{"title":"England","description":"\u003ch2\u003e\u003cb\u003e\u003cspan\u003eFine Art from England: A Legacy of Creativity and Innovation\u003c\/span\u003e\u003c\/b\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eEngland has a long and rich history of producing fine art that reflects its cultural and artistic heritage. \u003cmeta charset=\"utf-8\"\u003eThe evolution from early to late periods highlights England's dynamic art history. From portraits and landscapes to genre scenes and abstracts, fine art from England showcases the diversity and talent of its British artists. Whether you are looking for a masterwork by a renowned painter, a rare painting by a celebrated artist, or a contemporary piece by an emerging artist, you will likely find it in our fine art collection of English works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt M.S. Rau, we have a remarkable collection of English fine art, ranging from the 17th century to the present day. These artworks showcase the beauty and variety of English art, as well as the skill and vision of the artists who created them. \u003cmeta charset=\"utf-8\"\u003eThe collection includes original oil paintings that date back centuries, reflecting the ingenuity of British artists. Whether you are looking for a classic or a modern style, a realistic or an imaginative approach, a subtle or a bold expression, you will find it among our fine British art.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\n\u003cb\u003e\u003cspan\u003e\u003cb id=\"docs-internal-guid-23b5977a-7fff-ca95-2c40-c296ae5fdf91\"\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/b\u003eTimeless Legacy of Oil Paintings\u003c\/h2\u003e\n\u003cp\u003eOlder English paintings, dating back to the 18th, 19th, and early centuries, are celebrated both historically and artistically. These extraordinary paintings display intricate detail and maintain a fine quality still admired today. The 19th century marked a particularly prolific era for English artists, who crafted stunning oil paintings and landscapes depicting the beautiful English countryside. These scenes captured not just the land but also the affectionate relationship between the country and its inhabitants. \u003c\/p\u003e\n\u003cp\u003eEnglish artists of the 19th century frequently portrayed the grace of elite society through portraiture. These paintings are elegantly crafted narratives of the past. Each portrait speaks volumes about the figures depicted, offering insights into their lives. Their vintage allure makes them perfect for those wishing to infuse their home decor with a touch of history.\u003c\/p\u003e\n\u003cp\u003ePaintings from this era are integral to vintage art collections and convey the elegance of a past age. These timeless masterpieces, now available at M.S. Rau, continue to captivate art enthusiasts.\u003c\/p\u003e\n\u003ch2\u003e\u003cb\u003e\u003cspan\u003eWhat is Fine Art from England?\u003c\/span\u003e\u003c\/b\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eFrom majestic landscapes capturing the ethereal beauty of the English countryside, to the iconic portraiture showcasing the elegance and sophistication of the British aristocracy, English art has left an indelible mark on the global artistic landscape. We regularly have paintings from the greatest British painters to ever grace the halls of the Royal Academy, pioneers of revolutionary art forms and classic English tradition.\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cb\u003e\u003cspan\u003eWhy Buy Fine Art from England from M.S. Rau?\u003c\/span\u003e\u003c\/b\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eIf you are looking to buy fine art from England online or in person, you will not find a better place than M.S. Rau. Our gallery features carefully selected works from a diverse array of artists and periods, all backed by our unparalleled 125% guarantee. Whether you are looking for a rare antique or a contemporary masterpiece, you will find it among our fine art from England for sale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrowse our online catalog or visit our gallery in New Orleans to explore our fine art from England collection. You will be amazed by the quality and variety of our fine art from England, as well as by our expert service and advice. Don’t miss this opportunity to buy brilliant works by history’s most prominent English artists online or in person from M.S. Rau, one of North America’s most respected fine art galleries.