{"title":"Academic Portraits","description":"\u003ch2\u003eAcademic Portraits\u003c\/h2\u003e\u003cp\u003eAcademic portraits are shaped by discipline, formal control and a strong commitment to finish. The category often reflects the training traditions of major academies, where draftsmanship, composition and ideal balance played a central role.\u003c\/p\u003e\u003ch2\u003eWhy They Endure\u003c\/h2\u003e\u003cp\u003eCollectors value academic portraits for their clarity, technical command and sustained attention to likeness and presentation. Strong examples often unite polish with psychological depth, making them more than exercises in finish alone.\u003c\/p\u003e\u003ch2\u003eWhat To Look For\u003c\/h2\u003e\u003cp\u003eLook for command of drawing, authority in the handling of paint and whether the portrait carries both presence and compositional dignity. Surface quality, condition and the work's sense of completeness are all important considerations.\u003c\/p\u003e\u003ch2\u003eM.S. Rau\u003c\/h2\u003e\u003cp\u003eM.S. Rau presents academic portraits with an eye for craftsmanship, condition and historical context, offering works that speak to the enduring appeal of disciplined portrait painting.\u003c\/p\u003e","products":[{"product_id":"portrait-of-francis-bennett-by-thomas-gainsborough","title":"Portrait of Francis Bennett by Thomas Gainsborough","description":"Thomas Gainsborough\u003cbr\u003e 1727–1788 | English \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Francis Bennett (1712-1790)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptionally rare portrait was composed by renowned British painter Thomas Gainsborough, one of the most recognizable names in 18th-century art. This masterwork was painted in Bath in 1766, during one of the most significant artistic periods of Gainsborough's career. Just three years later, in 1769, he was invited to become a founding member of the Royal Academy, one of the highest honors a British painter could achieve. With its fluidity of line and boldness of color, \u003cem\u003ePortrait of Francis Bennett (1712-1790)\u003c\/em\u003e reveals the artist's shift away from the more realistic style of his early output toward the elegant grandeur that characterizes his later oeuvre. \u003cbr\u003e\u003cbr\u003e Francis Bennett, like Gainsborough himself, prospered thanks to the huge expansion of Bath as a spa town in the 18th century. Born in Bath in 1712, he established himself as a linen and wool draper who counted the elite of the town—including Gainsborough himself—among his clientele. A slightly earlier portrait of Bennett in a blue waistcoat was formerly in the collection of the late Viscount Cowdray at Cowdray Park. \u003cbr\u003e\u003cbr\u003e Born in 1727 in Suffolk, Gainsborough was the leading portrait painter of the 18th century, alongside Sir Joshua Reynolds, his main rival. Though Gainsborough originally set up his studio in Ipswich in 1752, he later moved to Bath, where he achieved considerable success. A favorite of the aristocracy as a portrait painter, Gainsborough was equally at home painting landscapes and pastoral idylls, presenting nobility, the working class and nature with the same extraordinary technical precision. Gainsborough’s ability to capture his subjects’ personalities, imbuing them with an emotive poetry, set him apart from his contemporaries. His portraits belong to the world's most prestigious museums, including the Louvre, the National Gallery in London, the Metropolitan Museum of Art and many more. \u003cbr\u003e\u003cbr\u003e This painting will be included in the forthcoming catalogue raisonné of the portraits of Thomas Gainsborough currently being prepared by Dr. Hugh Belsey. \u003cbr\u003e\u003cbr\u003e Circa 1766 \u003cbr\u003e\u003cbr\u003e Canvas: 30 1\/8” high x 25” wide (76.52 x 63.50 cm)\u003cbr\u003e Frame: 36 3\/4” high x 32” wide x 3\" deep (93.35 x 81.28 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Thomas Agnew \u0026amp; Sons, London, by 1899\u003cbr\u003e Jointly owned by Agnew’s and Wallis \u0026amp; Son, 1903\u003cbr\u003e Agnew’s half share sold to Wallis \u0026amp; Son on June 2, 1910\u003cbr\u003e Galerie D Heinemann, Munich, 1918 and 1928\u003cbr\u003e Private collection, Amsterdam, 1995-2005\u003cbr\u003e M.S. Rau, New Orleans, 2009\u003cbr\u003e Private collection, Los Angeles, 2012\u003cbr\u003e M.S. Rau, New Orleans, 2016\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Walter Armstrong, \u003cem\u003eGainsborough and His Place in English Art\u003c\/em\u003e, 1904, p. 258 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e French Gallery, 1913, no. 17\u003cbr\u003e Galerie D Heinemann, Munich, 1918 and 1928","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44201313468551,"sku":"29-4019","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-4019_1_04f3c8f3-b19f-42e8-9dc6-3a1ab942f411.png?v=1774961008"},{"product_id":"portrait-of-napoleon-ii-attributed-to-johann-peter-krafft","title":"Portrait of Napoléon II attributed to Johann Peter Krafft","description":"Attributed to Johann Peter Krafft\u003cbr\u003e 