{"title":"Fine Art Collection: Impactful Brushstrokes","description":"","products":[{"product_id":"at-the-mirror-by-frederick-carl-frieseke","title":"At the Mirror by Frederick Carl Frieseke","description":"Frederick Carl Frieseke\u003cbr\u003e 1874-1939 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAt the Mirror\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F.C. Frieseke\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Part of the second generation of modern American painters to study in Giverny, Frederick Carl Frieseke is among the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. \u003cem\u003eAt the Mirror\u003c\/em\u003e is a charming example of the latter, and it is masterfully executed with the artist's deft handling of color. \u003cbr\u003e\u003cbr\u003e The work demonstrates the artist's remarkable eye for composition; the mirror (with its reflection) divides the canvas horizontally, offering a view of the front and back of the artist's model as she removes her robe. The result is a work that feels both intimate and voyeuristic, allowing the viewer a glimpse into this private space. The soft familiarity of the work is enhanced by the painter’s characteristic limitation of palette, which has been pared down to a series of pale greens, blues and violets that are only occasionally offset by hints of orange, yellow and red in the wallpaper and flowers. All of his distinctive artistic devices come together in \u003cem\u003eAt the Mirror\u003c\/em\u003e, resulting in a highly successful and balanced composition.  \u003cbr\u003e\u003cbr\u003e Executed in 1922, the work embodies Frieseke's mature impressionist style. After spending nearly two decades in the artist's colony at Giverny, Frieseke moved to a farm in Normandy in 1920, and his art of this period concentrated almost solely on the female figure. \u003cem\u003eAt the Mirror\u003c\/em\u003e exemplifies his output of this age. The quietude of the room and the tranquility of the model are poignantly recorded by Frieseke, resulting in an idyllic image that approaches its subject in its most picturesque form. As a whole, the work demonstrates Frieseke's skillful use of impressionistic brushwork and diffuse light.  \u003cbr\u003e\u003cbr\u003e Born in Michigan in 1874, Frieseke studied his craft at the School of the Art Institute of Chicago. After briefly studying in New York, he moved to Paris in 1897 like many artists of his generation. There, he studied at the Académie Julian, where he worked under Benjamin Constant and Jean-Paul Laurens. In the ensuing years, he began to paint the intimate views of women in their boudoirs that would come to dominate his output throughout his career. \u003cbr\u003e\u003cbr\u003e Frieseke first visited the artist colony in Giverny in 1900, and just five years later, he would settle there. The work he created while in Giverny was among the most significant of his career. He and his wife frequently visited Claude Monet, who was a close neighbor, though they more commonly discussed gardens than their artwork. In 1920, Frieseke was appointed a Chevalier of the Legion of Honor, a remarkable achievement for an American painter. Today, his works can be found in museums around the world, including the Detroit Institute of the Arts, the Minneapolis Institute of Arts, the Museum of Fine Arts (Houston) and the Thyssen-Bornemisza Museum (Madrid). \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming catalogue raisonné of Frieseke's work being compiled by Nicholas Kilmer, the artist's grandson. \u003cbr\u003e\u003cbr\u003e Circa 1922 \u003cbr\u003e\u003cbr\u003e Canvas: 32 3\/4\" high x 32 1\/4\" wide\u003cbr\u003e Frame: 43\" high x 42 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Macbeth Gallery, New York\u003cbr\u003e Sotheby's New York, May 25, 1988, Lot 194\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44335886205063,"sku":"31-2880","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2880_1_a73f8f71-5a37-40f7-89f6-17f5e38702a5.png?v=1775143357"},{"product_id":"almond-trees-in-spring-by-achille-lauge","title":"Almond Trees in Spring by Achille Laugé","description":"Achille Laugé\u003cbr\u003e 1861-1944 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAlmond Trees in Spring\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"A. Laugé\" (lower right)\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e This Neo-Impressionist landscape by the French artist Achille Laugé captures an orchard in late spring in his celebrated, highly modern style. The work displays a thick impasto thanks to the artist's distinctive technique of applying his paint in quick dabs, a characteristic of his later works. One of the foremost painters of the Post-Impressionist period, Laugé’s works are beloved for his sensitivity to light, shade and tone, and his mastery of medium is clearly on display in \u003cem\u003eAlmond Trees in Spring\u003c\/em\u003e. The light blue of the sky and the more muted colors of the field, along with the cottony white and pink tones of the blossoming trees create a scenic and calm composition. \u003cbr\u003e\u003cbr\u003e Born in 1861 to wealthy farmers, he moved to Toulouse at the age of 17 to study pharmacy. At this time, he also enrolled part-time at the school of the Beaux-Arts, where he befriended the artist Bourdelle. Three years later, he moved to Paris, where he studied under the famous masters Alexandre Cabandel and Aristide Maillol, making his debut at the \u003cem\u003eSalon\u003c\/em\u003e in 1884. Like many other artists of his generation, Laugé eventually rejected the conservative ideals of this teacher, falling under the Post-Impressionist influence of George Seurat. By 1888, his landscapes became assiduous experiments in complementary colors and light on canvas. He exhibited three paintings at the \u003cem\u003e Salon des Indépendants\u003c\/em\u003e in 1894, as well as with the Nabis that same year. In addition, Laugé held several one-man shows in Paris, Toulouse and Perpignan from 1907 to 1930. \u003cbr\u003e\u003cbr\u003e It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896, Laugé composed his pictures with small points of color. At the end of the century, he abandoned the dots and dabs and painted his landscapes, portraits and still-lives with thin, systematically placed strokes resembling crosshatching. After 1905, he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the translucence of southern light. Today, his exceptional works can be found in museums throughout France, including the Musée D'Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Canvas: 21\" high x 28 1\/2\" wide\u003cbr\u003e Frame: 32 3\/4\" high x 40\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galleris Maurice Sternberg, Chicago\u003cbr\u003e Private collection, Texas, 1975\u003cbr\u003e Private collection, Broadway, UK\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238532915335,"sku":"31-3146","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3146_1_da40b300-a9ae-4767-908f-31e11a2f3694.png?v=1717922680"},{"product_id":"fleurs-dans-un-vase-avec-partition-musicale-by-paul-gauguin","title":"Fleurs dans un vase avec partition musicale by Paul Gauguin","description":"Paul Gauguin \u003cbr\u003e 1848-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase avec partition musicale\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Flowers in vase with musical score)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “P. Gauguin 74\/76” (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Works by the legendary Paul Gauguin, particularly those comprising his still lifes, are rare treasures. This remarkable composition, entitled \u003cem\u003eFleurs dans un vase avec partition musicale (Flowers in a Vase with Musical Score)\u003c\/em\u003e, stands as an important glimpse of the master’s unparalleled eye for color, composition and expressive brushwork. \u003cbr\u003e\u003cbr\u003e Using an extraordinary palette of soft pastels and rich jewel tones, Gauguin renders the central bouquet in luminous splendor that emerges in three dimensions against the neutral background. The wrinkled edges of the musical score are almost palpable, painted with the same thick impasto that gives the lush blooms their lifelike energy. \u003cbr\u003e\u003cbr\u003e When viewing this composition, it is easy to see the technical proficiency that garnered the attention and admiration of fellow artists, including Camille Pissarro, Vincent van Gogh and Edgar Degas. It was Pissarro who persuaded Gauguin to submit a painting to the Salon of 1876. Both Pissarro and Degas were so impressed by his work that they extended an invitation to Gauguin to exhibit at the Impressionist Exhibition of 1879 and subsequent exhibitions thereafter. Even after the Impressionists held their final official exhibition in 1886, Gauguin maintained his association with Pissarro as the movement transitioned into Post-Impressionism. \u003cbr\u003e\u003cbr\u003e Endowed with an exceptional sense of color and a fervent appreciation for life, he initially engaged in painting merely as a leisure activity. This hobby became his life’s calling in 1882, following the financial setback he experienced due to the Paris stock market crash, which resulted in the loss of his position as a stockbroker. Gauguin’s work, distinguished by its vibrant individuality, would go on to change the course of art history, and his instantly recognizable paintings are held in the world’s most esteemed museums and private collections. Still lifes similar to this one are owned by the National Gallery of Art, the Philadelphia Museum of Art and the Museo National Thyssen-Bornemisza, Madrid. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase avec partition musicale\u003c\/em\u003e is accompanied by a certification from The Art Loss Register and is featured in the 1964 and 2002 Wildenstein catalogues raisonnés on the artist.  \u003cbr\u003e\u003cbr\u003e Circa 1874-76  \u003cbr\u003e\u003cbr\u003e Canvas: 16” high x 10 3\/8” wide (40.64 x 27.31 cm)\u003cbr\u003e Frame: 22 1\/4” high x 16 7\/8” wide (56.52 x 42.86 cm) \u003cbr\u003e\u003cbr\u003e View the dossier: \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8610.pdf\" target=\"_blank\"\u003eFleurs dans un vase avec partition musicale by Paul Gauguin\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Armand Parent, Paris, circa 1921\u003cbr\u003e Otto Nierenstein, Vienna, circa 1928\u003cbr\u003e Kunstsalon Abels, after 1950\u003cbr\u003e Römer, Germany, circa 1950\u003cbr\u003e  Private collection, Düsseldorf, circa 1988\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, Virginia \u003cbr\u003e\u003cbr\u003e Literature: \u003cbr\u003e Charles Chassé, \u003cem\u003eGauguin et le groupe de Pont-Aven\u003c\/em\u003e, Paris, 1921, p. 64\u003cbr\u003e Wilhelm Barth, \u003cem\u003ePaul Gauguin\u003c\/em\u003e, 1929, p. 41\u003cbr\u003e Lee van Dovski, \u003cem\u003eGauguin\u003c\/em\u003e, 1950, no. 1, p. 338\u003cbr\u003e Georges Wildenstein, \u003cem\u003eGauguin\u003c\/em\u003e, vol. 1, Paris, 1964, no. 9, p. 5, illustrated\u003cbr\u003e Merete Bodelsen, \"The Dating of Gauguin’s Early Paintings,\" \u003cem\u003eThe Burlington Magazine,\u003c\/em\u003e June 1965, p. 309\u003cbr\u003e Daniel Wildenstein, \u003cem\u003eGauguin: A Savage in the Making. Catalogue Raisonné of the Paintings (1873-1888)\u003c\/em\u003e, vol. 1, 2002, Paris and Milan, no. 36, p. 37, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited: \u003cbr\u003e Basel, Kunsthalle, 1928, no. 1 (as \u003cem\u003eBunch of Flowers in Blue Vase\u003c\/em\u003e, 1874)\u003cbr\u003e Berlin, Thannhauser, 1928, no. 2","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44553379676295,"sku":"31-8610","price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8610_1.png?v=1781536903"},{"product_id":"la-fete-foraine-de-nuit-a-batz-sur-mer-by-ferdinand-du-puigaudeau","title":"La fête foraine de nuit à Batz-sur-Mer by Ferdinand du Puigaudeau","description":"Ferdinand du Puigaudeau\u003cbr\u003e 1864-1930 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa fête foraine de nuit à Batz-sur-Mer\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Nighttime Fair at Batz-sur-Mer\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed \"F. du Puigaudeau\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Glowing with a festive air, this bustling carnival scene is a quintessential work by French artist Ferdinand du Puigaudeau. Beloved for his vibrant compositions of country life, fairs and fireworks, du Puigaudeau cultivated a unique artistic vision that masterfully synthesized elements of Impressionism, Symbolism and Neo-Impressionism. \u003cbr\u003e\u003cbr\u003e The crowded night fair of \u003cem\u003eLa fête foraine de nuit à Batz-sur-Mer\u003c\/em\u003e comes to life under du Puigaudeau's energetic brushwork and vivid color palette. The composition displays a virtuosic luminosity, as a warm glow emanates from the carousel and du Puigaudeau's trademark fireworks light up the sky. The artist would have encountered this delightful scene while living on the Brittany coast after 1904, and he captured the distinct atmosphere and visual character of this region—like the medieval architecture and the white bonnets of the Breton women—with alluring accuracy. \u003cbr\u003e\u003cbr\u003e Du Puigaudeau was born in Nantes, France in 1864, and he was large ely a self-taught artist at the beginning of his career, teaching himself to paint on trips to Italy and Tunisia. In 1886, he arrived at the famous artist colony of Pont-Aven, where he met and was greatly influenced by Paul Gauguin. By 1890, du Puigaudeau was exhibiting works at the Salon of the Société Nationale des Beaux-Arts and with the famed gallerist Paul Durand-Ruel. In 1897, the famed Edgar Degas bought one of his \u003cem\u003eFireworks\u003c\/em\u003e through Durand-Ruel, and the two artists became fast friends. Today his works are held in major collections including the Thyssen-Bornemisza Museum in Madrid and the Indianapolis Museum of Art, among others. \u003cbr\u003e\u003cbr\u003e Circa 1905 \u003cbr\u003e\u003cbr\u003e Canvas: 23\" high x 31 1\/8\" wide (58.42 x 79.06 cm)\u003cbr\u003e Frame: 33\" high x 41 1\/4\" wide x 4 3\/8\" deep (83.82 x 104.78 x 11.11 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, France\u003cbr\u003e Sale, Christie's Paris, 20 June 2018, Lot 115\u003cbr\u003e Private Collection, acquired from above\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43999230197895,"sku":"31-8823","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8823_1_b47276c9-cda5-465e-b396-e00adda71937.png?v=1774942402"},{"product_id":"mercado-de-flores-mujer-cargando-un-nino-by-diego-rivera","title":"Mercado de flores (Mujer cargando un\r\nniño) by Diego Rivera","description":"Diego Rivera\u003cbr\u003e 1886-1957 | Mexican \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMercado de flores (Mujer cargando un niño)\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eFlower Market: Woman carrying a boy\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed and dated \"Diego Rivera 1951\" (lower right)\u003cbr\u003e Watercolor and ink on paper \u003cbr\u003e\u003cbr\u003e This exceptional painting, \u003cem\u003eMercado de flores (Mujer cargando un niño)\u003c\/em\u003e, embodies Diego Rivera's brilliance, capturing his signature subject in vibrant watercolor. With its radiant palette and bold line work, this painting captures Rivera at the height of his international fame and has a surprising connection to Baseball Hall of Fame legend, Waite \"Schoolboy\" Hoyt.  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMercado de flores\u003c\/em\u003e is a never-before-seen masterclass in watercolor, showcasing the electric color and dynamic composition that are the hallmarks of Rivera’s celebrated style. The women are vendors at a vibrant flower market, an important motif that Rivera painted often to celebrate the Aztec history of Mexico City. With the charming moment between mother and son at the center, this painting embodies Rivera's ability to transform an intimate moment into a powerful statement about dignity, labor and Mexican identity.  \u003cbr\u003e\u003cbr\u003e Painted in 1951, this work was gifted by Rivera to Waite Hoyt as a token of their friendship, and it has remained in the Hoyt family ever since. Rivera and Hoyt met in 1932, while Rivera was in New York working on his infamous \"Man at the Crossroads\" mural commission for Nelson Rockefeller and while Hoyt was pitching for the Brooklyn Dodgers. Hoyt was already famous as the starting pitcher for the greatest baseball team of all time—the 1927 New York Yankees—alongside Babe Ruth and Lou Gehrig. \u003cbr\u003e\u003cbr\u003e According to family lore, Rivera and Hoyt initially bonded over their shared love of art and baseball, and Hoyt gave Rivera tickets to a Dodgers game. Years later, in 1951, Rivera thanked Hoyt by gifting him this very watercolor. Hoyt had begun painting in the early 1950s, so perhaps it was also a gesture of encouragement and camaraderie from Rivera.  \u003cbr\u003e\u003cbr\u003e Born in Guanajuato City, Mexico, in 1886, Diego Rivera showed a talent for drawing at a very young age. He moved to Paris in 1907 to live and work with the great gathering of artists in Montparnasse. There, he was exposed to the burgeoning of Cubism, and his work fully embraced this new school of thought. In 1921, Rivera returned to Mexico, where he undertook government-sponsored murals that reflected his political perspective in historical contexts. By the time this watercolor was painted in 1951, Rivera had completed major murals across Mexico and the United States, making him one of the most famous artists in the world. \u003cbr\u003e\u003cbr\u003e Rivera's importance has only grown with time, and his market continues to demand millions at auction today. Many of the world's most important museums hold his paintings, including the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Dallas Museum of Artand the Museo Nacional de Arte in Mexico City. In 1964, the Mexican government established export regulations to protect Rivera's artworks and keep them in the country, designating them as “artistic monuments” that are now extremely difficult to come by outside of Mexico. \u003cbr\u003e\u003cbr\u003e Dated 1951 \u003cbr\u003e\u003cbr\u003e Paper: 21 1\/4\" high x 26 1\/2\" wide (53.98 x 67.31 cm)\u003cbr\u003e Frame: 32 1\/4\" high x 38\" wide x 1\" deep (81.92 x 96.52 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1121.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Waite Hoyt, New York, acquired from the artist circa 1951\u003cbr\u003e By descent from the above\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Consejo Nacional para la Cultura y las Artes, Instituto Nacional de Bellas Artes, \u003cem\u003eDiego Rivera: Catálogo General de Obra de Caballete\u003c\/em\u003e, Mexico, 1989, no. 2021, p. 263, illustrated","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43673058934919,"sku":"32-1121","price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1121_1.png?v=1767191563"},{"product_id":"tender-years-moth-holes-by-norman-rockwell","title":"Tender Years: Moth Holes by Norman Rockwell","description":"Norman Rockwell\u003cbr\u003e 1894-1978 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTender Years: Moth Holes\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Norman Rockwell\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e From Norman Rockwell's acclaimed \u003cem\u003eFour Seasons\u003c\/em\u003e calendar series for Brown \u0026amp; Bigelow, \u003cem\u003eTender Years: Moth Holes\u003c\/em\u003e represents the artist's masterful exploration of mature American relationships and his unparalleled ability to transform ordinary domestic moments into profound artistic narratives. This 1957 painting displays Rockwell's sentimental commitment to celebrating the \"charms and comforts of maturity\" during an era obsessed with youth. \u003cbr\u003e\u003cbr\u003e The composition presents a couple discovering the unfortunate fate of their stored seasonal clothing, with the husband displaying his moth-riddled red long