\u003c\/span\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":"portrait-of-francis-bennett-by-thomas-gainsborough","title":"Portrait of Francis Bennett by Thomas Gainsborough","description":"Thomas Gainsborough\u003cbr\u003e 1727–1788 | English \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Francis Bennett (1712-1790)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptionally rare portrait was composed by renowned British painter Thomas Gainsborough, one of the most recognizable names in 18th-century art. This masterwork was painted in Bath in 1766, during one of the most significant artistic periods of Gainsborough's career. Just three years later, in 1769, he was invited to become a founding member of the Royal Academy, one of the highest honors a British painter could achieve. With its fluidity of line and boldness of color, \u003cem\u003ePortrait of Francis Bennett (1712-1790)\u003c\/em\u003e reveals the artist's shift away from the more realistic style of his early output toward the elegant grandeur that characterizes his later oeuvre. \u003cbr\u003e\u003cbr\u003e Francis Bennett, like Gainsborough himself, prospered thanks to the huge expansion of Bath as a spa town in the 18th century. Born in Bath in 1712, he established himself as a linen and wool draper who counted the elite of the town—including Gainsborough himself—among his clientele. A slightly earlier portrait of Bennett in a blue waistcoat was formerly in the collection of the late Viscount Cowdray at Cowdray Park. \u003cbr\u003e\u003cbr\u003e Born in 1727 in Suffolk, Gainsborough was the leading portrait painter of the 18th century, alongside Sir Joshua Reynolds, his main rival. Though Gainsborough originally set up his studio in Ipswich in 1752, he later moved to Bath, where he achieved considerable success. A favorite of the aristocracy as a portrait painter, Gainsborough was equally at home painting landscapes and pastoral idylls, presenting nobility, the working class and nature with the same extraordinary technical precision. Gainsborough’s ability to capture his subjects’ personalities, imbuing them with an emotive poetry, set him apart from his contemporaries. His portraits belong to the world's most prestigious museums, including the Louvre, the National Gallery in London, the Metropolitan Museum of Art and many more. \u003cbr\u003e\u003cbr\u003e This painting will be included in the forthcoming catalogue raisonné of the portraits of Thomas Gainsborough currently being prepared by Dr. Hugh Belsey. \u003cbr\u003e\u003cbr\u003e Circa 1766 \u003cbr\u003e\u003cbr\u003e Canvas: 30 1\/8” high x 25” wide (76.52 x 63.50 cm)\u003cbr\u003e Frame: 36 3\/4” high x 32” wide x 3\" deep (93.35 x 81.28 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Thomas Agnew \u0026amp; Sons, London, by 1899\u003cbr\u003e Jointly owned by Agnew’s and Wallis \u0026amp; Son, 1903\u003cbr\u003e Agnew’s half share sold to Wallis \u0026amp; Son on June 2, 1910\u003cbr\u003e Galerie D Heinemann, Munich, 1918 and 1928\u003cbr\u003e Private collection, Amsterdam, 1995-2005\u003cbr\u003e M.S. Rau, New Orleans, 2009\u003cbr\u003e Private collection, Los Angeles, 2012\u003cbr\u003e M.S. Rau, New Orleans, 2016\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Walter Armstrong, \u003cem\u003eGainsborough and His Place in English Art\u003c\/em\u003e, 1904, p. 258 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e French Gallery, 1913, no. 17\u003cbr\u003e Galerie D Heinemann, Munich, 1918 and 1928","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44201313468551,"sku":"29-4019","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-4019_1_04f3c8f3-b19f-42e8-9dc6-3a1ab942f411.png?v=1774961008"},{"product_id":"the-drive-by-george-elgar-hicks","title":"The Drive by George Elgar Hicks","description":"George Elgar Hicks, RBA\u003cbr\u003e\n1824 - 1914 | British\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eThe Drive\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\nSigned “G E Hicks 1860”\u003cbr\u003e\nOil on panel\u003cbr\u003e\u003cbr\u003e\nThis painting was recorded in the artist’s notebook entry for 1860 as The Drive, representing “2 Misses Perry”.