{"title":"Artist collection 1","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","products":[{"product_id":"autumn-garden-walk-by-john-atkinson-grimshaw","title":"Autumn Garden Walk by John Atkinson Grimshaw","description":"John Atkinson Grimshaw\u003cbr\u003e 1836-1893 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAutumn Garden Walk\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e Signed and dated \"Atkinson Grimshaw 1879-80\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The golden-red glow of the autumnal sun illuminates this countryside scene by British painter John Atkinson Grimshaw. Showcasing the celebrated painter’s mastery of light and atmosphere, the oil is a captivating example of Grimshaw's meticulously rendered evening subjects. While the majority of the artist’s works depict moon-washed cities and the fishing villages of Britain, the location of this piece is the British countryside, giving it a sense of romance that would have resonated with its Victorian audience. \u003cbr\u003e\u003cbr\u003e Born in Leeds the son of an ex-policeman, Grimshaw began painting while he was employed as a clerk for the Great Northern Railway. In 1861 he left his job to pursue a career as a full-time artist. By 1870, he was successful enough to rent Knostrop Hall, a 17th-century mansion near Temple Newsam, which is featured in many of his paintings. His continued success enabled Grimshaw to build a house in Scarborough and to rent a studio in Chelsea. \u003cbr\u003e\u003cbr\u003e His early paintings of still lifes and local landscapes were executed with a precision reminiscent of the Pre-Raphaelite Brotherhood’s ideals. Later in his career, he turned his attention to moonlit urban scenes. He was fascinated by the relatively new art of photography and often used a camera obscura in developing his compositions. He strove relentlessly to perfect his own very individual vision. John Atkinson Grimshaw died on October 31, 1893, leaving three sons, Arthur, Louis and Wilfred, and a daughter, Elaine, who also became artists. Grimshaw’s work can now be seen in galleries all over the world including the Tate Gallery in London and the Leeds Museum.\u003cbr\u003e\u003cbr\u003e Canvas: 20” high x 30” wide\u003cbr\u003e Frame: 33 1\/2” high x 43 1\/2” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542197473415,"sku":"30-6163","price":445000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-6163_1.png?v=1743858833"},{"product_id":"emprunt-6-souscrivez-by-raoul-dufy","title":"Emprunt 6% Souscrivez by Raoul Dufy","description":"Raoul Dufy\u003cbr\u003e 1877-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eEmprunt 6% Souscrivez\u003cbr\u003e (War Loan 6% Subscribe)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Raoul Dufy\" (lower right)\u003cbr\u003e Gouache on paper \u003cbr\u003e\u003cbr\u003e This vibrant gouache on paper by the renowned Raoul Dufy is a work of exceptional artistry and represents an important period in world history. The piece was a special commission ordered by the French government, which sought to encourage the French people to join in the post-war reconstruction efforts. Following World War I, the French government was destitute. The cost of the Great War had been tremendous not only in lives lost but also in terms of infrastructure and finances. To reclaim its place as a great power on the world stage, France needed funds to reconstruct its key industries, and quickly. Thus, the government turned to one of the most famous French artists of the day - Raoul Dufy - to create this gouache on paper to advertise the country's war bonds.  \u003cbr\u003e\u003cbr\u003e The extraordinary work represents Dufy's own sense of patriotic duty. Entirely unique in his oeuvre, it is clear that Dufy wished to create something truly special to help his war-torn country. The artist deftly captures the industry of France in the colorful composition, showcasing bridges, buildings, ships and other key elements of the country's infrastructure to evoke the viewers' pride, patriotism and willingness to help. The words \u003cem\u003eEmprunt 6% Souscrivez (War Loan 6% Subscribe)\u003c\/em\u003e are boldly written across the top, seeking subscribers to a 6% interest loan to help rebuild the country - a very healthy return for the age. \u003cbr\u003e\u003cbr\u003e The powerful painting represents one of the most effective and extensive patriotic campaigns of all time. France relied heavily on the willingness of its citizens to lend money to the government during World War I. By the war's end, however, the war-weary public required greater incentive to purchase war loans, so higher interest rates as well as extensive public relations campaigns were needed to sell government bonds. With the purchase of a war loan, every person could make a difference - and earn a significant return on their investment. Dufy's exceptional composition appealed to his countrymen's sense of patriotism, duty and pride, resulting in one of the most successful war and reconstruction funding campaigns of the modern age. \u003cbr\u003e\u003cbr\u003e Aside from its historic importance, the work is exemplary of Dufy's highly modern and distinctive style. The dynamism of the scene is perfectly translated through the artist's vivacious experiments in color and movement. He combines bold and spontaneous black outlines with broad areas of vivid color, creating dynamic planes that captivate the viewer. The resulting work is colorful and full of vigor, displaying the bright fluidity for which Dufy is so loved. \u003cbr\u003e\u003cbr\u003e Born in Le Havre, Normandy, both Dufy and his brother Jean showed a talent for drawing at an early age. He would eventually enroll in the École d'Art in La Havre, and later, the École Nationale Supérieure des Beaux-Arts in Paris. After viewing Matisse's Luxe, Calme et Volupte in 1904, Dufy adopted the bright color and flat compositions of the Fauvists. By 1909, the artist sought more austerity in his painting, and he became drawn to the works of Cézanne and the Cubists. From this point forward, Dufy's compositions presented a blend of the ideals upheld by these two artistic groups. His use of bold lines and colors, dynamic brushstrokes and other painterly qualities found in his paintings are a testament to his unique Expressionist ideals. \u003cbr\u003e\u003cbr\u003e This important work is accompanied by a certificate of authenticity from Mme. Fanny Guillon-Laffaille and will be included in her forthcoming supplement to the \u003cem\u003eCatalogue Raisonné des aquarelles de Raoul Dufy\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Circa 1919 \u003cbr\u003e\u003cbr\u003e Paper: 19\" high x 25\" wide\u003cbr\u003e Frame: 28\" high x 33 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Madame Collette van Leer (the artist's niece), Brussels\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44540181905543,"sku":"30-7592","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-7592_1_b92d0cd5-c541-4105-9323-0e0ceaea9b7a.png?v=1777552447"},{"product_id":"dancer-fastening-the-string-of-her-tights-by-edgar-degas","title":"Dancer Fastening the String of Her Tights by Edgar Degas","description":"Edgar Degas\u003cbr\u003e\n1834-1917 | French\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eDancer Fastening the String of Her Tights\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nSigned, numbered, dated, and stamped with foundry mark “Degas \/ 33|G \/ 1998 \/ CIRE C.VALSUANI PERDUE”\u003cbr\u003e\nBronze\n\u003cbr\u003e\u003cbr\u003e\nThis graceful little dancer is a superb example of the sculptural works created by the great Impressionist Edgar Degas. Degas had an extraordinary talent for capturing the natural movements and grace of his figures, particularly in his paintings and sculptures of ballet dancers for which he is best known. In the present bronze, he uses a dramatic, twisting contrapposto pose in order to depict his dancer in motion as she contorts backwards to tighten the string of her tights. His works such as this reveal the mechanics of the ballet that happen beyond the beauty on stage, lending his works a remarkable sense of life and intimacy.\n\u003cbr\u003e\u003cbr\u003e\nThroughout his career, Degas became obsessed with capturing the dancer in motion, both on stage and in the dressing room. Of the seventy-four wax sculptures created by Degas during his lifetime, forty of them depicted dancers. The present work boasts one of the more original poses from among these - rather than an arabesque, Degas captures his dancer undertaking a far more private and intimate task. Unlike some of his works that depict women doing their toilette, the bronze is elegant rather than awkward, as Degas transforms the simple act of tying a string into a pleasing and fluid pose.\n\u003cbr\u003e\u003cbr\u003e\nThe work is a sought-after rarity in terms of Degas’ sculptures. Not only are his dancers the most desirable of his work, but this bronze is also distinguished by the fact that it is a Valsuani bronze, meaning it faithfully records Degas’ wax version’s pose as it appeared at the time of its creation. Most Degas' bronzes that are found on the market were cast by Hébrard – these serialized bronzes are surmoulages, or “aftercasts,” that were cast from the modèle bronzes currently in the Norton Simon Museum (Pasadena). Because these bronzes are second generation, they are smaller and far less detailed that the current bronze.\n\u003cbr\u003e\u003cbr\u003e\nThis example, however, was cast by Valsuani from a plaster that was taken directly from Degas’ waxes, according to scholarship by the art historian Dr. Gregory Hedberg. These plasters were created by Degas’ sculptor friend Albert Bartholomé shortly after Degas completed his wax figurines. Thus, they record the earliest versions of Degas’ wax sculptures, before they were damaged by time or handling, and before Degas himself altered the works. The Hébrard bronzes, on the other hand, actually represent Degas’ reworking of the original sculptures.\n\u003cbr\u003e\u003cbr\u003e\nBecause they are cast directly from the plaster, the Valsuani bronzes are also larger, crisper, and more highly defined than the Hébrard bronzes. Since the original plasters were discovered in the 1990s, similar Valsuani bronzes have been exhibited around the world, including The Hermitage (St. Petersburg) and the Minneapolis Institute of Art.\n\u003cbr\u003e\u003cbr\u003e\nOriginal wax model executed circa 1885-1890\u003cbr\u003e\nBronze cast 1998\n\u003cbr\u003e\u003cbr\u003e\n16 5\/8\" high x 8 1\/2\" wide x 7 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43316796489863,"sku":"30-9143","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9143_1_36fec41c-c760-40af-84ce-7dd2f90299a3.png?v=1760369097"},{"product_id":"siesta-by-frederick-carl-frieseke","title":"Siesta by Frederick Carl Frieseke","description":"Frederick Carl Frieseke\u003cbr\u003e\n1874-1939 | American\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eSiesta\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nSigned \"F.C. Frieseke\" (lower left)\u003cbr\u003e\nOil on board\n\u003cbr\u003e\u003cbr\u003e\nFrederick Carl Frieseke's \u003cem\u003eSiesta\u003c\/em\u003e is an exceptional example of the American artist's distinctive Impressionist style. The artist's superb treatment of color, texture and the subtlety of Impressionist light is fully on display in the exceptional composition. Frieseke is celebrated for his intimate compositions of women such as this, and he captured them in gardens and domestic interiors throughout his career. In \u003cem\u003eSiesta\u003c\/em\u003e, his artfully posed subject is modernized thanks to Frieseke's remarkable eye for pattern and color.\n\u003cbr\u003e\u003cbr\u003e\nFrieseke's depictions of women show his lifelong obsession with both the effects of lighting and the Impressionistic technique. His subject in the present work reveals both of these aesthetic tendencies. She is captured in a spectacularly decorated room, her blue gown flowing over a patterned chaise as she rests on this sunny afternoon. Frieseke positions her near a large open window, allowing him to capture the bright beams of sunlight that filter through the glass panes into the room. The artist is particularly renowned for his ability to render patterns, and this oil is filled with them - the patterns of furniture, patterns of curtains, patterns of a rug, patterns of light and shade. Overall, it is a superb example of Frieseke's distinctive stylistic interest and his important contributions to American Impressionism.\n\u003cbr\u003e\u003cbr\u003e\nBorn in Michigan in 1874, Frieseke studied his craft at the School of the Art Institute of Chicago. After briefly studying in New York, he moved to Paris in 1897 like many artists of his generation. There, he studied at the Académie Julian, where he worked under Benjamin Constant and Jean-Paul Laurens. In the ensuing years, he began to paint the intimate views of women in their boudoirs that would come to dominate his output throughout his career.\n\u003cbr\u003e\u003cbr\u003e\nFrieseke first visited the artist colony in Giverny in 1900, and just five years later, he would settle there. The work he created while in Giverny was among the most significant of his career. He and his wife frequently visited Claude Monet, who was a close neighbor, though they more commonly discussed gardens than their artwork. In 1920, Frieseke was appointed a Chevalier of the Legion of Honor, a remarkable achievement for an American painter. Today, his works can be found in museums around the world, including the Detroit Institute of the Arts, the Minneapolis Institute of Arts, the Museum of Fine Arts (Houston), and the Thyssen-Bornemisza Museum (Madrid).\n\u003cbr\u003e\u003cbr\u003e\nThis oil will be included in Nicholas Kilmer's forthcoming catalogue raisonné of the artist's work.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1917\n\u003cbr\u003e\u003cbr\u003e\nBoard: 18 3\/8\" high x 20\" wide\u003cbr\u003e\nFrame: 23 5\/8\" high x 25 1\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491716935815,"sku":"30-9160","price":248500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-9160_1.png?v=1685632880"},{"product_id":"nature-morte-by-bernard-buffet","title":"Nature Morte by Bernard Buffet","description":"Bernard Buffet\u003cbr\u003e 1928-1999 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNature Morte à l'Étoile de Mer et aux Coquillages\u003cbr\u003e (Still Life with Starfish and Shellfish)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Bernard Buffet\" (upper center) and dated \"1982\" (upper left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Once considered 20th-century France's most important painter, Bernard Buffet's stark and haunting style defined the existential mood of the Post-War era. The present still life was composed in 1982, decades after he had achieved an unparalleled level of artistic celebrity in Paris. It reveals a more personal side of the famed painter, hinting at his lifelong love affair with the sea through his highly unique expressionistic style. \u003cbr\u003e\u003cbr\u003e Set against flattened planes of color, the nautically-themed still life is sharply defined by Buffet's trademark black outlines. The thick, dark lines lend his figures a severity that belies their more benign existence. His palette, however, softens this effect with pastel hues that mimic the yellow sands and blue skies of a more traditional seascape. The combination is masterful and results in a scene that is simultaneously tranquil and desolate. It was this very nostalgic sense of despair that earned him fame as a young painter, and it remains compelling in its gravity in his mature work.  \u003cbr\u003e\u003cbr\u003e Born in Paris in 1928, Buffet began his artistic studies at the École Nationale Supérieure des Beaux-Arts in 1944. Though artistically gifted, he proved a poor student, preferring to spend his time in museums around Paris rather than the studio. After two years, the young painter struck out on his own, exhibiting his first work, a self-portrait, at the \u003cem\u003eSalon des Moins de Trente Ans\u003c\/em\u003e in 1946. He earned his first critical praise at the Salon d'Automne in 1947, and the following year he shared the Prix de la Critique with Bernard Lorjou. It was the beginning of his trajectory to stardom. \u003cbr\u003e\u003cbr\u003e His existential compositions brought him great fame and fortune at an early age, and by 1958 he appeared alongside Yves Saint Laurent, Brigitte Bardot, Roger Vadim and Françoise Sagan in a New York Times Magazine article titled “France's Fabulous Young Five.” Though eventually scorned by the art establishment, his works remained wildly popular amongst the French public. In 1971, he was appointed Chevalier de la Légion d'honneur, and was appointed to the rank of Officier in 1993. Since his death in 1999, a number of retrospectives have begun to change the critical reception of his work, including a 2017 retrospective at the Musée d'Art Moderne in Paris. His work can be found in numerous public collections, including the Tate Gallery in London, the Cincinnati Art Museum, and the Brooklyn Museum of Art, as well as two museums in Japan devoted to his oeuvre. \u003cbr\u003e\u003cbr\u003e The work is accompanied by a certificate of authenticity from Maurice Garnier. \u003cbr\u003e\u003cbr\u003e Dated 1982 \u003cbr\u003e\u003cbr\u003e Canvas: 25 3\/4\" high x 32\" wide\u003cbr\u003e Frame: 35\" high x 41\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672823726215,"sku":"30-6373","price":168500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-6373_1_a5215d24-23b9-4497-9ad4-5cc1fec5b02f.png?v=1769760449"},{"product_id":"le-passeur-by-jean-baptiste-camille-corot","title":"Le Passeur by Jean-Baptiste-Camille Corot","description":"Jean-Baptiste-Camille Corot\u003cbr\u003e 1796-1875 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Passeur\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Ferryman\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed \"Corot\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“There is only one master here — Corot. We are nothing compared to him, nothing.”\u003c\/em\u003e\u003cbr\u003e - Claude Monet\u003cbr\u003e \u003cbr\u003e One of the world’s most important artists, Jean-Baptiste-Camille Corot’s contributions to the history of art are immeasurable. Acclaimed as one of the world’s greatest landscape painters and widely regarded as the first Impressionist, Corot's paintings served as inspiration for entire generations of artists who followed him. In this phenomenal and monumental work, entitled \u003cem\u003eLe Passeur (The Ferryman)\u003c\/em\u003e, his groundbreaking ability to express the very essence of the landscape with subtle poeticism and impressionistic luminosity is clear. \u003cbr\u003e\u003cbr\u003e The work is both a meditation on nature’s beauty and a study in serenity, deftly reflecting the artist’s own self-confessed affinity to retreat from the world. The ferryman's boat, mirrored in a tranquil sheet of water, contributes to the calm of the evening scene, while also offering a subtle question as to man’s place in nature. The subject of the ferryman was a familiar one to Corot, who returned to the subject time and time again. A second example, just half the size of the present piece, is currently on display at the Metropolitan Museum of Art (New York), while another earned him significant critical acclaim when it was exhibited at the Salon of 1873. The present piece remarkably shares the brilliance of these smaller works, and Corot deftly captures the monumentality of the French landscape with his renowned lyricism. \u003cbr\u003e\u003cbr\u003e Once owned by the Art Institute of Chicago, \u003cem\u003eLe Passeur\u003c\/em\u003e was part of the celebrated Henry Field Memorial Collection, along with other pivotal masterpieces such as \u003cem\u003eThe Song of the Lark\u003c\/em\u003e by Jules Adolphe Breton (1884) and \u003cem\u003ePeasants Bringing Home a Calf Born in the Fields\u003c\/em\u003e by Jean-François Millet (1864). It bears all of the hallmarks of his beloved style. His charming tendency to animate his landscapes with a note of brilliant color is seen in the vibrant red of a ferry passenger's cap, which serves as a beacon in the vast canvas. His brushstrokes, feathery and light, transformed the neoclassical landscape of his predecessors; rather than idealism and order, Corot discovered an intrinsic poetry in nature’s powerful presence. His persistence in capturing variations of light and atmosphere in the same setting portends the innovations of the Impressionists – just 20 years later Monet would do the same when he painted, over and over again, the façade of the cathedral at Rouen. Yet, it was his steadfastness to his style and \u003cem\u003eplein air\u003c\/em\u003e technique that was the greatest influence on those budding young artists around him. The great Camille Pissarro, in particular, fell under his influence, and he persistently upheld Corot as an example of independence to the Impressionists. \u003cbr\u003e\u003cbr\u003e Corot received a classical education in Rouen before turning to painting, at which time he studied with Achille Etna Michallon and Jean-Victor Bertin, both pupils of the leading historical landscape painter Pierre-Henri de Valenciennes. He visited the countryside of Rome and produced plein air studies, capturing the area’s natural beauty and classical antiquity. His fresh, starkly lit renditions reflect the debate of the day that sought to reconcile classically inspired idealizations with closely observed depictions of light and climate. \u003cbr\u003e\u003cbr\u003e He debuted at the Paris Salon in 1827 and would continue to exhibit there his entire life. Many of these paintings, particularly those produced later in his career, were purchased by the state for public museums, as well as by important collectors such as Emperor Napoleon III. For his enduring contribution to the arts, Corot was made a Knight of the Legion of Honor in 1846 and an Officer in 1867. At the Munich International Exposition of 1869, he was made a Knight of the Order of St. Michael. \u003cbr\u003e\u003cbr\u003e As seen in this extraordinary example, Corot’s work shows great strength, purity and a deep understanding of the French landscape. His use of light and shadow breathes life into the canvas and gives the subject an exceptional dimension of realism. Corot was profoundly influential both upon his contemporaries and later generations of artists. Those who counted him as their greatest inspiration include Daubigny, Théodore Rousseau, Jean-François Millet, Gustave Courbet and Berthe Morisot. \u003cbr\u003e\u003cbr\u003e Circa 1870 \u003cbr\u003e\u003cbr\u003e Canvas: 36” high x 52 1\/2” wide\u003cbr\u003e Frame: 45 3\/4” high x 62” wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Arnold \u0026amp; Tripp, Paris\u003cbr\u003e Durand- Ruel, Paris, 1889\u003cbr\u003e Durand-Ruel, New York, 1889\u003cbr\u003e Henry Field, Chicago, 1891\u003cbr\u003e by descent to his wife, Florence Lathrop Field, Chicago\u003cbr\u003e Gift to The Art Institute of Chicago, 1894\u003cbr\u003e Max E. Greenberg, New York\u003cbr\u003e by descent to his wife, Filomen D’Agostino Greenberg\u003cbr\u003e Alexander Gallery, New York\u003cbr\u003e Private collection, California, 2014\u003cbr\u003e M.S. Rau Antiques, 2016","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672833491079,"sku":"30-5760","price":785000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-5760_1_b87e1f6a-a128-4c27-99ea-eda79d0c49a7.png?v=1769759164"},{"product_id":"dimanche-au-champ-de-course-by-h-claude-pissarro","title":"Dimanche au champ de course by H. Claude Pissarro","description":"Hugues Claude Pissarro\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDimanche au champ de course (Deauville)\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eSunday at the Racetrack\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “H. Claude Pissarro” (lower left)\u003cbr\u003e Pastel on card \u003cbr\u003e\u003cbr\u003e French artist Hugues Claude Pissarro offers a unique perspective of the racetrack in Deauville in this exceptional pastel. The spectators are as much his subject as the sport in this artistic tribute to a leisurely Sunday at the tracks. Following the impressionist tradition of his father and grandfather before him, Pissarro infuses this pastel with dynamic light and vibrant colors. Entitled \u003cem\u003eDimanche au Champ de Course (Deauville)\u003c\/em\u003e, it showcases the artist's highly distinctive and sophisticated style. \u003cbr\u003e\u003cbr\u003e Hailing from a long lineage of painters, Pissarro's artistic talents were cultivated at an early age. He exhibited his first works at the young age of 14 and later studied in Paris at the École du Louvre and École Normale Supérieure. A 1959 White House commission to paint the portrait of President Eisenhower cemented his reputation as an artist of renown, and his work has since been featured in important exhibitions throughout Europe and the United States. While his style has evolved throughout his career, he is best known for his brightly colored works such as the present piece. \u003cbr\u003e\u003cbr\u003e The painting is accompanied by a certificate of authenticity signed by the artist. \u003cbr\u003e\u003cbr\u003e Card: 14\" high x 19 1\/2\" wide\u003cbr\u003e Frame: 19 7\/8\" high\" x 25 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43873704050823,"sku":"31-0882","price":22500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0882_1_9bf0847a-6f86-4814-86ea-ceb5b0d24e59.png?v=1770664814"},{"product_id":"the-alchemist-by-pieter-brueghel-the-younger","title":"The Alchemist by Pieter Brueghel the Younger","description":"Pieter Brueghel the Younger\u003cbr\u003e\n1564\/65-1636 • Flemish\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eThe Alchemist\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nOil on oak panel\n\u003cbr\u003e\u003cbr\u003e\nA work of remarkable complexity and importance, this incredible 17th–century painting was created by the famed Flemish artist Pieter Brueghel the Younger. Entitled \u003cem\u003eThe Alchemist\u003c\/em\u003e, this highly detailed piece is a recently rediscovered masterwork after a significant drawing by his father, Pieter Bruegel the Elder. Painted with remarkable finesse and his renowned eye for detail, this tour-de-force of Flemish painting stands as one of Brueghel’s greatest masterpieces.