underwear while his wife examines the damage with resigned familiarity. Rockwell's meticulous attention to detail manifests in every element: the weathered wooden trunk with its brass fittings, the scattered moths dancing above the scene, the couple's expressive faces and the comfortable acceptance that comes with decades of shared domestic trials. The careful rendering of textures—from the soft wool of the sweaters to the worn leather of the trunk—demonstrates Rockwell's technical virtuosity at every turn. \u003cbr\u003e\u003cbr\u003e Norman Rockwell stands as America's most beloved illustrator, whose work transcended commercial art to become a defining visual narrative of 20th-century American life. His Brown \u0026amp; Bigelow calendar series (1948-1964) ranks alongside his Saturday Evening Post covers as works that elevated him from celebrated illustrator to national institution. Rockwell's extraordinary ability to find profound meaning in everyday moments earned him the Presidential Medal of Freedom in 1977, the highest civilian honor bestowed upon American citizens. His art, characterized by meticulous detail and emotional depth, captures the essence of the American spirit with an authenticity that continues to resonate across generations. Museums worldwide, including the Norman Rockwell Museum in Stockbridge, Massachusetts, preserve and celebrate his legacy as an artist who documented American values, aspirations and the tender moments that unite us all. \u003cbr\u003e\u003cbr\u003e Painted 1957 \u003cbr\u003e\u003cbr\u003e Canvas: 17 1\/2\" high x 17 1\/2\" wide (44.45 x 44.45 cm)\u003cbr\u003e Frame: 26 1\/8\" high x 26 1\/8\" wide (66.36 x 66.36 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Judy Goffman Fine Art, New York\u003cbr\u003e Illustration House, New York\u003cbr\u003e Private collection, Florida\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, vol. I, Stockbridge, 1986, no. A151, p. 353, illustrated in color","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43784303313031,"sku":"32-1342","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1342_1_d51df768-101f-4f92-a75a-a7565199a619.png?v=1769784682"},{"product_id":"nine-of-cups-by-salvador-dali","title":"Nine of Cups by Salvador Dalí","description":"Salvador Dalí\u003cbr\u003e 1904-1989 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNine of Cups\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Dalí’\" (top center)\u003cbr\u003e Gouache on photographic background \u003cbr\u003e\u003cbr\u003e This original gouache is a part of Salvador Dalí’s sought-after deck of custom-made tarot cards. The original commission for the design came from Albert Broccoli, the producer of the James Bond film \u003cem\u003eLive and Let Die\u003c\/em\u003e, who wanted an original tarot card deck to use in the film. Though the contractual agreement eventually fell through, Dalí continued the project of his own accord, largely thanks to the inspiration of his wife Gala, who had an interest in mysticism.  \u003cbr\u003e\u003cbr\u003e The Surrealist maestro drew upon a number of influences to complete the deck, which comprised 78 cards in total—22 major arcana and 56 minor. His own self-portrait served as the Magician card, while his beloved wife Gala naturally posed for the Empress. Jan Gossaert’s 1516 Renaissance work \u003cem\u003eNeptune and Amphitrite\u003c\/em\u003e was the basis for the Lovers card, and the Queen of Cups card represents a fascinating marriage of Duchamp’s iconic Mona Lisa remix,\u003cem\u003e L.H.O.O.Q.\u003c\/em\u003e, with a portrait of Elizabeth of Austria. The iconography of the deck is as eclectic as one would expect from the Surrealist master; it is little wonder that it took him 10 years to complete the project. \u003cbr\u003e\u003cbr\u003e This gouache is among the original 56 minor arcana cards, depicting the Nine of Cups. In tarot tradition, the Nine of Cups is an invitation to indulge in life's pleasures, including good food and wine, the arts and carnal desires. The card usually features a seated man with his arms crossed, wearing a plumed red turban-like hat with nine cups appearing above him. In his interpretation of the card, Dalí utilizes a photographic print of a 17th- or 18th-century portrait of a seated courtly lady wearing a similar turban-like headdress. A silver chalice appears just above her, and Dalí painted nine yellow cups throughout the composition, giving the card its namesake and underscoring the bacchanalia and indulgence the card represents. Flanking the painting in gouache, a man and woman in profile both close their eyes sensuously, adding to the card’s emphasis on pleasure.  \u003cbr\u003e\u003cbr\u003e After Dalí completed his deck, the original cards were assembled and published in a limited art edition in 1984. While a number of editions have since been printed of the cards, the present \u003cem\u003eNine of Cups\u003c\/em\u003e is the artist’s original gouache creation. \u003cbr\u003e\u003cbr\u003e Born in Catalonia in 1904, Dalí was formally educated in the fine arts in Madrid, particularly falling under the influence of the Impressionists and the Renaissance masters. At a young age, he became associated with the Madrid avant-garde group Ultra, though he eventually became more acquainted with other movements such as Cubism, Dada and Futurism. By the late 1920s, his mature Surrealist style had already begun to emerge, and in 1929 he officially burst onto the avant-garde art scene with his \u003cem\u003eUn Chien Andalou\u003c\/em\u003e, a short film he made with Spanish director Luis Buñuel. \u003cbr\u003e\u003cbr\u003e Today, he is remembered as one of the most legendary and significant contributors to Surrealism. His \u003cem\u003ePersistence of Memory\u003c\/em\u003e, with its melting clocks, is arguably the most recognizable painting of the movement. Two museums—one in St. Petersburg, Florida and another in Catalonia—are entirely devoted to his oeuvre; other important works by the artist can be found in the Museum of Modern Art (New York), the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Philadelphia Museum of Art and the National Gallery of Art (Washington, D.C.), among many others. \u003cbr\u003e\u003cbr\u003e Circa 1971 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, New York\u003cbr\u003e Private collection, London, acquired from the above in 2009\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43057690607751,"sku":"32-1426","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1426_1_7b32105a-648f-4915-afec-a1543c493a85.png?v=1755559610"},{"product_id":"la-neige-au-grand-lemps-by-pierre-bonnard","title":"La neige au Grand-Lemps by Pierre Bonnard","description":"Pierre Bonnard\u003cbr\u003e 1867-1947 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa neige au Grand-Lemps\u003cbr\u003e (The Snow at Grand-Lemps)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Bonnard\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Pierre Bonnard is widely celebrated as one of the greatest colorists in art history, central to the evolution of modern art. His captivating canvases are distinguished by their luminosity and chromatic complexity, and this rare winter landscape is no exception. \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e captures one of Bonnard's most beloved locales and embodies his lifelong fascination with—and mastery of—the color white. \u003cbr\u003e\u003cbr\u003e Painted in 1910, \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e reflects a pivotal moment in Bonnard’s artistic practice. As a founder of the influential group \u003cem\u003eLes Nabis\u003c\/em\u003e, Bonnard was known throughout the 1890s for his colorful, highly complex interior scenes that infused the everyday with symbolic meaning. Around 1900, Bonnard drifted away from the bustle of Paris and traveled Europe with his friend Édouard Vuillard, finding new inspiration in the idyllic landscapes of France. \u003cbr\u003e\u003cbr\u003e Unlike the Impressionists who painted \u003cem\u003een plein air\u003c\/em\u003e, Bonnard painted almost entirely from memory—and this painting evocatively depicts the scenery of his childhood in Le Grand-Lemps. This work also reveals Bonnard’s obsession with capturing the elusive brilliance of white. He composes the entire painting around this color, carefully layering hundreds of subtle hues to bring the snow, ice and winter sky shimmering to life. \u003cbr\u003e\u003cbr\u003e Bonnard's landscapes are exceptionally rare today, especially snowy scenes such as this one. With its prestigious provenance and exhibition history, this work is an exceptional, museum-caliber masterpiece. Similar landscapes by Bonnard belong to important museum collections worldwide, including the Metropolitan Museum of Art, the Tate Modern and the National Gallery of Art in Washington, D.C. The Musée Bonnard is dedicated entirely to the artist's legacy, and \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e was exhibited there in 2024. \u003cbr\u003e\u003cbr\u003e Born in 1867 in Fontenay-aux-Roses, Bonnard initially studied law before training as an artist at the Académie Julian and the École des Beaux-Arts. Aligning himself with the Symbolist avant-garde, he founded the important group, Les Nabis, along with Maurice Denis and Édouard Vuillard. Known for his intimate interior scenes and evocative nudes, Bonnard developed a highly sophisticated and unique color palette that earned him widespread acclaim. The artist spent his later decades in the South of France, where he continued to refine an increasingly introspective style until his death in 1947. His commitment to the subtleties of perception and color secured his position as one of the most influential figures in modern art, and his landscapes remain among the most sought-after expressions of his lifelong pursuit of visual sensation. \u003cbr\u003e\u003cbr\u003e Painted 1910 \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/2\" high x 25 1\/2\" wide (49.53 x 64.77 cm)\u003cbr\u003e Frame: 28 1\/2\" high x 34 3\/4\" wide x 3\" deep (72.39 x 88.27 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1819.