\u003cbr\u003e\u003cbr\u003e\nThis charming portrait by George Elgar Hicks captures two elegant ladies as they take a carriage ride on a bright, winter morning. Just as they have taken a great deal of trouble over their appearance for their excursion, so too does Hicks take pains to articulate the finer details of the women’s apparel, contrasting the light and dark-haired women in harmonious tones of white, grey, lilac and purple. Hicks painted a variety of subjects including religious scenes, landscapes and his preferred form of genre scenes. His most famous works were his extraordinarily detailed portrayals of Victorian life, which are reminiscent of the great Victorian novelists Dickens and George Augustus Sala in their narrative intensity and documentary power.\u003cbr\u003e\u003cbr\u003e\nHicks lived most of his life in London and Hampshire. He studied for a medical degree at University College, London, before becoming an artist. He undertook his artistic studies at Sass’s Academy and the Royal Academy Schools, which he entered in 1844, and won a silver medal. A follower of William Powell Frith, Hicks enjoyed a career as both a painter of modern-life subjects and, later as a society portrait painter. He exhibited regularly at the Royal Academy from 1848, and developed his skill as a portraitist. Many of his works reached their greatest fame through their exhibition at private galleries, which gained enormous prestige in the mid-19th century art world. The vast dissemination of these compelling images in the form of prints ensured Hicks’ enormous and enduring popularity.\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eThe Athenaeum\u003c\/em\u003e commented upon the significance Hick’s views of Victorian life would hold for future generations: \u003cem\u003e“Mr. G. E. Hicks hit upon a good idea when he resolved to paint for us the scenes which take place at some of the well-known places of business of the City of London...Such pictures, even less well painted than these really are, will be interesting for the future time, and therefore we shall be thankful to get them as creditably executed as [those of Hick’s are.]” \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\nPanel: 9 ¾” high x 7 ¾” wide\u003cbr\u003e\nFrame: 19” high x 17” wide\u003cbr\u003e\u003cbr\u003e\nProvenance:\u003cbr\u003e\nMr. Vokins\u003cbr\u003e\nPrivate collection, UK \n\u003cbr\u003e\u003cbr\u003e\nLiterature:\u003cbr\u003e\nRosamond Allwood, George Elgar Hicks: Painter of Victorian Life, exhibition catalogue, Geffrye Museum, London \u0026amp; Southampton Art Gallery, ILEA, 1982, p. 55 (artist’s notebook entry for 1860)\u003cbr\u003e\u003cbr\u003e\nArtist’s Exhibitions:\u003cbr\u003e\nRoyal Academy\u003cbr\u003e\nBritish Institute\u003cbr\u003e\nSociety of British Artisits, Suffolk Street\u003cbr\u003e\nGrosvenor Gallery, England\u003cbr\u003e\nManchester City Art Gallery, England\u003cbr\u003e\nSouthampton Art Gallery\u003cbr\u003e\u003cbr\u003e\nArtist’s Museums:\u003cbr\u003e\nGeffrye Museum, London\u003cbr\u003e\nMuseum of London \u003cbr\u003e\nTate Britain, London \u003cbr\u003e\nCapetown Museum, South Africa\u003cbr\u003e\u003cbr\u003e\nArtist’s Memberships:\u003cbr\u003e\nRoyal Society of British Artists\u003cbr\u003e\u003cbr\u003e\nReferrences:\n\u003cem\u003eDictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs\u003c\/em\u003e, 1976, E. Bénézit\n\u003cem\u003eDictionary of British Art, Volume IV: Victorian Painters\u003c\/em\u003e, 1995, C. Wood\n\u003cem\u003eVictorian Painting\u003c\/em\u003e, 1999, L. Lambourne\n\u003cem\u003eDavenport’s Art Reference \u0026amp; Price Guide\u003c\/em\u003e, 1994, R. J. Davenport","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839408255111,"sku":"29-4021","price":39500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/29-4021_1_7c2893f5-7644-4ee4-b904-728397ace8a4.png?v=1707553385"},{"product_id":"antonita-va-a-los-toros-by-sir-gerald-festus-kelly","title":"Antonita va a los toros by Sir Gerald Festus Kelly","description":"Sir Gerald Festus Kelly\u003cbr\u003e 1879-1972 | English \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eAntoñita going to the Bulls\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed (en verso) \u003cbr\u003e\u003cbr\u003e World-renowned for his exquisitely composed portraits, British painter Sir Gerald Festus Kelly offers an intriguing mix of sensuality