1780-1856 | Austrian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Napoléon François Charles Joseph Bonaparte\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Remnants of signature (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The son of the legendary Napoléon Bonaparte, Napoléon François Charles Joseph, takes a spirited stance in this remarkable oil painting attributed to the Austrian portraitist Johann Peter Krafft. Believed to have been exhibited at the Exposition Universelle of 1900 in Paris, this work stands as a testament to both Austrian artistry and the legacy of one of the most powerful men in history. \u003cbr\u003e\u003cbr\u003e After Napoléon's exile to the island of Elba in 1814, his son was seen by many of his supporters as the last hope of France. The child was named the ruler of half of Europe, holding the titles of Napoléon II, King of Rome, Prince of Parma, and the Duke of Reichstadt, the last given to him by his grandfather, Austria’s Emperor Francis II.  \u003cbr\u003e\u003cbr\u003e Following his father’s capture, the then four-year-old Napoléon and his mother fled to her homeland of Austria, never to see the fallen Emperor of France again. Once under the protection of the Habsburg Court, there was a concerted effort to sever all ties to his father. His mother left him in Vienna to pursue her own personal interests. In her absence, his grandfather assumed guardianship and gave him the title of the Duke of Reichstadt, dismissed all of his French attendants, and even disallowed the child to be referred to as “Napoléon”, instead insisting on the name “Franz” or “Francis”.  \u003cbr\u003e\u003cbr\u003e   This portrait, which dates roughly to 1818, features the young Napoléon II as he gazes directly at the viewer and assumes a pose of nonchalant authority. He wears the dress of a Spanish Grandee, a style of costuming that enjoyed a resurgence in popularity in the late years of the prior century with the advent of the majismo tradition. The incorporation of it here, however, has been tied to the young Napoléon II’s acquisition of a new title in 1818 - the Duke of Reichstadt. It was this new title that was purportedly celebrated with a large costume ball, and it is for this reason, as interpreted by experts, that Napoléon II wears such distinctive garb in this portrait.  \u003cbr\u003e\u003cbr\u003e A closer look at the technique and style of this painting leads one to draw connections to the work of Johann Peter Krafft, who devoted much of his career to history and portrait painting. Born in Hanau, Germany, Krafft eventually moved to Vienna near the end of the eighteenth century and subsequently enrolled at the Academy of Fine Arts, Austria’s preeminent artistic academy. First studying alongside Heinrich Friedrich Füger, a history painter, Krafft was also afforded training under the masterful eye of Neoclassical painter Jacques-Louis David in Paris the early 1800s. \u003cbr\u003e\u003cbr\u003e Shortly after this time abroad, Krafft returned to Vienna to establish his studio and gained fast acclaim for his striking portraits. His work garnered him membership in the Academy of Fine Arts as well as a professorial appointment there in 1823; in 1828, he was appointed the director of the Österreichische Galerie Belvedere, which still today is considered one of Austria’s most impressive artistic collections. Throughout these accomplishments, Krafft continued to accept increasingly prestigious commissions, including those from Emperor Franz I and his court. \u003cbr\u003e\u003cbr\u003e Painted in 1818 \u003cbr\u003e\u003cbr\u003e Canvas: 55 1\/4\" high x 36 3\/8\" wide\u003cbr\u003e Frame: 63 1\/2\" high x 44 1\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Haro, La Maison au Genie des Arts, 30 Rue du Colombier, Paris (label stamped on the reverse of the original canvas, the firm was at this address from 1826 - 1836); \u003cbr\u003e Sibylle-Gabrielle Marie-Antoinette de Riquetti de Mirabeau, Comtesse de Martel de Janville, from 1849 until 1932, (French author who wrote under the pseudonym Gyp);\u003cbr\u003e Thereafter, by descent in the family;\u003cbr\u003e Private Collection, Michigan, until 2018 \u003cbr\u003e\u003cbr\u003e Exhibited: \u003cbr\u003e Exposition Universelle de 1900, Paris, April 15 - November 12, 1900 (according to tradition in the Comtesse de Martel de Janville's family)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43641745703047,"sku":"30-9335","price":128500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9335_1_69d04491-9210-4d3c-b0ae-7d800e75fd70.png?v=1769760834"},{"product_id":"young-girl-from-tetouan-morocco-by-charles-landelle","title":"Young Girl From Tetouan, Morocco by Charles Landelle","description":"Charles Landelle\u003cbr\u003e 1821-1908 | French \u003cbr\u003e\u003cbr\u003e Young girl from Tetouan, Morocco \u003cbr\u003e\u003cbr\u003e Signed (center right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In this important oil on canvas, French Orientalist painter Charles Landelle captures the engaging visage of a young Moroccan woman in a moment of