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Charles Terrasse, Paris (artist's nephew), by descent from the artist\u003cbr\u003e Thence by descent\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e A. Terrasse, \u003cem\u003eBonnard\u003c\/em\u003e, Geneva, 1965, p. 51 (illustrated)\u003cbr\u003e J. \u0026amp; H. Dauberville, \u003cem\u003eBonnard, Catalogue raisonné de l'oeuvre peint\u003c\/em\u003e, vol. II, 1906-1919, Paris, 1968, no. 609, p. 200 (illustrated)\u003cbr\u003e \u003cem\u003eBonnard: The Late Paintings\u003c\/em\u003e, exhibition catalog, New York, 1984, p. 178 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Orangerie des Tuileries, \u003cem\u003eBonnard\u003c\/em\u003e, 1947, no. 44\u003cbr\u003e Edinburgh, Royal Scottish Academy, \u003cem\u003eExhibition of Paintings by Pierre Bonnard and Edouard Vuillard\u003c\/em\u003e, 1948, no. 33, p 12\u003cbr\u003e Basel, Musée des Beaux-Arts, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1955, no. 41, p. 23\u003cbr\u003e Nice, Musée de Ponchettes, \u003cem\u003eBonnard\u003c\/em\u003e, 1955, no. 14, p. 27\u003cbr\u003e Paris, Galerie Bernheim-Jeune, \u003cem\u003eHommage à Bonnard\u003c\/em\u003e, 1956, no. 18\u003cbr\u003e Munich, Haus der Kunst, Secession Gallery, \u003cem\u003eEuropaïsche Kunst\u003c\/em\u003e, 1964, no. 41\u003cbr\u003e London, Royal Academy of Arts, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966, no. 94\u003cbr\u003e Oslo, Kunstnerforbundet, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966, no. 9\u003cbr\u003e Munich, Haus der Kunst, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966-1967, no. 59 (illustrated)\u003cbr\u003e Paris, Orangerie des Tuileries, \u003cem\u003eCentenaire de la naissance de Pierre Bonnard\u003c\/em\u003e, 1967, no. 66 (illustrated)\u003cbr\u003e Colmar, Musée d'Unterlinden, \u003cem\u003eAutour d'une acquisition, Bonnard\u003c\/em\u003e, 1982\u003cbr\u003e Paris, Galerie Schmit, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1995, no. 22 (illustrated)\u003cbr\u003e Musée Bonnard, le Cannet, 2024\u003cbr\u003e Paris, Fondation Maeght, \u003cem\u003eBonnard \u0026amp; Matisse: A Friendship\u003c\/em\u003e, 2024","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44528119349383,"sku":"32-1819","price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1819_1.png?v=1785328316"},{"product_id":"grainstacks-in-the-plains-of-ajoux-giverny-by-theodore-earl-butler","title":"Grainstacks in the Plains of Ajoux, Giverny by Theodore Earl Butler","description":"Theodore Earl Butler\u003cbr\u003e 1861-1936 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGrainstacks in the Plains of Ajoux, Giverny\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Theodore Earl Butler was one of the leading American Impressionists, known for his vibrant landscapes that displayed his virtuosity with color, light and texture. This stunning canvas, entitled \u003cem\u003eGrainstacks in the Plains of Ajoux, Giverny\u003c\/em\u003e, is quintessential Butler, and it also pays homage to his most important mentor, Claude Monet. \u003cbr\u003e\u003cbr\u003e Butler was one of the only Americans that Monet allowed into his inner circle in Giverny, and the two artists frequently painted alongside each other. This work embodies Butler's profound admiration for Monet, both in its extraordinary atmospheric effects and in its subject of the haystack—one of Monet's most iconic motifs. An explosion of electric color and light, the painting perfectly blends Butler's Impressionist roots with a brilliant palette that is distinctly his own. \u003cbr\u003e\u003cbr\u003e Born in Columbus, Ohio, in 1861, Butler moved to New York in 1882 to study at the Art Students League under several major American artists, including William Merritt Chase. Within three years, the young artist had moved to Paris, receiving an honorable mention at the Salon of 1888. This would prove to be a fateful year for Butler, when he also met and befriended Claude Monet and moved to Giverny to join the thriving artist community there. He eventually became Monet's son-in-law, marrying his stepdaughter, Suzanne Hoschedé in 1892. Butler would briefly return to the United States between 1913 and 1921, creating important murals and participating in major exhibitions such as the Armory Show, and then return to Giverny until his death in 1936. \u003cbr\u003e\u003cbr\u003e This work will be included in Patrick Bertrand's forthcoming catalogue raisonné on the artist. \u003cbr\u003e\u003cbr\u003e Circa 1897 \u003cbr\u003e\u003cbr\u003e Canvas: 20 5\/8\" high x 28 1\/8\" wide (52.39 x 71.44 cm)\u003cbr\u003e Frame: 29\" high x 36 1\/2\" wide x 2 3\/4\" deep (73.66 x 92.71 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Estate of the above\u003cbr\u003e By descent through the artist's family\u003cbr\u003e Patrick Bertrand, Oakland, California, acquired from the above, 1997\u003cbr\u003e Private Collection, 1999\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44024810537095,"sku":"32-1959","price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1959_1_dc2d27f7-dc55-4040-a01d-6c8cb8819b89.png?v=1785432095"},{"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_5e52282a-6568-4eae-9074-162bf078ec28.png?v=1783696876"},{"product_id":"la-baie-de-lampaul-ile-d-ouessant-by-henry-moret","title":"La baie de Lampaul, île d’Ouessant by Henry Moret","description":"Henry Moret\u003cbr\u003e 1856–1913 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa baie de Lampaul, île d'Ouessant\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Henry Moret 97\" (lower right)\u003cbr\u003e Inscribed \"La baie de Lampaul Ouessant\" (on stretcher)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Painted at the height of his career, Henry Moret's \u003cem\u003eLa baie de Lampaul, île d'Ouessant\u003c\/em\u003e stands as a supreme achievement among his celebrated Brittany seascapes. The shimmering azure waters, sun-warmed rock formations and luminous coastal light of the île d'Ouessant—one of Moret's most beloved and frequently revisited motifs—are rendered with a vibrancy and technical mastery that place this canvas among the finest examples of Post-Impressionist landscape painting available outside a museum collection. \u003cbr\u003e\u003cbr\u003e The composition pulses with chromatic energy. The surface of the Bay of Lampaul is animated by hundreds of carefully layered brushstrokes, each contributing to the water's luminous, shifting character. Warm, orange-red rock formations emerge from the sea with geological weight, their earthen tones providing a vivid counterpoint to the brilliant blues and greens that dominate the scene. Fresh grass blankets the hillsides in rich, varied greens, while Moret weaves additional tonal accents throughout with a painter's instinct for harmony and contrast.  \u003cbr\u003e\u003cbr\u003e Henry Moret occupies a distinguished place in the Post-Impressionist tradition as one of the most accomplished painters to emerge from the celebrated Pont-Aven circle. His attachment to Brittany began during his military service and deepened through his close association with Paul Gauguin and the Nabis, whose bold approach to color permanently transformed his palette. The île d'Ouessant, perched at the western extreme of the Breton coast, became a defining subject in Moret's oeuvre — its ever-changing seas and skies offering an inexhaustible source of painterly inspiration. By 1897, when this work was executed, Moret had secured a pivotal relationship with the influential dealer Paul Durand-Ruel, who championed his work across Europe and the United States and presented him with a coveted solo exhibition in 1898. As fellow artist Maxime Mofra observed, \"Coasts, forests, valleys, in every season Moret observed them with all his senses, reproducing them with all his spirit and sincerity.\" Today, Moret's Brittany paintings are held by world-famous institutions, among them the Musée d'Orsay, the Museum of Fine Arts in Boston and the National Gallery of Art in Washington, D.C. \u003cbr\u003e\u003cbr\u003e This work is listed in Jean-Yves Rolland’s archives and will be included in the catalogue raisonné currently in preparation. \u003cbr\u003e\u003cbr\u003e Painted 1897 \u003cbr\u003e\u003cbr\u003e Canvas: 21\" high x 25\" wide (53.3 x 63.5 cm)\u003cbr\u003e Frame: 29 3\/8\" high x 33 1\/2\" wide x 3\" deep (74.6 x 85.1 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2137.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Abels, Cologne:\u003cbr\u003e Private Collection, Germany:\u003cbr\u003e Private Collection, France:\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44003911794823,"sku":"32-2137","price":498500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2137_1.png?v=1785864039"},{"product_id":"falaise-en-normandie-by-gustave-caillebotte","title":"Falaise en Normandie by Gustave Caillebotte","description":"Gustave Caillebotte\u003cbr\u003e 1848-1894 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFalaise en Normandie\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped “G. Caillebotte” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Gustave Caillebotte was among the most visionary and influential artists of the 19th century. This extraordinary Normandy landscape embodies the artist at his most adventurous and expressive, brimming with rich color and energetic brushwork. Painted circa 1880 during the height of his career, \u003cem\u003eFalaise en Normandie\u003c\/em\u003e beautifully captures the iconic towering cliffs with the artist's signature brilliance. \u003cbr\u003e\u003cbr\u003e Even among his trailblazing Impressionist contemporaries, Caillebotte stood out for his distinctive vision marked by dynamic perspectives and precise details. Here, he perfectly composes the scene to emphasize the pure drama of the Normandy cliffs, with the swirl of rocks in the foreground making the colorful cascade of the cliffs even more towering in the background. Caillebotte also pushes his brushwork to new heights, beautifully layering