and innocence in this arresting portrait of a young Andalusian beauty. Kelly’s full powers in the handling of color and paint are clearly on display, as well as his remarkable ability to create portraits of intense power and expression. Rendered with exquisite detail and draftsmanship, Kelly’s brushstrokes reproduce in stunning detail the translucent lace framing his subject’s youthful visage, the delicate folds of her silk lilac dress, and her expression of intriguing tranquility. The highly exhibited work, entitled \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e, represents the English painter’s artistic heights, embodying the uniquely expressive, yet traditional portraiture that permeates his distinctive oeuvre. \u003cbr\u003e\u003cbr\u003e Composed in the Academic style, \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e is a study of captivating personality and expression. It is this quality that makes his portraits so compelling; a master of observation, Kelly possessed the rare ability to capture a true sense of his subject. Dubbed “a student of character” by the art critic W.S. Maugham, Kelly gained a reputation for his works’ poignancy as much as his technical accomplishments. In \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e, his arrangement of his subject, slightly away from the viewer, is masterfully conceived. Though her gaze is direct, her body’s position conveys a coyness that is only enhanced by the veil that falls around her face and the fan held open in her lap. It is a stunning example of the subtle sensuality and strength that permeates his portraiture. \u003cbr\u003e\u003cbr\u003e An avid traveler, Kelly filled his canvases with subjects that reflect the diverse cultures he encountered during his lifetime. From exotic locales such as Burma and South Africa to the closer regions of Italy and Spain, his inspiration was both far reaching and ever-fascinating. \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e exemplifies these works; his Andalusian subject is simultaneously exotic and accessible, rendered in a vibrant palette of cobalts, reds, and purples that frame her elegant, yet affable face. Donning a stunning lace mantilla and colorful peineta, she is elaborately dressed in the traditional costume of the bullfight. Exuding an unapologetic boldness and charisma, Antoñita evokes the theatricality of Manet’s portraits of Spanish dancers, though not at the expensive of her individuality. \u003cbr\u003e\u003cbr\u003e Born in London in 1879, Kelly spent his youth studying at Eton College and Trinity College Cambridge, and later moved to Paris in 1901. It was there that he received his first artistic training, falling under the influence of James McNeil Whistler and John Singer Sargent, while befriending such greats as Edgar Degas, Claude Monet, Paul Cézanne, and Auguste Rodin. In 1920, he married Lillian Ryan, and she would become the subject of numerous works, which he titled Jane – Kelly submitted a portrait of her to the Royal Academy nearly every year following their marriage. Her face, thus, became one of the best known in England; upon meeting her, the Queen Mary is said to have exclaimed: “Jane of the many Janes!” Among his other famed sitters were King George VI, Queen Elizabeth, Henry Clay Frick, T. S. Eliot, Ralph Vaughan Williams, and Somerset Maugham.  \u003cbr\u003e\u003cbr\u003e Elected a member of the Royal Academy in 1930, he was later appointed its President, a post which he held from 1949 to 1954. Today, his remarkable works are represented in important public collections worldwide, including the Tate Gallery (London), the Frick Collection (New York), the National Portrait Gallery (London), the Royal Collection (Windsor Castle) and the Crawford Art Gallery (Cork). \u003cbr\u003e\u003cbr\u003e Circa 1920 \u003cbr\u003e\u003cbr\u003e Canvas: 40 1\/8” high x 30 1\/2” wide\u003cbr\u003e Frame: 51 1\/4” high x 41 1\/4” wide \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Sir Malcolm Sargent, the English conductor\u003cbr\u003e Atkinson Art Gallery \u003cbr\u003e\u003cbr\u003e Exhibited: \u003cbr\u003e \u003cem\u003eAnnual Exhibition of the National Portrait Society\u003c\/em\u003e, Agnews Gallery, London, 1920, no. 17\u003cbr\u003e Walker Art Gallery, Liverpool, 1920\u003cbr\u003e Oldham Gallery, Oldham, 1920\u003cbr\u003e Aberdeen