tranquil contemplation. Seated on the floor of what is almost certainly an opulent \u003cem\u003eriad\u003c\/em\u003e, the young woman wears an intricately embroidered Moroccan kaftan and headdress. The sumptuous patterns on the floor and in the background lend an additional warmth to the strikingly vivid red hues which dominate the composition and are a hallmark of Landelle’s work. \u003cbr\u003e\u003cbr\u003e The symbol behind the young woman is the Islamic Seal of Solomon. Solomon is frequently mentioned in the Qur’an, with many descriptions of his esoteric knowledge granted by God. A talismanic scroll from the Islamic world bearing this symbol resides at the Metropolitan Museum of Art in New York. While Islam was the dominant religion in Morocco in the 19th century, there was also a large Jewish population. Though the woman’s faith is uncertain, there is no question about her transcendent, captivating beauty, which is one of the most remarkable features of this painting. \u003cbr\u003e\u003cbr\u003e Charles Landelle was born in 1821 in Laval, France. He studied under the supervision of the painters Paul Delaroche and Ary Scheffer at the School of Fine Arts in Paris and began exhibiting at the Paris Salon in 1841 with religious works and portraits that found great success among critics and visitors. Noticed by King Louis-Philippe, he won a third-class medal in 1842 and a first-class one in 1848. Four years later, Napoleon III purchased two pieces and appointed him Knight of the Légion of Honor. He also won a medal at the 1855’s Universal Exhibition and in Philadelphia in 1876. \u003cbr\u003e\u003cbr\u003e Landelle’s career took a turning point in 1866 with a trip to Morocco. Infatuation with the warm colors he encountered inspired the trend toward Orientalism in his work. Fascinated by these brand new landscapes, the artist traveled across Egypt and the Nile in 1875, then traveled to Algeria in 1880 with his son Georges, also a painter. From 1881 to 1892, he spent winters in Algeria, sharing his love for the country with Pierre-Auguste Renoir and Paul Leroy. An active member of the Society of French Orientalist Painters, he participated in the creation of the Fine Art Museum of Laval, thanks to his donation of some of his works as well as ancient paintings. At the peak of his fame, he opened the museum in 1895 alongside French president Félix Faure. \u003cbr\u003e\u003cbr\u003e Landelle’s works are well-represented in museums such as the Musée d’Orsay in Paris, the Palace of Versailles, and the Musée de Grenoble in Grenoble, France. A very similar painting by Landelle titled \u003cem\u003eAn Armenian Woman\u003c\/em\u003e resides at the Wallace Collection in London. \u003cbr\u003e\u003cbr\u003e Mid-to-late 19th century \u003cbr\u003e\u003cbr\u003e Canvas: 53 1\/4\" high x 39 1\/4\" wide\u003cbr\u003e Frame: 64 1\/4\" high x 51 1\/8\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Japan\u003cbr\u003e Private collection, France\u003cbr\u003e M.S. Rau, New Orleans \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672915673223,"sku":"31-4686","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4686_1_0d5145a2-c3d3-4ed7-8bda-f4ed7868368e.png?v=1767201572"},{"product_id":"la-fille-du-pecheur-by-william-bouguereau","title":"La fille du pêcheur by William Bouguereau","description":"William-Adolphe Bouguereau\u003cbr\u003e 1825-1905 | French\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(The Fisherman’s Daughter)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “W-Bouguereau-1882” (middle right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e William Bouguereau's influence on 19th-century art is profound, earning him a cherished place in the French Academy. His frequent exhibitions at the Paris Salon led to the event being colloquially known as “Le Salon Bouguereau.” Among his numerous masterpieces, \u003cem\u003eLa fille du pêcheur\u003c\/em\u003estands out as an extraordinary work, epitomizing both the simplicity of life and the grandeur inherent in Bouguereau’s oeuvre. \u003cbr\u003e\u003cbr\u003e Bouguereau’s unparalleled ability to depict the moods and personalities of his subjects within classical settings is evident in this work. Influenced by the great Neoclassical artist Ingres, Bouguereau’s technique demonstrates an exceptional degree of finish and luminous coloration, characteristics of his prestigious education at the École Royale des Beaux-Arts. His portraits, especially those of peasant women and children, are among his most cherished works, with \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e being a particularly exquisite example. \u003cbr\u003e\u003cbr\u003e In this composition, a young girl stands against a historic column with a picturesque fishing village as her backdrop. Captured at the height of summer and her youthful vigor, she holds a basket, likely for collecting fish or other goods. Her gaze is both entrancing and coy, suggesting a moment of pure adolescent liveliness, possibly interrupted while running an errand. The intricate rendering of her dress and radiant skin, combined with her confident pose, imbues the subject with a vitality that seems to leap off the canvas. \u003cbr\u003e\u003cbr\u003e Bouguereau’s works are immensely popular among collectors worldwide and can be found in prestigious collections such as the Musée d’Orsay in Paris, the Metropolitan Museum of Art in New York and the New Orleans Museum of Art. \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e is included in the Bouguereau catalogue raisonné as 1882\/06.  \u003cbr\u003e\u003cbr\u003e Dated 1882 \u003cbr\u003e\u003cbr\u003e Canvas: 57” high x 34 1\/2” wide (133.78 x 87.62 cm)\u003cbr\u003e Framed: 67 1\/8” high x 44 3\/4” wide x 2 1\/4“ deep (170.50 x 113.67 x 5.72 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-9083.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Goupil \u0026amp; Cie, acquired directly from the artist, 1882\u003cbr\u003e Letts, Son \u0026amp; Co., acquired from above, 1882\u003cbr\u003e Galerie Goupil \u0026amp; Cie, acquired above, 1883\u003cbr\u003e William Schauss, New York, acquired from above, 1883\u003cbr\u003e Private Collection of Mrs. Mary Corliss\u003cbr\u003e Sale, American Art Association, 8 Feb 1935, lot no. 61, with illustration as Flower Girl\u003cbr\u003e Grant Art Galleries\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bougeureau's accounts, as \u003cem\u003eJeune fille appuyée sur une manne\u003c\/em\u003e\u003cbr\u003e Goupil, Boussod \u0026amp; Valadon sales register, nos. 16378 and 16520, as \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e\u003cbr\u003e Charles Vendryès, \u003cem\u003eCatalogue illustré des œuvres de W. Bouguereau\u003c\/em\u003e, Librairie d'Art, Paris, 1885, p. 63\u003cbr\u003e Amable Charles Franquet de Franqueville, \"William Bouguereau\" in \u003cem\u003eLe Premier Siècle de l'Institut de France\u003c\/em\u003e, Vol. I, J. Rothschild, Paris, 1895, p. 370 as \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e\u003cbr\u003e Marius Vachon, \u003cem\u003eW. Bouguereau\u003c\/em\u003e, A. Lahure, Paris, 1900, p. 155\u003cbr\u003e Mark Steven Walker, \"A Summary Catalogue of the Paintings,\" in \u003cem\u003eWilliam Adolphe Bouguereau: L'art Pompier\u003c\/em\u003e, New York, 1991, p. 72\u003cbr\u003e Damien Bartoli and Frederick C. Ross, \u003cem\u003eWilliam Bouguereau: Catalogue Raisonné of his Painted Work\u003c\/em\u003e, New York, 2010, p. 214-15, no. 1882\/06 (illustrated)\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44341931212935,"sku":"31-9083","price":1985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9083_1.png?v=1775172135"},{"product_id":"la-carmencita-by-john-singer-sargent","title":"La Carmencita by John Singer Sargent","description":"John Singer Sargent\u003cbr\u003e 1856-1925 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Carmencita\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped by artist's estate (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e John Singer Sargent, widely regarded as one of history's most distinguished portraitists, created this captivating oil on canvas titled \u003cem\u003eLa Carmencita\u003c\/em\u003e in 1890, the height of his astonishing career. This portrait masterfully captures the dynamic energy and magnetic allure of the renowned Spanish dancer Carmen Dauset, known as La Carmencita. The painting exemplifies Sargent’s unparalleled ability to combine his technical virtuoso with profound emotional depth. \u003cbr\u003e\u003cbr\u003e In this remarkable composition, Sargent masterfully employs light and shadow to create a sense of movement and vibrancy. La Carmencita is captured mid-performance, her figure animated with the energy and grace that made her an international sensation. The stark contrast between her pale skin and dark hair, accentuated by the vibrant red rose in her hair and the shimmer of her fringed shawl, draws the viewer’s eye and underscores her dynamic presence. Sargent’s minimalist background further enhances the focus on La Carmencita, allowing her expressive features and lively posture to dominate the composition. The careful interplay of colors and the fluidity of Sargent’s brushstrokes bring the portrait to life, making it a true masterpiece of movement and expression. \u003cbr\u003e\u003cbr\u003e La Carmencita was a trailblazing dancer who captivated audiences on both sides of the Atlantic. According to film historian Charles Musser, she was the first woman to appear in a modern motion picture made for commercial purposes and may have been the earliest female to feature in any motion picture. Her performances were characterized by a fiery passion and a magnetic presence, qualities that Sargent skillfully captured in this portrait. \u003cbr\u003e\u003cbr\u003e In 1890, Sargent and Isabella Stewart Gardner arranged a gathering at William Merritt Chase’s Tenth Street studio, where La Carmencita performed for their circle of friends. Sargent then persuaded the dancer to sit for several studio sessions, resulting in two oil paintings and a series of drawings. These works culminated in the renowned full-length portrait that now resides