the thickness of his paint to create the illusion of depth and movement. \u003cbr\u003e\u003cbr\u003e By 1880, when \u003cem\u003eFalaise en Normandie\u003c\/em\u003e was painted, Caillebotte was looking for inspiration beyond the streets of Paris. This masterwork belongs to an important series of works painted during Caillebotte’s transformative summers along the windswept cliffs of Normandy, where he explored landscape painting with exceptional vigor. \u003cbr\u003e\u003cbr\u003e More than an artist, Caillebotte was also among the earliest and most important collectors of his fellow Impressionists, acquiring nearly 70 masterpieces by Monet, Renoir, Degas and many others. Upon his death, he bequeathed these works to the French state, and they would later serve as the cornerstone of the great Musée d’Orsay’s founding, securing Impressionism’s lasting fame. \u003cbr\u003e\u003cbr\u003e Caillebotte's life was tragically short, and the artist created only around 450 paintings in total, with the majority of these in renowned museums and important private collections worldwide, including the Musée d'Orsay, the National Gallery of Art, the Metropolitan Museum of Art and many others. There has also been renewed scholarly and collecting interest in his works in recent years, with several critically acclaimed exhibitions such as the Musée d'Orsay's \u003cem\u003eCaillebotte: Painting Men\u003c\/em\u003e (2024-25), which traveled to the J. Paul Getty Museum and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Canvas: 32\" high x 25 5\/8\" wide (81.2 x 65.2 cm)\u003cbr\u003e Frame: 39 1\/4\" high x 32 1\/2\" wide x 2 1\/4\" deep (99.7 x 82.6 x 5.7 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2326.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e Private collection, France, by descent from the above\u003cbr\u003e Private collection, acquired from the above \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Marie Berhaut, \u003cem\u003eLa Vie et l’oeuvre de Gustave Caillebotte\u003c\/em\u003e, Paris, 1951, no. 115, illustrated n.p.\u003cbr\u003e Marie Berhaut, \u003cem\u003eCaillebotte, Sa vie et son oeuvre: Catalogue raisonné des peintures et pastels\u003c\/em\u003e, Paris, 1978, no. 163, illustrated p. 137 (titled Falaise à Villiers-sur-mer and with incorrect dimensions)\u003cbr\u003e Marie Berhaut, \u003cem\u003eGustave Caillebotte: Catalogue raisonné des peintures et pastels\u003c\/em\u003e, Paris, 1994, no. 177, illustrated p. 142 (with incorrect dimensions) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Lausanne, Fondation de l'Hermitage, \u003cem\u003eCaillebotte au cœur de l'impressionnisme\u003c\/em\u003e, 2005, no. 51, illustrated in color in the catalogue\u003cbr\u003e Bremen, Kunsthalle Bremen; Copenhagen, Ordrupgaard \u0026amp; Madrid, Museo Nacional Thyssen-Bornemisza, \u003cem\u003eGustave Caillebotte\u003c\/em\u003e, 2008-09, no. 31, illustrated in color in the catalogue (with incorrect dimensions)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44256932233351,"sku":"32-2326","price":1950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2326_1_ae69702c-3ac7-418c-b995-1c5c18a59263.png?v=1781824903"},{"product_id":"danseuse-en-rose-by-edgar-degas","title":"Danseuse en Rose by Edgar Degas","description":"Edgar Degas\u003cbr\u003e 1834-1917 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDanseuse en rose\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamp signed \"Degas\" (lower left)\u003cbr\u003e Pastel on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e\"When you see his pastels…! When you think that he managed to achieve the tone of frescoes with a material so unpleasant to handle!\" —Pierre-Auguste Renoir on Degas\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Edgar Degas’ dancers require little by way of introduction—no artist better captured the fluid grace and ephemeral beauty of the ballet. This exceptionally rare pastel on canvas, titled \u003cem\u003eDanseuse en rose\u003c\/em\u003e, is among the most extraordinary the great artist ever painted—a masterpiece of grand scale, radiant beauty and iconic subject. \u003cbr\u003e\u003cbr\u003e This extraordinary pastel hails from the height of Degas’ career, circa 1877-80. The opening of the Palais Garnier in 1875 transformed Parisian cultural life and offered the artist easy access to the world of performers. Degas soon became widely acclaimed, hailed as the definitive “painter of dancers.” This pivotal period for Degas also coincided with the meteoric rise of Rosita Mauri, the celebrated prima ballerina who is at the center of this pastel.  \u003cbr\u003e\u003cbr\u003e Rosita Mauri was the great star of the Paris Opéra at this time, admired not only for her technical brilliance but for her commanding stage presence, which Degas captured perfectly in \u003cem\u003eDanseuse en rose\u003c\/em\u003e. It is quite difficult to identify most dancers in Degas’ oeuvre, but Mauri was among the most famous and beloved ballerinas of her day. Similar pastels of Mauri on stage belong to prestigious museums, including the Art Institute of Chicago and the Musée d’Orsay.  \u003cbr\u003e\u003cbr\u003e The monumental beauty of \u003cem\u003eDanseuse en rose\u003c\/em\u003e is breathtaking at every turn. Degas captured Mauri \u003cem\u003een pointe\u003c\/em\u003e, gracefully suspended between stillness and motion—a hallmark of the artist’s genius for rendering fluid motion. Her elaborate costume shimmers in harmony with the colorful stage scenery, creating a spontaneous symphony of energy and vibrancy. Her face is rendered with exceptionally delicate beauty—a rarity among Degas’ dancers, who he often portrayed under harsh, unflattering lights. \u003cbr\u003e\u003cbr\u003e This wonderful work of art also has great scale—over three feet high—and is unique for being on canvas. The canvas allowed him to work much larger than his typical paper works and to achieve extraordinarily vivid colors and textures, which are still remarkably luminous almost 150 years later. \u003cbr\u003e\u003cbr\u003e This work’s provenance further elevates its importance. Danseuse en rose remained with Degas and his family for almost 100 years, when it then entered one of the most storied private collections of the 20th century—that of the Maharani Sita Devi Gaekwar of Baroda. Known throughout international society for her extraordinary taste and connoisseurship, she was often referred to as the “Indian Wallis Simpson.” The Maharani assembled a remarkable group of Impressionist masterworks, of which this Degas was a clear highlight. \u003cbr\u003e\u003cbr\u003e Given its provenance, beauty and rarity, \u003cem\u003eDanseuse en rose\u003c\/em\u003e is an undeniable masterpiece of Impressionism. Similar, but smaller, examples have gone for large sums at auction. These iconic works, however, hardly ever come to auction, as most of Degas' masterpiece ballerinas already reside in the world’s most prestigious museums, including the Musée d’Orsay, the Art Institute of Chicago, the Metropolitan Museum of Art, the MFA, Boston and many more. \u003cbr\u003e\u003cbr\u003e Circa 1877-80 \u003cbr\u003e\u003cbr\u003e Canvas: 35 3\/4” high x 28 1\/4” wide (90.81 x 71.76 cm)\u003cbr\u003e Frame: 44 3\/4” high x 37 1\/2” wide x 2 1\/2” deep (113.7 x 95.3 x 6.4 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2603.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist\u003cbr\u003e Sale of the above, Atelier Edgar Degas, Galerie G. Petit, Paris, 2nd sale, December 11-13, 1918, lot 110\u003cbr\u003e Roland Nepveu-Degas (Degas’ nephew), 1918, purchased at the above sale\u003cbr\u003e S.A.R. the Maharani Seethadevi Gaekwar de Baroda\u003cbr\u003e Sale of the above, Palais Galliéra, Paris, November 30, 1961, lot 4\u003cbr\u003e Micheline Maus, Switzerland\u003cbr\u003e Private collection, Geneva, acquired from the above in 2008\u003cbr\u003e Private collection, Germany\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Sale catalog, Atelier Edgar Degas, Galerie G. Petit, Paris, 2nd sale, December 11-13, 1918, no. 110, p. 61 (illustrated)\u003cbr\u003e Paul-André Lemoisne, \u003cem\u003eDegas et son œuvre\u003c\/em\u003e, Paris, 1946, vol. II, no. 468, p. 256-57 (illustrated)\u003cbr\u003e Sale catalog, Palais Galliéra, Paris, November 30, 1961, no. 4 (illustrated)\u003cbr\u003e Jacques Lassaigne, Fiorella Minervino, \u003cem\u003eTout l'oeuvre peint de Degas\u003c\/em\u003e, Paris, 1988, no. 539, p. 111 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Charpentier, \u003cem\u003eDanse et Divertissement\u003c\/em\u003e, 1948-1949, no. 59 (as \u003cem\u003eDanseuse sur les pointes\u003c\/em\u003e)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44567224582279,"sku":"32-2603","price":12500000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2603_1.png?v=1784582443"},{"product_id":"collioure-by-yvonne-canu","title":"Collioure by Yvonne Canu","description":"Yvonne Canu\u003cbr\u003e 1921-2008 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCollioure\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Canu\" (lower right)\u003cbr\u003e Signed and titled \"Collioure\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The port of the southern French town of Collioure shines in this vibrant oil on canvas by Yvonne Canu. The revered artist's masterful command of Pointillism is on full display, with precise dots of pure color brilliantly coalescing to form a stunning work of art. \u003cbr\u003e\u003cbr\u003e The commune of Collioure was a favorite of many Post-Impressionists, and notably served as the birthplace of Fauvism during Henri Matisse and Andre Derain’s 1905 sojourn there. This composition, depicting the town’s iconic Notre-Dame-des-Anges, reveals Canu's sophisticated approach, with vibrant oranges and yellows perfectly complementing the rich blues that dance across the sky and water. Canu's use of meticulous points of pigment and vivid hues results in this breathtaking scene full of vitality and light. \u003cbr\u003e\u003cbr\u003e Born in Morocco in 1921, Yvonne Canu traveled to Paris to study at the reputable