Art Gallery and Museum, Aberdeen, 1921\u003cbr\u003e \u003cem\u003eModern British Art\u003c\/em\u003e, Whitechapel Art Gallery, London, 1922\u003cbr\u003e Southampton Art Gallery, Southampton, 1923, no. 28\u003cbr\u003e Art Museum of Toronto, Toronto, 1925\u003cbr\u003e Bristol City Art Gallery, Bristol, 1928\u003cbr\u003e Bradford City Art Gallery and Museum, Cartwright Hall, Bradford, 1931\u003cbr\u003e Ferens Art Gallery, Hull, 1931\u003cbr\u003e Atkinson Art Gallery, Southport, 1936\u003cbr\u003e \u003cem\u003eExhibition of works by Sir Gerald Kelly\u003c\/em\u003e, 1957, Royal Academy of Arts, Diploma Gallery, London, no. 184\u003cbr\u003e Glasgow Art Gallery and Museum, Glasgow, 1958, no. 16\u003cbr\u003e Ferens Art Gallery, Hull, 1958, no. 14\u003cbr\u003e \u003cem\u003eArt Exhibitions Bureau Traveling Exhibition\u003c\/em\u003e, 1958-61","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839396393095,"sku":"30-5250","price":88500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-5250_1.png?v=1707553305"},{"product_id":"deaths-arrest-by-john-henry-amshewitz","title":"Death's Arrest by John Henry Amshewitz","description":"John Henry Amshewitz\u003cbr\u003e 1882–1942 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDeath's Arrest\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The vivid imagination of the British artist John Henry Amshewitz comes to life in this monumental oil on canvas. Exhibited at the Royal Academy in 1912, \u003cem\u003eDeath’s Arrest\u003c\/em\u003e is exemplary of his distinctive output, which is perhaps most closely aligned with the work of the American painter and illustrator Maxfield Parrish. They share an affinity for deeply saturated hues and neoclassical imagery, though Amshewitz's approach had a greater focus on allegorical figures than Parrish's more whimsical creations. The result is a work like \u003cem\u003eDeath's Arrest\u003c\/em\u003e, which is equally thought provoking and aesthetically arresting. \u003cbr\u003e\u003cbr\u003e In the large-scale scene, a young troubadour is shadowed by a cloaked figure representing death. Occupying the foreground is a court jester, cupid figure and young maiden — the presence of these figures is enigmatic as they float at the bottom of the canvas in a dreamlike haze. Set in the garden of a coastal villa, the work has the narrative quality of a fairy tale that is enhanced by it brilliant colors and magical luminosity. Large in size and theatrical in subject, it is one of Amshewitz's finest creations. \u003cbr\u003e\u003cbr\u003e Born in Ramsgate, England, in 1882, John Henry Amshewitz was the son of a prominent rabbi. His talent as an artist was cultivated early, and he quickly gained the attention of the Royal Academy, winning a scholarship in 1902. During his time with the Academy, he studied under the great American artist John Singer Sargent, as well as Sir George Clausen and Solomon J. Solomon. Amshewitz earned a reputation for his large-scale murals, having won a major competition to paint four murals at the City Hall in Liverpool. However, he was also a prominent painter who exhibited regularly at the Royal Academy. \u003cbr\u003e\u003cbr\u003e He eventually moved to South Africa, where he continued his work as both a muralist and a painter, leading many art historians to label him a South African artist. He would die there in 1942. Following his death, a commemorative exhibition of his work took place at Johannesburg City Hall. Today, his paintings can be found in a number of public collections, including the British Library (London), the Brighton and Hove Museum, the South Africa National Art Gallery (Cape Town), and the Johannesburg Art Gallery. \u003cbr\u003e\u003cbr\u003e Circa 1912 \u003cbr\u003e\u003cbr\u003e Canvas: 75 1\/4\" high x 55 1\/4\" wide\u003cbr\u003e Frame: 87\" high x 66 7\/8\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Royal Academy, London, 1912, no. 349\u003cbr\u003e Bristol, 1912\u003cbr\u003e Autumn Exhibition of Modern Art: The Forty-Second, Walker Art Gallery, Liverpool, October 5, 1912 - January 4, 1913 \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eThe Paintings of J.H. Amshewitz, R.B.A.