in the Musée d’Orsay. Among Sargent’s many dance-themed works, the d’Orsay’s La Carmencita was called “the picture of the year” when it was shown in London in 1891. Our portrait, with its up-close focus and vivid depiction of movement, is a much more intimate glimpse of Sargent's fascination with this exceptional muse. \u003cbr\u003e\u003cbr\u003e While the full-length composition traveled to France, the present portrait almost certainly remained fondly in the collection of La Carmencita herself until she died in 1910. It then returned to Sargent who kept it until his death. When the artist’s personal collection was sold at Christie's in 1925, our painting was bought by the artist’s sister, Violet Ormond, who knew of her brother’s love for the work, and it remained in her family until 1986. La Carmencita was exhibited widely, most notably in Boston’s Copley Hall in 1899 and the Royal Scottish Academy in 1928. The painting has also been well-represented in major publications. \u003cbr\u003e\u003cbr\u003e Born in Florence to American parents, John Singer Sargent displayed exceptional artistic talent from a young age. He trained in Paris under the tutelage of the great Émile Auguste Carolus-Duran, whose influence helped shape Sargent's distinctive style—a blend of realism with a modernist flair. By the time Sargent painted \u003cem\u003eLa Carmencita\u003c\/em\u003e, he had already established himself as one of the premier portraitists of the late 19th century, known for his ability to capture the essence of his subjects with unparalleled precision. Today, he is widely regarded as one of the greatest painters in history, with works represented in major collections including the Museum of Fine Arts, Boston and the Metropolitan Museum of Art.  \u003cbr\u003e\u003cbr\u003e Painted 1890 \u003cbr\u003e\u003cbr\u003e Canvas: 28\" high x 19\" wide (71.12 x 48.26 cm)\u003cbr\u003e Frame: 38\" high x 29 1\/2\" wide x 3\" deep (96.52 x 74.93 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-9763.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Carmen “Carmencita” Dauset (possibly), from the artist, until her death in 1910\u003cbr\u003e Collection of the artist, until his death in 1925\u003cbr\u003e Sale: Christie’s London, John Singer Sargent’s Studio Sale, July 24, 1925, lot 119\u003cbr\u003e Violet Ormond, the artist’s sister, purchased at the above sale\u003cbr\u003e Jean-Louis Ormond, by descent from the above, 1955–1986\u003cbr\u003e Harry and Brigitte Spiro, New York, 1987\u003cbr\u003e Private collection, 1993\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e William Howe Downes, John S. Sargent, His Life and Work (Boston: Little Brown, 1925 and London: Thornton Butterworth, 1926), p. 161\u003cbr\u003e Evan Charteris, John Sargent (London: London Heinemann, 1927), p. 109; 262\u003cbr\u003e The Sargent Trust List of Paintings and Drawings (London, 1927), p. 32, no. 4\u003cbr\u003e Archibald Standish Hartrick, A Painter’s Pilgrimage, through Fifty Years (Cambridge: Cambridge University Press, 1939), p. 127\u003cbr\u003e Charles Merrill Mount, John Singer Sargent: A Biography (New York: Norton, 1955 and London: Cresset Press, 1957 and New York: Kraus, 1969), p. 432, no. 909\u003cbr\u003e David McKibbin, Sargent’s Boston: With an Essay \u0026amp; a Biographical Summary \u0026amp; a Complete Check List of Sargent’s Portraits (Boston: Museum of Fine Arts, 1956), p. 87\u003cbr\u003e Richard Ormond and Elaine Kilmurray, John Singer Sargent: Portraits of the 1890s, Complete Paintings, Volume II (New Haven and London: Yale University Press, 2002), p. 23 – 24, no. 236 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Boston, MA, Copley Hall, Paintings and Sketches by John Singer Sargent, R.A., February 20 – March 13, 1899, p. 15, no. 69 (as Sketch of Carmencita Singing)\u003cbr\u003e London, Carfax \u0026amp; Co., Loan Exhibition of Sketches and Studies by J.S. Sargent R.A., May – June, 1903, no. 29 (as Carmencita)\u003cbr\u003e Edinburgh, Royal Scottish Academy, One Hundred and Second Annual Exhibition of the Royal Scottish Academy, April 21 – August 25, 1928, no. 207\u003cbr\u003e New York, Coe Kerr Gallery, American Impressionism II, May 19 – June 23, 1989, no. 39 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050950193287,"sku":"31-9763","price":1785000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9763_1.png?v=1774966645"},{"product_id":"the-balneator-by-sir-lawrence-alma-tadema","title":"The Balneator by Sir Lawrence Alma-Tadema","description":"Sir Lawrence Alma-Tadema\u003cbr\u003e 1836-1912 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Balneator\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and inscribed \"L Alma Tadema. op CLXXVI.