\n\u003cbr\u003e\u003cbr\u003e\nWhile Brueghel the Younger often made numerous copies in different formats for each of his compositions, \u003cem\u003eThe Alchemist\u003c\/em\u003e is fairly unique in his oeuvre. This distinctive painting by the renowned artist was almost certainly a special commission for an important client who wished to be the singular owner of this impressive scene. While the painter took inspiration from the 1558 drawing by his father (which is now held in the Kupferstichkabinett in Berlin), he offers here his own unique interpretation, adding dynamic color and vitality to the complex scene.\n\u003cbr\u003e\u003cbr\u003e\nThe intricate work depicts a subject of great interest of the time – the alchemist. The science of alchemy, or the attempt to transform one metal into another, was practiced from antiquity through the 17th century. Beginning in the 15th century, the practice was first known to attract frauds and conmen, and by the time of Bruegel the Elder, the practice was completely discredited. This scene offers a rather satirical portrait of the alchemist at work, standing as a symbol of man’s folly in their quest for unearned gold.\n\u003cbr\u003e\u003cbr\u003e\nThe alchemist, hunched over his work, is surrounded by a multitude of instruments in his makeshift laboratory. He is aided in his work by the scholar, who is hunched over a text that reads “Al Ghemist” (meaning “All is lost”), as well as the fool, frantically and futilely feeding air into the fire. The alchemist’s wife stands next to him, watching him throw their last gold coin into the crucible as she searches in vain through her flat purse. Brueghel reveals the conclusion of the story through the window in a clever example of a painted narrative, showing the ill-fated family being welcomed by the Church, the giver of charity. Indeed, the message of the work is clear: Folly often leads to ruin.\n\u003cbr\u003e\u003cbr\u003e\nThe complex composition is a veritable treasure trove of allegory and detail. From the richness of its colorful palette to the beautifully executed still life of books and scientific instruments throughout the work, this painting is the \u003cem\u003epiece de resistance\u003c\/em\u003e in Brueghel’s incredible oeuvre.\u003cbr\u003e\u003cbr\u003e\nIts importance is only made greater by its extraordinary provenance. Once owned by the important Belgian painter Victor Lagye, the work was later sold to Max Rooses, a well-known art connoisseur and curator of the Plantin-Moretus Museum in Antwerp. Remarkably, the original sale receipts from 1879 are still intact, and accompany this singular masterpiece.\n\u003cbr\u003e\u003cbr\u003e\nEldest son of Pieter Bruegel the Elder, Pieter Brueghel the Younger was born in Brussels in 1565. Brueghel was just five years old when his father died; after his death, he went to live with his maternal grandmother, who was an accomplished artist in her own right. He is most noted for his interpretations of his father’s works, as well as his compositions of fire and grotesque imagery, earning him the nickname \"Hell Brueghel\". His highly detailed images and allegorical subjects made him the most famous artist of his day.\n\u003cbr\u003e\u003cbr\u003e\nThe painting is accompanied by a letter of authenticity from Dr. Klaus Ertz, dated 21 December 2010, as well as the incredibly rare, original Lagye\/Rooses sale receipts from 1879.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1600\n\u003cbr\u003e\u003cbr\u003e\nFrame: 36 3\/4\" high x 48\" wide\u003cbr\u003e\nCanvas: 27” high x 37 3\/4” wide\n\u003cbr\u003e\u003cbr\u003e\nReferences:\u003cbr\u003e\n\u003cem\u003eGerman, Flemish and Dutch Painting\u003c\/em\u003e, 1881, by H.J. Wilmot-Buxton and E.J. Poynter, p. 105 (illustrated)\n\u003cbr\u003e\u003cbr\u003e\nExhibitions:\u003cbr\u003e\n\u003cem\u003eArt and Alchemy: The Mystery of Transformation\u003c\/em\u003e, Museum Kunstpalast in Düsseldorf, Germany, April – August 2014\n\u003cbr\u003e\u003cbr\u003e\nProvenance:\u003cbr\u003e\nVictor Lagye (Gent 1825-1896), until 1879\u003cbr\u003e\nMax Rooses (Antwerp 1839-1914); thereby direct descent\u003cbr\u003e\nRemained in Belgium until 2007 when Rooses’ heirs moved to the Principality of Liechtenstein\u003cbr\u003e\nSold to a private collector in the Principatlity of Liechtenstein in 2010","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672826019975,"sku":"30-2978","price":3950000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-2978_1_d27cf98f-9d70-4252-b528-b3875b4cde71.png?v=1767205963"},{"product_id":"an-evening-at-the-circus-in-copenhagen-by-paul-gustav-fischer","title":"An Evening at the Circus in Copenhagen  by Paul Gustav Fischer","description":"Paul Gustav Fischer\u003cbr\u003e 1860-1934 | Danish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAn Evening at the Circus in Copenhagen - I Cirkus Varieté\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, inscribed and dated “Paul Fischer Circus Varieté 1891” (lower left) \u003cbr\u003eOil on canvas \u003cbr\u003e\u003cbr\u003e This lively and highly detailed scene was composed by Paul Gustav Fischer, a leading Danish painter of the Belle Époque era. Inspired by his many travels to Paris between the 1870s and 1890s, Fischer began incorporating elements he saw in the works of the French Impressionists into his own paintings – not just in technique, but in the subject as well. His compositions soon reflected the complexities of modern life in the city, with brilliant depictions of bustling streets, public squares and society at large. The present work, entitled \u003cem\u003eAn Evening at the Circus in Copenhagen - I Cirkus Varieté\u003c\/em\u003e, exemplifies the spirited, cultural subjects of his very finest works. \u003cbr\u003e\u003cbr\u003e The impressive oil captures the interior of the Cirkusbygningen in Copenhagen; completed in 1866, the building was destroyed by a fire in 1914. Fischer's composition, which is dated 1891, is one of the very few existing records of the interior of this historic space. The artist adds a personal touch to the scene, as many subjects are notable friends, colleagues and members of society. Among them are his brother, Niels Fischer, and the artist's wife, Dagny Fischer. His friends Høyrup and Tontoppidan also grace the scene, while the famous French actress Madame Pacra sings \u003cem\u003eMarseillaise\u003c\/em\u003e from the stage. \u003cbr\u003e\u003cbr\u003e Daily life in Copenhagen was an inspiration for Fischer throughout his long and successful career. The son of the artist Phillip Fischer, he began to paint when he was still young, guided by his father. He became a pupil of C. Möller but was formally educated in art for only a short time when he spent two years at the Royal Danish Academy of Art. Rejecting the traditional curriculum of the Academy, he aligned himself with a group of young artists the celebrated a new modern era of Danish art, including Peder Severin Krøyer, Carl Locher, and Laurits Tuxen. His first breakthrough came in 1882 when he created illustrations for the magazine \u003cem\u003eUde og hjemme.\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e It was not long before Fischer gained fame as a painter of cities, not just Copenhagen, but scenes from Scandinavia, Italy, and Germany. He benefited from contemporaries in Norway and Sweden, especially Carl Larsson. Besides Paris, Fischer traveled and worked extensively in Germany and Italy. The artist’s greatest triumph came when Denmark transferred the sovereignty of Norway back to the Norwegians, and he was awarded the royal commission by King Haakon of Norway to paint the event over the more prominent painter Laurits Tuxen. \u003cbr\u003e\u003cbr\u003e Dated 1891 \u003cbr\u003e\u003cbr\u003e Canvas: 31 1\/2” high x 41 1\/4” wide\u003cbr\u003e Frame: 35 1\/2” high x 45 1\/2” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491967611015,"sku":"31-1363","price":265000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-1363_1.png?v=1689410581"},{"product_id":"the-artists-subject-by-jehan-georges-vibert","title":"The Artist's Subject by Jehan Georges Vibert","description":"Jehan Georges Vibert \u003cbr\u003e 1840-1902 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Artist's Subject\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “J.G. Vibert. 1875” (lower left)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e The legendary humor of French Academic painter Jehan Georges Vibert is on full display in this charming oil on panel. A master of detail, texture and narrative, Vibert is renowned for his comical genre paintings such as this one, which captures a portrait painter gone rouge. While the likeness of his sitter sits unfinished in the foreground aside his slumbering subject, the artist is glimpsed in the shadowy background making advances towards his client's wife. Beyond the comedy of the narrative, the entire opulent scene is a study in period satins, lace and more — Vibert demonstrates the full range of his painterly talents in the extraordinary work. \u003cbr\u003e\u003cbr\u003e Vibert began his career studying first under his grandfather, Jean-Pierre-Marie Jazet, who was a celebrated engraver. The artist soon realized that his true calling was painting, and enlisted in the studio of Félix-Joseph Barrias before enrolling at the École des Beaux-Arts at the age of 16. He continued his studies there until the outbreak of the Franco-Prussian War in 1870, at which time he joined the military as a member of the “sharpshooters.” Vibert was wounded at Malmaison and was awarded the medal of the \u003cem\u003eLégion d’Honnour \u003c\/em\u003efor his valiant efforts during the conflict.  \u003cbr\u003e\u003cbr\u003e The artist returned to his passion of painting after the war, which he continued until 1899. During his extensive career, he proved to be somewhat of a “renaissance man,” excelling in the fields of oil painting, watercolors, writing and acting. He co-founded and became president of the Sociéte des Aquarellistes Français (Society of French Watercolors), and in 1891, he wrote the book \u003cem\u003eLa Science de la Peinture (The Science of Painting).\u003c\/em\u003e Vibert also found time to write numerous essays for the American publication \u003cem\u003eThe Century Magazine\u003c\/em\u003e, as well as several notable plays. \u003cbr\u003e\u003cbr\u003e He exhibited extensively at the Paris Salon throughout his entire career, earning much praise for his masterpieces that extended far beyond Europe. The popularity of his works spread to the United States, and innumerable famous Americans commissioned works from the artist, including John Jacob Astor and William Vanderbilt. \u003cbr\u003e\u003cbr\u003e Dated 1875 \u003cbr\u003e\u003cbr\u003e Panel: 12 1\/2\" high x 16\" wide\u003cbr\u003e Frame: 19 1\/8\" high x 22 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Sarasota, Florida\u003cbr\u003e M.S. Rau, New Orleans, 2020","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491859148935,"sku":"31-1782","price":28500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-1782_1.png?v=1689410351"},{"product_id":"at-the-mirror-by-frederick-carl-frieseke","title":"At the Mirror by Frederick Carl Frieseke","description":"Frederick Carl Frieseke\u003cbr\u003e 1874-1939 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAt the Mirror\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F.C. Frieseke\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Part of the second generation of modern American painters to study in Giverny, Frederick Carl Frieseke is among the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. \u003cem\u003eAt the Mirror\u003c\/em\u003e is a charming example of the latter, and it is masterfully executed with the artist's deft handling of color. \u003cbr\u003e\u003cbr\u003e The work demonstrates the artist's remarkable eye for composition; the mirror (with its reflection) divides the canvas horizontally, offering a view of the front and back of the artist's model as she removes her robe. The result is a work that feels both intimate and voyeuristic, allowing the viewer a glimpse into this private space. The soft familiarity of the work is enhanced by the painter’s characteristic limitation of palette, which has been pared down to a series of pale greens, blues and violets that are only occasionally offset by hints of orange, yellow and red in the wallpaper and flowers. All of his distinctive artistic devices come together in \u003cem\u003eAt the Mirror\u003c\/em\u003e, resulting in a highly successful and balanced composition.  \u003cbr\u003e\u003cbr\u003e Executed in 1922, the work embodies Frieseke's mature impressionist style. After spending nearly two decades in the artist's colony at Giverny, Frieseke moved to a farm in Normandy in 1920, and his art of this period concentrated almost solely on the female figure. \u003cem\u003eAt the Mirror\u003c\/em\u003e exemplifies his output of this age. The quietude of the room and the tranquility of the model are poignantly recorded by Frieseke, resulting in an idyllic image that approaches its subject in its most picturesque form. As a whole, the work demonstrates Frieseke's skillful use of impressionistic brushwork and diffuse light.  \u003cbr\u003e\u003cbr\u003e Born in Michigan in 1874, Frieseke studied his craft at the School of the Art Institute of Chicago. After briefly studying in New York, he moved to Paris in 1897 like many artists of his generation. There, he studied at the Académie Julian, where he worked under Benjamin Constant and Jean-Paul Laurens. In the ensuing years, he began to paint the intimate views of women in their boudoirs that would come to dominate his output throughout his career. \u003cbr\u003e\u003cbr\u003e Frieseke first visited the artist colony in Giverny in 1900, and just five years later, he would settle there. The work he created while in Giverny was among the most significant of his career. He and his wife frequently visited Claude Monet, who was a close neighbor, though they more commonly discussed gardens than their artwork. In 1920, Frieseke was appointed a Chevalier of the Legion of Honor, a remarkable achievement for an American painter. Today, his works can be found in museums around the world, including the Detroit Institute of the Arts, the Minneapolis Institute of Arts, the Museum of Fine Arts (Houston) and the Thyssen-Bornemisza Museum (Madrid). \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming catalogue raisonné of Frieseke's work being compiled by Nicholas Kilmer, the artist's grandson. \u003cbr\u003e\u003cbr\u003e Circa 1922 \u003cbr\u003e\u003cbr\u003e Canvas: 32 3\/4\" high x 32 1\/4\" wide\u003cbr\u003e Frame: 43\" high x 42 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Macbeth Gallery, New York\u003cbr\u003e Sotheby's New York, May 25, 1988, Lot 194\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44335886205063,"sku":"31-2880","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2880_1_a73f8f71-5a37-40f7-89f6-17f5e38702a5.png?v=1775143357"},{"product_id":"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":"blackstone-cigars-by-norman-rockwell","title":"Blackstone Cigars by Norman Rockwell","description":"Norman Rockwell \u003cbr\u003e 1894-1978 | American  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBlackstone Cigars\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e A charming relic of a bygone era, this rare oil is the work of the inimitable American illustrator, Norman Rockwell. The iconic artist’s ability to render the details and nuances of everyday life is on full display in this original advertisement, which features a businessman enjoying a Blackstone cigar while dictating to his secretary. Executed by Rockwell in 1921, the work was a special commission for a billboard campaign by the American cigar manufacturer Waitt \u0026amp; Bond. They were so pleased with the work that the company commissioned two additional billboard designs from Rockwell, a hunting scene in 1922 and a fishing scene in 1923. \u003cbr\u003e\u003cbr\u003e Rockwell's ability to capture the character of the nation was prized not only by magazine art editors but also by advertisers. Nearly all major companies of the day called upon Rockwell for his outstanding compositions, including Jell-O, Coca-Cola, General Motors, Ford, Post Cereals, and the U.S. Army, while his works continued to grace the covers of publications such as \u003cem\u003eLiterary Digest\u003c\/em\u003e, \u003cem\u003eLife\u003c\/em\u003e, \u003cem\u003eCountry Gentleman\u003c\/em\u003e, \u003cem\u003eLook\u003c\/em\u003e and the iconic \u003cem\u003eSaturday Evening Post\u003c\/em\u003e. Taken together, his many paintings capture the essence of the American spirit. “I paint life as I would like it to be,” Rockwell once said. Nostalgic and idealistic, his paintings evoke the hopes and aspirations of the entire nation. As filmmaker Steven Spielberg once said, “Rockwell painted the American dream – better than anyone.” \u003cbr\u003e\u003cbr\u003e Norman Rockwell led a very long and incredibly successful career as an artist. His first commission was painted when he was only 16 years old, and his irresistible paintings of American life made him the foremost American illustrator of the 20th century. While history was in the making all around him, Rockwell chose to fill his canvases with the small details and nuances of ordinary people in everyday life. His distinguished career earned him the Presidential Medal of Freedom in 1977, the highest honor bestowed upon an American civilian. \u003cbr\u003e\u003cbr\u003e Circa 1921 \u003cbr\u003e\u003cbr\u003e Canvas: 16 3\/4\" high x 36 3\/4\" wide\u003cbr\u003e Frame: 22 7\/8\" high x 43\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sale, Illustration House NYC, Auction of Illustration Art, 21 May 2005, lot 9\u003cbr\u003e The Illustrated Gallery, 2005-2017\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672895914119,"sku":"31-3782","price":698500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3782_1_6e509485-b560-4941-8d58-9aaa0aa827f3.png?v=1767204934"},{"product_id":"homme-a-lagneau-mangeur-de-pasteque-et-flutiste-by-pablo-picasso","title":"Homme à l'agneau, mangeur de pastèque et flûtiste by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003cbr\u003e (Man with Lamb, Watermelon Eater and Flautist)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, dated and numbered “Picasso \/ 3.2.67 \/ II” (upper right)\u003cbr\u003e Crayon on paper \u003cbr\u003e\u003cbr\u003e Hailed among the fathers of modern art, Pablo Picasso possessed a seemingly endless supply of creativity that allowed him to master nearly every genre and style. Though he constantly reinvented himself as an artist, his compositions are always distinctively “Picasso” with their playful lines and imaginative figures. \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003c\/em\u003e reflects his unique artistic signature; rendered in just a few sparing lines, his subjects nevertheless convey a myriad of themes and art historical references. It is this complexity and ingenious artistry that places Picasso among the most renowned masters in the whole of art history. \u003cbr\u003e\u003cbr\u003e Composed in 1967, \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003c\/em\u003e was part of a playful series of drawings on the subject of Bacchus and bacchanalian pursuits. Here, he captures the god Bacchus himself eating a watermelon with relish; the watermelon was a favored motif of the artist, first appearing in his seminal \u003cem\u003eDemoiselles d'Avignon\u003c\/em\u003e of 1907 (Museum of Modern Art) and frequently re-appearing as a symbol for summer, heat and sensuality. Bacchus himself recalls the artistic legacy of Caravaggio, revealing the depth of Picasso's link to the Spanish Baroque tradition. \u003cbr\u003e\u003cbr\u003e The influence of the brothers Le Nain is also felt in the work. The three brothers, who were active in Paris during the 1630s and 1640s, were renowned for their poignant images of peasants surrounded by farm animals and playing musical instruments such as the flute. Picasso is known to have owned at least one painting by the brothers, whose work he referenced frequently throughout his career. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. It was around 1907 that Picasso became very influenced by African masks and art that had begun making its way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eDemoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a letter of authenticity signed by the artist’s son, Claude Ruiz-Picasso. \u003cbr\u003e\u003cbr\u003e Executed on 3 February 1967 \u003cbr\u003e\u003cbr\u003e Paper: 19\" high x 25\" wide\u003cbr\u003e Frame: 32\" high x 37 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Louise Leiris, Paris\u003cbr\u003e Private Collection (acquired by the above in 1968; sale: Christie's, New York, 10th May 2001, lot 149)\u003cbr\u003e Sotheby's London: Thursday, June 25, 2009 [Lot 00169]\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e Charles Feld, \u003cem\u003ePicasso, Dessins 27.3.66-15.3.68,\u003c\/em\u003e Paris, 1969, no. 92 (illustrated) Christian Zervos, \u003cem\u003ePablo Picasso, Oeuvres de 1967 et 1968\u003c\/em\u003e, Paris, 1973, vol. XXVII, no. 435 (illustrated)\u003cbr\u003e The Picasso Project, \u003cem\u003ePicasso's Paintings, Watercolors, Drawings and Sculpture, the Sixties II 1964-1967\u003c\/em\u003e, San Francisco, 2002, no.67-041, (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44262229901447,"sku":"31-3820","price":648500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3820_1_2073e58e-8cf8-4eb8-868e-8a69111a3b4c.png?v=1774967264"},{"product_id":"apres-le-bain-by-pierre-auguste-renoir","title":"Après le bain by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAprès le bain\u003cbr\u003e (After the bath)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Renoir” (lower left)\u003cbr\u003e Sanguine and white chalk on Western wove paper stretched over canvas \u003cbr\u003e\u003cbr\u003e For Pierre-Auguste Renoir, Impressionism's preeminent figure painter, depicting the nude was an exercise in bringing the canvas to life. He once said, “I look at a nude, I see myriads of minuscule shades. I have to find those which will make the flesh on my canvas come to life and resonate.” This compelling portrait by Renoir entitled \u003cem\u003eAprès le bain\u003c\/em\u003e presents the nude figure of a woman in a serene, private moment, absorbed in the task of drying herself after a bath. The artist’s mastery of light and shading is incredible, achieving a sense of vitality in this otherwise ordinary scene. \u003cbr\u003e\u003cbr\u003e Renoir is celebrated for his figural work, especially his Rubenesque female nudes, however, it was not until the artist was in his forties that he depicted the nude with any frequency. In 1881, Renoir traveled to Italy, where he studied the works of the Renaissance masters and the ancient art of Pompeii and Rome. Upon his return to France, the nude became his favored subject, and he used the motif to combine the spontaneity of Impressionism with the solid modeling of classical painting. Renoir’s medium here, sanguine, a reddish-brown chalk, was used extensively in the Renaissance by Leonardo (who employed it in his sketches for the Last Supper), Michelangelo and Raphael. Its warm hue lends itself well to depicting flesh, and the chalk drawing allows for a greater focus on line, form and texture in a departure from the aspects of color and light that so often preoccupied the Impressionists. \u003cem\u003eAprès le bain\u003c\/em\u003e conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. \u003cbr\u003e\u003cbr\u003e The sitter is almost certainly Gabrielle Renard, the nanny to Renoir’s children and a frequent model for the artist. Gabrielle was the cousin of Renoir’s wife, Aline, and came to Montmartre to work for the family at the age of 16. She developed a strong bond with the family and became a favorite subject for Renoir, appearing in several of his most important works, including his 1911 \u003cem\u003eGabrielle with a Rose\u003c\/em\u003e (Musée d'Orsay). When Renoir began to suffer from severe rheumatoid arthritis that would eventually leave him unable to walk and scarcely able to grasp a paintbrush, it was Gabrielle that would assist the artist by positioning the paintbrush between his crippled fingers.  \u003cbr\u003e\u003cbr\u003e Born in Limoges, France in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also when he met Claude Monet and several other classmates, with whom he would later form the Impressionists. \u003cbr\u003e\u003cbr\u003e Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused on composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with acute attention to his subject, have placed him among the finest painters in history. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a certificate of authenticity and will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir from the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1898 \u003cbr\u003e\u003cbr\u003e Canvas: 43 1\/2\" high x 35 1\/2\" wide (110.49 x 90.17 cm)\u003cbr\u003e Frame: 57 3\/4\" high x 49 1\/4\" wide (146.69 x 125.10 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-3793.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899)\u003cbr\u003e J. Pereire Collection, France (1966)\u003cbr\u003e Sam Salz, New York (before 1981)\u003cbr\u003e Claus Virch, Paris\u003cbr\u003e French Compagny, Inc., New York\u003cbr\u003e Larry Silverstein, New York (circa January 1987)\u003cbr\u003e Le Clos de Sierne Gallery, Geneva\u003cbr\u003e Galerie Heyram, Paris (October 1987)\u003cbr\u003e Francis Gross\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e B. Schneider, \u003cem\u003eRenoir\u003c\/em\u003e, Berlin, 1957, p. 95 (illustrated in color, p. 83)\u003cbr\u003e M. Gauthier, \u003cem\u003eRenoir\u003c\/em\u003e, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet')\u003cbr\u003e F. Fosca, \u003cem\u003eRenoir, L'homme et son obra\u003c\/em\u003e, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath')\u003cbr\u003e G.-P. and M. Dauberville, \u003cem\u003eRenoir, Catalog raisonné des tableaux, pastels, dessins et aquarelles\u003c\/em\u003e, Paris, 2010, vol. III, p. 515-516, no. 2597 (illustrated, p. 515) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Galerie Durand-Ruel, Paris, Watercolors, Pastels and Drawings by Renoir, April 1921, p. 3, no. 53 (erroneously dated '1906' and titled 'Baigneuse s'essuie').\u003cbr\u003e Kunsthalle, Basel, Meisterzeichnungen französischer Künstler von Ingres bis Cézanne , June-August 1935, p. 30, no. 223.\u003cbr\u003e Galerie des Beaux-Arts, Paris, Exhibition of “La Gazette des Beaux-Arts”, Renoir, The sculpted work, the engraved work, watercolors and drawings, October-November 1935, p. 30, no. 22.\u003cbr\u003e Musée national d'art moderne, Paris, From Impressionism to the present day , June 1958, no. 175 (illustrated, pl. 9).\u003cbr\u003e The Metropolitan Museum of Art, New York, 1966-1973.\u003cbr\u003e The Musée d'Orsay and the Morgan Library, \u003cem\u003eRenoir Drawings\u003c\/em\u003e, Oct 17 2025-Feb 8 2026, no. 179, p. 207; will travel to Musée d'Orsay, Mar 17-Jul 5, 2026","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050780487815,"sku":"31-3793","price":2450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3793_1_ce85eb12-2496-439f-88b3-c8ab4bf2e8a3.png?v=1774967208"},{"product_id":"allegory-of-smell-or-the-perfume-painting-by-jan-brueghel-the-younger-and-jan-van-balen","title":"Allegory of Smell, or The Perfume Painting by Jan Brueghel the Younger and Jan van Balen","description":"Jan Brueghel the Younger\u003cbr\u003e 1601-1678 | Flemish \u003cbr\u003e\u003cbr\u003e Jan van Balen\u003cbr\u003e 1611-1654 | Flemish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAllegory of Smell, or The Perfume Painting\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Two of the leading Flemish artists of the 17th century, Jan Brueghel the Younger and Jan van Balen, collaborated in the creation of this remarkable scene entitled \u003cem\u003eAllegory of Smell, or The Perfume Painting\u003c\/em\u003e. Brueghel, the grandson of Pieter Brueghel the Elder, was renowned for his allegorical figures, while van Balen was among the greatest landscape painters in Antwerp of his generation. A melodic balance is struck between van Balen’s vast panoramic view, reminiscent of ancient Greece, and Brueghel’s distinctive figures, both executed with the level of precision for which each artist is famed. \u003cbr\u003e\u003cbr\u003e The pair continued in the painterly tradition established by their fathers, Jan Brueghel the Elder and Hendrick van Balen, who also frequently collaborated. In fact, the elder Brueghel and van Balen created a series of works on the subjects of the senses themselves; these are now in the Museo Nacional del Prado (Madrid). \u003cbr\u003e\u003cbr\u003e The present work follows in this prodigious tradition, ingeniously translating the elusive, non-visual experience of scent into the allegorical realm by painting a perfumer engaged in the act of producing a fragrance. By revealing the use of vials and stills, Brueghel sought to demystify the process of perfuming, showing it was scientific and not based in magic or realms of sorcery as was commonly believed at the time. Conversely, this painting also served to create a visual lexicon for perfume chemistry and a methodology for scientific education. Displaying an incredible level of detail, it provides a meticulous record of the traditional flowers of the region, as well as new species such as tulips, irises and crown imperials that had recently arrived from the East. The dried rhizomes of the blue iris, also known as the Florence Lily, produce an intense and precious essence when distilled that made it particularly precious to perfumers. \u003cbr\u003e\u003cbr\u003e Chloris, the goddess of flowers, is pictured at the center of the scene. Her classical beauty is juxtaposed against the traditional tools of the perfumer’s trade. At her left, Brueghel illustrates the tools and process of steam distillation. Petals or flower extracts are placed into a still with boiling water. The steam transports the essence into the first glass flask, called a condenser, then into a second flask called a separator. Since the essence is less dense than water, it rises to the top of the flask to be easily separated. This traditional method of fragrance extraction is still used to this day. \u003cbr\u003e\u003cbr\u003e In the foreground, the boxes of ointment recall the technique of enfleurage. With cold enfleurage, the petals are placed in drawers filled with cold fat; with hot enfleurage, the petals are plunged into a bath of hot animal fat. Once the flowers have released all their essence, they are discarded, and the fat is washed until the absolute essence has been obtained. \u003cbr\u003e\u003cbr\u003e The last raw material, the civet, or “musk cat,” lying down in the foreground, provides musk, the base and fixative of perfumes. The rosary to its right is probably made from gomme agradante (gum tragacanth) derived from tree sap. A stick of incense is burning. To the side, there are a series of perfume vials including Aqua d’Angelus (angel water), a highly fashionable 17th century perfume, while the gloves evoke the profession of the perfumer. Lemon and orange trees, roses, potted carnations, hollyhocks and saffron lilies complete this garden of visual and scent delights. In the foreground are scented pads and small black objects of irregular size with white dots. These are burning tablets, and the different number of dots helped distinguish the perfume they emit. The very small scent ball on the right is a pomander used to hold perfumes and usually worn around the neck. The stately Château of Mariemont looms in the background, a symbol of Albert VII, Archduke of Austria and Isabella Clara Eugenia, who ruled the region until 1633. Both the rolling landscape and the highly detailed figures reveal the mastery of their respective painters; Brueghel and van Balen have achieved a level of mastery in this work that is worthy of their heritages. \u003cbr\u003e\u003cbr\u003e The Brueghel dynasty of artists were known as the first genre painters, focusing upon the gentry and allegorical scenes as opposed to religious or historical subjects. This was due in large part to events that occurred during the Eighty Years’ War, also known as the Dutch War of Independence (1568–1648), in which the 17 Provinces that comprised the Netherlands revolted against their Habsburg rulers, led by Spain’s King Philip II. Influenced heavily by Lutheranism in Germany and Anglicanism in England, the pull away from the Catholicism mandated by the Spanish allowed more secular subjects to become acceptable, and in turn, incredibly popular amongst wealthy Netherlands patrons. \u003cbr\u003e\u003cbr\u003e Another element that appealed to art patrons of the day was the financial security of investing in their native art. Especially during the turmoil of the War, investing in banks and even land was, at best, speculative and was still primarily controlled by the Church. Art, on the other hand, proved safe and more stable. To commission a large work, such as the \u003cem\u003eAllegory of Smell\u003c\/em\u003e, meant purchasing the best: a masterpiece created by the most coveted and renowned artists of the day, both of whom were descended from artistic families whose name alone commanded tremendous respect. \u003cbr\u003e\u003cbr\u003e This painting was displayed at the European Fine Art Fair (TEFAF) in Maastricht, Holland. A similar work by Jan Brueghel the Younger and Jan van Balen entitled \u003cem\u003eLandscape With Ceres (Allegory of Earth)\u003c\/em\u003e resides at the J. Paul Getty Museum in California, while another collaboration entitled \u003cem\u003eAllegory of Touch\u003c\/em\u003e is in the Calvet Museum of Avignon. Other works by Jan Brueghel the Younger can be found at the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art, and the Norton Simon Museum in California. \u003cbr\u003e\u003cbr\u003e Circa 1640 \u003cbr\u003e\u003cbr\u003e Panel: 20 5\/8\" high x 34\" wide\u003cbr\u003e Frame: 25 3\/4\" high x 40 1\/8\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, France","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41789936861319,"sku":"31-4554","price":1885000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4554_1_f7196889-bdd4-4c99-8a22-79db20e8e97f.png?v=1730880840"},{"product_id":"self-portrait-in-top-hat-and-cape-by-n-c-wyeth","title":"Self-Portrait in Top Hat and Cape by N.C. Wyeth","description":"N.C. Wyeth\u003cbr\u003e 1882-1945 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSelf-Portrait in Top Hat and Cape\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “N.C. Wyeth” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Newell Convers Wyeth is one of the most successful illustrators of all time, setting a standard for artists the world over in style, technique and imagination. He is the patriarch of several generations of influential artists, including his children Andrew, Henriette and Carolyn, his grandchild Jamie and his son-in-law Peter Hurd. His uncanny ability to create living characters from fictional stories has ingrained his work in the landscape of the American psyche. \u003cem\u003eSelf-Portrait in Top Hat and Cane\u003c\/em\u003e is a truly exceptional example of his works on canvas, showcasing his technical abilities as well as his charming sense of humor. \u003cbr\u003e\u003cbr\u003e This painting depicts the artist himself, dressed in 19th-century costume, and Wyeth was particularly fond of this work. He kept it in his personal collection until his death, hanging in his studio between portraits of his mother and his father. In a letter to his friend Edward K. Robinson containing a photo of this self-portrait, Wyeth praised the work, saying, \"I am working much more intensively than ever and really believe that I am pulling into an idiom of expression that will amount to something...I am enclosing three photos of three canvases done in the past year which slightly indicate my direction . . . You will recognize your old friend in the garb of his grandfather.\"  \u003cbr\u003e\u003cbr\u003e The figure of the artist, with its choice of costume and dramatic chiaroscuro lighting, recalls the Northern Old Master portraits of Rembrandt or Frans Hals. As one reviewer pointed out on its debut, the clothing even reflects the style in which the great American Impressionist William Merritt Chase fashioned himself. Additionally, the larger-than-life depiction is executed in an impactful triangle composition with resolute realism, further emphasizing the influence of the Old Masters. \u003cbr\u003e\u003cbr\u003e This work is a masterful study in contrasts. Wyeth’s use of a subdued palette and expressive lighting call attention to his considerable technical abilities, and the dark black of his cape and hat stand out against the pastel blues and yellows of the background. But beyond these purely visual contrasts, the artist conceptualizes a “classic meets modern” composition. This self-portrait was created circa 1927, at a time when Modernism had taken hold in the art world of both America and Europe. Here, Wyeth takes a Cubist-inspired approach to the background creating a series of fractured planes in what he called \"prism painting.\" This effect, combined with the old-fashioned, costumed version of himself, acknowledges the rapidly changing art world around him while poking fun at himself and his own unease with these changes. His smirk and the twinkle in his eye assure the viewer he is in on the joke. \u003cbr\u003e\u003cbr\u003e Born in 1882, Wyeth demonstrated a talent for drawing at an early age. Jumping from school to school, he finally settled into studies at the Howard Pyle School in 1902 at the age of 20. After graduating from the school in 1904, Wyeth made frequent trips to the west, creating several canvases with Western themes. Also in 1904, Wyeth received his first commission for the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e, which set him on his path to becoming one of the greats of American Illustration. He went on to paint advertisements for corporations like Coca-Cola and Kelloggs, and he illustrated covers for \u003cem\u003eLadies' Home Journal, McClure's\u003c\/em\u003e and \u003cem\u003eThe Popular Magazine\u003c\/em\u003e, among others.  \u003cbr\u003e\u003cbr\u003e Wyeth found it financially lucrative to accept commercial work in the form of advertisements, calendars, posters and book illustrations for titles such as \u003cem\u003eTreasure Island, The Last of the Mohicans, Robin Hood\u003c\/em\u003e, and \u003cem\u003eRobinson Crusoe\u003c\/em\u003e. He devoted his later years to fine art painting, composing more landscapes and portraits. Today, his paintings can be found in important collections around the country, including the Portland Museum of Art, the Museum of Fine Arts, Houston, the National Academy of Design (New York), the National Museum of American Illustration (Rhode Island) and the Philadelphia Museum of Art, among many others.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000MkeY\/y539rJb6vi9Co09KmI_P9_ptk8mrFo4TS3qJ2iplM58\" target=\"_blank\"\u003eThis work is included in the digital N.C. Wyeth catalogue raisonné database compiled by the Brandywine River Museum and Conservancy, Pennsylvania.\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Circa 1927 \u003cbr\u003e\u003cbr\u003e Canvas: 40 1\/4\" high x 36 1\/2\" wide\u003cbr\u003e Frame: 50 1\/8\" high x 46 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e The artist’s wife, Carolyn Bockius Wyeth, 1946\u003cbr\u003e Thence by descent, the artist’s daughter, Carolyn Wyeth, 1967\u003cbr\u003e Collection of Mr. and Mrs. Frank E. Fowler, circa 1975\u003cbr\u003e Private collection, circa 1985\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Wilmington, DE, 1927, no. 14, as \"Portrait\"\u003cbr\u003e Wilmington, DE, Du Pont Building, exhibition of Wyeth family work, probably spring, 1934\u003cbr\u003e Harrisburg, PA, 1965, no. 5, as \"Self-portrait in a Top Hat\"\u003cbr\u003e  Wilmington, DE, 1966, no. 4\u003cbr\u003e Chadds Ford, PA, 1972, no. 88, as \"Self-portrait with Top Hat and Cape\"\u003cbr\u003e Washington, DC: International Exhibitions Foundation, \u003cem\u003eAmerican Self-Portraits, 1670-1973\u003c\/em\u003e, venues: National Portrait Gallery, Feb. 1 - March 15, 1974; Indianapolis Museum of Art, April 1 - May 15, 1974, cat. no. 65, illus. p. 145\u003cbr\u003e Memphis, TN, 1983, p. 58, no. 33 on p. 96, illus. in color p. 79\u003cbr\u003e Chadds Ford, PA, 1995, no. 3, illus. p. 8, as \"Self-portrait in Top Hat and Cape\"\u003cbr\u003e Brandywine River Museum of Art, June 22-Sept. 15, 2019, Portland, ME, Portland Museum of Art, Oct. 4, 2019-Jan. 12, 2020, and Cincinnati, OH, Taft Museum, Feb. 8-May 3, 2020, \u003cem\u003eN. C. Wyeth: New Perspectives\u003c\/em\u003e, illus. p. 171 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eScribner's Magazine\u003c\/em\u003e, vol. LXXXIV, no. 2, August 1928, frontispiece\u003cbr\u003e Douglas Allen and Douglas Allen, Jr., \u003cem\u003eN. C. Wyeth The Collected Paintings, Illustrations and Murals\u003c\/em\u003e, New York: Crown Publishers, 1972, p. 278\u003cbr\u003e John Delaney, ed., \"N. C. Wyeth (1882-1945),\" in \u003cem\u003eThe House of Scribner, 1905-1930, Dictionary of Literary Biography, Documentary Series\u003c\/em\u003e, vol. 16, Detroit: Bruccoli Clark Layman, 1997, illus. p. 105\u003cbr\u003e Christine B. Podmaniczky, \u003cem\u003eN. C. Wyeth, Catalogue Raisonne of Paintings\u003c\/em\u003e, London: Scala, 2008, P.29, p. 810-81","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672919376007,"sku":"31-4950","price":3750000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4950_1_2ac7e8c0-4d92-41e7-8866-21af46f7ab74.png?v=1767201375"},{"product_id":"surf-by-andrew-wyeth","title":"Surf by Andrew Wyeth","description":"Andrew Wyeth\u003cbr\u003e 1917-2009 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSurf\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Andrew Wyeth\" (lower right)\u003cbr\u003e Drybrush watercolor on paper \u003cbr\u003e\u003cbr\u003e Andrew Wyeth is among the most highly regarded and recognizable American artists of the 20th century, and his portraits of Helga are undoubtedly the most famous of his career. From 1971 until 1985, Wyeth composed approximately 240 drawings, sketches and paintings that record an intensive study of Helga Testorf, a German immigrant who was his neighbor. Collectively, \u003cem\u003eThe Helga Pictures\u003c\/em\u003e represent one of the most complete and poignant studies of a single subject ever made by a painter, contemporary or otherwise. When they were first revealed to the public in 1986 in a \u003cem\u003eTIME\u003c\/em\u003e magazine article, they were an instant sensation. Since then, they have been eagerly collected by public institutions and private individuals alike, making them an exceptional rarity on the market. \u003cbr\u003e\u003cbr\u003e What made the revelation of \u003cem\u003eThe Helga Pictures\u003c\/em\u003e so dramatic was the fact that they were created in nearly complete privacy. Wyeth first met Helga in 1970; she was the nurse of Karl Kuerner, a neighbor of Wyeth's in Chadds Ford, Pennsylvania who was also a frequent subject of his works. Wyeth formed a bond with Helga, creating his first portrait of her in 1971. What followed was 15 years of intensive artistic exploration that remains unprecedented in the history of art, and which was done in secrecy — even from Wyeth's wife. It was only after he contracted a serious illness and feared his own death that he revealed the existence of the works to the world in 1986. They caused a media frenzy — over 200 new works from an artist of Wyeth's caliber and popularity took the art world by storm. \u003cbr\u003e\u003cbr\u003e Wyeth's stark, realist style was well suited to capturing the Teutonic features of the serious Helga. Depicted in austere settings, the portraits feel profoundly symbolic and highly spiritual. The present scene, which pictures Helga nude and kneeling in the surf, is imbued with a sense of quiet melancholy and isolation, but also an intense intimacy that highlights this odd and secretive relationship between the artist and his model. In the short documentary \u003cem\u003eHelga\u003c\/em\u003e, Testorf described the first time Wyeth painted her, stating, “Overnight, I was reborn,... somebody was really looking at me — really seeing me.” That deep emotion is keenly felt in this extraordinary work, and the result was one of Wyeth's favorites from the series. He kept this painting in his own personal collection until his death. \u003cbr\u003e\u003cbr\u003e Interestingly, this work combines two of Wyeth's favorite muses, Helga Testorf and Siri Erikson, who became his primary model during his visits to Maine in the 1970s. Wyeth began the painting in Chadds Ford with Helga as she knelt on a bed, and he then finished it in Maine using Siri, replacing the bedsheets with flowing waters. \u003cbr\u003e\u003cbr\u003e Born in 1917 in rural Pennsylvania, Andrew Wyeth was the youngest son of the great artist and illustrator N.C. Wyeth. He received vigorous artistic training from his father beginning at a young age and enjoyed his first exhibition at just 16 at the Wilmington Society of Fine Arts in Delaware. Watercolor was his preferred medium, though he would later turn to egg tempera, an unusual choice for a modern American painter. \u003cbr\u003e\u003cbr\u003e His early works caught the eye of Robert Macbeth, an influential art dealer in New York, who organized Wyeth's first solo exhibition in 1937. After just two days, the show sold out, and Wyeth gained significant recognition on the New York art scene. Despite his popularity, the artist generally remained secluded in his studio, living in Maine and Pennsylvania with his wife and two sons. Still, he remained remarkably popular throughout his lifetime, and today his works are among the most recognizable in 20th-century American art. They can be found in important collections such as the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mkei\/xrqKR26TDPI1Du5lEcD.e3blQcr1d3HvfT6gPyAs_S0\" target=\"_blank\"\u003eMetropolitan Museum of Art (New York), the Brandywine River Museum of Art (Chadds Ford, PA)\u003c\/a\u003e, the Whitney Museum of American Art (New York), the North Carolina Museum of Art, the Los Angeles County Museum of Art and many others. Additionally, this painting was exhibited at the London Royal Academy of Arts. He was the first living American artist to be elected to the Academy, underscoring Wyeth’s incredible influence. \u003cbr\u003e\u003cbr\u003e Circa 1978 \u003cbr\u003e\u003cbr\u003e Paper: 48 1\/4\" high x 29 1\/4\" wide\u003cbr\u003e Frame: 62 1\/4\" high x 43 1\/4\" wide \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eAndrew Wyeth: The Helga Pictures\u003c\/em\u003e, New York, 1987, by J. Wilmerding, p. 29 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672919801991,"sku":"31-4982","price":3950000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4982_1_cc80d97a-7161-4de9-9b90-7621b3c0982f.png?v=1767201338"},{"product_id":"toits-rouges-a-menton-by-georges-manzana-pissarro","title":"Toits rouges à Menton by Georges Manzana Pissarro","description":"Georges Manzana Pissarro\u003cbr\u003e 1871-1961 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eToits rouges à Menton\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eRed Roofs in Menton\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed and dated “Manzana. Pissarro. 1953” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The tenants of the impressionist style are clearly on display in this tranquil landscape by the French artist Georges Manzana Pissarro. The son of the great Impressionist Camille Pissarro, Manzana learned his craft from his father, and here he revels in the light and serenity of the French landscape. Painted in 1953, \u003cem\u003eToits rouges à Menton\u003c\/em\u003e depicts the commune of Menton, where spent the last years of his life. There, Manzana again embraced the Impressionist tradition of his early years, painting the serene landscapes that surrounded him. Camille Pissarro's influence is strong in this work, revealing the close ties between father and son.  \u003cbr\u003e\u003cbr\u003e Born in 1871, Manzana studied with his father Camille from an early age and spent his formative years learning from some of the most important artists of the Impressionist movement, including Claude Monet and Paul Cézanne. He adopted the name Manzana in 1894 after the maiden name of his maternal grandmother, though he resumed using his family name after his father died in 1910. Subjected to rich and diverse influences, Manzana became a versatile artist, working with oil, pastel and watercolor as well as etchings, lithography and stencils. He exhibited his works at the Salon d'Automne and the Salon des Indépendants, as well as Durand Ruel and Druet galleries in Paris in the early 1900s. \u003cbr\u003e\u003cbr\u003e In 1906 his work began to evolve, and he began experimenting with the decorative arts movement, creating tapestries, glassware, furniture, ceramics and metal work. It was the 1914 exhibition at the Musée des Arts Décoratifs in Paris that dramatically boosted his career — he exhibited 311 works including tapestries, carpets, furniture, glassware, decorative paintings, etchings and lithographs. The subsequent years were filled with bright ideas, gilded costumes and a glittering lifestyle as Manzana navigated the 1920s and 30s between Les Andelys and Paris, spending many summers in Brittany. The last years of his life were spent in Menton, where this scene was painted, with his son Félix who was also an accomplished artist. \u003cbr\u003e\u003cbr\u003e Dated 1953 \u003cbr\u003e\u003cbr\u003e Canvas: 16“ high x 21 7\/8” wide\u003cbr\u003e Frame: 27 1\/2“ high x 33 1\/8” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41790080745607,"sku":"31-5369","price":34500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5369_1_18921683-fc73-4344-bf10-01accf984ba9.png?v=1728288626"},{"product_id":"buste-dhomme-barbu-by-pablo-picasso","title":"Buste d'homme barbu by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBuste d'homme barbu\u003cbr\u003e (Bust of a Bearded Man)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Picasso\" (upper right) and dated \"8.4.65\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Pablo Picasso and his work transcend art history: they have achieved global celebrity within both academic circles and popular culture. More than any other artist, his ever-evolving, evocative style has come to define modern art of the 20th century, and to this day he continues to gain recognition. The most compelling of his works offer a glimpse into the psyche of the master himself, and the present work can be counted among these. Combining saturated color with a jarring simplicity, \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e represents an important series of bearded men portraits that the artist composed during the last few years of his life. These works are among the most highly personal and intimate of his career, and they serve as remarkable examples of his mature style with their highly modern expressivity. \u003cbr\u003e\u003cbr\u003e Many of Picasso's works from his last years capture the visage of his wife Jacqueline, who was his chief model during this period. In April, however, at his home studio in Mougins, France, Picasso changed direction and produced a series of individual portraits of men. His male subjects derive from various sources. Often they were self-referential portraits; often they referenced his father, Spanish painter José Ruiz y Blasco. Picasso once said, \"Every time I draw a man, I find myself thinking of my father… To me a man means 'Don José,' and it will always be so, all my life… He wore a beard… All the men I draw I see more or less with his features.\" \u003cbr\u003e\u003cbr\u003e While his father’s dark mustache and beard are clearly distinguished in \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e, Picasso's portraits of men from the mid-1960s served more as composite, archetypal figures representing vitality and virility. Although he would live eight more years after this work was created in April of 1965, at the age of 84, Picasso was preoccupied with thoughts of aging and mortality. He was suffering from an ulcer that would require surgery later that year. He seemed to combat these thoughts with a burst of youthful, creative energy, and the mid-1960s witnessed an outpouring of productivity from Picasso, with his subjects such as this displaying that same vitality. \u003cbr\u003e\u003cbr\u003e Highly modern and expressionistic, this painting explores an extreme simplification of form, breaking the figure down to its basic essentials. Remarkably, though, Picasso still managed to capture the most expressive features of his subjects in just a few choice brushstrokes. His male portraits from this period employ a particular set of facial traits delineated with decisive swoops of color to suggest a nose or a cheekbone, built up upon fields of white paint. Composed with a highly simplified palette and sparsity of line, \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e successfully evokes a striking sense of vigor. This character is also endowed with a powerful, hypnotic gaze, the \u003cem\u003emirada fuerte\u003c\/em\u003e, that Picasso included in many of his portraits. These wide eyes allude both to ancient portraiture and to the artist himself, who was known personally for his strong gaze, an indication that he has projected himself onto the figure. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid, before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Critics have often divided Picasso’s artistic output into distinct phases based on his color scheme and style of painting. It was around 1907 that Picasso became very influenced by African masks and art which began making their way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eLes Demoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e Other examples of late portraits by Picasso reside in important museums worldwide such as \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mo3f\/jVBn9SGCMXVjXy5w4.gcIZC_0GDfu0JaMQsXBa1X2Yc\" target=\"_blank\"\u003e the Metropolitan Museum of Art, the Museé Picasso in Paris and the Museu Picasso in Barcelona.\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Dated 1965 \u003cbr\u003e\u003cbr\u003e Canvas: 31 1\/2\" high x 25 1\/2\" wide (83.82 x 68.90 cm)\u003cbr\u003e Frame: 33\" high x 27 1\/8\" wide (80.01 x 64.77 cm)  \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5479.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Louise Leiris, Paris\u003cbr\u003e Private collection\u003cbr\u003e Christie’s New York, November 14, 1990, Impressionist and modern paintings, and sculpture (part 1), lot 47\u003cbr\u003e Private collection\u003cbr\u003e Christie’s New York, May 13, 1998, 20th Century Art, lot 238\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003ePablo Picasso\u003c\/em\u003e, Volume 25, 1971, by C. Zervos, p. 57, no. 101 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44310043066503,"sku":"31-5479","price":7950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5479_1_31c61617-44e1-4c77-83ed-3dd499386897.png?v=1774992134"},{"product_id":"portrait-of-angela-mcinnes-by-john-singer-sargent","title":"Portrait of Angela McInnes by John Singer Sargent","description":"John Singer Sargent, R.A.\u003cbr\u003e 1856-1925 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Angela McInnes\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated 'John S. Sargent 1915' (lower right)\u003cbr\u003e Charcoal on paper\u003cbr\u003e Paper watermarked 'MICHALLET\/ FRANCE' \u003cbr\u003e\u003cbr\u003e John Singer Sargent was considered the leading portraitist of his generation, having painted the likes of Lady Evelyn Cavendish, Claude Monet, Isabella Stewart Gardner, Theodore Roosevelt and the infamous Madame Pierre Gautreau. His portraits of his friends and family are often considered among his most successful and innovative work, and this captivating portrait of charismatic Angela McInnes is no exception. Intimate and modern, it represents all the best qualities of his finest portraiture in a unique charcoal medium. \u003cbr\u003e\u003cbr\u003e Though John Singer Sargent’s technical skill is on full display in this charcoal on paper portrait, his sitter is fascinating in her own right. Sargent has captured Angela McInnes, later Angela Thirkell, a prolific English novelist of the early 20th century. After her second marriage to George Lancelot Allnut Thirkell in 1918, the married couple decided to sail for Australia with their children. It is upon arriving that Angela began her forays into writing, looking for more income to maintain the well-to-do lifestyle she had previously enjoyed in London. From an established English family that included figures like author J.M. Barrie, author Rudyard Kipling and Pre-Raphaelite painter Edward Burne-Jones, Angela quickly became tired of Australia and fled back to England to live comfortably once more. It is there that her writing career blossomed, publishing one book per year from 1933 through 1961. \u003cbr\u003e\u003cbr\u003e In this portrait, John Singer Sargent has captured Angela before her move to Australia, during her first marriage to James Campbell McInnes, a professional concert singer who she would divorce for adultery two years later in a flare of publicity. Though there is no way the sitter knew yet of her future, Sargent has captured her independence in this portrait. As her biographer Margot Strickland would later write, “Everyone remarked upon it. He [Sargent] had exactly captured Angela's pride and vulnerability: her swan neck was elongated, her mouth tremulous; there was a fierce gaze in her eyes” (Strickland 33). \u003cbr\u003e\u003cbr\u003e Born in Florence to American parents, Sargent began his formal art training at the Academy of Fine Arts in Florence in 1871. In order to advance his education, the burgeoning artist moved to Paris to study at the École des Beaux-Arts from 1874 to 1878 under the great Emile Auguste Carolus-Duran, whose influence would play a pivotal part throughout Sargent’s artistic career. In fact, at his first showing at the Paris Salon in 1879, he exhibited a portrait of Duran. \u003cbr\u003e\u003cbr\u003e After a somewhat tumultuous start on the Paris art scene, the attention his work garnered at the Salon propelled Sargent to great success as a portrait painter, and he exhibited there regularly. He quickly drew the attention of society’s elite, making Sargent one of the most sought-after and respected portraitists of the era, both in Europe and America. This charcoal on paper original provides the opportunity to collect one of his excellent portraits in a unique medium, and gain a glimpse into the artist's process. \u003cbr\u003e\u003cbr\u003e Dated 1915 \u003cbr\u003e\u003cbr\u003e Unframed: 21\" high x 16\" wide Framed: 31 1\/4\" high x 24 1\/2\" wide x 1 1\/4\" deep \u003cbr\u003e\u003cbr provenance:=\"\"\u003e The sitter, and by descent to her son,\u003cbr\u003e Graham Campbell McInnes (1912-1970), by whom given to his son, and by descent.\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e London, National Portrait Gallery, and Leeds, Leeds City Art Gallery, \u003cem\u003eJohn Singer Sargent and the Edwardian Age\u003c\/em\u003e, April - September 1979, no. 74. \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e D. Mckibbin, \u003cem\u003eSargent's Boston\u003c\/em\u003e, Boston, 1956, p. 126.\u003cbr\u003e M. Strickland, \u003cem\u003eAngela Thirkell: Portrait of a Lady Novelist\u003c\/em\u003e, 1977, p. 33, pl. 14.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42558233804935,"sku":"31-5808","price":155000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5808_1.png?v=1744406930"},{"product_id":"la-loge-by-jean-gabriel-domergue","title":"La loge by Jean-Gabriel Domergue","description":"Jean-Gabriel Domergue\u003cbr\u003e 1889-1962 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa loge\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed (lower right)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Jean-Gabriel Domergue presents an elegantly seductive woman seated in a loge in this vibrantly-hued oil portrait. Depicted with her eyes gazing from beneath a gauzy polka-dot veil, his auburn-haired sitter embodies the youth, vitality and sophistication Domergue’s compositions are known for. The woman is exceedingly poised, focused on the performance, her brightly rouged lips parted in concentration. A well-heeled man sits beside her, peering into opera glasses. The slender, modern woman of \u003cem\u003eLa loge\u003c\/em\u003e exudes confidence and style, displaying the qualities of Domergue's work that earned him the reputation of “inventor of the pin-up.” \u003cbr\u003e\u003cbr\u003e Born in Bordeaux in 1889, Domergue studied at the École Nationale Supérieure des Beaux-Arts. He was only 17 years old when he exhibited at the Salon des Artistes Français for the first time, winning the Prix du Rome in 1911 and a gold medal in 1920. While landscapes dominated his early oeuvre, from the 1920s he changed his focus to what would become his trademark subject, \u003cem\u003ela belle Parisienne\u003c\/em\u003e. Domergue enjoyed a tremendously successful career. From 1955 until 1962 he was the curator of the Musée Jacquemart-André, organizing exhibitions of the works of van Gogh, Toulouse-Lautrec and Goya, among others. Domergue was appointed a Chevalier of the Légion d’Honneur and also served as a Fellow of the Academy of Fine Arts. \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e Panel: 21 1\/2“ high x 18 1\/8” wide\u003cbr\u003e Frame: 28 1\/2\" high x 25\" wide x 1 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41779922763911,"sku":"31-5996","price":49850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5996_1_4586d4a5-e89d-4f34-a513-7c88b302d636.png?v=1728289500"},{"product_id":"learning-to-ride-a-bike-by-george-hughes","title":"Learning to Ride a Bike by George Hughes","description":"George Hughes\u003cbr\u003e 1907-1990 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLearning to Ride a Bike\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on board \u003cbr\u003e\u003cbr\u003e The great illustrator George Hughes found his place in the hearts and homes of families nationwide with his humorous and nostalgic renderings of American life. American illustrators like Hughes had the challenge of creating an image that expressed an entire story without any written description. They were a narrative that unfolded on a single canvas and clearly expressed the everyday human experience that almost all could relate to. This oil on masonite, entitled \u003cem\u003eLearning to Ride a Bike\u003c\/em\u003e, was created for the July 12, 1954 cover of the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Hughes’s composition captures both the simple joys of childhood and of parenting. On a quiet suburban street, a father runs alongside his young son’s accelerating bike, bearing a focused and startled expression as he guides the handlebars. In stark contrast to the father’s trepidation, his son could not be more delighted; he grins from ear to ear with widened eyes, and his feet are no longer resting on the pedals. In the background, a woman in a long red dress — presumably the wife and mother to Hughes’s two subjects — puts her hands over her mouth in surprise and worry as a neighbor and his dog look on. \u003cem\u003eLearning to Ride a Bike\u003c\/em\u003e speaks to a near-universal experience, exuding the quintessential nostalgia of \"America's Golden Age of Illustration.\" \u003cbr\u003e\u003cbr\u003e Hughes studied art and mechanical drawing at New York's Art Students League and the National Academy of Design. He worked for a number of years after his graduation as a freelance fashion illustrator, echoes of which can be seen in his fashionably dressed middle-class families in his later Post illustrations. Hughes's first major composition was painted in the early fall of 1947 and was featured on the cover of the Post in the spring of 1948, beginning a 15-year-long career with the publication. Hughes's works were also featured in other publications, including \u003cem\u003eVanity Fair, Woman’s Day, American Magazine\u003c\/em\u003e and \u003cem\u003eReader's Digest\u003c\/em\u003e. The \u003cem\u003ePost\u003c\/em\u003e wrote of the great illustrator, “Hughes, more than any other \u003cem\u003ePost\u003c\/em\u003e artist except Rockwell, survived the rise of photography,” pointing to his 115 covers with the magazine and his institutional success as a fine artist. His artworks were displayed at the Detroit Museum, the Pennsylvania Academy of Fine Art and the Art Institute of Chicago during his lifetime, and remain desirable among discerning collectors of American art.  \u003cbr\u003e\u003cbr\u003e Painted 1954 \u003cbr\u003e\u003cbr\u003e Board: 20\" high x 19 1\/4\" wide\u003cbr\u003e Frame: 27 3\/8\" high x 26 3\/4\" wide x 3\/4\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Curtis Publishing Company, Philadelphia, Pennsylvania\u003cbr\u003e Private Collection (acquired from the above in 1978)\u003cbr\u003e By descent to Private Collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41115032617095,"sku":"31-6200","price":228500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6200_1_fde25c9a-8402-42a1-803a-87b44313dbd5.png?v=1717924325"},{"product_id":"victory-breaking-the-line-battle-of-trafalgar-by-john-steven-dews","title":"Victory Breaking the Line - Battle of Trafalgar by John Steven Dews","description":"John Steven Dews\u003cbr\u003e b.1949 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003e Victory Breaking the Line - Battle of Trafalgar \u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"J Steven Dews\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e John Steven Dews’ painting of the Battle of Trafalgar, the most famed naval battle in history, is one of the masterful maritime artist’s most impressive and rousing works. Titled \u003cem\u003eVictory Breaking the Line\u003c\/em\u003e, Dews depicts the iconic battle with astounding realism, capturing the visceral thrill of naval warfare. This painting transports viewers to the waters where the British fleet, under Admiral Lord Horatio Nelson, defeated the combined French and Spanish fleet against the odds, thus solidifying the British navy as ruler of the seas.  \u003cbr\u003e\u003cbr\u003e At the start of what would be his final battle, Nelson caught sight of a Franco-Spanish force of 33 ships and knew the deck was stacked against Britain. At a time when naval victories were typically determined by the sheer number of ships and guns present, Nelson deployed a completely innovative strategy. He divided his 27 ships into two divisions and split the enemy fleet. Dews’ magnificent work captures the decisive moment in the battle when Nelson orchestrated his genius maneuver. This brilliant composition depicts the valiant \u003cem\u003eHMS Victory\u003c\/em\u003e as she breaks through the enemy line and pours her first massive port broadside into \u003cem\u003eBucentaure’s\u003c\/em\u003e stern. By smashing the enemy flagship’s three-tiered galleries, \u003cem\u003eVictory’s\u003c\/em\u003e devastating fire swept along the length of all three gun decks, causing dramatic damage. The Battle of Trafalgar was among the most decisive naval engagements ever fought and Nelson’s victory reaffirmed the naval supremacy Britain had established during the course of the 18th century. \u003cbr\u003e\u003cbr\u003e Overall, the work reveals Dews' ability to capture both the majesty of ships at sea and a compelling narrative. The artist has gained critical acclaim for his incredible maritime scenes. Born in Yorkshire in 1949, Dews learned his trade at the Hull Regional College of Art after being turned down as a candidate at numerous naval academies. He turned to art to express his love for the sea, eventually building a sizable enough portfolio to mount his first exhibition in 1976. An astounding success, nearly the entire collection was sold on opening night, and Dews received 17 new commissions. Ever since his blockbuster opening, Dews has enjoyed remarkable success and critical acclaim, earning numerous prestigious commissions and awards to this day as one of Britain’s most sought-after living artists.  \u003cbr\u003e\u003cbr\u003e Canvas: 40\" high x 60 1\/4\" wide\u003cbr\u003e Frame: 47 1\/3\" high x 67 3\/4\" wide x 1 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42558234951815,"sku":"31-6204","price":348500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6204_1.png?v=1744406936"},{"product_id":"la-terrasse-devant-la-mer-by-jean-pierre-cassigneul","title":"La terrasse devant la mer by Jean Pierre Cassigneul","description":"Jean-Pierre Cassigneul\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa terrasse devant la mer\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Terrace by the Sea\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “Cassigneul” (lower left)\u003cbr\u003e Oil on canvas laid on panel \u003cbr\u003e\u003cbr\u003e This monumental, three-paneled oil painting is among the largest ever composed by the celebrated French painter Jean-Pierre Cassigneul. Capturing a woman in grey against a windswept seascape, the composition is classic Cassigneul, exuding a serenity and sophistication that is unique to his aesthetic. Triptychs are highly rare in the artist's oeuvre, and the panels can be displayed apart or attached. Renowned for his portraits that bring together brilliant pops of color with an atmosphere of elegance and tranquility, Cassigneul's upbringing in French fashion is keenly felt in the composition, as he brings the chic Parisian ideal to life. \u003cbr\u003e\u003cbr\u003e One of the most famous living French artists, Cassigneul is set apart by his unique ability to produce works that feel both dramatically contemporary and classic in style. \u003cem\u003eLa terrasse devant la mer\u003c\/em\u003e brings together two of his most common tropes: a sleepy-eyed beauty and a vibrantly hued landscape. The green colors of the sea and the dusky sky provide a sharp contrast to the central figure, whose large hat and billowing scarf exude a timeless fashion. With its vivid, rich palette and flat spatial planes, Cassigneul’s style follows in the tradition of the French Post-Impressionist group known as Les Nabis, which included celebrated French artists such as Pierre Bonnard, Edouard Vuillard and Maurice Denis. Expressionist painter Kees van Dongen was another important influence on the young Cassigneul, whose portraits resemble van Dongen’s elongated, sharply contoured female forms. \u003cbr\u003e\u003cbr\u003e Born in Paris in 1935, Cassigneul's grandfather was the founder of the ground-breaking French fashion house Jean Dessès. Raised among the glamor and excitement of the Parisian fashion world, the young Cassigneul observed models, dressmakers and runway shows from a very young age. His interest in art also manifested early, and he painted his first landscape at Deauville at the young age of 12. He studied at the École des Beaux-Arts, holding his first one-man exhibition at just 17 years of age. Since that first show, his work has been widely exhibited worldwide, particularly in Western Europe, the United States and Japan, where he enjoys an especially devoted following. \u003cbr\u003e\u003cbr\u003e Painted 1975 \u003cbr\u003e\u003cbr\u003e Triptych: 51 1\/4\" high x 71” wide\u003cbr\u003e Panel: 51 1\/4” high x 23 1\/2” wide x 1 3\/8\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44555221205127,"sku":"31-6704","price":268500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6704_1.png?v=1777663316"},{"product_id":"portrait-of-a-gentleman-by-frans-hals","title":"Portrait of a Gentleman by Frans Hals","description":"Frans Hals\u003cbr\u003e 1582-1666 | Dutch \u003cbr\u003e\u003cbr\u003e Portrait of a Gentleman\u003cbr\u003e (possibly Theodore Blevet) \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks.” \u003c\/em\u003e \u003cbr\u003e -Vincent van Gogh writing of Frans Hals’ genius in a letter to his brother Theo\u003cbr\u003e Letter 536, 20 October 1885. \u003cbr\u003e\u003cbr\u003e This masterful and rare oil painting by Frans Hals is a quintessential portrait of the Dutch Golden Age. Painted circa 1630, this portrait is exemplary of Hals’ celebrated oeuvre and has been verified as an authentic work by the world’s foremost Hals scholars, including the former and current chief curators of the Frans Hals Museum. \u003cbr\u003e\u003cbr\u003e Calm, austere and decorous, the portrait depicts a man turning to meet the viewer's gaze. Wearing a dark cloak with a pleated white collar, the sitter holds a quill in his right hand – perhaps indicating his profession as a writer or calligrapher. The canvas is marked with an inscription that reads “He is 30 years old” in Latin. \u003cbr\u003e\u003cbr\u003e Imbued with a sense of genteel kindness, Hals renders the sitter’s expressive face with his signature bold, impressionistic brushwork, painting the sitter’s bone structure with a level of realism and precision that naturalistically captures his likeness along with a glimmer of his personality too. This composition also showcases Hals’ remarkable approach to color whilst working with the deceptively simple palettes of the era. In the Post-Reformation Calvinist society, Dutch elites stood at a delicate balance of boasting the fruits of the Dutch East India Company through both their attire and possessions, while also appearing moral and restrained. Thus, virtuosic painters like Frans Hals would render the dark, yet richly textured fabrics of his sitters with a certain air of inconspicuous luxury in an effort to simultaneously conceal and highlight the sitters’ great taste and wealth. Scholars surmise that this portrait of a black cloak and white collar-clad man likely captures calligrapher and schoolmaster Theodore Blevet, noting the sitter’s resemblance to an engraving of Blevet by Theodor Matham done after a lost 1640 portrait by Frans Hals. \u003cbr\u003e\u003cbr\u003e This portrait is an unequivocal triumph of Dutch Golden Age portraiture and an exemplary showpiece of Hals’ esteemed oeuvre. It perfectly showcases the technical acuity and emotional intelligence Hals brought to his works, underscoring his mastery over the medium of oil painting and the genre of portraiture.  \u003cbr\u003e\u003cbr\u003e Frans Hals’ works grace the walls of the most renowned museums in the world including the Rijksmuseum, the Louvre, the Metropolitan Museum of Art and Hals’ namesake museum in Haarlem in the Netherlands. Hals’ compositions are instantly recognizable by both art connoisseurs and casual museum-goers alike. Hals, Rembrandt and Vermeer are regarded as the crowning trifecta of painters of the Dutch Golden Age, with Hals specifically holding court as the leader in the realm of portraiture. Scholars today praise Hals as decisively ahead of his time, noting the groundbreaking sense of modernity in his 17th-century works. Hals’ triumphant ability with portraiture has been the subject of several seminal exhibitions mounted at institutions including the Metropolitan Museum of Art, The National Gallery of Art and The Wallace Collection. \u003cbr\u003e\u003cbr\u003e Circa 1630 \u003cbr\u003e\u003cbr\u003e Panel: 17 1\/2” high by 14 1\/4” wide\u003cbr\u003e Framed: 25 1\/2” high by 23 3\/8” wide by 2 3\/4\" deep \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-6867.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e The Hague, Schilderkundig Genootschap Pulchri Studio, Catalogue de la Collection Goudstikker d'Amsterdam, November 1919, no. 50, illustrated, as Frans Hals\u003cbr\u003e Amsterdam, Maatschappij voor Beeldende Kunst, Catalogue de la Collection Goudstikker d'Amsterdam, 14 December 1919-4 January 1920, no. 28, illustrated, as Frans Hals\u003cbr\u003e Copenhaguen, Staaten's Museum for Konst, Collection Goudstikker  d'Amsterdam, January-February 1920, no. 24, illustrated, as Frans Hals\u003cbr\u003e Christiania [Oslo], Utstillet Christiania Kunstforening, Katalog over Goudstikkers Samling Amsterdam, April 1920, no. 24, illustrated, as Frans Hals\u003cbr\u003e St. Louis, City Art Museum, November 1922, no. 45, as Frans Hals\u003cbr\u003e Detroit, The Detroit Institute of Arts, January 1923, no. 2, as Frans Hals\u003cbr\u003e New York, The Anderson Galleries, March 1923, no. 48 as Frans Hals\u003cbr\u003e Rotterdam, Rotterdamsche Kunstkring, Catalogue de la Collection Goudstikker d'Amsterdam, 20 December 1924-11 January 1925, no. 30, as Frans Hals\u003cbr\u003e Utrecht, Centraal Museum, December 1925-January 1926, no. as Frans Hals1\u003cbr\u003e The Hague, Schilderkundig Genootschap Pulchri Studio, Catalogue de la Collection Goudstikker d'Amsterdam, 13 March-4 April 1926, no. 66, illustrated, as Frans Hals\u003cbr\u003e Rotterdam, Rotterdamsche Kunstkring, Catalogue de la Collection Goudstikker d'Amsterdam, 10-25 April 1926, no. 43, as Frans Hals\u003cbr\u003e Amsterdam, Rijksmuseum, Tentoonstelling van oude Kunst, 1929, no. 61, as Frans Hals\u003cbr\u003e Rotterdam, Rotterdamsche Kunstkring, Catalogus der Tentoonstelling van Schilderijen en Antiquiteiten geexposeerd door den Kunsthandel J Goudstikker NV., Amsterdam, 17 December 1936-10 January 1937, no. 26, illustrated, as Frans Hals\u003cbr\u003e Haarlem, Frans Hals Museum, Tentoonstelling van oude kunst in het Frans Halsmuseum, 4-26 April 1936, p. 17, no. 17, as Frans Hals\u003cbr\u003e Haarlem, Frans Hals Museum, Frans Hals tentoonstelling ter gelegenheid van het 75-jarig bestaan van het Gemeentelijk Museum Haarlem, 30 June 1937, no. 38, fig. 38, as Frans Hals \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e W.R. Valentiner, 'Frans Hals, des Meisters Gemalde', in Klassiker der Kunst, Stuttgart\/Berlin, 1921, p. 80, illustrated, p. 311 as Frans Hals\u003cbr\u003e W.R. Valentiner, 'Frans Hals, des Meisters Gemalde', in Klassiker der Kunst, Stuttgart\/Berlin, 1923, p. 83, illustrated, p. 312 as Frans Hals\u003cbr\u003e C. Grimm, Frans Hals and his Workshop, will be published in Autumn 2023, no. A3. 13, as Frans Hals \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Friedrich W.R.A. Lippmann, Berlin and London\u003cbr\u003e Jacques Goudstikker, Amsterdam by 1919\u003cbr\u003e Looted by the Nazi authorities in July 1940\u003cbr\u003e Recovered by the Allies in 1945\u003cbr\u003e In the custody of the Dutch Government\u003cbr\u003e Restituted to the heir of Jacques Goudstikker in February 2006\u003cbr\u003e Sale Christie's Amsterdam, 14 November 2007, lot 4\u003cbr\u003e Private Collection, USA\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43987725680775,"sku":"31-6867","price":4850000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6867_1.png?v=1774942578"},{"product_id":"madame-poupoule-at-her-dressing-table-by-henri-de-toulouse-lautrec","title":"Madame Poupoule at Her Dressing Table by Henri de Toulouse-Lautrec","description":"Henri de Toulouse-Lautrec\u003cbr\u003e 1864-1901 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMadame Poupoule at Her Dressing Table\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"T-Lautrec 1900\" (upper right)\u003cbr\u003e Peinture à l'essence on panel \u003cbr\u003e\u003cbr\u003e A true Bohemian, Henri de Toulouse-Lautrec remains revered for his monumental impact on the art world. He produced a mere fraction of the artworks completed by his Impressionist contemporaries, making his completed paintings highly rare. Entitled \u003cem\u003eMadame Poupoule at Her Dressing Table\u003c\/em\u003e and painted in the final year of the artist’s life, the highly important painting showcases Henri de Toulouse-Lautrec's fully-embodied artistic genius. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMadame Poupoule at Her Dressing Table\u003c\/em\u003e is Lautrec’s third and most spellbinding painting of a favored Parisian sitter. Though little is known of her life, the woman nicknamed Madame Poupoule is believed to be a performer who lived on rue des Martyrs near Montmartre. Lautrec builds a powerful mood with a palette of deep purples and greens, exhibiting great finesse in rendering Madame Poupoule’s shadowy boudoir. Lautrec takes a unique perspective by looking over the young woman’s shoulder, imbuing the image with a quiet intimacy and sensuality. Her pursed lips, idle hands and hidden eyes further heighten the drama. Rendered in the artist's preferred medium, \u003cem\u003epeinture à l’essence\u003c\/em\u003e, his measured brushstrokes bring a dynamism to the contemplative setting. \u003cbr\u003e\u003cbr\u003e Henri de Toulouse-Lautrec served as a documentarian of his times, capturing interior scenes of Montmartre in its heyday as the center of Parisian life. Writers, poets, artists, dancers, prostitutes and models filled every cafe, club and apartment in the neighborhood, and it is these artists and vagrants who became the subjects of so many of Lautrec’s paintings. Originally born into an aristocratic family descended from old French nobility, Lautrec often felt like an outcast himself due to his unusual appearance and congenital health conditions. He found refuge in these bohemian communities, and his personal difficulties undoubtedly lent the artist a sympathetic and compassionate eye. Never shying away from the gritty underbelly of his city, Lautrec’s paintings elevated women at the margins of society, deeming them worthy subjects of formal portraiture. \u003cbr\u003e\u003cbr\u003e Lautrec's painting of Madame Poupoule belongs to a period of intensive study on the subject for which he is renowned: female performers and ladies of the evening, whom he depicted with his signature naturalistic style. Lautrec’s works were not patronizing or judgmental, and he spent many hours observing his subjects within brothels and barrooms to give his works their truthful edge. His career was short-lived, and he died in 1901 at age 36, leaving behind an impactful yet small artistic legacy. \u003cbr\u003e\u003cbr\u003e A highly celebrated Post-Impressionist artist, Lautrec's works reside in prestigious collections around the globe. The other two examples of his artworks capturing Madame Poupoule are held in the Musée Toulouse-Lautrec in Albi and the Buffalo AKG Museum in Buffalo, New York. Other examples of his compelling portraits of women reside in the collection of the Metropolitan Museum of Art, the Guggenheim Museum and the J. Paul Getty Museum, though many remain unfinished. \u003cem\u003eMadame Poupoule at Her Dressing Table\u003c\/em\u003e has been published and exhibited widely at Henri de Toulouse-Lautrec’s major retrospectives. \u003cbr\u003e\u003cbr\u003e Painted 1900 \u003cbr\u003e\u003cbr\u003e Panel: 19 1\/4\" high x 24\" wide\u003cbr\u003e Frame: 29 3\/8\" high x 33 7\/8\" wide x 3\" deep \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Paris, Galeries Durand-Ruel, \u003cem\u003eHenri de Toulouse-Lautrec\u003c\/em\u003e, May 14-31, 1902, no. 58\u003cbr\u003e Paris, Galerie Manzi-Joyant, \u003cem\u003eExposition rétrospective de l’oeuvre de H. de Toulouse-Lautrec\u003c\/em\u003e, June 15-July 11, 1914, no. 98\u003cbr\u003e Paris, Musée des Arts Décoratifs, \u003cem\u003eExposition H. de Toulouse-Lautrec\u003c\/em\u003e, April 9-May 17,1931, no. 186\u003cbr\u003e London, M. Knoedler \u0026amp; Co., \u003cem\u003eToulouse-Lautrec, Paintings and Drawings\u003c\/em\u003e, January 19-February 2, 1938, no. 30\u003cbr\u003e Paris, Galerie M. Knoedler \u0026amp; Cie., \u003cem\u003eToulouse-Lautrec (1864-1901)\u003c\/em\u003e, March 1938, no. 48\u003cbr\u003e Basel, Kunsthalle, \u003cem\u003eHenri de Toulouse-Lautrec\u003c\/em\u003e, May 10-June 29, 1947, no. 192\u003cbr\u003e Brussels, Palais des Beaux-Arts, \u003cem\u003eToulouse-Lautrec\u003c\/em\u003e, 1947, no. 57\u003cbr\u003e Amsterdam, Stedelijk Museum, \u003cem\u003eHenri de Toulouse-Lautrec\u003c\/em\u003e, July-August 1947, no. 57\u003cbr\u003e Paris, Orangerie des Tuileries, \u003cem\u003eToulouse-Lautrec\u003c\/em\u003e, May-August 1951, no. 82\u003cbr\u003e Paris, Galerie André Weil, \u003cem\u003eGrands maîtres dans les collections particulières\u003c\/em\u003e, June 10-July 12, 1955, no. 18\u003cbr\u003e Paris, L’Oeil Galerie d’Art, \u003cem\u003eLautrec et le Croxi-Margouin\u003c\/em\u003e, May-June 1964, no. 4\u003cbr\u003e Albi, Musée Toulouse-Lautrec, \u003cem\u003eLautrec – “Elles”\u003c\/em\u003e, 1976, no. 88\u003cbr\u003e Munich, Kunsthalle der Hypo-Kulturstiftung, \u003cem\u003eToulouse-Lautrec. Das gesamt graphische Werk, Bildstudien und Gemälde\u003c\/em\u003e, February 4-May 1, 2005, no. XXVIII\u003cbr\u003e Milan, Palazzo Reale, \u003cem\u003eIl mondo fuggevole di Toulouse-Lautrec\u003c\/em\u003e, October 17, 2017-February 18, 2018, pp. 248-249, and 336 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Maurice Joyant (1864-1930), Paris\u003cbr\u003e Private Collection, Mme Marguerite-Georges Dortu\u003cbr\u003e Private collection, until 1985\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e G. Coquiot, \u003cem\u003eToulouse-Lautrec\u003c\/em\u003e, Berlin, n.d., p. 56\u003cbr\u003e G. Coquiot, \u003cem\u003eLautrec\u003c\/em\u003e, Paris, 1921, p. 212\u003cbr\u003e M. Joyant, \u003cem\u003eHenri de Toulouse-Lautrec\u003c\/em\u003e, I, Paris, 1926, p. 300. Illustrated p. 213\u003cbr\u003e E. Schaub-Koch, \u003cem\u003ePsychanalyse d’un peintre moderne, Henri de Toulouse-Lautrec\u003c\/em\u003e, Paris, 1935, p. 191\u003cbr\u003e W. George, “Une très belle exposition: Toulouse-Lautrec,” Beaux-Arts, March 11, 1938, p. 3\u003cbr\u003e J. Lassaigne, \u003cem\u003eToulouse Lautrec\u003c\/em\u003e (trans. from the French by M. Chamot), Paris, 1939, p. 167, no. 139. Illustrated p. 139\u003cbr\u003e M.G. Dortu, \u003cem\u003eToulouse-Lautrec\u003c\/em\u003e, Paris, 1952, illustrated p. 10\u003cbr\u003e F. Jourdain and J. Adhémar, \u003cem\u003eT-Lautrec\u003c\/em\u003e, Paris, 1952, pp. 113; 129, cited under no. 119\u003cbr\u003e É. Julien, Albi, \u003cem\u003eMusée Toulouse-Lautrec: Catalogue\u003c\/em\u003e, Albi, 1952, p. xxiii\u003cbr\u003e J. Lassaigne, \u003cem\u003eLe Goût de notre temps - Lautrec\u003c\/em\u003e, Geneva, 1953, p. 106\u003cbr\u003e M.G. Dortu, M. Grillaert and J. Adhémar, \u003cem\u003eToulouse-Lautrec en Belgique\u003c\/em\u003e, Paris, 1955, pp. 19, 46. Illustrated pl. 31 (color)\u003cbr\u003e D. Cooper, \u003cem\u003eHenri de Toulouse-Lautrec\u003c\/em\u003e, New York, n.d. [1956], p. 146\u003cbr\u003e J. Adhémar et al., \u003cem\u003eCollection Génies et Réalités: Toulouse-Lautrec\u003c\/em\u003e, Paris, 1962, p. 265\u003cbr\u003e F. Novotny, \u003cem\u003eToulouse-Lautrec\u003c\/em\u003e, London, 1969, illustrated pl. 1164 G. Caproni and G.M. Sugana, \u003cem\u003eL’Opera completa di Toulouse-Lautrec\u003c\/em\u003e, Milan, 1969, p. 119, no. 506b. Illustrated [2nd, revised ed.: Milan, 1977, p. 119, no. 506b. Illustrated]\u003cbr\u003e M.G. Dortu, \u003cem\u003eToulouse-Lautrec et son œuvre\u003c\/em\u003e, New York, 1971, III, p. 434, no. P.710. Illustrated I, p. 62; III, p. 435\u003cbr\u003e J. Polásek, \u003cem\u003eToulouse-Lautrec: dessins\u003c\/em\u003e (trans. by S. Bartoskova), Paris, 1973, p. 41\u003cbr\u003e D.E. Gordon, \u003cem\u003eModern Art Exhibitions, 1900-1916: Selected Catalogue Documentation\u003c\/em\u003e, Munich, 1974, II, p. 49\u003cbr\u003e S. Monneret, “Toulouse-Lautrec,” in \u003cem\u003eL’Impressionnisme et son époque\u003c\/em\u003e, II, Paris, 1979, p. 316\u003cbr\u003e Chicago, The Art Institute of Chicago, \u003cem\u003eToulouse-Lautrec: Paintings\u003c\/em\u003e, 1979, p. 294, cited under no. 96 (entry by N.E. Maurer). Illustrated p. 295, fig. 4\u003cbr\u003e G. Néret, \u003cem\u003eHenri de Toulouse-Lautrec\u003c\/em\u003e, Paris, 1981, p. 55, cited under no. 44\u003cbr\u003e B. Foucart and G.M. Sugana, \u003cem\u003eTout l’œuvre peint de Toulouse-Lautrec\u003c\/em\u003e, Paris, 1986, p. 128, no. 648. Illustrated\u003cbr\u003e Tübingen, Kunsthalle, \u003cem\u003eToulouse-Lautrec. Gemälde und Bildstudien\u003c\/em\u003e (cat. by G. Adriani), 1986-1987, pp. 76, note 2; 228, note 1\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672969183367,"sku":"31-7229","price":4950000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7229_1_9bbb643e-8b20-48ea-9169-6a7580e77cd0.png?v=1767197030"},{"product_id":"la-plage-a-pornichet-by-h-claude-pissarro","title":"La Plage à Pornichet by H. Claude Pissarro","description":"Hugues Claude Pissarro\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa plage à Pornichet\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(The beach at Pornichet)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “H. Claude Pissarro” (lower right)\u003cbr\u003e Pastel on card \u003cbr\u003e\u003cbr\u003e French artist H. Claude Pissarro utilizes his signature pastels to render the picturesque seaside of the beautiful French coastal town of Pornichet. Captured in a captivating variety of vivid pigments, Pissarro draws tall beach grasses, shady cabanas and casual beachgoers with red-roofed structures and the boundless coast in the distance. This sunny summertime seaside composition perfectly showcases Pissarro's incredible mastery over the medium of pastel and his unique and at times nostalgic artistic point of view. \u003cbr\u003e\u003cbr\u003e Hailing from a long lineage of artists, including Impressionist Camille Pissarro, Pissarro's artistic talents were cultivated at an early age. He exhibited his first works at the young age of 14 and later studied in Paris at the École du Louvre and École Normale Supérieure. A 1959 White House commission to paint the portrait of President Eisenhower cemented his reputation as an artist of renown, and his work has since been featured in important exhibitions throughout Europe and the United States. While his style has evolved throughout his career, he is best known for his energetic pastel compositions. H. Claude Pissarro’s works have been exhibited and collected throughout the world, and they remain highly coveted for their intimate size and relatable subject matter.  \u003cbr\u003e\u003cbr\u003e Card: 14\" high x 20\" wide\u003cbr\u003e Frame: 24 1\/2\" high x 29 1\/2\" wide x 1 1\/4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43874438578311,"sku":"31-7114","price":28500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7114_1.png?v=1772353836"},{"product_id":"an-amusing-thought-by-georges-croegaert","title":"An Amusing Thought by Georges Croegaert","description":"Georges Croegaert\u003cbr\u003e 1848-1923 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAn Amusing Thought\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Georges Croegaert Paris\" (lower left)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e This oil on panel by Belgian artist Georges Croegaert is a rich and exuberant portrait of the life of a smiling clergyman. Entitled \u003cem\u003eAn Amusing Thought\u003c\/em\u003e, the painting displays a wonderful sense of realism, exhibiting Croegaert’s skill for capturing texture, light, shadow and detail in each and every brushstroke. His works are distinguished by his uncanny gift for meticulous workmanship and are beloved for their intrinsic humor and charm. \u003cbr\u003e\u003cbr\u003e Born in Antwerp in 1848, Croegaert studied at the local Academy, where he was greatly influenced by the style of his relation Jan Jakob Croegaert van Bree. He moved to Paris in 1876 and established himself as an important painter of genre scenes, society women, and, most of all, Cardinals. Paintings exposing the worldly wealth enjoyed by the high-ranking members of the Church were highly popular during this era of French history. Discontent with the hypocrisy and lavish lifestyles of the clergy, the public welcomed satirical works such as this one. \u003cbr\u003e\u003cbr\u003e The artist exhibited regularly at the Paris Salon between 1882 and 1914 and at other locales throughout Paris, Brussels and Vienna. He experienced worldwide popularity during his lifetime, particularly amongst wealthy English and American collectors. \u003cbr\u003e\u003cbr\u003e Panel: 12 5\/8\" high x 9\" wide\u003cbr\u003e Frame: 17 5\/8\" high x 14 1\/8\" wide x 1 1\/8\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43316915732615,"sku":"31-7275","price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7275_1_b254f6f1-3dad-4947-9826-e402439fea7c.png?v=1762000737"},{"product_id":"the-connoisseur-by-georges-croegaert","title":"The Connoisseur by Georges Croegaert","description":"Georges Croegaert\u003cbr\u003e 1848-1923 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Connoisseur\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Georges Croegaert Paris\" (lower right)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e A Cardinal peers through a magnifying glass at gilded treasures in this exceptional oil on panel by Belgian artist Georges Croegaert. The composition is a rich and exuberant portrait of the life of a clergyman. Entitled \u003cem\u003eThe Connoisseur\u003c\/em\u003e, the painting displays a wonderful sense of realism, exhibiting Croegaert’s skill for capturing texture, light, shadow and detail in each and every brushstroke. His works are distinguished by his uncanny gift for meticulous workmanship and are beloved for their intrinsic humor and charm. \u003cbr\u003e\u003cbr\u003e Born in Antwerp in 1848, Croegaert studied at the local Academy, where he was greatly influenced by the style of his relation Jan Jakob Croegaert van Bree. He moved to Paris in 1876 and established himself as an important painter of genre scenes, society women, and, most of all, Cardinals. Paintings exposing the worldly wealth enjoyed by the high-ranking members of the Church were highly popular during this era of French history. Discontent with the hypocrisy and lavish lifestyles of the clergy, the public welcomed satirical works such as this one. \u003cbr\u003e\u003cbr\u003e The artist exhibited regularly at the Paris Salon between 1882 and 1914 and at other locales throughout Paris, Brussels and Vienna. He experienced worldwide popularity during his lifetime, particularly amongst wealthy English and American collectors. \u003cbr\u003e\u003cbr\u003e Panel: 13 1\/2\" high x 10 1\/4\" wide\u003cbr\u003e Frame: 18 5\/8\" high x 15 1\/2\" wide x 3 3\/4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43316915699847,"sku":"31-7274","price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7274_1_6f55dcf1-d028-49de-86f7-8cd0a611ae60.png?v=1762000736"},{"product_id":"the-letter-by-georges-croegaert","title":"The Letter by Georges Croegaert","description":"Georges Croegaert\u003cbr\u003e 1848-1923 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Letter\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Georges Croegaert Paris\" (lower right)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e A cardinal pauses while composing a letter in this oil on panel by Belgian artist Georges Croegaert. The painting is a rich and exuberant portrait of the life of a clergyman. Entitled \u003cem\u003eThe Letter\u003c\/em\u003e, the painting displays a wonderful sense of realism as a clergyman writes a correspondence, exhibiting Croegaert’s skill for capturing texture, light, shadow and detail in each and every brushstroke. His works are beloved for their distinctive humor and charm. \u003cbr\u003e\u003cbr\u003e Born in Antwerp in 1848, Croegaert studied at the local Academy, where he was greatly influenced by the style of his relation Jan Jakob Croegaert van Bree. He moved to Paris in 1876 and established himself as an important painter of genre scenes, society women, and, most of all, Cardinals. Paintings exposing the worldly wealth enjoyed by the high-ranking members of the Church were highly popular during this era of French history. Discontent with the hypocrisy and lavish lifestyles of the clergy, the public welcomed satirical works such as this one. \u003cbr\u003e\u003cbr\u003e The artist exhibited regularly at the Paris Salon between 1882 and 1914 and at other locales throughout Paris, Brussels and Vienna. He experienced worldwide popularity during his lifetime, particularly amongst wealthy English and American collectors. \u003cbr\u003e\u003cbr\u003e Panel: 13 1\/2\" high x 10 1\/2\" wide\u003cbr\u003e Frame: 19 7\/8\" high x 17\" wide x 2 3\/8\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43316915830919,"sku":"31-7276","price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7276_1.png?v=1762000742"},{"product_id":"guitare-sur-un-gueridon-by-pablo-picasso","title":"Guitare sur un guéridon by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish\u003cbr\u003e\u003cbr\u003e \u003cem\u003eGuitare sur un guéridon\u003cbr\u003e (Guitar on a pedestal)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Gouache on Western wove paper laid on board\u003cbr\u003e Signed “Picasso” (upper left) \u003cbr\u003e\u003cbr\u003e Picasso’s prolific career has been marked by many grand love affairs, both romantic, intellectual and creative. Beyond his lovers like Olga Khoklova and Dora Maar and his intellectual muses like Georges Braques and Gertrude Stein, Picasso’s greatest love and inspiration was perhaps a humble instrument: the guitar. Whether it be the \u003cem\u003eOld Guitarist\u003c\/em\u003e from his early blue period, his groundbreaking series of three-dimensional guitar sculptures from his nascent explorations in Cubism, or his \u003cem\u003eMandolin and Guitar\u003c\/em\u003e composition’s grander explorations with color and biomorphic shapes, the guitar is an elusive calling card for modern art’s greatest genius.  \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eGuitare sur un guéridon\u003c\/em\u003e, Picasso intertwines his signature guitar and a bowl of fruit. These two elements are playfully brought together and skillfully anchored on the tabletop by a square positioned at the center of the composition. The result is a captivating and harmonious arrangement that showcases Picasso's artistic ingenuity in blending these everyday objects into a visually striking and cohesive composition.  \u003cbr\u003e\u003cbr\u003e This rare gouache was created during the pivotal summer of 1920. During this time, Picasso lived in Juan-les-Pins, a small coastal resort town in the South of France away from the confines of the city and the fallout of World War I. With this newfound freedom, Picasso entered an exciting and innovative creative period and began to interrogate the connections between Neoclassicism and Cubism. \u003cbr\u003e\u003cbr\u003e Picasso created a series of gouache paintings characterized by their flat, geometric nature, sinuous contours and strikingly vivid colors. Though not a complete departure from his previous Cubist works, this series showcased the influence of the Surrealists, especially the biomorphic subconscious explorations of Joan Miró, upon Picasso’s oeuvre. While the breadth of his creativity grew, he returned back to a familiar motif — the guitar — with a renewed sense of vigor and excitement.  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGuitare sur un guéridon’s\u003c\/em\u003e undulating lines and biomorphic appeal bring Picasso's preoccupation with the guitar into deeper focus. The sinuous lines of guitar mirror the sensuous lines of the female form — the other most prevalent subject in Picasso's oeuvre. This beautiful and colorful gouache work illustrates the seminal movement in Picasso's oeuvre from Analytic Cubism toward the evolved sensual, biomorphic style that would characterize Picasso's later works. Similar gouaches from this time can be found in the permanent collections of the Solomon R. Guggenheim Museum in New York and the National Gallery of Art in Washington DC. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid, before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Critics have often divided Picasso’s artistic output into distinct phases based on his color scheme and style of painting. It was around 1907 that Picasso became very influenced by African masks and art which began making their way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eLes Demoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e Painted 1920 \u003cbr\u003e\u003cbr\u003e Paper: 11” high x 8 1\/8” wide (27.94 x 20.64 cm)\u003cbr\u003e Frame: 22 1\/2\" high x 19 5\/8\" wide x 1 1\/2\" deep (57.15 x 49.85 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-7796.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 Justin K. Thannhauser, New York\u003cbr\u003e Galerie Beyeler, Basel, Switzerland\u003cbr\u003e Sale: Sotheby’s, New York, May 16, 1984, lot 134\u003cbr\u003e Sale: Sotheby's New York, November 4, 1993\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003ePablo Picasso: Supplement aux Annies 1920-1929\u003cem\u003e, Vol. 30, Paris, 1975, by Christian Zervos, p. 30, no. 73 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Long Island Collections: May 12-August 4, 2002\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, European Art Between World Wars: May 9-August 1, 2004\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Picasso: February 20-April 17, 2005\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Picasso and the School of Paris: Nov. 19, 2006-Feb. 4, 2007\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, The Jazz Age: March 23-July 8, 2018\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Selections from the Collection of Dr. Harvey Manes, January 19 - May 12, 2019\u003c\/em\u003e\u003c\/em\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44180422983815,"sku":"31-7796","price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7796_1_1255109d-d112-43ca-8408-fbbe55ecd5a6.png?v=1774966147"},{"product_id":"autumn-woods-by-maxfield-parrish-1","title":"Autumn Woods by Maxfield Parrish","description":"Maxfield Parrish\u003cbr\u003e 1870 - 1966 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAutumn Woods\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Inscribed and signed \"Copyright 1927 \/ Maxfield Parrish\" (lower right)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Only God can make a tree. True enough, but I’d like to see him paint one.”\u003c\/em\u003e - Maxfield Parrish \u003cbr\u003e\u003cbr\u003e Renowned artist Maxfield Parrish is remembered today as one of the greatest American painters of the 20th century, and his oeuvre is as widespread and diverse as his audience. Parrish is a unique figure in American art, with a photorealist, classically inspired style that was both visionary and distinctive from the other great American illustrators of his era. This composition, entitled \u003cem\u003eAutumn Woods\u003c\/em\u003e, epitomizes the grandeur and luminosity of his landscapes.  \u003cbr\u003e\u003cbr\u003e Parrish's skill and vivid imagination are on full display in this oil on panel, which depicts a dense autumnal forest in a lush, saturated color palette. Masterfully rendered, the enchanting scene affirms his revolutionary understanding of color, luminosity and compositional design. While displaying the photographic illusionism so prevalent in the work of his fellow illustrators, Parrish's work also succeeds in maintaining an element of whimsy in his magical worlds. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAutumn Woods\u003c\/em\u003e was composed during an important moment in Parrish's career. In the late 1920s, he decided to shift away from the commercial illustrations that had dominated his early career, focusing instead on landscape painting, the genre that truly captivated his heart and creative spirit. Working from an earlier print entitled \u003cem\u003eGolden Hours\u003c\/em\u003e made for the popular Mazda calendar of 1927, Parrish transformed the illustration into this exuberant landscape, ultimately renaming it \u003cem\u003eAutumn Woods\u003c\/em\u003e. He was so pleased with its outcome that the artist famously announced, \"I'm done with girls on rocks! I've painted them for thirteen years and I could paint them and sell them for thirteen more...It's the unattainable that appeals. The next best thing to seeing the ocean or the hills or the woods is enjoying a painting of them.\" This bold move seamlessly transitioned his output from the realm of illustration to that of fine art. \u003cbr\u003e\u003cbr\u003e A frequent illustrator for mass-market periodicals around the country, Parrish possessed a unique ability to appeal to the masses without compromising his creative ideals and artistic intuition. At the very height of his career in the mid-1920s, when the present work was completed, it is estimated that Parrish's illustrations were displayed in one out of every four American homes. \u003cbr\u003e\u003cbr\u003e Born in 1870, the son of Stephen Parrish would not begin his career as an illustrator until the age of 25, choosing instead to spend his early years studying art and architecture in Europe. Parrish's career was launched by a commission to illustrate L. Frank Baum's \u003cem\u003eMother Goose in Prose\u003c\/em\u003e in 1897, after which he earned numerous commissions illustrating other texts as well as for popular magazines such as \u003cem\u003eHarper's, Hearst's, Collier's\u003c\/em\u003e and \u003cem\u003eLife\u003c\/em\u003e. The beautifully detailed, fantastical scenes he conceived truly made his works come alive, and his impact has endured for generations. \u003cbr\u003e\u003cbr\u003e Dated 1927 \u003cbr\u003e\u003cbr\u003e Panel: 35 7\/8\" high x 22 1\/4\" wide (91.12 x 56.52 cm)\u003cbr\u003e Frame: 44 3\/4\" high x 31 1\/4\" wide x 2 1\/4\" (113.67 x 79.38 x 5.72 cm) \u003cbr\u003e\u003cbr\u003e To view the entire painting dossier on PDF please click: \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8787.pdf\" target=\"_blank\"\u003eAutumn Woods by Maxfield Parrish\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Windsor County Committee for British War Relief Rally, c. 1939-40, donated by the artist\u003cbr\u003e Private Collection, acquired from above\u003cbr\u003e Sale of the above, Sotheby's New York, May 19, 2004, Lot 175\u003cbr\u003e Private Collection, Texas, acquired from above\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, Wyoming \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/youtu.be\/KKWUmyUAK7o\" target=\"_blank\"\u003eClick here to view a video of this item.\u003c\/a\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43673050218631,"sku":"31-8787","price":2450000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8787_1_6c4868c8-218b-4788-8627-569b6f92d41b.png?v=1767193291"},{"product_id":"madonna-addolorata-by-sassoferrato","title":"Madonna Addolorata by Sassoferrato","description":"Sassoferrato (Giovanni Battista Salvi)\u003cbr\u003e 1609-1685 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMadonna Addolorata\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Celebrated Italian artist Sassoferrato and his moving religious imagery are the epitome of the Baroque era. This stirring image of the Madonna—Sassoferrato’s most iconic subject—beautifully encapsulates the emotional drama and masterful naturalism for which this great painter is renowned. \u003cbr\u003e\u003cbr\u003e This jewel-toned devotional painting highlights the mother of Jesus at her most devout, clasping her hands and bowing her head in quiet contemplation. Unadorned yet striking, she holds the gaze of the viewer and seems to glow from within, enshrined in her billowing robes and crown of light. This composition is exemplary of Sassoferrato's mature style, which combined the graceful proportions of classical sculpture with lifelike modeling and rich colors and textures. His masterful use of chiaroscuro (effects of light and dark) and his vibrant palette lend this depiction of Mary a captivating and awe-inspiring presence. \u003cbr\u003e\u003cbr\u003e Widely known as \"Sassoferrato\" after the town in which he was born, the artist initially studied painting with his father Tarquino. His greatest influence, however, was the famed Raphael. Sassoferatto's masterful style—deliberately archaic with precise draftsmanship and an eloquent use of color—even led later historians to believe he was a contemporary protégé of the Renaissance master. \u003cbr\u003e\u003cbr\u003e Sassoferrato's virtuosic talent was widely acclaimed in his day, as his work became highly influential and important during the Counter-Reformation. His moving renderings of the Virgin Mary and other Catholic figures were powerful icons for meditation and devotion, an important tool for the Catholic Church at this divisive time. Today, his works are found in the most important churches and prestigious museums in the world, including the National Gallery in London, the Metropolitan Museum of Art in New York, and most notably, a collection of 60 of his drawings in the Royal Collection at Windsor Castle. It is exceedingly rare to see this Baroque master on the market, as very few remain in private hands. \u003cbr\u003e\u003cbr\u003e Circa 1650 \u003cbr\u003e\u003cbr\u003e Canvas: 27 3\/4\" high x 22 1\/4\" wide (70.49 x 56.44 cm)\u003cbr\u003e Frame: 38 1\/2\" high x 32 3\/8\" wide (97.79 x 82.23 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8808.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Padua, Italy\u003cbr\u003e Private Collection, Brescia, Italy\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Federica Facchini and Massimo Pulini, \u003cem\u003eSalvifica: Il Sassoferrato e Samorì tra rito e ferita\u003c\/em\u003e, exh. cat., Palazzo degli Scalzi, Sassoferrato, Italy, 2022, no. 7, p. 82-83 (illustrated)\u003cbr\u003e Massimo Pulini and Alberto Marchesin, \u003cem\u003eL’anima silente: Il Sassoferrato e l’eredità di Raffaello\u003c\/em\u003e, Sassoferrato, Italy, 2024, p. 35-36, 49 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Palazzo degli Scalzi, Sassoferrato, Italy, \u003cem\u003eSalvifica: Il Sassoferrato e Samorì tra rito e ferita\u003c\/em\u003e, 28 October 2022-15 January 2023","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41790388142215,"sku":"31-8808","price":248500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8808_1_1fc9e40b-0921-4c25-9e8d-cbc0d6543156.png?v=1726233675"},{"product_id":"ideal-home-by-patrick-hughes","title":"Ideal Home by Patrick Hughes","description":"Patrick Hughes\u003cbr\u003e b. 1939 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eIdeal Home\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel\u003cbr\u003e Signed, titled and dated “Ideal Home \/ Patrick Hughes \/ 2023” \u003cbr\u003e\u003cbr\u003e Patrick Hughes, a London artist, creates works that blend painting, sculpture and optical illusion, offering a dynamic visual experience that changes with the viewer's perspective. His innovative approach challenges traditional art boundaries, making each piece strikingly interactive and infused with humor, engagement and originality. His style is an aesthetic blend of modern and classic elements found in this remarkable composition titled \u003cem\u003eIdeal Home\u003c\/em\u003e, emphasizing both design and functionality. \u003cbr\u003e\u003cbr\u003e Hughes takes his viewer on a journey through a beautiful home interior—from the bright yellow foyer, through the study, music room and ocean blue kitchen, to the final, peaceful space of the bedroom. Each room is illuminated by natural light, with open windows that draw the observer into a picturesque garden adorned with stately statues. The geometric rugs and chromatic transitions across the rooms enhance the visual experience, creating an alluring space for anyone with a discerning eye for beautifully orchestrated interiors. \u003cbr\u003e\u003cbr\u003e Patrick Hughes coined the term \u003cem\u003ereverspective\u003c\/em\u003e for his unique art form, which he describes as \"perspective in reverse.