\u003c\/em\u003e, London, 1951, by S.B. Amshewitz, p. 3","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42556876980359,"sku":"31-1114","price":49850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1114_1.png?v=1744387230"},{"product_id":"the-buttonhole-by-charles-spencelayh","title":"The Buttonhole by Charles Spencelayh","description":"Charles Spencelayh\u003cbr\u003e 1865-1958 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Buttonhole\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “C.SPENCELAYH” (lower left) and inscribed “This Drawing was accepted into the Royal Academy but crowded out for want of space” (en verso)\u003cbr\u003e  Watercolor and pencil with gum arabic on paper \u003cbr\u003e\u003cbr\u003e One of the most important English genre painters in the Academic style, Charles Spencelayh's anecdotal scenes are among the best of his age. This work, entitled \u003cem\u003eThe Buttonhole\u003c\/em\u003e, captures the celebrated painter’s preferred subject – an elderly gentleman performing an ordinary task. Spencelayh’s talent for portraying the common man with an engaging sentimentality remains unsurpassed, and his everyday narratives imbue his work with an undeniable timelessness. \u003cbr\u003e\u003cbr\u003e He trained at the National Art Training School (later renamed the Royal College of Art), where he flourished in his figural drawings. Spencelayh continued his education in Paris, where he exhibited at the Salon with much success. His primary exhibition venue throughout his career was the Royal Academy, where he showcased 30 paintings from 1912 to 1958. His incredible canvases were hung in the leading art venues of the day and gained him membership into the most prestigious art societies. \u003cbr\u003e\u003cbr\u003e During his lifetime, Spencelayh was greatly admired by many influential collectors, including Queen Mary, who provided the artist and his family a residence in Manchester. Spencelayh painted a postage-size portrait of King George V for the Queen’s dollhouse that currently resides in Windsor Castle. Today, his work is highly sought after, though examples rarely become available on the market. \u003cbr\u003e\u003cbr\u003e Circa 1940 \u003cbr\u003e\u003cbr\u003e Paper: 15 1\/2\" high x 11 3\/4\"\u003cbr\u003e Frame: 26 1\/2\" high x 22 5\/8\" wide  \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Charles Nicholls \u0026amp; Son, Manchester\u003cbr\u003e Sotheby’s, Chester, 27th April 1989\u003cbr\u003e Private collection, United Kingdom\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41239066378375,"sku":"29-4020","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-4020_1_247ff50d-a708-406a-aa10-1f0a9eb0f643.png?v=1712738977"},{"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":"till-death-us-do-part-by-edmund-blair-leighton","title":"Till Death Us Do Part by Edmund Blair Leighton","description":"Edmund Blair Leighton\u003cbr\u003e 1852-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTill Death Us Do Part\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"E. Blair Leighton 1878-9\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This delightful oil on canvas was composed by the great Regency painter Edmund Blair Leighton. Like many of Leighton’s genre scenes, \u003cem\u003eTill Death Us Do Part\u003c\/em\u003e is a humorous portrayal of male-female interaction. Walking down the aisle of their wedding ceremony, a beautiful young woman in period dress links arms with her new husband, a gentleman several years her senior. The artist exhibited this work at the Royal Academy in 1879, and when he first sent it to the Academy, he gave it the incisively sarcastic title “L.S.D.“ standing for the Latin phrase ”librae, solidi, denarii.“ The phrase translates to ”pounds, shillings, pence,“ suggesting the woman is marrying for money rather than affection. \u003cbr\u003e\u003cbr\u003e Elaborately detailed, the canvas is filled with wedding guests who whisper and flash disapproving looks, wearing comical expressions ranging from worry to dazed confusion. The bride casts her eyes downward as the “well-wishers” look on, avoiding the gaze of a young man to her right, implying perhaps that they were once to be married instead. The old groom (humorously painted as a self-portrait of the artist) stares ahead, his face blank, oblivious to their connection. Although no one looks happy on this occasion, Leighton is able to infuse the work with the rich narrative detail and his trademark sense of humor that make