\" (lower right)\u003cbr\u003e Pencil and watercolor with scratching out on paper on board \u003cbr\u003e\u003cbr\u003e This exceptional work by Sir Lawrence Alma-Tadema depicts a Roman bath attendant, executed with the meticulous accuracy and technical brilliance that established the artist as the preeminent painter of classical antiquity in Victorian Britain. Created circa 1876 during Alma-Tadema's mature period, \u003cem\u003eThe Balneator\u003c\/em\u003e demonstrates his remarkable ability to achieve oil painting effects in the challenging medium of watercolor. \u003cbr\u003e\u003cbr\u003e Historically, a balneator was a bath attendant in Ancient Rome who assisted bathers in the caldarium, the hottest room of Roman bath complexes. Using sponges, strigils and specialized instruments, these attendants applied oils to bathers' skin and scraped them clean—an early form of cleansing that preceded modern soap. Alma-Tadema's fascination with Roman baths intensified around 1875 following his acquisition of extensive photographs documenting Pompeii and the archaeological treasures of its museum in Naples. \u003cbr\u003e\u003cbr\u003e Executed in pencil and watercolor with a unique scratching out technique, this work showcases Alma-Tadema's legendary skill in rendering splendid interiors. Through subtle gradations of color and tone, he contrasts different types and colors of marble, creating a convincing architectural environment. The lifelike texture of the figure's costume tassels is a result of the artist's innovative technique of scratching horizontal lines directly into the paper, achieving remarkably convincing textile detail. \u003cbr\u003e\u003cbr\u003e This work was first exhibited at the Society of Painters in Water-Colours winter exhibition of 1876-1877 alongside its accompanying work \u003cem\u003eThe Balneatrix,\u003c\/em\u003e depicting a female bath attendant. Critics praised the work for achieving the same highly finished quality as Alma-Tadema's oil paintings and for his \"consummate ability in the depiction of marbles and interiors.\" Reviews appeared in major London publications, including \u003cem\u003eThe Art Journal, The Globe, The Spectator\u003c\/em\u003e and \u003cem\u003eIllustrated London News\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e The work's provenance traces directly from the artist through respected London dealers Pilgeram \u0026amp; Lefèvre in 1877, subsequently passing through important private collections. The painting has been extensively documented in literature, including Vern Swanson's definitive catalogue raisonné and Robert Barrow's comprehensive monograph.  \u003cbr\u003e\u003cbr\u003e Sir Lawrence Alma-Tadema was one of the most influential artists of the 19th century and perhaps art history’s greatest Neoclassical painter. During a career that spanned more than 60 years, he painted distinctive and “real to life” depictions of classical Greek and Roman antiquity. In 1852, he entered the Royal Academy of Antwerp in Belgium, and he devoted himself to thoroughly researching his subjects, striving for accuracy down to the smallest detail. It was a habit that would persist throughout his career and earn him great success during his lifetime. \u003cbr\u003e\u003cbr\u003e In 1870, Alma-Tadema settled in England, where his Neoclassical works were particularly prized. He earned gold medals and highest honors in Amsterdam, at the Royal Academy, the Paris Salon and the 1867 Exposition Universelle, among countless others. Widely celebrated and admired, Queen Victoria herself awarded him British citizenship in 1873 and granted him knighthood in 1899. Today, his works are heralded as a significant part of art history, with his works gracing the walls of many major international museums, including Tate Britain, the Rijksmuseum and the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e Circa 1876 \u003cbr\u003e\u003cbr\u003e Paper: 14 3\/4“ high x 10 3\/4” wide (37.47 x 27.31 cm)\u003cbr\u003e Framed: 21 1\/2“ high x 17 1\/8” wide x 2“ deep (69.75 x 54.61 x 5.08 cm)  \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e With Pilgeram \u0026amp; Lefèvre, London, acquired directly from the above, 1877\u003cbr\u003e Private collection, acquired in 1997\u003cbr\u003e Private collection, California\u003cbr\u003e Private collection, California\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \"Society of Painters in Water Colours,\" The Globe, London, 5 December 1876, p. 6.\u003cbr\u003e \"Art Exhibition in London,\" The Glasgow Herald, Glasgow, 7 December 1876, p. 3.\u003cbr\u003e \"Society of Painters in Water Colours,\" The Daily News, London, 8 December 1876, p. 2.\u003cbr\u003e \"Art,\" The Spectator, London, 9 December 1876, p. 1541.\u003cbr\u003e \"Fine Arts,\" Illustrated London News, London, 9 December 1876, no. 1950, vol. LXIX,p. 562.\u003cbr\u003e \"Society of Painters in Water Colours,\" The Graphic, London, 9 December 1876, p. 578.\u003cbr\u003e \"Winter Exhibition of the Society of Painters in Water-Colours,\" The Athenaeum, London, 9 December 1876, p. 767.\u003cbr\u003e \"Water-Colour Exhibitions,\" The Saturday Review, London, 16 December 1876, p. 756.\u003cbr\u003e E. W. Godwin, \"Afternoon Strolls,\" The Architect, London, 23 December 1876, p. 364.\u003cbr\u003e C. H. Ross, ed., \"Winter Exhibition of the Society of Painters in Water Colours,\" Judy, vol. XX, London, 27 December 1876, p. 108.