{"title":"9.26 Neoclassicism","description":null,"products":[{"product_id":"italian-panel-of-orpheus-and-eurydice","title":"Italian Panel of Orpheus and Eurydice","description":"Greek mythology comes to life in this extraordinary gouache and oil on canvas. The exceptionally rare work likely depicts the tragic myth of Orpheus and Eurydice. Orpheus, a legendary great hero renowned for his musical skills, was the son of the Thracian king Oeagrus and the Muse Calliope, the patron of epic poetry. According to legend, Orpheus was gifted his first lyre by the god Apollo, who was impressed by his superhuman musical talents.\n\u003cbr\u003e\u003cbr\u003e\nThe tale for which Orpheus is best remembered, however, is the one likely depicted in this panel, wherein he rescued his wife, Eurydice, from the underworld. On the day of her wedding, Eurydice was set upon by a satyr, and in her efforts to escape, she was bitten by a snake. Overcome by grief, Orpheus traveled to the underworld with his lyre in order to appeal to Hades and Persephone to return his wife. Hearts softened by his song, they agreed to allow Eurydice to return to earth, on the condition that he not turn to look at her until they escaped the underworld. Tragically, Orpheus was unable to comply with this condition - he turned back to catch a glimpse of her, and his wife vanished forever.\n\u003cbr\u003e\u003cbr\u003e\nOne of the most popular of the Greek myths, Orpheus' story is brilliantly recreated in this gouache and oil on canvas, which captured the musician as he plays for the god and goddess of the underworld. Likely once displayed in the music room of an Italian villa, it is an exceptional example of its genre.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1800\n\u003cbr\u003e\u003cbr\u003e\nCanvas: 31 1\/2\" high x 48\" wide\u003cbr\u003e\nFrame: 52 1\/4\" wide x 36\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672837390471,"sku":"30-9010","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9010_1_42c3eaca-8071-43c3-bdee-516c992787fa.png?v=1769761361"},{"product_id":"french-figural-statue","title":"French Figural Statue","description":"This extraordinary and monumental cast-iron sculpture was likely specially commissioned to the Fonderies d'Art du Val d'Osne for an important public or private collection. Designed by celebrated Parisian sculptor Mathurin Moreau, the striking work takes the form of a beautiful young maiden clad in classical robes with an amphora gracefully held aloft in one hand. The work displays a remarkable level of detail considering its iron casting, including a wreath of laurel leaves atop the woman's head and a stunning necklace adorning her neck.\u003cbr\u003e\u003cbr\u003e\nDue to its large size and subject matter, the remarkable work would most probably have been exhibited in a public or private fountain, garden, estate or hotel. French cast-iron sculptures such as this one were historically preferred over bronze for outdoor decorations due to their resistance to more extreme weather conditions. Similar statues cast by Val d'Osne can be found decorating public buildings and parks worldwide, and particularly in the United States and France.\n\u003cbr\u003e\u003cbr\u003e\nThe design for this statue is reproduced in the catalog of the Fonderies du Val d'Osne as \u003cem\u003eJeune fille\u003c\/em\u003e, No. 245, plate 595.\u003cbr\u003e\u003cbr\u003e\nThe base is mounted with a plaque reading \"\u003cem\u003eFonderies du Val d'Osne \/ 58 BD Voltaire, Paris\u003c\/em\u003e\"\n\u003cbr\u003e\u003cbr\u003e\n24\" wide x 14\" deep x 70\" high\n\u003cbr\u003e\u003cbr\u003e\nEstablished in 1835 by the inventor of ornamental cast iron, Jean Pierre Victor André, the Fonderies d'Art du Val d'Osne were world renowned for their remarkable architectural designs and decorative cast iron works of art for nearly 150 years. Beginning in 1851, the firm participated in numerous international exhibitions, earning much critical acclaim throughout the years. Celebrated sculptors including Mathurin Moreau, Albert-Ernest Carrier-Belleuse, and James Pradier designed numerous works exclusively for the famed firm, cementing their place among the finest in the industry. While today the works of the Fonderies d'Art du Val d'Osne can be seen in important collections worldwide, the most visible pieces cast by the firm are the distinctive Art Nouveau Parisian subway entrances designed by Hector Guimard.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41237955870855,"sku":"30-4249","price":29500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-4249_2.png?v=1717921279"},{"product_id":"italian-panel-of-eurydice-with-naiads","title":"Italian Panel of Eurydice with Naiads","description":"A fascinating tale from Greek mythology is revealed in this extraordinary gouache and oil on canvas. The rare Italian painting is believed to depict a scene from the myth of Orpheus and Eurydice. One of the most tragic figures in Greek mythology, the nymph Eurydice was one of the daughters of the god Apollo. According to legend, she wed Orpheus, the legendary musician and hero who was the son of the Muse Calliope. She is captured here on the day of her wedding, joyfully dancing with the naiads in a vast field, though their severe expressions reveal the tragedy that is about to befall her.\n\u003cbr\u003e\u003cbr\u003e\nShortly after Eurydice's dance with the naiads, she was set upon by a satyr; in her efforts to escape, she was bitten on the foot by a poisonous snake and died. Overcome by grief, Orpheus traveled to the underworld with his lyre in order to appeal to Hades and Persephone to return his wife. Hearts softened by his song, they agreed to allow Eurydice to return to earth, on the condition that he not turn to look at her until they escaped the underworld. Tragically, Orpheus was unable to comply with this condition - he turned back to catch a glimpse of her, and his wife vanished forever.\n\u003cbr\u003e\u003cbr\u003e\nOne of the most popular of the Greek myths, Orpheus and Eurydice's story is brilliantly recreated in this gouache and oil on canvas. Likely once displayed in the music room of an Italian villa, it is an exceptional example of its genre.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1800\n\u003cbr\u003e\u003cbr\u003e\nCanvas: 31 1\/2\" high x 48\" wide\u003cbr\u003e\nFrame: 52 1\/4\" wide x 36\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672837718151,"sku":"30-9079","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9079_1_02dd6ff8-363a-40cb-92e8-9d58b3056928.png?v=1769758608"},{"product_id":"italian-panel-with-satyr-and-nymphs","title":"Italian Panel with Satyr and Nymphs","description":"This extraordinary Italian gouache and oil on canvas brings two of the most popular characters from Greek mythology vividly the life - the nymph and the satyr. Both creatures are famed for their carefree natures and lascivious temperaments, and tales abound of satyrs pursing nubile nymphs in order to rape or seduce them, usually with little success. One such narrative humorously unfolds in the present piece, which depicts an indignant satyr captured by three nymphs with a golden net.\n\u003cbr\u003e\u003cbr\u003e\nThe relationship between these two mythological creatures was a popular one for artists throughout the 18th and 19th centuries, though its origins stretch back to antiquity. Both satyrs and nymphs were commonly found on ancient Greek pottery, which inspired later Italian revivals such as the present piece. A similar scene was also captured by the great William-Adolphe Bouguereau in his 1873 masterpiece \u003cem\u003eNymphs and Satyr\u003c\/em\u003e, wherein a group of nymphs is surprised by a lascivious satyr while bathing.\n\u003cbr\u003e\u003cbr\u003e\nAmong the most popular of the Greek mythological characters, the satyr and nymph are brilliantly recreated in this gouache and oil on canvas. Likely once displayed in the music room of an Italian villa, it is an exceptional example of its genre.