his canvases an absolute pleasure to view. \u003cbr\u003e\u003cbr\u003e This painting once belonged in the collection of Malcolm Forbes, one of the most prolific fine and decorative art collectors of the 20th century. All told, his collection filled six residences across three continents and was internationally renowned for its importance and eclectic nature. At one point, Forbes owned more of the famed Fabergé eggs than were in the country of Russia. He had a particular inclination towards Victorian narrative painters, including the great Edmund Leighton. \u003cbr\u003e\u003cbr\u003e Edmund Blair Leighton was the son of Charles Blair Leighton (1823–1855), a portrait and historical painter who showed at the Royal Academy and who died when his son was only three years old. At twelve years of age, he began his studies at the University College School in London, completing his schooling in 1867 at age fifteen. For some time thereafter, he worked for a tea merchant, and after earning a sufficient income to determine his own path in life, Leighton chose to pursue a career as an artist. For six years, he took evening classes in art, both at the South Kensington School of Art and at Heatherley’s School of Art, one of the most venerable private art schools in the United Kingdom. In 1874, Leighton enrolled at the prestigious Royal Academy schools for full-time instruction, and he studied there for another five years, supporting himself financially by producing illustrations for such publications as Cassel \u0026amp; Co. and Harper’s Bazaar. \u003cbr\u003e\u003cbr\u003e Leighton first exhibited at the Royal Academy in 1878, beginning a period of over four decades in which he was represented by over sixty artworks at the Royal Academy’s summer annuals. Like many of Heatherley’s most famous students, who include Edward Burne Jones, Dante Gabriel Rossetti and Sir Frederic Leighton, Leighton was a figure painter first and foremost who specialized in historical scenes. Enjoying medieval subjects, he also frequently painted scenes set in Britain’s Regency era, such as the present canvas. \u003cbr\u003e\u003cbr\u003e Dated 1878-9 \u003cbr\u003e\u003cbr\u003e Canvas: 61\" high x 44\" wide\u003cbr\u003e Frame: 72\" high x 56\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1879, no. 599 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Mr. Bromwick, Rugby\u003cbr\u003e Anonymous sale, Miss Cecil Lucas: Sotheby’s, London, 25 October 1977\u003cbr\u003e Forbes Magazine Collection, acquired from the above\u003cbr\u003e The Forbes Collection, Christie’s, London, 19 February 2003\u003cbr\u003e  Private collection, acquired from the above","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42556880060551,"sku":"31-4276","price":298500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4276_1_61654dc5-dedb-4f6e-b3de-c7ec4b349c92.png?v=1744392452"},{"product_id":"stable-mates-attributed-to-john-frederick-herring-jr","title":"Stable Mates, Attributed to John Frederick Herring, Jr.","description":"John Frederick Herring, Jr.\u003cbr\u003e c. 1820-1907 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eStable Mates\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In this painting attributed to John Frederick Herring, Jr., the idyllic charm of a bucolic farm is rendered with remarkable warmth and skill. Entitled \u003cem\u003eStable Mates\u003c\/em\u003e, Herring Jr. portrays a pair of nuzzling horses and resting birds in extraordinarily realistic detail, the horses’ expressions exuding a palpable tranquility. \u003cbr\u003e\u003cbr\u003e Born the son of famed sporting and equestrian painter John Frederick Herring, Sr., the younger Herring grew up surrounded by fine painting and developed a love of it under his father’s influence. In fact, he developed so quickly as an artist that it is said that his father felt compelled to add “Sr.” to the end of his signature to distinguish his paintings from his son’s. Herring, Jr. focused as his father did on the subject of horses, whether in the farmyard, beside a stream or amid the hunt or a race, and this work is modeled after a painting by Herrick Sr. entitled \u003cem\u003eGood Companions\u003c\/em\u003e, painted in 1847. Herring Jr.’s bold canvases helped solidify his reputation as one of the finest sporting artists of his day. \u003cbr\u003e\u003cbr\u003e