\" Using traditional one-point perspective, Hughes reverses the process by extending lines outward on three-dimensional planes, creating the illusion of movement in static paintings. His \u003cem\u003ereverspective\u003c\/em\u003e technique involves cutting wooden panels into shapes that protrude from the wall. Hughes manipulates 2D images to fit these shapes and then precisely paints them in oil, emphasizing meticulous lines, light and shadow. This complex process typically takes months to complete, illustrating Hughes' dedication to detail and illusion in his work. \u003cbr\u003e\u003cbr\u003e Hughes created his first reverse perspective work in 1964 with a life-sized room for the Institute of Contemporary Arts in London entitled \u003cem\u003eSticking-Out Room\u003c\/em\u003e, thus beginning his long fascination with perspective illusions. He has since then authored several books on themes relating to his art, including visual paradoxes and oxymorons, and he holds a doctorate in science from King’s College in London for his work in the psychology of perception. Today, his work resides in the permanent collection of the British Library and the British Academy in London. \u003cbr\u003e\u003cbr\u003e Dated 2023 \u003cbr\u003e\u003cbr\u003e Panel: 20 1\/8\" high x 94 5\/8\" wide (51.12 x 240.35 cm)\u003cbr\u003e Frame: 27 1\/2\" high x 102 1\/8\" wide x 9 3\/4\" wide (69.85 x 259.40 x 24.77 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41912054546567,"sku":"31-8799","price":265000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8799_1.png?v=1782876076"},{"product_id":"chevaux-de-courses-by-raoul-dufy","title":"Chevaux de courses by Raoul Dufy","description":"Raoul Dufy\u003cbr\u003e 1877-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eChevaux de courses\u003cbr\u003e (Racing Horses)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Raoul Dufy 1929\" (lower right)\u003cbr\u003e Watercolor and gouache on Arches paper \u003cbr\u003e\u003cbr\u003e Raoul Dufy's fascination with horse racing first emerged in his art as early as 1913. However, it was not until the early 1920s, when couturier Paul Poiret encouraged him to observe the races to study fashionable dress, that horse racing began to solidify as a central theme in Dufy's work. Friends who joined Dufy on his initial visits to the racecourse noted his keen interest in the vibrant colors of the horses and jockeys, rather than the fashionable crowd. Over time, Dufy's racecourse scenes evolved to highlight the dynamic interplay of green turf, blue railings and multicolored crowds set against a backdrop of nature, capturing the energetic and colorful essence of the races. \u003cem\u003eChevaux de courses\u003c\/em\u003e exemplifies the dynamic scenes and vibrant colors that characterize Dufy's oeuvre, capturing the lively spirit of the 1920s. \u003cbr\u003e\u003cbr\u003e This scene bursts to life with vibrant colors and the dynamic movement of majestic horses. In the foreground, horses and their jockeys prepare for their moment in the spotlight, while in the background, a race unfolds at full speed. A vivid snapshot of sport, fashion and culture, this painting is brimming with life and energy. \u003cbr\u003e\u003cbr\u003e Born in Le Havre, Normandy, both Dufy and his brother Jean showed a talent for drawing at an early age. He would eventually enroll in the École d'Art in Le Havre, and later, the École Nationale Supérieure des Beaux-Arts in Paris. After viewing Matisse's \u003cem\u003eLuxe, Calme et Volupte \u003c\/em\u003ein 1904, Dufy adopted the bright color and flat compositions of the Fauvists. By 1909, the artist sought more austerity in his painting, and he became drawn to the works of Cézanne and the Cubists. From this point forward, Dufy's compositions presented a blend of the ideals upheld by these two artistic groups. His use of bold lines and colors, dynamic brushstrokes and other painterly qualities found in his paintings are a testament to his unique Expressionist ideals. \u003cbr\u003e\u003cbr\u003e Dated 1929 \u003cbr\u003e\u003cbr\u003e Paper: 18\" high x 24\" wide (45.72 cm x 60.96 cm)\u003cbr\u003e Frame: 29\" high x 35\" wide x 2 1\/2\" deep (73.66 cm x 88.90 cm x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Fanny Guillon-Laffaille, Raoul Dufy, \u003cem\u003eThe supplement to the Catalogue raisonné des aquarelles, gouaches et pastels\u003c\/em\u003e, Paris, reference As-0773 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, California\u003cbr\u003e Sale: Christie's New York, Sale 7452, May 13, 1992, Lot 253\u003cbr\u003e Private collection, Atlanta, GA\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42618970079367,"sku":"31-9436","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9436_1_23392fb1-6cf9-47f2-ac6a-5f8213127dcd.png?v=1746450821"},{"product_id":"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":"madame-flore-lesieur-by-kees-van-dongen","title":"Madame Flore Lesieur by Kees van Dongen","description":"Kees van Dongen\u003cbr\u003e 1877-1968 | Dutch-French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMadame Flore Lesieur\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"van Dongen\" (upper left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e\"You have to want to touch a painting, for it to be a pleasure for all the senses.\" –Kees van Dongen\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e This captivating portrait by Kees van Dongen embodies the glamour and sophistication of Parisian high society, beautifully portrayed through his subject, Madame Flore Lesieur, the wife of aviation innovator Henri Lesieur. Painted in 1939, Van Dongen's mastery of vibrant color and rich texture is on full display, as he elegantly fuses modernist sensibilities with the timeless charm of classical portraiture.  \u003cbr\u003e\u003cbr\u003e While van Dongen painted iconic celebrities such as Josephine Baker and Brigitte Bardot, his portraits of Parisian socialites of the early 20th century remain among his most important. Madame Flore is depicted in a flowing and feathery white gown, enhanced by a sumptuous fur coat that nearly jumps off the canvas to marvelous effect. The angelic white ang gray tones that dominate the canvas are expertly punctuated by her bright teal sash, glowing skin, and alluring red lips, cheeks and hair—emphasizing Van Dongen's ability to elevate beauty and femininity in a manner that feels both luxurious and avant-garde. Her wide, expressive eyes—an iconic hallmark of van Dongen’s portraiture—immediately draw the viewer in, evoking both a sense of intimacy and the artist’s fascination with the female form. \u003cbr\u003e\u003cbr\u003e Every element of this portrait exudes elegance and sophistication, a fitting tribute to one of the most influential women of her time. Flore Lesieur, portrayed here with a delicate grace, was not only celebrated for her own social stature but also for her connection to her husband’s trailblazing work with Air France in the post-World War II era. These included launching trans-Atlantic passenger services and introducing innovative sleeper flights, revolutionizing commercial aviation. His accomplishments, such as overseeing Air France’s move to New York’s Idlewild Airport (now JFK) and receiving the prestigious title of Chevalier of the French Legion of Honor, marked him as a leader in his field. \u003cbr\u003e\u003cbr\u003e The Lesieurs later relocated to Miami Beach, where they continued to shape society through their philanthropic initiatives. Together, they established the Henri and Flore Lesieur Foundation and endowed the Henri and Flore Lesieur Chair in Ophthalmology at the Bascom Palmer Eye Institute, leaving an enduring legacy. \u003cbr\u003e\u003cbr\u003e Van Dongen received his early artistic training at the Royal Academy of Fine Arts in Rotterdam and later moved to Paris in the early 1900s. After settling in the Montmartre district, then the artistic hub of the city, van Dongen found himself immersed in an environment that stimulated his creativity and inspired him to begin exhibiting his paintings. Even in his earliest shows his works were showcased alongside the artistic masters of the day. At the 1905 \u003cem\u003eSalon d'Automne\u003c\/em\u003e, van Dongen's paintings were hung in the same gallery as the highly esteemed artist Henri Matisse, a deep honor for the younger van Dongen. Importantly, it was from this pivotal showing that the Fauves—the \"wild beasts\" of the early 1900s—were born. Matisse had pioneered the Fauvist technique, exemplified by intensely expressive colors and bold brushwork. Van Dongen's early paintings bore the hallmarks of this explosive expression, ushering him into the circle of the leading avant-garde painters of the day. \u003cbr\u003e\u003cbr\u003e An artist whose career was defined by coloristic expression and unyielding originality, Kees van Dongen and his unique style grabbed the attention of early 20th-century art connoisseurs, ranking him among the leading modernists of the era. Above all, van Dongen was dedicated to the subject of the modern urban woman, and they remained central to his output throughout his career. Today, van Dongen's artworks grace museum collections, including the Metropolitan Museum of Art and the Museum of Modern Art in New York, the Art Institute of Chicago and the State Hermitage Museum in St. Petersburg, among others. \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming van Dongen Digital Catalogue Raisonné by the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Painted 1939 \u003cbr\u003e\u003cbr\u003e Canvas: 43 1\/2\" high x 35 1\/2\" wide (110.49 x 90.17 cm)\u003cbr\u003e Framed: 50 1\/4\" high x 42 3\/8\" wide x 3\" deep (127.64 x 107.63 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Madame Flore Lesieur (the sitter)\u003cbr\u003e Private Collection, Paris (by descent)\u003cbr\u003e Bass Museum of Art, Miami\u003cbr\u003e Private collection","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42355765641351,"sku":"32-0155","price":585000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0155_1_88cf7c8e-c2e1-4acb-9aab-ca11a16644b8.png?v=1741268359"},{"product_id":"woman-bathing-her-feet-in-a-brook-by-rembrandt-van-rijn-1","title":"Woman Bathing Her Feet in a Brook by Rembrandt van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606-1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eWoman Bathing Her Feet in a Brook\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Etching on paper\u003cbr\u003e New Hollstein's 309, second state of II\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Created from observations of a live model, this work started as a figure study before evolving into a more imaginative setting. It remains ambiguous whether the scene is set indoors, as suggested by the cushion the figure is seated on, or outdoors, indicated by the foliage in the background. The omission of her feet, suggesting they may be dangling in a brook, adds a charming touch to Rembrandt’s imaginative scene. The figure seems unaware of the viewer, presenting a dignified yet sensual demeanor. \u003cbr\u003e\u003cbr\u003e The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. \u003cbr\u003e\u003cbr\u003e Though known today primarily for his paintings, Rembrandt's fame spread outside the Netherlands thanks to his etchings. He made hundreds of etchings throughout his career from 1626 until 1660, the year he was forced to sell his presses. He created etchings of many subjects, including self-portraits, biblical subjects, saints and allegories, and his work was avidly admired and collected, even during his lifetime. \u003cbr\u003e\u003cbr\u003e Versions of this etching reside in numerous museums, including the Metropolitan Museum of Art in New York, the Art Institute of Chicago and the Cleveland Museum of Art, among many others.  \u003cbr\u003e\u003cbr\u003e Plate created 1658 \u003cbr\u003e\u003cbr\u003e Etching: 6\" high x 3 1\/8\" wide (15.24 x 7.94 cm)\u003cbr\u003e Frame: 17 7\/8\" high x 14\" wide x 1 1\/4\" deep (45.40 x 35.56 x 7.94 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Unknown collection stamp: cross in oval, not in Lugt.\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e F. W. H. Hollstein \u003cem\u003eDutch and Flemish Etchings, Engravings and Woodcuts.\u003c\/em\u003e vols. 1-64, Amsterdam, 1954–2010, cat. no. B200, p. 97.\u003cbr\u003e F. W. H. Hollstein \u003cem\u003eDutch \u0026amp; Flemish Etchings, Engravings and Woodcuts, 1450-1700\u003c\/em\u003e, 2008, cat. no. 309, p. 297, ill.\u003cbr\u003e David Maskill, 'Rembrandt van Rijn 1606-69 Netherlands', in William McAloon (ed.), \u003cem\u003eArt at Te Papa\u003c\/em\u003e(Wellington: Te Papa Press, 2009), p. 33.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875488301191,"sku":"32-0126","price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0126_1.png?v=1772363607"},{"product_id":"automne-dor-by-andre-brasilier","title":"Automne d'or by André Brasilier","description":"André Brasilier\u003cbr\u003e French I b. 1929 \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAutomne d'or\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “André Brasilier” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eAutomne d'or\u003c\/em\u003e, celebrated French artist André Brasilier exquisitely conveys the essence of his distinctive style, merging expressive lyricism with a serene autumnal atmosphere. This mesmerizing scene reflects Brasilier’s signature themes: a symphony of rich hues and a profound connection to the natural world. Famed for his poetic interpretations of horses, Brasilier presents a vibrant tableau where a procession of powerful horses and their riders gallops through a landscape ablaze with the fiery tones of fall. \u003cbr\u003e\u003cbr\u003e Rendered with elegant simplicity, the horses exude a quiet power and grace. Brasilier’s use of broad, sweeping areas of color imparts harmony and depth to the composition, and his meticulous study of equine form and movement is on full display. The autumnal setting bursts with vibrant golds and russet tones, as the foliage glows beneath a soft, diffused light, illustrating Brasilier’s masterful ability to balance bold color with delicate atmospheric nuance. \u003cbr\u003e\u003cbr\u003e Born to artist parents, Brasilier was steeped in the art world from a young age. He trained at the prestigious École des Beaux-Arts in Paris and swiftly gained recognition, winning both the Prix Florence Blumenthal in 1952 and the Prix de Rome in 1953. A rare honor, Brasilier had a retrospective at the Hermitage Museum in Saint Petersburg alongside only one other artist, Pablo Picasso. His works exhibited with the likes of Braque, Chagall and Miro, are celebrated worldwide and reside in prominent collections, including the Metropolitan Museum of Art in New York. \u003cbr\u003e\u003cbr\u003e Canvas: 25 5\/8“ high x 39 1\/2” wide (65.09 x 100.33 cm)\u003cbr\u003e Frame: 34 3\/8“ high x 48 1\/4” wide x 1 3\/4“ deep (87.31 x 122.56 x 4.45 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42776543035527,"sku":"32-0517","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0517_1_dd33808e-8301-4d52-9ff1-44794fa7f2b1.png?v=1749230812"},{"product_id":"le-jardin-municipal-noisy-le-sec-by-h-claude-pissarro","title":"Le jardin municipal, Noisy-le-Sec by H. Claude Pissarro","description":"Hugues Claude Pissarro\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe jardin municipal, Noisy-le-Sec\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Municipal Garden, Noisy-le-Sec\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “H. Claude Pissarro” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The Pissarro family of French painters holds a significant legacy in the history of art. This captivating composition, \u003cem\u003eLe jardin municipal, Noisy-le-Sec (Seine-St-Denis)\u003c\/em\u003e, by French artist Hugues Claude Pissarro, is a remarkable continuation of that tradition. Demonstrating his signature impasto technique, Pissarro captures a serene park scene alive with texture and vibrant color. Figures, including a small child accompanied by their guardian, meander along sun-dappled paths that wind through the verdant greenery. Houses dot the park's edges, while light filters gently through the tree canopy, casting a calming glow. The lush trees sway in the breeze, and the park brims with vibrant foliage, transporting viewers to a tranquil, sunlit day in the heart of France. \u003cbr\u003e\u003cbr\u003e Pissarro began painting at a young age, learning his craft from his father and taking inspiration from his legendary lineage, which includes the Impressionist master Camille Pissarro. He exhibited his first works at the young age of 14 and later studied in Paris. Like many of his family predecessors, the scope of his work and talent is vast, ranging from engraving to lithography, from publishing to painting. His reputation as a painter quickly spread, resulting in a White House commission in 1959 to paint the portrait of President Eisenhower. While his style has evolved throughout his career, he is best known for his brightly colored impressionist works. \u003cbr\u003e\u003cbr\u003e Canvas: 17 5\/8\" high x 21 1\/8\" wide (44.77 x 53.66 cm)\u003cbr\u003e Frame: 26 7\/8\" high x 30 3\/4\" wide x 2 1\/4\" deep (68.26 x 76.84 x 5.72 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42250751312007,"sku":"32-0514","price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0514_1.png?v=1738751817"},{"product_id":"promenade-sur-la-plage-by-h-claude-pissarro","title":"Promenade sur la plage by H. Claude Pissarro","description":"Hugues Claude Pissarro\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePromenade sur la plage\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Walk on the Beach)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “H. Claude Pissarro” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A sunlit beach path meanders through a vibrant coastal scene in \u003cem\u003ePromenade sur la plage\u003c\/em\u003e by French artist H. Claude Pissarro. A majestic palm tree anchors the foreground, its vivid green fronds contrasting beautifully with the masterful interplay of purples and blues in the shadows, illustrating the artist’s signature impasto technique and vibrant palette. Beneath its canopy, a couple strolls together, savoring the serenity of the moment alongside fellow pedestrians. Nearby, a bicycle rests, contributing to the quiet bustle of beachside life. In the distance, shoreline buildings extend along the horizon, leading the viewer deeper into this picturesque seaside town. Pissarro’s exquisite rendering of light, color and texture imbues the scene with warmth and vitality, perfectly encapsulating the elegance and timeless charm of his oeuvre. \u003cbr\u003e\u003cbr\u003e Hailing from a long lineage of artists, including Impressionist Camille Pissarro, Pissarro's artistic talents were cultivated at an early age. He exhibited his first works at the young age of 14 and later studied in Paris at the École du Louvre and École Normale Supérieure. A 1959 White House commission to paint the portrait of President Eisenhower cemented his reputation as an artist of renown, and his work has since been featured in important exhibitions throughout Europe and the United States. While his style has evolved throughout his career, he is best known for his energetic pastel compositions. H. Claude Pissarro’s works have been exhibited and collected throughout the world, and they remain highly coveted for their intimate size and relatable subject matter. \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/4\" high x 23 1\/2\" wide (48.90 x 59.69 cm)\u003cbr\u003e Frame: 28 1\/8\" high x 32 3\/8\" wide x 1 1\/4\" deep (71.44 x 82.23 x 3.18 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42272549798023,"sku":"32-0515","price":38500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0515_1_dc6f62a9-02d8-4834-8249-11cd8d5ad75e.png?v=1738720860"},{"product_id":"jan-cornelis-sylvius-preacher-by-rembrandt-van-rijn","title":"Jan Cornelis Sylvius, Preacher by Rembrandt Van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606–1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJan Cornelis Sylvius, Preacher\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e New Hollstein Dutch and Flemish (Rembrandt) 235, state 2\/2\u003cbr\u003e Bartsch 280\u003cbr\u003e Printed by Rembrandt\u003cbr\u003e Signed and dated \"Rembrandt 1646\" (top center)\u003cbr\u003e Etching on paper \u003cbr\u003e\u003cbr\u003e Renowned among the Old Masters, the Dutch artist Rembrandt van Rijn is widely regarded as the greatest etcher in the history of art. As the foremost Dutch printmaker, his body of work includes nearly 300 authenticated prints, distinguished by groundbreaking techniques that redefined the medium. This remarkable 1646 etching was printed by Rembrandt himself and captures the esteemed Dutch minister Johannes Cornelis Sylvius seated at his desk, holding a closed book in one hand and gesturing thoughtfully with the other. \u003cbr\u003e\u003cbr\u003e A luminous and lifelike portrayal, the oval-framed composition underscores Rembrandt’s mastery of etching, with his characteristic ability to bring a subject to life through dramatic contrasts and meticulous detail. The expert shadowing of Sylvius's extended right hand makes it appear to reach beyond the surface of the paper. The surrounding Latin inscriptions celebrate Sylvius’s eloquence, piety and steadfast dedication to his pastoral duties. The lengthy text below the image, composed by poets Caspar Barlaeus and Petrus Sylvius, extols his spiritual leadership, virtuous life and profound impact on the communities he served across Friesland and Amsterdam. See translations below. \u003cbr\u003e\u003cbr\u003e The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. \u003cbr\u003e\u003cbr\u003e Now considered one of the greatest artists of all time, almost every major institution has examples of his etchings. Additional second-state etchings of this portrait reside in esteemed collections worldwide, including the Metropolitan Museum of Art, the National Galleries of Scotland, the Cleveland Museum of Art, the Philadelphia Museum of Art and the Art Institute of Chicago, among others. \u003cbr\u003e\u003cbr\u003e Dated 1646 \u003cbr\u003e\u003cbr\u003e Etching: 11\" high x 7 1\/2\" wide (27.94 x 19.05 cm)\u003cbr\u003e Frame: 19 1\/2\" high x 15 1\/2\" wide x 1 1\/8\" deep (49.53 x 39.37 x 2.86 cm) \u003cbr\u003e\u003cbr\u003e Inscription:\u003cbr\u003e Below the image, 16 lines of Latin text by Caspar Barlaeus and Petrus Sylvius:\u003cbr\u003e \"His eloquence taught adoration of Christ,\u003cbr\u003e And revealed to the people the true way to the heavens.\u003cbr\u003e Such was the face of Sylvius; we heard him\u003cbr\u003e Speak to these citizens of Amsterdam with his voice.\u003cbr\u003e He gave instruction to the Frisians: piety\u003cbr\u003e And religion long stood protected by his stern defense.\u003cbr\u003e His venerable age shone with its virtues,\u003cbr\u003e And weary old age rendered learned men.\u003cbr\u003e A lover of simplicity, he scorned the pretense of outward appearance,\u003cbr\u003e Nor did he wish to please good men merely with his looks.\u003cbr\u003e Thus he determined: Jesus is better taught by life,\u003cbr\u003e And the thunder of words is less effective.\u003cbr\u003e Amsterdam, remember him who has passed,\u003cbr\u003e Who shaped this city with his morals,\u003cbr\u003e He shone here by the very presence of God himself.“\u003cbr\u003e — C. Barlaeus \u003cbr\u003e\u003cbr\u003e \"No longer do I extol his virtues,\u003cbr\u003e Which I admire and vainly pursue in verse.\"\u003cbr\u003e — P. S. \u003cbr\u003e\u003cbr\u003e Around the oval:\u003cbr\u003e \"Christ is my hope. Johannes Cornelij Sylvius. From Amsterdam, having served as minister of the Word of God for 45 years and 6 months, in Friesland at Tyemarum and Phridgum for 4 years, at Balk and Harich for a single year, in Minnertsga for 4 years, at Slot for 6 years, and in Amsterdam for 28 years and 6 months, where he died in the year 1638, November 19th, aged 74 years.