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1800\n\u003cbr\u003e\u003cbr\u003e\nCanvas: 31 1\/2\" high x 48\" wide\u003cbr\u003e\nFrame: 52 1\/4\" wide x 36\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672837816455,"sku":"30-9080","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9080_1_b17db1e6-ef9e-4862-92da-dea817279415.png?v=1769758555"},{"product_id":"equestrian-portrait-of-louis-xiv-by-girardon","title":"Equestrian Portrait of Louis XIV by Girardon","description":"King Louis XIV, one of France's greatest monarchs, sits confidently astride a prancing steed in this bronze equestrian statue. The extraordinary work is a reduction of the portrait of the Sun King by François Girardon, one of the most noted and influential sculptors of the period. Looking back to the great masterpieces of antiquity, Girardon took his inspiration from the seminal ancient Roman marble of Marcus Aurelius, now in the Musei Capitoline (Rome). Louis XIV is thus portrayed here as a conquering Roman hero, his costume adorned with many neoclassical motifs, hand outstretched in a gesture of command. The result is an imposing royal portrait of power and absolute authority that pays homage to one of the most important sovereigns in French history. \u003cbr\u003e\u003cbr\u003e It was in 1685, at the very height of his rule, when Louis XIV commissioned the monumental bronze of himself from the great Girardon. As sculptor to the king, Girardon was a key figure in the decoration of the gardens at the Château de Versailles, and he was later commissioned to complete several important royal projects, this equestrian sculpture included. The bronze was erected in the Place Louis-le-Grand (now the Place Vêndome) in 1699, but was regrettably destroyed less than a century later during the French Revolution in 1792. One small section of the original does remain — the left foot of the king, which is now held in the Musée Carnavalet (Paris). \u003cbr\u003e\u003cbr\u003e Luckily, Girardon recognized the importance of his creation and executed four bronze reductions of the sculpture. Today, three of these four can be found in the British Royal Collection (London), the State Hermitage Museum (St. Petersburg) and the Louvre. The example in the Louvre is the only signed reduction cast by Girardon. \u003cbr\u003e\u003cbr\u003e Since the 17th century, other reductions of the work have been created, including the present bronze, which dates to the late 19th century. Parisian bronziers such as Henri Dasson and Alfred Beurdeley were among the important makers who re-created the sculpture during this period, and this could have come from their workshops. It is a stunning ode to this great monarch, reflecting the glory of his reign and the glory of France. \u003cbr\u003e\u003cbr\u003e The archetype of absolutism in royalty, the 72-year reign of Louis XIV, the longest in European history, not only enhanced the power of the monarchy but catapulted France to become the most powerful nation in Europe. Louis XIV built Versailles during his reign to reflect the grandeur of the King and his court which ruled under the belief, \"One King, One Law, One Faith.\" The period during which he served as King of France became known as \"The Age of Louis XIV.\" \u003cbr\u003e\u003cbr\u003e Circa 1820 \u003cbr\u003e\u003cbr\u003e Sculpture: 36\" wide x 19\" deep x 43\" high\u003cbr\u003e Base: 37 1\/4\" wide x 25\" deep x 30\" high\u003cbr\u003e Total: 37 1\/4\" wide x 25\" deep x 73\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41540597252231,"sku":"31-2479","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2479_1_0c11a30e-dadd-42a4-a35c-0aef0ed74a84.png?v=1717920736"},{"product_id":"st-peters-square-italian-micromosaic-1","title":"St. Peter's Square Italian Micromosaic","description":"St. Peter's Square Italian Micromosaic\u003cbr\u003e Circa 1870 \u003cbr\u003e\u003cbr\u003e This Italian micromosaic presents a meticulously detailed view of St. Peter’s Square and the Vatican, one of the most iconic architectural vistas of 19th-century Rome. Though at first glance it may appear to be a painting, this mosaic is comprised of hundreds of thousands of tiny glass tiles, or tesserae, each perfectly matched for color, size and placement. Every minuscule tile is painstakingly placed to exacting measures to create this magnificent scene portraying such details as clouds in the sky, flowing fountains, picturesque statues and people traversing St. Peter’s Square. \u003cbr\u003e\u003cbr\u003e Micromosaics enjoyed great popularity among the ancient Romans, who decorated their homes with massive micromosaic pieces. The art of the micromosaic re-emerged during the 19th century, most notably in the workshops of the Vatican, finding favor among the surge of affluent tourists making their requisite Grand Tour across Europe. Avid collectors of these incredible works included Napoléon and Josephine, Russian tsars and ancestors of the legendary de Medici family. \u003cbr\u003e\u003cbr\u003e 11 3\/4\" high x 14\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40500317192327,"sku":"31-2842","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2842_1.png?v=1780146914"},{"product_id":"a-pompeian-lady-by-john-william-godward","title":"A Pompeian Lady by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Pompeian Lady\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"J.W. Godward 1904\" (lower right, partially covered by frame)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled \u003cem\u003eA Pompeian Lady\u003c\/em\u003e, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. \u003cbr\u003e\u003cbr\u003e Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pelt. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. \u003cbr\u003e\u003cbr\u003e Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops, was a direct reflection of this pervasive view. \u003cbr\u003e\u003cbr\u003e Godward debuted at London’s Royal Academy exhibition in 1887 at the age of only 26. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton and Sir Edward John Poynter, Godward quickly adopted, if not rivaled, their style. He envisioned similar scenes of the ancient world, seamlessly blending antiquity and beauty in breathtaking compositions and attracting fans across Europe. In 1889, he was elected to the Royal Society of British Artists, and, ten years later, Godward debuted at the Paris Salon, where again he was heaped with critical praise. However, the 20th century brought rapid artistic change, and he was faced with the painful reality that the classical world he loved was being overshadowed by modern art movements. His devotion to the classics never waned, and he moved to Rome in 1912 to surround himself with the physical remnants of the classical world, where he stayed for the major part of his remaining career. \u003cbr\u003e\u003cbr\u003e Dated 1904 \u003cbr\u003e\u003cbr\u003e Canvas: 25“ diameter (63.5 cm)\u003cbr\u003e Frame: 45 3\/4” high x 44 3\/8” wide (116.21 x 112.71 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-3739.pdf%20target=\" new\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Thomas McLean, art dealer, London, 1904\u003cbr\u003e Purchased by Sir Alfred Bird, Tudor Grange Solihull\u003cbr\u003e Cooling Galleries, London and Toronto, Canada\u003cbr\u003e The collection of Maurice and Louella Brown, Toronto and Calgary, Canada\u003cbr\u003e By descent to Keith C. Brown and L. Joan Brown, Calgary, Alberta, 1982\u003cbr\u003e Hodgin’s Art Auctions, Calgary\u003cbr\u003e Fred and Sherry Ross, New Vernon, New Jersey\u003cbr\u003e Sotheby’s, New York\u003cbr\u003e Private collection, New Orleans\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J.W. Godward: The Eclipse of Classicism, 2018, Vern Swanson, page 290, no.12 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Thomas McLean Gallery, London, 1904","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050790613127,"sku":"31-3739","price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3739_1_96367abf-d12d-4f22-9c18-fc2d4b326df3.png?v=1774967315"},{"product_id":"clio-by-studio-of-romanelli","title":"Clio by Studio of Romanelli","description":"Studio of Raffaello Romanelli\u003cbr\u003e Early 20th Century | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eClio\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Inscribed \"Executé sous la Direction du Prof. Romanelli\" (on base)\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e Clio, the muse of history from Greek mythology, is the subject of this compelling neoclassical marble sculpture that hails from the studio of Raffaello Romanelli. Romanelli was the son of the celebrated Pasquale Romanelli, a collaborator of Lorenzo Bartolini who assumed control of his studio following the master's death. He was renowned for his marble studies of the female form, and both his masterful eye and studio were inherited by his son Raffaello. Where Raffaello differed from his father was in his use of multi-colored marbles, a design choice that is displayed in the present work, which was executed by a student in his atelier.  \u003cbr\u003e\u003cbr\u003e The stark, pure white of this Clio is perfectly complemented by her robes carved from Siena marble, lending texture and visual interest to her overall form. Her tablet is inscribed \"\u003cem\u003eHistoria non assentationi, sed fidei veritatique componitur. Pinius\u003c\/em\u003e,\" a quote from the letters of Pliny the Younger that roughly translates to \"History is written not for display but in the interests of strict truth.\" The quote was the perfect choice for the mythological figure, who was heralded as \"the Proclaimer\" of historical truths. \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e 22 1\/4\" wide x 15\" deep x 52 1\/8\" high\u003cbr\u003e Base: 23\" wide x 23\" deep x 27 1\/4\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238685614215,"sku":"31-3877","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3877_1_09cd74fa-4dcd-4ad0-9b74-f847f80ef31f.png?v=1786987306"},{"product_id":"portrait-of-a-beauty-by-william-clarke-wontner","title":"Portrait of a Beauty by William Clarke Wontner","description":"William Clarke Wontner\u003cbr\u003e 1857-1930 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"W. Wontner 1918\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. \u003cbr\u003e\u003cbr\u003e Entitled \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  \u003cbr\u003e\u003cbr\u003e Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. \u003cbr\u003e\u003cbr\u003e Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mnqq\/cvLbUpnWoYJZe3lo0HCdZEBKb9j75Am6ZYyt0EX4Cvk\" target=\"_blank\"\u003eNational Portrait Gallery (London) and the Harris Museum (Preston, UK)\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Dated 1918 \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 21\" wide\u003cbr\u003e Frame: 36\" high x 32\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42578025513095,"sku":"31-5487","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5487_1.png?v=1746450329"},{"product_id":"henry-bowles-howard-12th-earl-of-suffolk-and-5th-earl-of-berkshire-by-sir-joshua-reynolds","title":"Henry Bowles Howard, 12th Earl of Suffolk and 5th Earl of Berkshire by Sir Joshua Reynolds","description":"Sir Joshua Reynolds\u003cbr\u003e 1723-1792 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSir Henry Bowles Howard, 12th Earl of Suffolk and 5th Earl of Berkshire\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Sir Joshua Reynolds is unequivocally considered the most important English portraitist of the 18th century who was instrumental in adapting the Grand Manner style in the portrait genre. In fact, when the Royal Academy was founded in 1768, Reynolds was elected its first President, setting the precedent of quality for which all other portraitists would strive. \u003cbr\u003e\u003cbr\u003e Reynolds's portrait of Henry Bowles Howard, 12th Earl of Suffolk, showcases his genius in the genre and mastery over the medium. Reynolds’s portrait of the Earl expertly invokes classical values with strong lighting, rich colors and expert attention to detail to help underscore the prominence and revered echelon of the sitter. Howard was an esteemed British politician and Knight of the Garter. He served as Secretary of State for the Northern Department from 1771 to 1779, and he played a key role in utilizing mercenaries during the American Revolution and safeguarding Sweden's independence. \u003cbr\u003e\u003cbr\u003e The portrait employs Reynolds's signature style to render Howard rightfully as a gentleman of distinction. Captured seated in a stately library, the Earl appears learned and austere as he places one hand upon a stack of important documents and looks wistfully into the distance. Reynolds makes these compositional choices decisively, as the seated position gives Howard a weighty appearance of importance and the semi-profile turn captures his countenance at an attractive angle that highlights his strong, masculine features. The work draws on the classical conventions of Greek and Roman art and the Italian Renaissance masters, anchoring the nobleman in a history of refinement. Everything from his strong yet welcoming expression to his pale face enlivened by a rush of blood to the cheeks presents the picture of a strong, vital and powerful leader. \u003cbr\u003e\u003cbr\u003e As the first president of the Royal Academy in London, Reynolds’s commissions raised the status of an artist in Britain during the Romantic period and also established the portrait as an esteemed high art genre that garnered equal import to the history paintings that reigned supreme in decades prior. Today, Reynolds’s works grace the walls of the most important museums in the world, including the Louvre, the Metropolitan Museum of Art, and the National Gallery in London, among others. \u003cbr\u003e\u003cbr\u003e Circa 1770 \u003cbr\u003e\u003cbr\u003e Canvas: 50 1\/2\" high x 40 1\/4\" wide\u003cbr\u003e Framed: 61\" high x 52 1\/2\" wide x 3 1\/2\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sir Henry Howard, 12th Earl of Suffolk and 5th Earl of Berkshire, 1739-1779\u003cbr\u003e His mother, Lady Mary Howard, née Finch, Lady Andover, d. 1803\u003cbr\u003e Acquired by descent to her daughter, Frances, and her husband Richard Bagot (later Howard)\u003cbr\u003e Acquired by descent to their daughter, Mary (1784-1877), and her husband Col. Fulke Greville Upton (later Howard), d. 1846\u003cbr\u003e Acquired by descent to Lieutenant Colonel H.R.G. Howard\u003cbr\u003e Sale, Christie's, London, March 24, 1961, no. 29\u003cbr\u003e Julius Weitzner, London and New York\u003cbr\u003e Sale, Paris, Musée Galliéra, December 7, 1965, no. 165\u003cbr\u003e Newhouse Galleries, New York, NY\u003cbr\u003e Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas, 1966\u003cbr\u003e Walsh Family Art Trust\u003cbr\u003e Private collection, Oregon\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e British Institution, London, 1844, no. 130, loaned by the Hon. Fulke Greville Howard.\u003cbr\u003e South Kensington, \"Second special exhibition of National Portraits,\" 1867, no. 478, lent by the Hon. Mrs. Greville.\u003cbr\u003e Agnew's, London, 1903, no. 17. \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Algernon Graves and W. V. Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., vol. 3 (London, 1899), p. 945.\u003cbr\u003e David Mannings, Sir Joshua Reynolds. A Complete Catalogue of His Paintings (New Haven, 2000), p. 267, no. 951, illus. fig. 1274.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43641746292871,"sku":"31-8220","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8220_1_2a0d54e5-29e5-4457-8b55-97280637356f.png?v=1767194743"},{"product_id":"la-casta-susanna-by-urbano-lucchesi","title":"La Casta Susanna by Urbano Lucchesi","description":"Urbano Lucchesi\u003cbr\u003e 1844 - 1906 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Casta Susanna\u003cbr\u003e (The Chaste Susanna)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e This elegant statue entitled \u003cem\u003eLa Casta Susanna\u003c\/em\u003e depicts the virtuous biblical figure Susanna, expertly crafted by Italian sculptor Urbano Lucchesi—the most important sculptor of nineteenth-century Lucca, Italy. The narrative of Susanna—found in versions of the Book of Daniel—portrays her as a virtuous wife unjustly accused of adultery by two elders when she rejects their advances. Daniel's intervention reveals discrepancies in the elders' stories, ultimately vindicating Susanna and highlighting her moral integrity. Numerous artists have depicted this narrative, notably during the early Christian era and the later Renaissance and Baroque periods. \u003cbr\u003e\u003cbr\u003e This stunning marble statue presents Susanna in a classically inspired pose, her figure exemplifying an elegant contrapposto crafted by a master artisan. A sheet covers her form in modesty, carved to appear soft and light—a remarkable achievement in marble. Likewise, her features are rendered with an expert hand, appearing almost lifelike in stone. \u003cbr\u003e\u003cbr\u003e Urbano Lucchesi, renowned for his significant contributions to the artistic heritage of Lucca and beyond, is the most prominent artist in nineteenth-century Lucca. His works are integral to the city’s cultural landscape, with prominent sculptures adorning its streets and squares. Notable works include busts of Giuseppe Mazzini, Benedetto Cairoli and Vincenzo Consani, as well as monuments to Giuseppe Garibaldi and the fallen of Italy’s battles. Lucchesi’s influence extended to Florence, where he created the monument to Donatello outside the sculptor’s studio, and to Viareggio, where he crafted the impressive monument to the romantic poet Percy Bysshe Shelley. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Casta Susanna\u003c\/em\u003e is not only a stunning representation of a biblical tale but also a sculpture that embodies the artistic and cultural essence of its era. Statues of the same figure can be seen in museums worldwide and at churches such as the Santa Maria di Loreto. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Signed “Lucchesi” \u003cbr\u003e\u003cbr\u003e Inscribed “La Casta Susanna” \u003cbr\u003e\u003cbr\u003e 54 1\/2\" high x 15\" wide x 14 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43511184130183,"sku":"31-8802","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8802_1_0cf44c73-91e7-4a84-af35-a89139f0a9e9.png?v=1764593387"},{"product_id":"pair-of-carrara-marble-busts-of-the-emperor-napoleon-and-empress-marie-louise","title":"Pair of Carrara Marble Busts of the Emperor Napoleon and Empress Marie Louise","description":"\u003cem\u003e\"I am a true Roman Emperor; I am of the best race of the Caesars—those who are founders.\" –Napoleon Bonaparte, 1812\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Among the most iconic and celebrated figures in history, Napoleon Bonaparte's legacy has been immortalized in countless works of art. Yet few pieces carry the personal significance and rarity of this extraordinary pair of Carrara marble busts, almost certainly commissioned by the Emperor himself. These stunning sculptures, depicting Napoleon and his second wife, Empress Marie Louise, stand as some of the most exceptional examples of Napoleonic busts not currently housed in a museum—masterpieces of both historical and artistic importance. \u003cbr\u003e\u003cbr\u003e The busts were likely imperial commissions created to adorn key locations during Napoleon’s reign, embodying the grandeur of his empire. After Napoleon fell from power, these sculptures passed from his personal collection to the next most significant ruler of 19th-century France: his nephew, Emperor Napoleon III. During his reign, both busts were prominently displayed at the imperial Château de Compiègne, one of Napoleon III’s most important palaces. Following his abdication in 1870, the Emperor and Empress Eugénie took the busts with them into exile in England. They were among the few treasured possessions they could bring. After Napoleon III’s death, the busts were separated by Empress Eugénie and later reunited in 1936 by the esteemed Parisian art dealer Élie Fabius. \u003cbr\u003e\u003cbr\u003e As a visionary leader and cultural influencer, Napoleon was known to commission only the finest artists to craft his likeness in marble. The bust of Empress Marie Louise is signed by the renowned Italian sculptor Gaetano Matteo Monti of Ravenna, likely created around 1810 to commemorate her marriage to the Emperor. Monti’s skill in rendering her delicate features in marble exemplifies his exceptional talent, immortalizing her elegance in stone. \u003cbr\u003e\u003cbr\u003e The accompanying bust of Napoleon, attributed to the celebrated sculptor Lorenzo Bartolini, was almost certainly carved earlier, around 1807. Bartolini was one of Napoleon’s favored artists, personally selected by the Emperor to direct the prestigious Carrara sculpture workshop in 1807. The exemplary craftsmanship of this bust, particularly the detailed laurel wreath and the nuanced portrayal of Napoleon's facial musculature, is consistent with Bartolini’s renowned imperial bust now housed at Versailles. This attribution places Napoleon's bust as one of the finest not presently housed in a museum collection. \u003cbr\u003e\u003cbr\u003e The only other similar pair of marbles is the one attributed to Angelo Pizzi at the Museo Correr in Venice, highlighting the exceptional rarity and quality of our pair. The finesse of the carving and the elegant compositions of these busts surpass their Venetian counterparts, suggesting that the Pizzi busts in Venice may have been modeled after these superior works by Bartolini and Monti. Napoleon revered the legendary leaders of the Roman Empire—especially the military genius of Julius Caesar—and many of his iconic images, including these busts, posed Napoleon and his Empire as heirs to the great dynasty of Caesars. \u003cbr\u003e\u003cbr\u003e Standing on beautiful matching bases, these monumental busts possess both an imposing presence and an undeniable beauty. Their storied provenance—having graced the imperial residence of both Napoleon I and Napoleon III—makes them an extraordinary find. To own these very works, once displayed with pride by two of history’s most significant rulers, is a once-in-a-lifetime opportunity. These busts are more than fine marble sculptures. They are tangible links to the grandeur and legacy of the Napoleonic Empire, embodying the iconic reign and strategic genius of one of the most legendary leaders in history, Napoleon Bonaparte. \u003cbr\u003e\u003cbr\u003e Bust of Marie Louise signed \"GMR\" for Gaetano Matteo Monti of Ravenna \u003cbr\u003e\u003cbr\u003e Circa 1807 and 1810 \u003cbr\u003e\u003cbr\u003e Bust of Napoleon: 30 1\/16\" high x 24\" wide x 12 1\/2\" deep\u003cbr\u003e On base: 74 3\/8\" high \u003cbr\u003e\u003cbr\u003e Bust of Marie Louise: 30 9\/16\" high x 20\" wide x 13 1\/8\" deep\u003cbr\u003e On Base: 74\" high \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-9781.pdf\" target=\"new\"\u003e\u003cb\u003eView the Book\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e \u003cb\u003eProvenance of the Bust of Napoleon:\u003c\/b\u003e\u003cbr\u003e Commissioned by Napoleon I, Château de Compiègne (likely), circa 1807\u003cbr\u003e The personal collection of Emperor Napoleon III at Château de Compiègne\u003cbr\u003e Thence to Napoleon III’s widow, the Empress Eugénie\u003cbr\u003e Gifted to Firmin Rainbeaux by Empress Eugénie on 18th April 1881\u003cbr\u003e By descent from Firmin Rainbeaux to his son Félix Rainbeaux\u003cbr\u003e Sale, Hôtel Drouot, Paris, “Succession de M. Félix Rainbeaux, Fils de Firmin Rainbeaux, écuyer de l’Empereur Napoleon III souvenirs napoléoniens: fusils, pistolets, couteaux de vénerie, dagues, miniatures etc,” 23rd October 1936, lot 267\u003cbr\u003e Élie Fabius, purchased from the above sale\u003cbr\u003e Private collection, Stuttgart, Germany\u003cbr\u003e Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Marie Louise, both illustrated on the front cover\u003cbr\u003e Private collection, Switzerland\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \u003cb\u003eProvenance of the Bust of Marie Louise:\u003c\/b\u003e\u003cbr\u003e Commissioned by Napoleon I, Château de Compiègne (likely), circa 1810\u003cbr\u003e The personal collection of Emperor Napoleon III at Château de Compiègne\u003cbr\u003e Thence to Napoleon III’s widow, the Empress Eugénie\u003cbr\u003e Sale, Hampton \u0026amp; Sons of London, “English and French Furniture, the Remaining Library, Porcelain, Sculpture, Bronzes, Table Plate, China and Glass Services, Pictures, Drawings, Prints, Vintage Wines etc” from Empress Eugénie’s home at Farnborough Hill, Hampshire, 18–27th July 1927, lot 1328\u003cbr\u003e Élie Fabius, purchased from the above sale\u003cbr\u003e Private collection, Stuttgart\u003cbr\u003e Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Napoleon, both illustrated on the front cover\u003cbr\u003e Private collection, Switzerland\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \u003cb\u003eLiterature:\u003c\/b\u003e\u003cbr\u003e Georges Mauguin, “L’Iconographie Napoléonnienne au Palais National des Arts”, in \u003cem\u003eRevue de l’Institut Napoléon\u003c\/em\u003e, 1er trimestre, 1938; opposite p. 40, illustrated\u003cbr\u003e Gérard Hubert, \u003cem\u003eLa Sculpture dans l’Italie Napoléonienne\u003c\/em\u003e, 1964, p. 349, illustrated\u003cbr\u003e Galerie Koller, Zürich, Sale catalogue, \u003cem\u003eEine Hochbedeutende Europäische Privatsammlung: Napoleonica, möbel, bronzen, pendulen, skulpturen, gemälde, miniaturen\u003c\/em\u003e, 02 November 1995, lot 4162, illustrated\u003cbr\u003e Gérard Hubert and Guy