École des Arts Décoratifs. She entered the circle of the French-Japanese painter Tsuguharu Foujita and the Impressionist Élisée Maclet, both of whom profoundly influenced the development of her style. She experimented with not only the Impressionist style but also Cubism early in her career. However, it would be the great Georges Seurat who had the most impact on her artistic aesthetic. Inspired by the artist's masterpiece \u003cem\u003eA Sunday Afternoon on the Island of Grande Jatte\u003c\/em\u003e, Canu adopted Divisionism with the pointillist technique and made the style her own. \u003cbr\u003e\u003cbr\u003e Late 20th century \u003cbr\u003e\u003cbr\u003e Canvas: 19\" high x 23 3\/4\" wide (48.3 x 60.3 cm)\u003cbr\u003e Frame: 26 3\/4\" high x 30 3\/4\" wide x 2\" deep (68 x 78.1 x 5.1 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44932437999751,"sku":"32-2729","price":48500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2729_1_54e80f9b-a6f4-47ff-b1cc-99ddad9b77c0.png?v=1781889799"},{"product_id":"bouquet-of-peonies-in-a-blue-vase-by-maurice-de-vlaminck","title":"Bouquet of Peonies in a Blue Vase by Maurice de Vlaminck","description":"Maurice de Vlaminck\u003cbr\u003e 1876-1958 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBouquet de pivoines dans un vase bleu\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eBouquet of Peonies in a Blue Vase\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “Vlaminck” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A vibrant celebration of color and form, \u003cem\u003eBouquet de pivoines dans un vase bleu\u003c\/em\u003e is a quintessential floral still life by Maurice de Vlaminck, one of the founders of Fauvism. A lush bouquet of red and pink peonies bursts from a deep blue vase, rendered with the artist’s characteristically bold brushwork and expressive use of color. Strong contrasts of light and shadow animate the composition, with the graceful folds of the drapery creating a rich backdrop for the vivid bouquet. The result is a striking still life that captures the energy and emotional intensity at the heart of Vlaminck's art. \u003cbr\u003e\u003cbr\u003e Vlaminck stands alongside Henri Matisse and André Derain as one of the three principal architects of the Fauve movement, the first major avant-garde development of the twentieth century. Largely self-taught, Vlaminck was transformed by Van Gogh after encountering the Dutch master's work at the Galerie Bernheim-Jeune in 1901. His influence is felt in this exceptional still life by Vlaminck, where the striking colors and bold brushwork capture the emotion and energy at the heart of the avant-garde art movements of the early 20th century. \u003cbr\u003e\u003cbr\u003e Born in Paris to a family of musicians, Vlaminck originally felt his career path would naturally lead to music, or even towards his talent as a bicyclist. The turning point in his life came in 1900, when a chance encounter with the artist André Derain on a derailed train led to an enduring friendship. Together, the two established a studio, forming what would become known as the École de Chatou. In 1905, Henri Matisse visited Vlaminck's studio and was struck by the ferocity of his canvases, encouraging Vlaminck to exhibit alongside him, Derain and others at the Salon des Indépendants and the historic Salon d'Automne of 1905. Vlaminck's works soon caught the eye of the influential dealer Ambroise Vollard, who purchased the entire contents of his studio in 1906 and mounted the artist's first solo exhibition the following year. \u003cbr\u003e\u003cbr\u003e Vlaminck served in the French reserves during World War I, a period that interrupted but did not diminish his creative ambitions. After the war, an exhibition at Galerie Druet in 1919 catapulted him to broader recognition, establishing his works among the most sought-after of the era. Now his works can be found in important collections such as the Metropolitan Museum of Art, the National Gallery of Art in Washington, D.C., the Dallas Museum of Art, the Virginia Museum of Fine Arts and many others. \u003cbr\u003e\u003cbr\u003e Circa 1913-14 \u003cbr\u003e\u003cbr\u003e This work has been authenticated by the Archives Vlaminck and will be included in the forthcoming catalogue raisonné of Maurice de Vlaminck’s work. \u003cbr\u003e\u003cbr\u003e Canvas: 25” high x 20 1\/2” wide (63.5 x 52.1 cm)\u003cbr\u003e Frame: 34 3\/4” high x 30” wide x 1 3\/4” deep (88.3 x 76.2 x 4.5 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Choiseul, Paris\u003cbr\u003e Private collection, France\u003cbr\u003e Private collection, Europe \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Maithe Valles-Bled, Maurice de Vlaminck: Regards sur L'oeuvre et sur l'artiste. 1907-1958, Seoul Arts Centre Hangaram Design Museum, Seoul 2017, p.35-36, illustrated p. 35, plate 14\u003cbr\u003e Maithe Valles-Blend, Vlaminck: Regards sur l'oeuvre et sur l'artiste, 1907-1958, Hiroshima Museum of Art, Hiroshima 2017, illustrated p. 28 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e South Korea, Seoul Arts centre, Vlaminck, 4th June – 21st August 2017; travelled to Yamanashi Prefectural Museum of Art, Kofu, Japan, 2nd September – 22nd October; Hiroshima Museum of Art, Hiroshima, Japan, 3rd November – 24th December 2017; Kitakyushu Municipal Museum of Art, Kitakyushu, Japan, 2nd January – 24th February 2018; Kumamoto Prefectural Museum of Art, Kumamoto, Japan, 12th April – 10th June 2018; Shizuoka City Museum of Art, Shizuoka, Japan, 28th July - 24th September 2018","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44983325556871,"sku":"32-2692","price":145000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2692_1.png?v=1782314458"},{"product_id":"hunting-scene-by-sir-alfred-j-munnings","title":"Hunting Scene by Sir Alfred J. Munnings","description":"Sir Alfred James Munnings \u003cbr\u003e 1878-1959 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eHunting Scene\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e Signed “A J Munnings” (lower right)\u003cbr\u003e Oil on board \u003cbr\u003e\u003cbr\u003e The exciting atmosphere of the hunt is masterfully captured in this exceptional painting by Sir Alfred James Munnings—widely considered among the world’s greatest equine painters.  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eHunting Scene\u003c\/em\u003e is a superior example of Munnings’ unmatched gift for interpreting the spirit and power of the horse in his works. Here, scarlet-coated huntsmen are seated on their beautifully poised mounts, building the anticipation of a hunt about to begin. With bold brushwork and a vibrant palette, Munnings transformed this traditional sporting subject into an iconic image of vitality, pageantry and English country life. \u003cbr\u003e\u003cbr\u003e Munnings, born and raised in the countryside of Suffolk, England, showed a talent for art at a young age. At 14, he became apprenticed to the lithography firm of Page Brothers, designing posters, and began studying painting at the Norwich School of Art at night. In 1899, he entered two works to the Royal Academy’s Summer Exhibition that were accepted with much acclaim. He soon gained favor for his captivating equine portraits, depicting these wondrous animals in a multitude of fashions, yet always staying true to their innate power, beauty and tender nature.  \u003cbr\u003e\u003cbr\u003e During World War I, Munnings also served the roles of war artist and horse processor in Canada, ensuring the safe and efficient delivery of military horses to the front in the latter position. He had spent his childhood surrounded by these majestic beasts and was well suited for this task. As a war artist, he executed drawings, watercolors and oils with the primary focus on the horse’s use both on the battlefield and behind the scenes. The Canadian War Records Exhibition at the Royal Academy after the war’s end included 45 of Munnings extraordinary paintings.  \u003cbr\u003e\u003cbr\u003e By the height of his career, Munnings was famous on both sides of the Atlantic, with patrons and friends that included Rothschilds, Astors, members of the royal family and Sir Winston Churchill. He went on to earn a knighthood and held the coveted position of President of the Royal Academy of Arts from 1944 to 1949. After his death in 1959, his home in Dedham was transformed into a museum dedicated entirely to his work. Other examples of Munnings' legendary equine paintings can be found in prestigious institutions worldwide, including the British Royal Collection, the Tate and the Yale Center for British Art. \u003cbr\u003e\u003cbr\u003e Circa 1920 \u003cbr\u003e\u003cbr\u003e Board: 14 5\/8\" high x 20\" wide (37.2 x 50.8 cm)\u003cbr\u003e Frame: 22\" high x 27 3\/8\" wide x 2\" deep (55.9 x 69.5 x 5.2 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, United States\u003cbr\u003e MacConnal-Mason, London, 2000\u003cbr\u003e Private collection, United Kingdom\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45011008782471,"sku":"32-2894","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2894_1_c07bca58-08e0-43c2-a07b-5c8bb488f6ae.png?v=1783797617"},{"product_id":"pilote-de-la-meuse-by-paul-signac","title":"Pilote de la Meuse by Paul Signac","description":"Paul Signac\u003cbr\u003e 1863–1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePilote de la Meuse\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"P Signac 1924\" (lower right) Oil on canvas \u003cbr\u003e\u003cbr\u003e Paul Signac stands among the great visionaries of modern art, celebrated as one of the pioneering forces behind Neo-Impressionism. Together with Georges Seurat, he revolutionized painting through a more deliberate and radiant science of color, replacing the spontaneity of Impressionism with a meticulous technique that allowed light and atmosphere to shimmer across the canvas. In \u003cem\u003ePilote de la Meuse\u003c\/em\u003e, painted in 1924, Signac brings this groundbreaking vision to one of his most beloved subjects: the waterways and wind-filled sails that inspired him throughout his life. \u003cbr\u003e\u003cbr\u003e