course of his career from 1626 until 1660, the year he was forced to sell his presses. He created etchings of a number of subjects, including self-portraits, biblical subjects, saints and allegories, and his work was avidly admired and collected, even during his lifetime. \u003cbr\u003e\u003cbr\u003e Dated 1651 \u003cbr\u003e\u003cbr\u003e Etching: 6 7\/8“ high x 5 5\/8” wide (17.5 x 14.3 cm)\u003cbr\u003e Frame: 20“ high x 16 1\/4” wide x 1\" deep (50.8 x 41.3 x 2.5 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, the Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch, Adam, Le Peintre-Graveur, Vol. 1. Leipzig: C.G. Boerner, 1922, No. 42\u003cbr\u003e Hind, Arthur M, A Catalogue of Rembrandt’s Etchings. London: Methuen, 1923, No. 42\u003cbr\u003e Hollstein, F.W.H, Dutch and Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700, Amsterdam: Menno Hertzberger, 1949, No. 265, First State (of II)\u003cbr\u003e Nowell-Eusticke, G.W., The Later Work of Rembrandt, London: Constable, 1960, No. C1 \u003cbr\u003e\u003cbr\u003e Plate not in existence","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45063882997895,"sku":"32-2629","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2629_1.png?v=1782789697"}],"url":"https:\/\/rauantiques.com\/collections\/7-26-drawings.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}