Ledoux-Lebard, \u003cem\u003eNapoléon, portraits contemporains bustes et statues\u003c\/em\u003e, 1999, p. 98, pl. 70, illustrated\u003cbr\u003e Olivier Gabet, \u003cem\u003eUn marchand entre deux empires - Élie Fabius et le monde de l’art\u003c\/em\u003e, 2011, p. 77\u003cbr\u003e Enrico Noè, “Lo scultore Angelo Pizzi (Milano 1775–Venezia 1819)” in \u003cem\u003eSaggi e Memorie di storia dell’arte\u003c\/em\u003e, vol. 36, 2012, p. 264, pl. 48 \u0026amp; p. 265, pl. 49, illustrated \u003cbr\u003e\u003cbr\u003e \u003cb\u003eExhibited:\u003c\/b\u003e\u003cbr\u003e Musée National de Malmaison, \u003cem\u003eDe Napoleon Ier à Napoleon III, Souvenirs de la Famille Impériale, Conservés par l’Impératrice Eugénie dans sa Résidence de Farnborough et Provenant de sa Succession\u003c\/em\u003e 1928, no. 15, p. 10\u003cbr\u003e Musée de l’Orangerie, Paris, \u003cem\u003eSouvenirs du Roi de Rome\u003c\/em\u003e, 1932, no. 209\u003cbr\u003e Bibliothèque National, Paris, \u003cem\u003e318 Lettres de Napoléon à Marie-Louise\u003c\/em\u003e, 1935, no. 10\u003cbr\u003e Palais National des Arts, Paris, \u003cem\u003eChefs d’Oeuvre de l’Art Français\u003c\/em\u003e, 1937, nos. 1105 \u0026amp; 1106\u003cbr\u003e The World’s Fair, New York, \u003cem\u003eFive Centuries of History Mirrored in Five Centuries of French Art\u003c\/em\u003e, 1939, no. 322, pl. LV \u0026amp; no. 323, pl. LIV","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231128420487,"sku":"31-9781","price":1650000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9781_1_6f3246a8-b8cc-49da-b85d-30668472d908.png?v=1758656468"},{"product_id":"terracotta-statue-of-emperor-napoleon-at-st-helena","title":"Terracotta Statue of Emperor Napoleon at St. Helena","description":"Terracotta Statue of Emperor Napoleon at St. Helena\u003cbr\u003e Circa 1825-1840 \u003cbr\u003e\u003cbr\u003e This exceptional terracotta statue of Napoleon Bonaparte on St. Helena stands as one of the earliest known depictions of the emperor in this iconic pose. Dating circa 1825–1840, the sculpture captures Napoleon in exile, reflecting on his empire’s legacy and the ambitions that reshaped Europe. With remarkable precision, the artist portrays the emperor seated on a klismos chair atop a stack of books—a nod to his intellectual depth and love of literature—his hand tucked into his waistcoat, a gesture that was rendered in many of his official portraits. \u003cbr\u003e\u003cbr\u003e The statue’s black-painted terracotta surface and finely rendered details evoke both the grandeur and introspection of Napoleon’s life. Dressed in a frock coat and boots, he gazes to the side as if lost in thought or quiet conversation. The subtle balance of heroic presence and personal vulnerability sets this work apart, offering a rare perspective on the emperor's final years. \u003cbr\u003e\u003cbr\u003e This one-of-a-kind work of art predates similar works by artists like Jean-Baptiste Carpeaux, whose celebrated depictions now grace institutions such as the Musée d'Orsay and the Cleveland Museum of Art. This statue was also formerly part of the personal collection of François Hayem, the famed Parisian art dealer. \u003cbr\u003e\u003cbr\u003e 26 3\/4\" high x 26 1\/2\" wide x 13 3\/4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42633861890183,"sku":"32-0021","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0021_1_0c2a4e35-d061-47f8-9542-51c502de52f6.png?v=1746746811"},{"product_id":"l-heure-du-gouter-by-jules-emile-saintin","title":"L’Heure du goûter! by Jules-Émile Saintin","description":"Jules-Émile Saintin\u003cbr\u003e 1829-1894 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eL’Heure du goûter!\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Snack Time!)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Jules-Émile Saintin\" (lower right)\u003cbr\u003e Charcoal and white chalk on paper \u003cbr\u003e\u003cbr\u003e A tender moment unfolds as a young girl leans over her bowl of soup, savoring her midday snack with focus and delight. Her spoon rests beside a slice of bread on the polished tabletop, while a cup, perhaps filled with tea or chocolate, and a second piece of bread complete the simple yet cozy scene. Nearby, her stuffed toy lies temporarily forgotten atop a shawl, hinting at the world of play just briefly paused. \u003cbr\u003e\u003cbr\u003e The setting is intricately detailed. The dining room showcases a marble fireplace adorned with a clock, fine porcelain and delicate cups. Saintin’s composition captures the quiet grace of the moment as well as the interplay of light and texture, skillfully rendered using only charcoal and white chalk. His ability to infuse luminosity into a monochrome drawing speaks to his refined technique and observational sensitivity. This work resonates with Saintin’s charming studies of children during his American period, such as \u003cem\u003eA Little Girl Dozing Over Her Drawing\u003c\/em\u003e (possibly a portrait of Jennie Walters), now in the Walters Art Museum in Baltimore. \u003cbr\u003e\u003cbr\u003e Born in 1829 in Lemé, Saintin began painting at age 11 and was admitted to the Académie des Beaux-Arts in Paris by 16. Trained under Martin Drölling and Édouard Picot, he became an accomplished portraitist and debuted at the Salon des Artistes Français in 1848, earning several medals. \u003cbr\u003e\u003cbr\u003e In 1853, he moved to New York to work in a photography studio, soon dedicating himself fully to painting. He exhibited regularly at the National Academy of Design—becoming a member in 1858—and gained a strong reputation for his portraits of American elites, as well as for his depictions of landscapes and Native American clothing. \u003cbr\u003e\u003cbr\u003e Returning to France in 1860, Saintin continued to paint prominent sitters, including Princess Mathilde. Encouraged by his friend Paul Baudry, he also explored intimate genre scenes such as \u003cem\u003eL’Heure du goûter!\u003c\/em\u003e, which showcases his remarkable ability to capture fleeting, everyday moments. In 1876, he was appointed commissioner of the World’s Fair in Philadelphia and was awarded the Legion of Honor upon his return to France. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Paper: 18 1\/4“ high by 14 1\/2” wide (46.36 x 36.83 cm)\u003cbr\u003e Framed: 30 3\/8“ high by 25 7\/8“ wide by 2\" deep (77.15 x 65.72 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42891175329927,"sku":"32-0865","price":44500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0865_1.png?v=1752276289"},{"product_id":"pair-of-bronze-busts-of-queen-mary-by-william-henry-tyler","title":"Pair of Bronze Busts of Queen Mary by William Henry Tyler","description":"Pair of Bronze Busts of Queen Mary when Duchess of York\u003cbr\u003e William Henry Tyler\u003cbr\u003e Dated 1893 \u003cbr\u003e\u003cbr\u003e These rare and highly important bronze busts of the future Queen Mary, created in 1893 by the esteemed British sculptor William Henry Tyler, capture the future queen in the year of her marriage to the Duke of York, later King George V. Set on elegant Connemara marble columns, these sculptures were likely commissioned by the Duchess of York herself as diplomatic gifts to be presented to royal family members and close friends. Their museum-quality execution, combined with an inscription reading \"May\"—Mary’s intimate nickname used only by family—strongly suggests this royal provenance and personal significance. \u003cbr\u003e\u003cbr\u003e Each bronze bust portrays Mary with regal poise, rendered in remarkable detail by Tyler’s skilled hand. A serene, composed expression softens her youthful features, while her hair is carefully styled in a manner reflective of Victorian aristocratic fashion. The rich patina of the bronze contrasts beautifully with the green-hued Irish marble base, highlighting the fine craftsmanship. \u003cbr\u003e\u003cbr\u003e William Henry Tyler (1852–1906) was one of Britain’s leading sculptors of the late Victorian era, celebrated for his portraiture and royal commissions. The Royal Collection Trust holds a nearly identical pair of busts, currently housed at Buckingham Palace. Tyler’s ability to balance dignity and approachability in royal subjects made him a favored sculptor among Britain’s elite, and these busts exemplify his masterful technique and deep understanding of character. \u003cbr\u003e\u003cbr\u003e Signed and dated “Will Tyler 1893” with the foundry mark “Cie Des Bronzes, Bruxelles” \u003cbr\u003e\u003cbr\u003e 12 