\" \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, United States\u003cbr\u003e Private Collection, The Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch, Catalogue Raisonné of the Works of the Principal Dutch and Flemish Painters, 280\u003cbr\u003e Erik Hinterding, Jacob Rutgers, and Ger Luijten, New Hollstein: Rembrandt, Vol. I, cat. no. 142","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875575562375,"sku":"32-0479","price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0479_1.png?v=1772364844"},{"product_id":"nymph-bathing-by-childe-hassam","title":"Nymph Bathing by Childe Hassam","description":"Childe Hassam\u003cbr\u003e 1859-1935 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNymph Bathing\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Childe Hassam 1904” (lower left)\u003cbr\u003e Oil on board \u003cbr\u003e\u003cbr\u003e Considered by many to be America’s foremost Impressionist painter, Childe Hassam composed his tranquil and intimate oil, \u003cem\u003eNymph Bathing\u003c\/em\u003e, in the early years of the 20th century. The creation of the artwork aligns with a period of Hassam’s career when the artist’s palette was transforming, matching ever closer with the pale and pastel hues of French Impressionists like Claude Monet. Even the subject—a nude nymph—represents a greater alignment with the Impressionist project as showing nature at its best. With Hassam’s signature brushwork and attention to color, this composition is a dreamlike vision, serene and sensuous. \u003cbr\u003e\u003cbr\u003e Hassam's mastery extends beyond his renowned landscape expertise in this work, demonstrating his exceptional command of form, light and color. The composition achieves remarkable balance through careful placement: the nude figure is positioned to the right, captured in the intimate moment of entering a pond. The subject's classical contrapposto stance reveals graceful, curving lines that harmonize with the water's reflective surface. These elegant elements are counterbalanced by the robust presence of a towering tree, its spreading canopy anchoring the left side of the canvas. The interplay between the figure's luminous skin tones and the water's ethereal qualities creates a sophisticated dialogue of light across the composition. \u003cbr\u003e\u003cbr\u003e Born in Dorchester, Massachusetts, Childe Hassam began his artistic career as a freelance illustrator, working for national publications such as \u003cem\u003eHarper’s Weekly\u003c\/em\u003e, \u003cem\u003eScribner’s Monthly\u003c\/em\u003e and \u003cem\u003eThe Century\u003c\/em\u003e. His first solo exhibition of watercolors took place in Boston in 1883, and he quickly catapulted onto the international scene, winning a bronze medal at the Exposition Universelle in Paris in 1889. The year before the present work was created, he received the Webb Prize from the Society of American Artists for another landscape painted at Gloucester. Hassam would receive numerous other awards throughout his career, most notably the Gold Medal for Distinguished Services to Fine Art from the American Dealers Association. \u003cbr\u003e\u003cbr\u003e Hassam depicted a way of life characteristic of both American and French society, and his work elucidates a critical chapter in American art history. Today, his work resides in the Oval Office of the White House and in numerous important museums, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington, DC and the Museum of Fine Arts in Boston, among others. \u003cbr\u003e\u003cbr\u003e Dated 1904 \u003cbr\u003e\u003cbr\u003e Canvas: 6“ high x 5” wide (15.24 x 12.70 cm)\u003cbr\u003e Frame: 16 1\/4“ high x 15” wide x 1 3\/4“ deep (41.28 cm x 38.10 cm x 4.45 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0729.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Colonel C.E.S. Wood, Rutland, Oregon \u0026amp; Los Gatos, CA (possibly a gift from the artist)\u003cbr\u003e Hirschl \u0026amp; Adler Gallery, NYC, Mid 1980s\u003cbr\u003e Sotheby's, Important American Paintings, May 1990, Lot 163\u003cbr\u003e Private Collection, NYC, acquired from the above\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e San Francisco, California Palace of the Legion of Honor, 1926-27, no. 80\u003cbr\u003e San Francisco Art Museum, n.d.\u003cbr\u003e Jackson, Mississippi, Mississippi Museum of Art, Collectors' Choice, November 1982-January 1983 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e This painting will be included in Stuart Feld and Kathleen Burnside's forthcoming catalogue raisonné of the artist's work.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42444160008327,"sku":"32-0729","price":98500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0729_1.png?v=1743857990"},{"product_id":"bulgari-burma-ruby-and-diamond-bypass-ring","title":"Bulgari Burma Ruby and Diamond Bypass Ring","description":"This exquisite Bulgari \"Toi et Moi\" ring, meaning \"you and me\" in French, displays both the finest gemstones and the exceptional craftsmanship of the renowned jeweler. The bypass ring showcases a stunning 5.18-carat oval Burmese ruby. For centuries, Burmese rubies have been among the world’s most sought-after gemstones, prized for their exceptional color and brilliance. Complementing the AGL-graded ruby is a 4.58-carat old cut oval diamond of H color and SI1 clarity, accompanied by a GIA report, and two tapered baguette cut diamonds totaling 0.80 carat, all beautifully set in platinum with yellow gold accents. \u003cbr\u003e\u003cbr\u003e One of the oldest Italian luxury jewelry brands, Bulgari has long been synonymous with \u003cem\u003ela dolce vita\u003c\/em\u003e. Founded in Rome in 1884 by the Greek silversmith Sotirio Bulgari, the firm soon built a reputation for excellence, fashioning jewelry creations of exquisite craftsmanship and high-quality gemstones. With a client list that includes the ever-glamorous Elizabeth Taylor, Bulgari quickly became a household name, and today the brand is synonymous with lavish jewels and striking designs. \u003cbr\u003e\u003cbr\u003e In its original Bulgari paperwork, this ring was appraised in the 1980s at 480,000,000 lira—over $400,000 at the time. Nearly forty years later, Bulgari’s name, along with the scarcity of such exceptional gemstones, has only grown in prestige. \u003cbr\u003e\u003cbr\u003e Signed \"Bulgari 26NR\" \u003cbr\u003e\u003cbr\u003e Circa 1980 \u003cbr\u003e\u003cbr\u003e \u003ca href=\"http:\/\/library.rauantiques.com\/Report_32-0685.pdf\" target=\"_blank\"\u003eDownload the Reports\u003c\/a\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44579279011975,"sku":"32-0685","price":549750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0685_1_6e99b1ed-3717-40e4-b626-884152555f70.png?v=1782775274"},{"product_id":"bulgari-enigma-sapphire-and-diamond-necklace","title":"Bulgari Enigma Sapphire and Diamond Necklace","description":"A masterpiece of modern luxury, this Enigma necklace by Gianni Bulgari showcases a striking design with 18.05 carats of deep blue sapphires and 12.00 carats of brilliant diamonds. Pavé-set sapphire and diamond beads create a mesmerizing rhythm, alternating with luminous rock crystal beads and diamond spacers. The sophisticated interplay of textures and gemstones delivers an elegant, contemporary aesthetic that embodies the innovative spirit of Enigma. Set in 18K white gold. \u003cbr\u003e\u003cbr\u003e Founded by Gianni Bulgari in the 1980s, Enigma redefined high jewelry with its minimalist yet bold aesthetic, seamlessly blending classic craftsmanship with avant-garde design. His vision for understated luxury and architectural precision continues to influence modern jewelry connoisseurs. \u003cbr\u003e\u003cbr\u003e 17\" length","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43673642762375,"sku":"32-0597","price":105000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0597_1_989b202b-2f8e-4b34-b7b6-288645a89ecd.png?v=1767189922"},{"product_id":"la-ronde-des-cavaliers-by-andre-brasilier","title":"La ronde des cavaliers by André Brasilier","description":"André Brasilier\u003cbr\u003e b. 1929 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa ronde des cavaliers\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"André Brasilier\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e\"I always try to give the quintessence of a subject, to say a great deal with limited means.\"\u003c\/em\u003e - André Brasilier \u003cbr\u003e\u003cbr\u003e Masterfully rendered with dynamic brushwork and a luminous palette, \u003cem\u003eLa ronde des cavaliers\u003c\/em\u003e exemplifies André Brasilier's signature artistic vision that has captivated collectors worldwide. Brasilier stands among the most celebrated French painters of the post-war period, with his highly personal style that combines elements of expressionism and abstraction while maintaining figurative representation. This exceptional composition showcases the artist's lifelong fascination with horses in motion, here depicted against the dramatic backdrop of a coastal landscape. \u003cbr\u003e\u003cbr\u003e The scene depicts a circle of riders galloping along a sandy shoreline, their forms rendered with Brasilier's characteristic simplification and dynamism. The horses and riders appear as silhouetted figures in motion, creating a sense of rhythm and movement across the canvas. Brasilier employs a distinctive color palette dominated by cobalt blues contrasted against soft pinks and sandy beiges, creating a harmonious yet bold composition. \u003cbr\u003e\u003cbr\u003e Born in 1929 to artistic parents, Brasilier studied at the École des Beaux-Arts in Paris and won the prestigious Grand Prix de Rome in 1953. Throughout his prolific career spanning over seven decades, he has remained steadfastly dedicated to his artistic vision despite changing trends in the art world. Horses have remained a central motif throughout his oeuvre, representing freedom, beauty and the connection between humans and nature. Brasilier's works have been exhibited in prestigious galleries and museums worldwide, including a retrospective at the Hermitage Museum in Saint Petersburg—making him, along with Pablo Picasso, the only artists to be awarded a retrospective at the renowned institution during their lifetimes. Brasilier's works, exhibited with the likes of Braque, Chagall and Miro, are celebrated worldwide and reside in prominent collections, including the Metropolitan Museum of Art in New York. \u003cbr\u003e\u003cbr\u003e Painted 2022 \u003cbr\u003e\u003cbr\u003e Canvas: 28 3\/4“ high x 39 1\/2” wide (73.03 x 100.33)\u003cbr\u003e Frame: 37 1\/2“ high x 47 3\/4” wide x 1 3\/4“ deep (94.62 x 121.29 x 4.43 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42593043021959,"sku":"32-0828","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0828_1_bfae5050-b369-40af-9239-726ee4858453.png?v=1746450436"},{"product_id":"nu-tenant-un-miroir-by-pablo-picasso","title":"Nu tenant un miroir by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu tenant un miroir\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Nude holding a mirror)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Picasso\" (lower right)\u003cbr\u003e Pen and ink on paper \u003cbr\u003e\u003cbr\u003e Pablo Picasso's Rose Period is among the most iconic bodies of work in art history. This beautiful drawing, entitled \u003cem\u003eNu tenant un miroir\u003c\/em\u003e, exemplifies the refined elegance and simplicity that characterized this pivotal period and laid the foundation for his visionary career. Picasso's Rose Period works are highly rare and coveted by collectors, making this ink drawing an extraordinary treasure of modern art. \u003cbr\u003e\u003cbr\u003e Created in 1906, \u003cem\u003eNu tenant un miroir\u003c\/em\u003e captures the artist's companion Fernande Olivier with remarkable minimalism, demonstrating Picasso's extraordinary ability to convey form and emotion through a few precise, self-assured gestures. This drawing served as the foundation for Picasso's monumental oil painting, \u003cem\u003eLa Toilette\u003c\/em\u003e, now in the permanent collection of the Buffalo AKG Museum. In the drawing, Picasso synthesizes the dual vision of Fernande's personality—combining the nude figure and the mirror holder into one person, which he would later split in two in the final painting. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu tenant un miroir\u003c\/em\u003e also reveals Picasso's growing interest in classical antiquity, with unmistakable references to Roman and Egyptian artistic traditions. The figure exists in an undefined space, creating a sense of timelessness and eternity. Through masterful restraint, Picasso achieves a composition that is simultaneously ancient and thoroughly modern, balancing naturalistic representation with elements of abstraction. \u003cbr\u003e\u003cbr\u003e The summer of 1906 marked a transformative period in Picasso's artistic development. Having relocated from his native Spain to Paris in 1904, Picasso and Fernande temporarily retreated to the remote Spanish village of Gósol in the Pyrenees. This rural sojourn provided Picasso with the solitude and focus to refine his artistic direction, resulting in works of remarkable clarity and purpose such as this one. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid before traveling to Paris in 1900. Landing in the epicenter of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Works from his pivotal Rose Period are especially prized by collectors and institutions for their historical significance and aesthetic sophistication. Comparable drawings from this critical year can be found in prestigious collections worldwide, including the Musée Picasso in Paris, the Metropolitan Museum of Art in New York and the National Gallery of Art in Washington, D.C. \u003cbr\u003e\u003cbr\u003e Created 1906 \u003cbr\u003e\u003cbr\u003e Paper: 9 3\/4\" high x 6 1\/2\" wide (24.77 x 16.51 cm)\u003cbr\u003e Framed: 21 1\/2\" high x 17 3\/8\" wide x 1 3\/4\" deep (54.61 x 44.01 x 4.45 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Gustave \u0026amp; Leon Bollag Collection, Zurich\u003cbr\u003e Sale, Galerie Bollag, Zurich, 3rd April 1925, lot 167\u003cbr\u003e Constance Charlotte Bailward, United Kingdom, acquired during the 1920s\u003cbr\u003e Thence by descent\u003cbr\u003e Private Collection, California \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Pierre Daix, \u003cem\u003ePicasso 1900-1906: Catalogue raisonne l'oeuvre peint\u003c\/em\u003e, Paris, 1966, no. XV.29, illustrated p. 300\u003cbr\u003e Christian Zervos, \u003cem\u003ePablo Picasso, Supplement aux annees de 1903-1906\u003c\/em\u003e, Paris, 1970, vol. XXII, no. 430, illustrated p. 151\u003cbr\u003e Alberto Moravia, \u003cem\u003eL'opera completa di Picasso blu e rosa\u003c\/em\u003e, Milano, 1979, no. 270A, illustrated p. 109\u003cbr\u003e Joseph Palau i Fabre, \u003cem\u003ePicasso Vivo (1881-1907)\u003c\/em\u003e, Barcelona, 1980, no. 1242, illustrated p. 448\u003cbr\u003e \u003cem\u003eLe miroir noir, Picasso, sources photographiques 1900-1928\u003c\/em\u003e (exhibition catalogue), Musée Picasso, Paris, 1997, fig. 45, illustrated p. 58","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43894124380295,"sku":"32-0866","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0866_1.png?v=1772378242"},{"product_id":"mercado-de-flores-mujer-cargando-un-nino-by-diego-rivera","title":"Mercado de flores (Mujer cargando un\r\nniño) by Diego Rivera","description":"Diego Rivera\u003cbr\u003e 1886-1957 | Mexican \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMercado de flores (Mujer cargando un niño)\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eFlower Market: Woman carrying a boy\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed and dated \"Diego Rivera 1951\" (lower right)\u003cbr\u003e Watercolor and ink on paper \u003cbr\u003e\u003cbr\u003e This exceptional painting, \u003cem\u003eMercado de flores (Mujer cargando un niño)\u003c\/em\u003e, embodies Diego Rivera's brilliance, capturing his signature subject in vibrant watercolor. With its radiant palette and bold line work, this painting captures Rivera at the height of his international fame and has a surprising connection to Baseball Hall of Fame legend, Waite \"Schoolboy\" Hoyt.  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMercado de flores\u003c\/em\u003e is a never-before-seen masterclass in watercolor, showcasing the electric color and dynamic composition that are the hallmarks of Rivera’s celebrated style. The women are vendors at a vibrant flower market, an important motif that Rivera painted often to celebrate the Aztec history of Mexico City. With the charming moment between mother and son at the center, this painting embodies Rivera's ability to transform an intimate moment into a powerful statement about dignity, labor and Mexican identity.  \u003cbr\u003e\u003cbr\u003e Painted in 1951, this work was gifted by Rivera to Waite Hoyt as a token of their friendship, and it has remained in the Hoyt family ever since. Rivera and Hoyt met in 1932, while Rivera was in New York working on his infamous \"Man at the Crossroads\" mural commission for Nelson Rockefeller and while Hoyt was pitching for the Brooklyn Dodgers. Hoyt was already famous as the starting pitcher for the greatest baseball team of all time—the 1927 New York Yankees—alongside Babe Ruth and Lou Gehrig. \u003cbr\u003e\u003cbr\u003e According to family lore, Rivera and Hoyt initially bonded over their shared love of art and baseball, and Hoyt gave Rivera tickets to a Dodgers game. Years later, in 1951, Rivera thanked Hoyt by gifting him this very watercolor. Hoyt had begun painting in the early 1950s, so perhaps it was also a gesture of encouragement and camaraderie from Rivera.  \u003cbr\u003e\u003cbr\u003e Born in Guanajuato City, Mexico, in 1886, Diego Rivera showed a talent for drawing at a very young age. He moved to Paris in 1907 to live and work with the great gathering of artists in Montparnasse. There, he was exposed to the burgeoning of Cubism, and his work fully embraced this new school of thought. In 1921, Rivera returned to Mexico, where he undertook government-sponsored murals that reflected his political perspective in historical contexts. By the time this watercolor was painted in 1951, Rivera had completed major murals across Mexico and the United States, making him one of the most famous artists in the world. \u003cbr\u003e\u003cbr\u003e Rivera's importance has only grown with time, and his market continues to demand millions at auction today. Many of the world's most important museums hold his paintings, including the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Dallas Museum of Artand the Museo Nacional de Arte in Mexico City. In 1964, the Mexican government established export regulations to protect Rivera's artworks and keep them in the country, designating them as “artistic monuments” that are now extremely difficult to come by outside of Mexico. \u003cbr\u003e\u003cbr\u003e Dated 1951 \u003cbr\u003e\u003cbr\u003e Paper: 21 1\/4\" high x 26 1\/2\" wide (53.98 x 67.31 cm)\u003cbr\u003e Frame: 32 1\/4\" high x 38\" wide x 1\" deep (81.92 x 96.52 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1121.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Waite Hoyt, New York, acquired from the artist circa 1951\u003cbr\u003e By descent from the above\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Consejo Nacional para la Cultura y las Artes, Instituto Nacional de Bellas Artes, \u003cem\u003eDiego Rivera: Catálogo General de Obra de Caballete\u003c\/em\u003e, Mexico, 1989, no. 2021, p. 263, illustrated","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43673058934919,"sku":"32-1121","price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1121_1.png?v=1767191563"},{"product_id":"tender-years-moth-holes-by-norman-rockwell","title":"Tender Years: Moth Holes by Norman Rockwell","description":"Norman Rockwell\u003cbr\u003e 1894-1978 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTender Years: Moth Holes\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Norman Rockwell\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e From Norman Rockwell's acclaimed \u003cem\u003eFour Seasons\u003c\/em\u003e calendar series for Brown \u0026amp; Bigelow, \u003cem\u003eTender Years: Moth Holes\u003c\/em\u003e represents the artist's masterful exploration of mature American relationships and his unparalleled ability to transform ordinary domestic moments into profound artistic narratives. This 1957 painting displays Rockwell's sentimental commitment to celebrating the \"charms and comforts of maturity\" during an era obsessed with youth. \u003cbr\u003e\u003cbr\u003e The composition presents a couple discovering the unfortunate fate of their stored seasonal clothing, with the husband displaying his moth-riddled red long underwear while his wife examines the damage with resigned familiarity. Rockwell's meticulous attention to detail manifests in every element: the weathered wooden trunk with its brass fittings, the scattered moths dancing above the scene, the couple's expressive faces and the comfortable acceptance that comes with decades of shared domestic trials. The careful rendering of textures—from the soft wool of the sweaters to the worn leather of the trunk—demonstrates Rockwell's technical virtuosity at every turn. \u003cbr\u003e\u003cbr\u003e Norman Rockwell stands as America's most beloved illustrator, whose work transcended commercial art to become a defining visual narrative of 20th-century American life. His Brown \u0026amp; Bigelow calendar series (1948-1964) ranks alongside his Saturday Evening Post covers as works that elevated him from celebrated illustrator to national institution. Rockwell's extraordinary ability to find profound meaning in everyday moments earned him the Presidential Medal of Freedom in 1977, the highest civilian honor bestowed upon American citizens. His art, characterized by meticulous detail and emotional depth, captures the essence of the American spirit with an authenticity that continues to resonate across generations. Museums worldwide, including the Norman Rockwell Museum in Stockbridge, Massachusetts, preserve and celebrate his legacy as an artist who documented American values, aspirations and the tender moments that unite us all. \u003cbr\u003e\u003cbr\u003e Painted 1957 \u003cbr\u003e\u003cbr\u003e Canvas: 17 1\/2\" high x 17 1\/2\" wide (44.45 x 44.45 cm)\u003cbr\u003e Frame: 26 1\/8\" high x 26 1\/8\" wide (66.36 x 66.36 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Judy Goffman Fine Art, New York\u003cbr\u003e Illustration House, New York\u003cbr\u003e Private collection, Florida\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, vol. I, Stockbridge, 1986, no. A151, p. 353, illustrated in color","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43784303313031,"sku":"32-1342","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1342_1_d51df768-101f-4f92-a75a-a7565199a619.png?v=1769784682"}],"url":"https:\/\/rauantiques.com\/collections\/artist-collection.oembed?page=4","provider":"M.S. Rau","version":"1.0","type":"link"}