\u003cbr\u003e L. Robinson, \"Correspondance D'Angleterre,\" La Chronique des arts, Paris, 24 February 1877, p. 74.\u003cbr\u003e \"Fine Arts,\" Illustrated London News, London, 1 December 1877, no. 2003, vol. LXXI, p. 534.\u003cbr\u003e C. E. Pascoe, \"London Exhibitions,\" The Art Journal, vol. 3, London, 1887, p. 60.\u003cbr\u003e \"Winter Exhibitions,\" The Art Journal, vol. 8, London, 1887, p. 55.\u003cbr\u003e R. Dircks, \"Sir L. Alma-Tadema O.M., R.A., R.W.S.,\" The Art Journal, London, December 1910, p. 30.\u003cbr\u003e V. G. Swanson, \u003cem\u003eSir Lawrence Alma-Tadema\u003c\/em\u003e, London, 1977, p. 138.\u003cbr\u003e R. Borger, \u003cem\u003eDrei Klassizisten: Alma Tadema, Ebers, Vosmaer\u003c\/em\u003e, Leiden, 1978, p. 11, no. 176.\u003cbr\u003e V. G. Swanson, \u003cem\u003eThe Biography and Catalogue Raisonné of the Paintings of Sir Lawrence Alma-Tadema\u003c\/em\u003e, London, 1990, p. 196, under no. 217.\u003cbr\u003e R. J. Barrow, \u003cem\u003eLawrence Alma-Tadema\u003c\/em\u003e, London and New York, 2001, pp. 99, 102, no. 95, illustrated.\u003cbr\u003e B. Massabò, \u003cem\u003eAlbingaunum: itinerari archeologici di Albenga\u003c\/em\u003e, Genoa, 2004, p. 102, illustrated. \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Society of Painters and Water-Colours, Winter Exhibition, 1876-1877, no. 332.\u003cbr\u003e London, Dudley Gallery, Winter Exhibition, December 1877.\u003cbr\u003e Los Angeles, The J. Paul Getty Museum, \u003cem\u003eLuminous Paper: British Watercolors and Drawings\u003c\/em\u003e, 19 July-23 October 2011, no. 27.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43990871343239,"sku":"32-1372","price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1372_1.png?v=1772377072"},{"product_id":"mashallah-by-carl-haag","title":"Mashallah! by Carl Haag","description":"Carl Haag\u003cbr\u003e 1820–1915 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMashallah!\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Carl Haag \/ 1870” (lower right)\u003cbr\u003e Titled and signed “Mash: Allah! \/ by Carl Haag” (en verso)\u003cbr\u003e Watercolor heightened with white \u003cbr\u003e\u003cbr\u003e A commanding and highly evocative work, \u003cem\u003eMashallah!\u003c\/em\u003e stands as an exceptional example of Carl Haag’s Orientalist production. Executed in 1870, shortly after the artist’s extensive travels through the Middle East, this large-scale watercolor reflects Haag’s firsthand engagement with the region and his remarkable ability to translate lived experience into images of enduring visual power. Rich in atmosphere and cultural resonance, the work captures the contemplative dignity that defines Haag’s finest portraits. \u003cbr\u003e\u003cbr\u003e The composition centers on a male figure dressed in traditional Middle Eastern attire, rendered with striking presence. His calm expression and distant gaze convey introspection, while the soft modeling of the face demonstrates Haag’s refined understanding of anatomy and character. A vivid green hookah held delicately in his hand introduces a moment of chromatic contrast against the muted earth tones of the palette. Heightened with white and subtly scratched to create texture, the surface shimmers with delicate detail. \u003cbr\u003e\u003cbr\u003e Carl Haag was among the most accomplished Orientalist painters of the 19th century and remains celebrated for his meticulous draftsmanship and mastery of watercolor technique. Bavarian-born and later naturalized as a British subject, Haag trained in Nuremberg and Munich before settling in England in 1847. His election to the Royal Society of Painters in Water Colours—first as an Associate in 1850 and then as a full member in 1853—confirmed his standing among Britain’s artistic elite, a reputation reinforced by his patronage from Queen Victoria. Between 1858 and 1860, Haag undertook extended journeys through Egypt, Jerusalem, Lebanon and Syria, often working directly from life. These travels fundamentally shaped his oeuvre, grounding his Orientalist imagery in direct observation rather than romantic invention. \u003cbr\u003e\u003cbr\u003e The title \u003cem\u003eMashallah!\u003c\/em\u003e—an Arabic expression meaning “God has willed it,” is commonly used to express admiration, reverence or gratitude. Works of this scale and quality are among Haag’s most sought-after compositions, prized for their authenticity, technical finesse and poetic restraint. \u003cbr\u003e\u003cbr\u003e Painted 1870 \u003cbr\u003e\u003cbr\u003e Paper: 19 5\/8\" high x 13 5\/8\" wide (49.85 x 34.61 cm)\u003cbr\u003e Frame: 35 1\/2\" high x 27 1\/2\" wide x 2 1\/2\" deep (90.17 x 69.85 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, London\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43775347818631,"sku":"32-2060","price":44500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2060_1_d3da8f65-16e0-4da2-82bb-8374672dbc0e.png?v=1781292126"},{"product_id":"merab-and-michal-by-edwin-longsden-long","title":"Merab and Michal by Edwin Longsden Long","description":"Edwin Longsden Long\u003cbr\u003e 1829–1891 