7\/8\" high x 4 1\/2\" wide x 3 3\/4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43317040480391,"sku":"32-0727","price":16850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0727_1.png?v=1762000789"},{"product_id":"pompeian-woman-by-pierre-olivier-joseph-coomans","title":"Pompeian Woman by Pierre Olivier Joseph Coomans","description":"Pierre Olivier Joseph Coomans\u003cbr\u003e 1816–1889 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePompeian Woman\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed and dated “Joseph Coomans, 1870” (lower left) \u003cbr\u003e\u003cbr\u003e A leading figure in 19th-century Belgian painting, Pierre Olivier Joseph Coomans is renowned for his richly detailed Neo-Pompeian scenes. He began his career with historical and Orientalist subjects before settling in Naples, just as the excavations of Pompeii were capturing the imagination of Europe. This rediscovery proved transformative, not only for Coomans but for the rise of the Neoclassical movement itself. Without Pompeii, the revival of classical ideals in art, architecture and design may never have taken shape. Coomans’ romanticized visions of ancient life, often featuring his daughters as models, earned him international acclaim. \u003cbr\u003e\u003cbr\u003e In \u003cem\u003ePompeian Woman\u003c\/em\u003e, Coomans captures a contemplative maiden leaning gracefully over a stone balcony. Her auburn hair is crowned with a delicate floral wreath, and she wears a flowing red and gold gown that drapes elegantly from her form. Gold jewelry adds opulent accents to her ensemble. The pedestal she leans upon is decorated with classical friezes of musicians and dancers, and a fresh arrangement of flowers rests nearby. Behind her, a luminous Mediterranean landscape unfolds beneath a soft blue sky. With his signature use of dramatic lighting and meticulous attention to detail, Coomans elevates this serene moment into a timeless study of classical beauty. \u003cbr\u003e\u003cbr\u003e Admired for both his painterly skill and historical imagination, Coomans’ works were widely collected and reproduced in lithographs and photographs during his lifetime. \u003cem\u003ePompeian Woman\u003c\/em\u003e exemplifies his ability to blend archaeology with romanticism, bringing the ancient world vividly to life. \u003cbr\u003e\u003cbr\u003e Dated 1870 \u003cbr\u003e\u003cbr\u003e Canvas: 26 1\/2\" high x 18\" wide (67.31 x 45.72 cm)\u003cbr\u003e Frame: 41 3\/4\" high x 33\" wide x 5 1\/2\" deep (106.05 cm x 83.82 x 13.97 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sold in London in an international auction, unable to locate the auction record\u003cbr\u003e Private collection, Italy\u003cbr\u003e Private collection, Milan","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43266359394439,"sku":"32-0703","price":74500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0703_1_6267d46c-7220-4d7d-bc6b-fc6bfe52f44e.png?v=1759778702"},{"product_id":"the-night-after-james-pradier","title":"The Night after James Pradier","description":"After James Pradier\u003cbr\u003e 1790–1852 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Night\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e White marble on a grey marble socle \u003cbr\u003e\u003cbr\u003e Drifting in a dreamlike ascent, this exquisite allegorical sculpture, \u003cem\u003eThe Night\u003c\/em\u003e, pays tribute to James Pradier’s iconic vision of feminine beauty and romantic symbolism. Executed in luminous white Carrara marble, the work once belonged to the celebrated actress and sculptor Gina Lollobrigida. Pradier’s ability to imbue classical forms with emotion and sensuality is fully realized here, in a scene that radiates both serenity and mystery. \u003cbr\u003e\u003cbr\u003e The female figure lifts a flowing cloak above her head while a cherubic putto beneath her presents a garland of flowers. With one hand shielding her eyes as if to retreat from the waking world, the maiden embodies Night as both protector and dream-bringer. The natural finish of the marble accentuates the softness of her skin and the subtle movement of fabric and hair, giving the work a sense of ethereal lightness and grace. \u003cbr\u003e\u003cbr\u003e The composition is a masterful homage to Pradier’s 1846 works \u003cem\u003eLa Nuit\u003c\/em\u003e and \u003cem\u003eLe Jour\u003c\/em\u003e, celebrated examples of Romantic sculpture. Pradier, a Prix de Rome-winning sculptor, was widely regarded for his neoclassical forms infused with emotional vitality. \u003cbr\u003e\u003cbr\u003e This marble was once part of the private collection of Italian actress, sculptor and photojournalist Gina Lollobrigida, one of the most iconic stars of European cinema in the 1950s and 1960s. Known as “La Lollo,” she began her artistic life studying sculpture in Rome before achieving international fame in films such as \u003cem\u003eFanfan la Tulipe\u003c\/em\u003e, \u003cem\u003eBeat the Devil\u003c\/em\u003e and \u003cem\u003eTrapeze\u003c\/em\u003e. Lollobrigida later returned to sculpture and became a renowned photojournalist, capturing powerful images of global figures including Indira Gandhi, Salvador Dalí and Fidel Castro. A passionate art collector with refined taste, she curated a personal collection that reflected her lifelong dedication to beauty and the arts. \u003cbr\u003e\u003cbr\u003e Circa 1900 \u003cbr\u003e On base: 78 1\/2\" high x 26 5\/8\" wide x 24\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of Gina Lollobrigida, Italy\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231147491463,"sku":"32-0835","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0835_1.png?v=1758656338"},{"product_id":"leda-and-the-swan-by-ludovic-alleaume","title":"Leda and the Swan by Ludovic Alleaume","description":"Ludovic Alleaume\u003cbr\u003e 1859-1941 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLeda and the Swan\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed (lower left) \u003cbr\u003e\u003cbr\u003e This spectacular circular composition by Ludovic Alleaume presents one of mythology's most enduring subjects with extraordinary technical mastery and artistic refinement. Exhibited at the prestigious Salon des Artistes Français in 1920, this Belle Époque masterpiece captures the mythological encounter between Zeus, transformed into a swan, and the mortal Leda with breathtaking beauty and classical sophistication. The work stands as a testament to Alleaume's position among France's most accomplished academic painters of the early 20th century. \u003cbr\u003e\u003cbr\u003e Alleaume's interpretation of this classical subject demonstrates remarkable technical virtuosity in its rendering of both human form and natural detail. Leda's luminous skin glows with porcelain-like perfection, while the swan's pristine white feathers are depicted with meticulous attention to texture and form. The circular tondo format enhances the intimate nature of the mythological encounter, creating a sense of eternal movement within the composition. The classical gilded laurel leaf frame further emphasizes the work's connection to ancient tradition, while Alleaume's naturalistic approach bridges the gap between classical idealism and Belle Époque sensibility. \u003cbr\u003e\u003cbr\u003e Ludovic Alleaume achieved considerable recognition during his lengthy career, exhibiting consistently at the Salon des Artistes Français for over five decades before earning exemption from the rigorous application process reserved for the most distinguished artists. His exceptional talent was formally recognized in 1927 when he received the Chevalier de la Légion d'Honneur, France's highest order of merit. Beyond easel painting, Alleaume distinguished himself in decorative arts, creating notable public commissions including the Caisse d'Epargne ceiling and stained glass windows for Saint-Sulpice de Fougères church. His works are preserved in prestigious institutions including the Musée d'Art in Nantes and the Musée du Vieux-Château in Laval, where this very painting was exhibited in 2014 in the retrospective \u003cem\u003eLudovic Alleaume, painter and stained glass designer\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Painted circa 1920 \u003cbr\u003e\u003cbr\u003e Canvas: 42\" high x 41\" wide (106.68 x 104.14 cm)\u003cbr\u003e Frame: 54 1\/2\" high x 54 1\/2\" wide x 5\" deep (138.43 x 138.43 x 12.7 cm) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Salon des