Created during Signac’s mature period, this painting reveals an artist at the height of his expressive powers. By the 1920s, his handling of color had become more vibrant, confident and decorative than ever before. Here, his signature mosaic-like brushwork is united with brilliant jewel tones, transforming a quiet river scene into something radiant and alive. The water flickers with movement, the sails seem to catch the air and the entire composition pulses with the sensation of light in motion. \u003cbr\u003e\u003cbr\u003e The subject also reflects one of Signac’s greatest personal passions. A devoted sailor, he owned 32 boats over the course of his lifetime, and the rivers, harbors and open waters of France became central to his artistic vision. Rather than simply recording a view of the Meuse, Signac transforms the river into a dazzling symphony of color, rhythm and atmosphere. Every carefully placed stroke contributes to the harmony of the whole, revealing his extraordinary ability to balance structure with sensation. \u003cbr\u003e\u003cbr\u003e Further distinguished by exceptional provenance, \u003cem\u003ePilote de la Meuse\u003c\/em\u003e remarkably retains rare archival materials relating to its earliest sale, including the original 1924 invoice from Galerie Léon Marseille as well as correspondence between its first owner, Edmond Sussfeld, and Signac himself. These documents offer an extraordinary connection to the painting’s earliest history and deepen the significance of an already rare work. \u003cbr\u003e\u003cbr\u003e Masterwork oils by Signac are exceedingly rare on the market, as many already reside in the world’s most prestigious museums, including the Musée d’Orsay, the Metropolitan Museum of Art and the Minneapolis Institute of Art. Radiant, refined and deeply personal, \u003cem\u003ePilote de la Meuse\u003c\/em\u003e is a remarkable example of Signac’s signature genius. \u003cbr\u003e\u003cbr\u003e The painting is accompanied by its certificate of authenticity from Marina Ferretti-Bocquillon. \u003cbr\u003e\u003cbr\u003e Dated 1924 \u003cbr\u003e\u003cbr\u003e Canvas: 19” high x 25 1\/8” wide (48.3 x 63.8 cm)\u003cbr\u003e Frame: 27 3\/4” high x 33 3\/4” wide x 3 1\/4” deep (70.5 x 85.7 x 8.3 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Léon Marseille, Paris\u003cbr\u003e Collection of Edmond Sussfeld\u003cbr\u003e Private Collection, by descent\u003cbr\u003e Private Collection, Europe\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Françoise Cachin, Signac: Catalogue raisonné de l'oeuvre peint, Paris, 2000, no. 565, reproduced p. 323 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, 1930, Bernheim-Jeune, Paul Signac, no. 40, reproduced\u003cbr\u003e Paris, 1934, Petit-Palais, Paul Signac, no. 35\u003cbr\u003e Viroflay, 1965, Salon du Souvenir de Corot, 13th exhibition","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45113633210503,"sku":"32-2689","price":5450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2689_1.png?v=1784150482"},{"product_id":"fleurs-dans-un-vase-by-maurice-de-vlaminck","title":"Fleurs dans un vase by Maurice de Vlaminck","description":"Maurice de Vlaminck\u003cbr\u003e 1876-1958 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eFlowers in a Vase\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “Vlaminck” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A powerful floral still life from one of Maurice de Vlaminck’s most important periods, \u003cem\u003eFleurs dans un vase\u003c\/em\u003e captures the artist at a pivotal moment of transformation. Painted circa 1910–11, the work belongs to the years immediately following Vlaminck’s explosive Fauve breakthrough, when his art began to absorb the structural lessons of Paul Cézanne while retaining the emotional force, bold color and expressive brushwork that made him one of the great innovators of modern painting. \u003cbr\u003e\u003cbr\u003e The composition is both dramatic and vibrant. The flowers are rendered in bursts of red, white, yellow and green against passages of deep teal, ochre and shadow. Rather than describing the flowers with delicate naturalism, Vlaminck builds the scene through contrasting planes of color and texture. The result is a still life that feels both intimate and monumental, balancing the raw vitality of Fauvism with the greater compositional strength that defined his finest works of the early 1910s. \u003cbr\u003e\u003cbr\u003e Vlaminck stands alongside Henri Matisse and André Derain as one of the principal architects of Fauvism, the first major avant-garde movement of the twentieth century. Largely self-taught, he was deeply affected by the work of Vincent van Gogh, whose expressive brushwork and emotional use of color helped shape Vlaminck’s early style. By 1910, however, the artist was moving beyond pure Fauvist intensity, adopting a more structured and weighty approach inspired by Cézanne. This rare balance of passion and discipline makes works from 1910–11 especially compelling within Vlaminck’s oeuvre. \u003cbr\u003e\u003cbr\u003e Born in Paris to a family of musicians, Vlaminck first pursued music and competitive cycling before turning fully to painting. A chance meeting with André Derain in 1900 led to an enduring friendship and the formation of the École de Chatou, a circle that would help ignite the Fauve revolution. In 1905, Vlaminck exhibited alongside Matisse, Derain and others at the historic Salon d’Automne, where their radical use of color earned them the name “les fauves,” or “wild beasts.” The following year, the influential dealer Ambroise Vollard purchased the contents of Vlaminck’s studio, securing his reputation as one of the most daring artists of his generation. Vlaminck’s works are held in major collections around the world, including the Metropolitan Museum of Art, the National Gallery of Art in Washington, D.C., the Dallas Museum of Art and the Virginia Museum of Fine Arts. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Archives Vlaminck. \u003cbr\u003e\u003cbr\u003e Circa 1910-11 \u003cbr\u003e\u003cbr\u003e Canvas: 20 3\/4” high x 14 5\/8” wide (52.7 x 37.2 cm)\u003cbr\u003e Frame: 29 3\/4” high x 23 5\/8” wide x 2” deep (75.6 x 60 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Amsterdam\u003cbr\u003e Private Collection, Moscow\u003cbr\u003e Private Collection, Europe\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45133042385031,"sku":"32-2693","price":158500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2693_1.png?v=1783113695"},{"product_id":"garden-at-marrakech-by-winston-churchill","title":"Garden at Marrakech by Winston Churchill","description":"Sir Winston Churchill\u003cbr\u003e 1874-1965 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGarden at Marrakech\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"WSC\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Marrakech is the most beautiful place in the world.” –Sir Winston Churchill to Franklin Roosevelt, January 1943\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Widely considered the greatest Briton of all time, Sir Winston Churchill also pursued the art of painting for more than 40 years. This exceptional painting, \u003cem\u003eGarden at Marrakech\u003c\/em\u003e, is among his greatest and largest masterpieces, chosen by the great statesman to accompany him on the cover of \u003cem\u003eLIFE\u003c\/em\u003e magazine in January 1946. \u003cbr\u003e\u003cbr\u003e In the \u003ca href=\"https:\/\/msrauantiques2022.my.salesforce.com\/sfc\/p\/8c000000eEg1\/a\/Vb00000GnfQb\/7jzVMyjr973tKZOqbIwthH_lQ3a88Ea11E2BzZ2vYtw\" target=\"_blank\"\u003e\u003cb\u003eiconic cover photograph\u003c\/b\u003e\u003c\/a\u003e, Churchill stands in the act of painting \u003cem\u003eGarden at Marrakech\u003c\/em\u003e, donning his classic Homburg hat, spectacles and his cigar. It is no surprise that Churchill chose this stunning and monumental painting of his favorite subject for his important appearance on the cover of \u003cem\u003eLIFE\u003c\/em\u003e—the largest and most influential weekly picture magazine in America at the time. \u003cbr\u003e\u003cbr\u003e Churchill's Marrakech scenes are among the artist's most coveted for their magnificent radiance. He famously called the city “the most beautiful place in the world,” and his love of its brilliant light and its dramatic meeting of desert, mountains and city is perfectly captured here in \u003cem\u003eGarden at Marrakech\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Importantly, this work is also among the largest Churchill ever completed, substantially larger even than another Marrakech painting, which set Churchill's world record when it sold for $11.5 million at Christie's in 2021. With important Marrakech paintings such as these representing such a small percentage of Churchill’s output, this masterpiece is an extraordinarily rare treasure. \u003cbr\u003e\u003cbr\u003e Finally pronouncing the work complete in 1955, he signed the work—an important distinction, as the great majority of Churchill’s paintings are unsigned—and eventually gifted it to his granddaughter, further affirming the special place it held within his own life and family.  \u003cbr\u003e\u003cbr\u003e Painting was a dominating passion for Churchill in the last half of his life. There is little evidence that he had any artistic training prior to his 40s. In fact, his wife Clementine mentioned at one point that before he began painting, Churchill had hardly visited an art museum, much less created art. Churchill first began painting following a personal and political disaster—the Dardanelles campaign in 1915. He is quoted as telling the painter Sir John Rothenstein: “If it weren’t for painting, I couldn’t live; I couldn’t bear the strain of things.”  \u003cbr\u003e\u003cbr\u003e In 1948, Churchill was bestowed the prestigious recognition of Honorary Academician Extraordinary by The Royal Academy of Arts. Churchill painted roughly 500 works, approximately 350 of which are housed in Churchill’s garden studio at Chartwell, with few others ever coming to market. Created by one of the most influential figures of the 20th century, this extraordinary gift to a close confidant provides a rare and intimate glimpse into who the “real” Winston Churchill was.  \u003cbr\u003e\u003cbr\u003e Circa 1946-1955 \u003cbr\u003e\u003cbr\u003e Canvas: 25” high x 30” wide (62.2 x 74.9 cm)\u003cbr\u003e Frame: 32 3\/4” high x 37 3\/4” wide x 3 1\/2” deep (83.2 x 96 x 8.9 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Miss Edwina Sandys (Churchill’s granddaughter)\u003cbr\u003e Sale: Sotheby’s Dec. 5th 2001\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e David Coombs, Sir Winston Churchill: His Life and His Paintings, 2003, no. 465, illustrated","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45133210321031,"sku":"32-2889","price":3750000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2889_1.png?v=1784150558"},{"product_id":"rotterdam-scene-de-port-by-maximilien-luce","title":"Rotterdam, Scène de Port by Maximilien Luce","description":"Maximilien Luce\u003cbr\u003e 1858-1941 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eRotterdam, Scène de Port\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Luce 1907” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A luminous vision of modern life at the dawn of the 20th century, \u003cem\u003eRotterdam, Scène de Port\u003c\/em\u003e is an exceptional work by Maximilien Luce, one of the most important figures of Neo-Impressionism. Painted in 1907, the canvas captures the bustling energy of Rotterdam’s harbor through a dazzling harmony of turquoise, violet, blue and sea-green, transforming an industrial port into a scene of extraordinary atmospheric beauty. \u003cbr\u003e\u003cbr\u003e Luce was uniquely suited to this subject. Throughout his career, he found poetry in the modern working world, depicting laborers, construction sites, factories, bridges, ports and city streets with uncommon dignity and brilliance. Rotterdam offered him the perfect union of the themes that defined his art. In this painting, smoke rises from the dark hull of a steamship in soft plumes of lavender and gray, while the harbor glimmers beneath a pale, expansive sky. Rather than presenting industry as harsh or mechanical, Luce renders it radiant and alive. \u003cbr\u003e\u003cbr\u003e The Rotterdam subject also holds special significance within the history of Neo-Impressionism. In the spring of 1907, Paul Signac exhibited his monumental \u003cem\u003eLe Port de Rotterdam\u003c\/em\u003e, now in the Museum Boijmans Van Beuningen, at the Salon des Indépendants, inspiring renewed interest among avant-garde painters in the Dutch harbor. Later that year, Luce traveled to the Netherlands with Kees van Dongen, the Rotterdam-born Fauve artist, and produced a group of works inspired by the port and its surroundings. \u003cem\u003eRotterdam, Scène de Port\u003c\/em\u003e belongs to this important artistic moment, when the harbor became a modern subject worthy of the most advanced color theories of the age. \u003cbr\u003e\u003cbr\u003e Born in Paris in 1858, Luce first trained as a wood engraver before studying painting and joining the Neo-Impressionist circle in the 1880s. He exhibited with the Société des Artistes Indépendants and became closely associated with Seurat, Signac and Pissarro. Though he later adopted a broader and freer handling of paint, he remained committed throughout his career to brilliant color, modern subjects and the lives of working people. His works are held in major museum collections, including the Musée d’Orsay in Paris, The Metropolitan Museum of Art in New York, the Art Institute of Chicago and the National Gallery of Art in Washington, D.C.  \u003cbr\u003e\u003cbr\u003e Dated 1907 \u003cbr\u003e\u003cbr\u003e Canvas: 20 3\/4\" high x 24 3\/4\" wide (52.7 x 62.9 cm)\u003cbr\u003e Framed: 28 1\/2\" high x 32 1\/2\" wide x 3\" deep (72.4 x 82.6 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sale: Palais Galliera, Paris, 16th June 1961, lot 179\u003cbr\u003e Private Collection, Switzerland\u003cbr\u003e Sale of the above, Sotheby's, London, 29th March 1984, lot 535\u003cbr\u003e Private Collection, Kentucky, purchased at the above sale\u003cbr\u003e Private Collection, USA\u003cbr\u003e Private Collection, Europe\u003cbr\u003e Stern Pissarro Gallery, London\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Denise Bazetoux, \u003cem\u003eMaximilien Luce, Catalogue raisonné de l'œuvre peint\u003c\/em\u003e, Paris, 1986, vol. II, no. 1486, illustrated p. 366","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45147767734407,"sku":"32-2891","price":138500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2891_1_45d0574a-b5c9-4e37-b2c8-264b6f34bd52.png?v=1783380107"},{"product_id":"la-loge-by-jean-gabriel-domergue-1","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 \u003cem\u003e(The Theater Box)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Jean Gabriel Domergue\" (lower left)\u003cbr\u003e Titled “La loge” (on the reverse)\u003cbr\u003e Oil on board \u003cbr\u003e\u003cbr\u003e A glamorous theatergoer commands the viewer’s attention in \u003cem\u003eLa loge\u003c\/em\u003e, an alluring oil by French painter Jean-Gabriel Domergue. Celebrated for his elegant portraits of fashionable women, Domergue captures the confidence, sophistication and modern sensuality that established him as the self-proclaimed “inventor of the pin-up.” \u003cbr\u003e\u003cbr\u003e Seated within a private theater box, the stylish woman meets the viewer’s gaze with parted, crimson lips and an expression of poised assurance. Her luminous blue ensemble stands in striking contrast to the vibrant red interior, while Domergue’s fluid, energetic brushwork lends the scene an atmosphere of immediacy and excitement. Beside her, an elegantly dressed gentleman peers through opera glasses toward the unseen stage, heightening the sense that the viewer has entered an intimate moment during a fashionable Parisian evening. \u003cbr\u003e\u003cbr\u003e Born in Bordeaux in 1889, Domergue studied at the École Nationale Supérieure des Beaux-Arts in Paris. He first exhibited at the Salon des Artistes Français at just 17 years old and was awarded the Prix de Rome in 1911 and a gold medal in 1920. Although landscapes dominated his early career, his focus shifted during the 1920s toward the subject that would define his oeuvre: \u003cem\u003ela belle Parisienne\u003c\/em\u003e. His elongated, impeccably dressed women came to embody the glamour and vitality of modern French society. \u003cbr\u003e\u003cbr\u003e Domergue later served as curator of the Musée Jacquemart-André from 1955 until his death in 1962, organizing important exhibitions devoted to artists including Vincent van Gogh, Henri de Toulouse-Lautrec and Francisco Goya. He was appointed a Chevalier of the Légion d’Honneur and elected to the Académie des Beaux-Arts, affirming his distinguished place within 20th-century French art. \u003cbr\u003e\u003cbr\u003e 20th century \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 20 3\/4\" wide (63.50 x 52.71 cm)\u003cbr\u003e Frame: 32 1\/2\" high x 28 1\/4\" wide x 2 1\/4\" deep (82.55 x 71.76 x 5.72 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45268241285255,"sku":"32-2625","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2625_1_7e235cd0-31b1-4109-90fd-7b4981c6e211.png?v=1784330575"},{"product_id":"apres-midi-au-jardin-by-h-claude-pissarro","title":"Après-midi au jardin by H. Claude Pissarro","description":"Hugues Claude Pissarro\u003cbr\u003e b. 1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAprès-midi au jardin\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Afternoon in the Garden)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “H. Claude Pissarro” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e H. Claude Pissarro masterfully captures the radiant beauty of a sunlit garden in this vibrant composition. Two elegantly dressed women, one in brilliant turquoise and the other in deep blue, stroll beneath a parasol, accompanied by a young child. Surrounded by flowering plants and verdant foliage, the trio appears immersed in a tranquil world of color and light. \u003cbr\u003e\u003cbr\u003e Thick, expressive brushstrokes transform the landscape into a tapestry of emerald greens, soft lilacs, pink blossoms and flashes of blue. Pissarro’s signature impasto technique gives the foliage and flowers a rich, sculptural texture, while the shimmering water and brilliant sky heighten the scene’s dreamlike atmosphere. The composition exudes a sense of vibrancy and wonder, inviting the viewer into this picturesque moment. \u003cbr\u003e\u003cbr\u003e H. Claude Pissarro, a descendant of the renowned Impressionist Camille Pissarro, displayed remarkable artistic talent from an early age. He debuted his work at just 14 years old and later honed his skills at the prestigious École du Louvre and École Normale Supérieure in Paris. A pivotal moment in his career came in 1959, when he was commissioned by the White House to paint a portrait of President Dwight D. Eisenhower, further establishing his reputation as a distinguished artist. \u003cbr\u003e\u003cbr\u003e Pissarro’s work has since been showcased in prominent exhibitions throughout Europe and the United States, earning him international acclaim. Celebrated for his luminous palette, expressive handling of paint and charming scenes of everyday life, his compositions carry forward the artistic legacy of the Pissarro family while remaining distinctly his own. Highly sought after for their color, texture and joyful atmosphere, H. Claude Pissarro’s works continue to captivate collectors worldwide. \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/2\" high x 23 3\/4\" wide (49.53 x 60.33 cm)\u003cbr\u003e Frame: 28 3\/4\" high x 33\" wide x 2 7\/8\" deep (73.03 x 83.82 x 7.30 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45321286058119,"sku":"32-2879","price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2879_1.png?v=1785327937"}],"url":"https:\/\/rauantiques.com\/collections\/7-26-impactful-brushstrokes.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}