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMerab\u003c\/em\u003e and \u003cem\u003eMichal\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Both signed with monogram (lower left and right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The paintings of Edwin Longsden Long stand among the most celebrated achievements of Victorian historical painting, distinguished by their meticulous detail, archaeological rigor and dramatic narrative force. Exhibited as a pair at the Royal Academy of Arts in 1883, \u003cem\u003eMerab\u003c\/em\u003e and \u003cem\u003eMichal\u003c\/em\u003e were immediately recognized as exceptional works within the artist’s oeuvre. Contemporary critics were unequivocal in their praise, with Lady’s Pictorial declaring the figures “perhaps the finest single figures Mr. Long has painted.” Preserved together for over 140 years, these paintings represent a rare survival of Long’s most ambitious and critically acclaimed masterworks. \u003cbr\u003e\u003cbr\u003e Depicting the daughters of King Saul, the compositions explore contrasting expressions of feminine character. Rather than relying solely on the biblical text, Long drew on the dramatic interpretations in the oratorio \u003cem\u003eSaul\u003c\/em\u003e by George Frideric Handel, enriching each figure with psychological nuance. Merab, the elder daughter, is rendered with commanding presence, her upright stance and proximity to arms and armor underscoring her pride and royal authority. Michal, by contrast, is imbued with quiet introspection, her softened gaze and delicately clasped hands framed by sumptuous textiles. Together, the paintings form a carefully balanced dialogue between strength and tenderness, authority and devotion—an intellectual and aesthetic pairing characteristic of Long’s most sophisticated works. \u003cbr\u003e\u003cbr\u003e When exhibited at the Royal Academy, the paintings were singled out for their beauty and commanding presence. The Globe praised their “great beauty of an Oriental type,” while noting that neighboring works paled in comparison. Their impact was such that they were later exhibited across Britain alongside Long’s monumental biblical canvas \u003cem\u003eAnno Domini,\u003c\/em\u003e further cementing their status within his most important productions. \u003cbr\u003e\u003cbr\u003e Long’s reputation during his lifetime was extraordinary. In 1882, just one year before these works were completed, his \u003cem\u003eBabylonian Marriage Market\u003c\/em\u003e achieved £6,615 at auction—the highest price ever paid for a work by a living artist at that time. Many of his most significant paintings are held in important collections, including the Yale Center for British Art, the National Gallery of Victoria and the Russell-Cotes Art Gallery \u0026amp; Museum. \u003cbr\u003e\u003cbr\u003e Both dated 1883 \u003cbr\u003e\u003cbr\u003e Canvas (each): 47 3\/4\" high x 29 3\/8\" wide (121.3 x 74.6 cm)\u003cbr\u003e Frame (each): 60\" high x 44 1\/4\" wide x 4 1\/4\" deep (152.4 x 112.4 x 10.8 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2447.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Fairless \u0026amp; Beeforth, London\u003cbr\u003e Sir John Holder, Bart., by 1906\u003cbr\u003e Anonymous sale, Sotheby’s, London, 21 March 1990, lot 221\u003cbr\u003e With Zangrilli \u0026amp; Co., London\u003cbr\u003e Private collection, United Kingdom\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e The Echo, 11 April 1883, p. 2\u003cbr\u003e The Times, 5 May 1883, p. 12\u003cbr\u003e The Globe, 5 May 1883, p. 6\u003cbr\u003e Saturday Review, 5 May 1883, p. 566; 26 May 1883, p. 665; 16 February 1884, p. 216\u003cbr\u003e Evening Irish Times, 7 May 1883, p. 6\u003cbr\u003e Punch, 12 May 1883, p. 220\u003cbr\u003e Athenaeum, 12 May 1883, p. 607\u003cbr\u003e Building News, 18 May 1883, p. 656\u003cbr\u003e Lady's Pictorial, 26 May 1883, p. 359; 5 September 1885, p. 210\u003cbr\u003e Art Journal, 1883, p. 202\u003cbr\u003e Academy Notes, 1883, p. 13\u003cbr\u003e Birmingham Daily Gazette, 29 March 1906, p. 6\u003cbr\u003e Austin Chester, “The Art of Edwin Long RA,” Windsor Magazine, February 1908, p. 548\u003cbr\u003e Richard Quick, The Life and Works of Edwin Long, R.A., Bournemouth, 1931, p. 44\u003cbr\u003e Mark Bills, Edwin Longsden Long RA, London, 1998, no. 194 (Merab), pp. 137–138, illustrated; no. 195 (Michal), pp. 138–139, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1883, no. 91 (Merab) and no. 97 (Michal)\u003cbr\u003e Fairless and Beeforth, 168 Bond Street, London, 1884–85\u003cbr\u003e Toured with Anno Domini, 1889: T. Cranfield Galleries, Dublin (April–May); Rodman’s Gallery, Belfast (June); Frost and Reed, Bristol (September–October)\u003cbr\u003e Birmingham Art Gallery, Royal Society of Artists, 1906","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44540348661895,"sku":"32-2447","price":498500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2447_1_09d87d93-0a47-46f4-80e3-0de25f3c73d7.png?v=1777555295"}],"url":"https:\/\/rauantiques.com\/collections\/academic-portraits.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}