Artistes Français, Grand Palais, Paris, 1920, no. 23, p. 2 (illustrated under the title \u003cem\u003eLéda\u003c\/em\u003e)\u003cbr\u003e Musée du Vieux-Château, Laval, \u003cem\u003eLudovic Alleaume, peintre et maître verrier\u003c\/em\u003e, October 18, 2014 – April 19, 2015, no. 12, p. 16 (illustrated under the title \u003cem\u003eLeda et le cygne\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, France\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43812142284935,"sku":"32-0522","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0522_1.png?v=1770406041"},{"product_id":"allegory-of-peace-by-albert-ernest-carrier-belleuse","title":"Allegory of Peace by Albert-Ernest Carrier-Belleuse","description":"Albert-Ernest Carrier-Belleuse\u003cbr\u003e 1824–1887 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAllégorie de la Paix\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Allegory of Peace)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Carrier-Belleuse” White marble \u003cbr\u003e\u003cbr\u003e A vision of serenity and grace, \u003cem\u003eAllégorie de la Paix\u003c\/em\u003e (\u003cem\u003eAllegory of Peace\u003c\/em\u003e) by Albert-Ernest Carrier-Belleuse captures an elegant female figure holding two doves. Carved in luminous white marble, the classical figure’s flowing drapery and gentle posture reflect the elegance of antiquity. Her downward gaze and serene expression imbue the composition with quiet strength, while the soft detailing reveals Carrier-Belleuse’s exceptional skill and sensitivity. \u003cbr\u003e\u003cbr\u003e Albert-Ernest Carrier-Belleuse was one of the most influential French sculptors of the 19th century. A founding member of the Société Nationale des Beaux-Arts and an officer of the Légion d’honneur, he was celebrated throughout Europe for his expressive, elegant style. He served as artistic director at the Sèvres porcelain manufactory and mentored a young Auguste Rodin, who later credited Carrier-Belleuse with shaping his early sculptural language. \u003cbr\u003e\u003cbr\u003e A favorite of the Parisian public, Carrier-Belleuse enjoyed immense popularity. As noted in the catalogue of the 1878 Universal Exhibition, “Even the English come from London to ask him to work for them.” Today, his works are held in major museum collections around the world, including the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e Carved after 1868 \u003cbr\u003e\u003cbr\u003e 23 5\/8\" high x 8\" wide x 9\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231155093639,"sku":"32-1007","price":9850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1007_1_c5426901-bf37-4a2c-9dfb-a9514860d55b.png?v=1781306516"},{"product_id":"a-flower-seller-by-john-william-godward","title":"A Flower Seller by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Flower Seller\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated lower right \"J.W. Godward 96\"\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This stunning painting by John William Godward is a monumental masterpiece of the artist's oeuvre. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e A large-scale masterwork, \u003cem\u003eA Flower Seller\u003c\/em\u003e was exhibited at the prestigious Royal Academy in 1896, the most important venue for artists of the 19th century, where only the best works were shown. Here, the flower seller boldly engages the viewer with her mesmerizing gaze, and her rosy cheeks and glowing skin exude an ethereal beauty. Godward displays his extraordinary talent for rendering every surface with incredible realism, immersing his viewers in the allure of this bygone era. Of Godward's compelling oeuvre, esteemed art historian Vern Grosvenor Swanson wrote, “He sought to portray peace, feminine charm and ideal perfection by marvelously painted and composed classical pictures of beautiful women in halcyon marble environments.”  \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Dated 1896 \u003cbr\u003e\u003cbr\u003e Canvas: 47 1\/2” high x 35 1\/2” wide (120.65 x 90.17 cm)\u003cbr\u003e Frame: 55 1\/2” high x 43 1\/2” wide x 7 3\/4” deep (140.97 x 110.49 x 12.07 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Messrs. Thomas McClean, London, May 2, 1896\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e H.G. Blackburn, Academy Notes, 1896\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1998, p. 194, no. 5, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Royal Academy of Art, Summer Exhibition, London, 1896, no. 597","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43803065876615,"sku":"32-2119","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2119_1_0aaae865-66ad-490b-ae67-d6aea1dd0f69.png?v=1770139471"},{"product_id":"a-classical-beauty-in-profile-by-john-william-godward","title":"A Classical Beauty in Profile by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Classical Beauty in Profile\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"J.W. Godward\" (center right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e An extraordinary portrait by John William Godward, \u003cem\u003eA Classical Beauty in Profile\u003c\/em\u003e embodies his renowned style. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e Draped in a golden tunic, Godward's signature beauty is caught in a moment of quiet reverie. His exceptional talent for color and texture is on full display, with each element of the composition rendered with a supreme, naturalistic finish. This work also centers one of Godward's favorite models, an Italian beauty who also posed for a similar portrait the same year, entitled \u003cem\u003eThe Engagement Ring.\u003c\/em\u003e Embodying the essence of \"peace, feminine charm and ideal perfection\" that art historian Vern Grosvenor Swanson identified in Godward's best works, this painting is a masterpiece. \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Circa 1888 \u003cbr\u003e\u003cbr\u003e Canvas: 24 3\/8” high x 19 3\/8” wide (61.79 x 49.09 cm)\u003cbr\u003e Frame: 37” high x 32” wide x 4 1\/4” deep (93.98 x 81.28 x 10.80 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, United States\u003cbr\u003e Anonymous sale, Christie's New York, 22 October 1997, lot 72\u003cbr\u003e Private collection, acquired at the above sale\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1997, p. 173, no. 1 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44315758428295,"sku":"32-2120","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2120_1.png?v=1780145817"},{"product_id":"the-vendor-of-antiquities-by-ettore-forti","title":"The Vendor of Antiquities by Ettore Forti","description":"Ettore Forti\u003cbr\u003e c. 1850-1940 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Vendor of Antiquities\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"E. Forti Roma\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This captivating canvas by renowned Italian artist Ettore Forti is a sophisticated meditation on history and imagination, emblematic of the late 19th century’s fascination with the Classical past. Set within a richly appointed Roman interior that opens onto a sunlit street, the composition centers an exchange between a seller of antiquities and his well-dressed patrons. Forti brings the scene to life with theatrical precision, capturing every detail as well as the personalities of his sitters. \u003cbr\u003e\u003cbr\u003e Forti was known for his rigorous study of ancient cultures, drawing his inspiration for his architecture, interior decor and sculptural objects from documented Roman wall paintings and public collections. From the intricate mosaic floor to the elegant klismos chair, these rich historical details lend this painting a sense of authenticity and allure, inviting the viewer into the warm atmosphere of this bygone era of antiquity. \u003cbr\u003e\u003cbr\u003e The artist also displays his talent for capturing figures with delightful immediacy. The vendor’s animated gesture contrasts with the contemplative pose of the seated woman, whose languid elegance is framed by the austere figure in white standing next to her. By the late 19th century, intimate scenes of ancient Greece and Rome had become especially sought after, reflecting both advances in archaeology and a broader cultural desire to visualize daily life in classical civilizations. Artists like Forti embraced a mode of photographic realism, meticulously researched yet emotionally charged, to present antiquity as idealized and alluring. \u003cbr\u003e\u003cbr\u003e Forti was a leading practitioner of classical genre painting who worked primarily in Rome. His works were widely exhibited and collected, appealing to an international audience. Today, his works belong to prestigious museum collections, including the J. Paul Getty Museum, and this particular work once belonged to the great Gianni Versace, who amassed an extraordinary collection of artwork over 20 years before his untimely death in 1997. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Canvas: 20 1\/2\" high x 32 1\/2\" wide (52.1 x 82.6 cm)\u003cbr\u003e Frame: 29 1\/8\" high x 41\" wide x 2 1\/2\" deep (74 x 104.1 x 6.4 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sale, Sotheby's London, June 14, 1995, lot 60\u003cbr\u003e Gianni Versace, acquired at the above sale\u003cbr\u003e Sale, Sotheby's New York, April 2005, lot 70\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44209687625863,"sku":"32-2124","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2124_1.png?v=1774962825"},{"product_id":"a-pompeian-lady-in-blue-by-john-william-godward","title":"A Pompeian Lady in Blue by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Pompeian Lady in Blue\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated lower right \"J.W. Godward 1916\"\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This masterwork by John William Godward, \u003cem\u003eA Pompeian Lady in Blue\u003c\/em\u003e, evokes the romantic splendor of the Classical world. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e Draped in a brilliant tunic of gold and blue, Godward's signature beauty gazes boldly out at the viewer, inviting them in by pulling back a luxurious curtain. His exceptional talent for jewel-like color and texture is on full display, with each element of the composition rendered with a supreme, naturalistic finish. Godward renders an extraordinary array of marbles and hardstones throughout, with the delightful detail of an agate oculus window shining above the figure's head. Embodying the essence of \"peace, feminine charm and ideal perfection\" that art historian Vern Grosvenor Swanson identified in Godward's best works, this painting is a captivating treasure. \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Dated 1916 \u003cbr\u003e\u003cbr\u003e Canvas: 35 3\/8” high x 17 1\/4” wide (89.7 x 43.8 cm)\u003cbr\u003e Framed: 42 5\/8” high x 24 1\/2” wide x 2 3\/8” deep (108.3 x 62.2 x 5.9 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, New Jersey\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1998, p. 151, plate 147, illustrated. Titled:\u003cem\u003eA Pompeian Lady\u003c\/em\u003e.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44417983152263,"sku":"32-2121","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2121_1_9e88f4bc-d1e8-433d-9f99-b00b5e020412.png?v=1775503340"},{"product_id":"two-fates-by-ferdinand-barbedienne","title":"Two Fates by Ferdinand Barbedienne","description":"Ferdinand Barbedienne\u003cbr\u003e 1810-1892 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTwo Fates\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Lequesne” and foundry marked “F. Barbedienne Fondeur”\u003cbr\u003e Patinated bronze with wood plinth \u003cbr\u003e\u003cbr\u003e Inspired by one of the most celebrated sculptural groups of classical antiquity, this exceptional patinated bronze by Ferdinand Barbedienne presents \u003cem\u003eTwo Fates\u003c\/em\u003e, after the celebrated model by Eugène-Louis Lequesne. Derived from the reclining female figures from the Parthenon’s East Pediment, the work combines the graceful beauty of ancient Greek sculpture with the exceptional craftsmanship of Ferdinand Barbedienne’s renowned Paris foundry. Its monumental scale, graceful composition and rich patina make it a striking example of the 19th-century revival of classical art. \u003cbr\u003e\u003cbr\u003e Lequesne completed the fragmentary ancient composition by restoring the figures' missing heads and limbs, presenting them as Clotho and Atropos, two of the three Fates responsible for weaving the destinies of mortals. The original figures have also been interpreted by some scholars as the goddesses Dione and Aphrodite. Here, the two women recline in relaxed, natural poses, their bodies enveloped in deeply folded classical drapery. The warm patina emphasizes the fine modeling of their garments and creates a sense of depth across the bronze, while the veneered wood plinth provides an elegant architectural base. \u003cbr\u003e\u003cbr\u003e Lequesne was among the leading French sculptors of the 19th century. A student of James Pradier and winner of the prestigious Prix de Rome, he received the Grand Prize for Sculpture at the 1855 Exposition Universelle and was later awarded the Légion d’honneur. His important public commissions include sculptures for the Palais Garnier in Paris. Ferdinand Barbedienne founded one of France’s most distinguished bronze foundries, celebrated for its finely cast versions of classical and Renaissance masterpieces. Bringing together Lequesne’s artistic vision and Barbedienne’s technical skill, \u003cem\u003eTwo Fates\u003c\/em\u003e captures both the beauty of antiquity and the remarkable quality of French bronze casting. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e On base: 55\" high x 63 1\/2\" wide x 14\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45390215381127,"sku":"32-2065","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2065_1_a2bba4a6-9cd6-41c6-9916-5c104a0aa1d6.png?v=1787779304"},{"product_id":"marble-bust-of-napoleon-from-the-workshop-of-antoine-denis-chaudet","title":"Marble Bust of Napoleon from the Workshop of Antoine-Denis Chaudet","description":"Marble Bust of Napoleon Bonaparte\u003cbr\u003e From the Workshop of Antoine-Denis Chaudet\u003cbr\u003e 1763–1810 | French \u003cbr\u003e\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e Few images embody the grandeur of the Napoleonic Empire quite like this monumental marble bust of Napoleon Bonaparte. Created in the workshop of Antoine-Denis Chaudet, the celebrated sculptor responsible for Napoleon’s official portrait bust, this imposing likeness derives from the model Chaudet created in 1799. Its survival is particularly remarkable, as while over a thousand official replicas were produced during Napoleon’s reign, most were destroyed following the Bourbon Restoration in 1814. \u003cbr\u003e\u003cbr\u003e Chaudet’s portrait presents Napoleon with the idealized dignity of a sovereign. His gaze is commanding and composed, while the flowing hair and bare shoulders recall the visual language of classical antiquity. Carved in luminous marble, the bust transforms the living ruler into an enduring symbol of imperial authority, precisely the image Napoleon sought to project as he consolidated his power. \u003cbr\u003e\u003cbr\u003e Chaudet’s original model became Napoleon’s favored official portrait after the marble version was completed in 1804, shortly after his proclamation as Emperor of the French. Its popularity was extraordinary. The image was reproduced in marble and Sèvres biscuit porcelain and became one of the most recognizable representations of Napoleon throughout the Empire. Between 1807 and 1809, Carrara workshops in Italy produced at least 1,200 marble replicas for public buildings and official spaces across France. Following the Bourbon Restoration, many of these imperial portraits were destroyed as symbols of the fallen regime. Surviving examples are therefore rare reminders of the immense visual program created to celebrate Napoleon’s rule. \u003cbr\u003e\u003cbr\u003e The present bust likely derives from this official Carrara production, connecting it directly to one of the most ambitious portrait campaigns of the Napoleonic era. Large, commanding and deeply evocative of the Empire, it stands as a remarkable surviving testament to the power of art to construct—and preserve—the image of a ruler. \u003cbr\u003e\u003cbr\u003e Early 19th century \u003cbr\u003e\u003cbr\u003e 18 1\/2\" high x 10 1\/2\" wide x 10 3\/4\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, South of France\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45527959208071,"sku":"32-2616","price":64500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2616_1.png?v=1788470466"}],"url":"https:\/\/rauantiques.com\/collections\/9-26-neoclassicism.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}