Herring, Jr. was widely popular and was often commissioned to paint sporting and hunting subjects for wealthy landowners. While known for his paintings of racehorses, later in his career, he transitioned to painting tranquil scenes of farmyard animals. He frequently exhibited in London from 1860 to 1875, showing his work at the Royal Academy and the British Institution, among others. \u003cbr\u003e\u003cbr\u003e Mid-to-late 19th Century \u003cbr\u003e\u003cbr\u003e Frame: 30 3\/8\" high x 26 1\/4\" wide Canvas: 23 7\/8\" high x 19 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42556956311687,"sku":"31-4645","price":29850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4645_1_c7aee4a2-ac74-42b1-82b2-8ae867ece1f1.png?v=1744392472"},{"product_id":"portrait-of-a-beauty-by-william-clarke-wontner","title":"Portrait of a Beauty by William Clarke Wontner","description":"William Clarke Wontner\u003cbr\u003e 1857-1930 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"W. Wontner 1918\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. \u003cbr\u003e\u003cbr\u003e Entitled \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  \u003cbr\u003e\u003cbr\u003e Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. \u003cbr\u003e\u003cbr\u003e Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mnqq\/cvLbUpnWoYJZe3lo0HCdZEBKb9j75Am6ZYyt0EX4Cvk\" target=\"_blank\"\u003eNational Portrait Gallery (London) and the Harris Museum (Preston, UK)\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Dated 1918 \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 21\" wide\u003cbr\u003e Frame: 36\" high x 32\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42578025513095,"sku":"31-5487","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5487_1.png?v=1746450329"},{"product_id":"tristram-and-isolde-by-john-william-waterhouse","title":"Tristram and Isolde by John William Waterhouse","description":"John William Waterhouse, R.A.\u003cbr\u003e 1849-1917 I British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTristram and Isolde\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “J.W. Waterhouse\/1916” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The Pre-Raphaelites sought to perfectly render stories from literature and history with tremendous accuracy. \u003cem\u003eTristram and Isolde\u003c\/em\u003e, also known as Tristan and Isolde, is based on the famed medieval Celtic tale. It tells the story of Isolde, the beautiful daughter of the King of Ireland, who heals the injured hero Tristram. Tristram’s uncle, King Mark, learns of the Isolde’s beauty and asks Tristram to bring her back so he could wed her. Viewers of Waterhouse’s scene in 1916 would, of course, already have known this story by heart. \u003cbr\u003e\u003cbr\u003e The two protagonists fall in love on their journey and intend to drink poison rather than be separated by the looming nuptials. Instead, the two unknowingly drink a love potion meant for the king and his new bride, and thus fall even more madly in love. Isolde still fulfills her duty and marries King Mark, but the princess cannot bear being separated from Tristram and begins an adulterous affair with him. The lovers are found out and separated before dying of grief, mistakenly believing they will never see each other again. The tale influenced greats from William Shakespeare with his \u003cem\u003eRomeo and Juliet\u003c\/em\u003e to Richard Wagner, whose 1865 opera \u003cem\u003eTristan und Isolde\u003c\/em\u003e put the romantic tragedy to music. The ubiquity of the famed narrative of forbidden love required the utmost precision in execution, and Waterhouse gallantly rose to the task, choosing to capture the very moment in which the paramours drink the elixir that seals their fate. \u003cbr\u003e\u003cbr\u003e Despite the post-Victorian, exceptionally conservative nature of this period, the painting exudes both sensuality and romantic eroticism. Isolde leans towards Tristram in a trancelike state, already under the spell of the love potion in her grasp that will lead to the lovers’ tragic demise. The soft femininity of her billowing dress and veil stands in stark contrast to the angular manliness of Tristram’s armor. Despite his bold stride and hardened exterior, the tender expression remains as the two’s hands touch. The brilliant color palette imbues the work with a lifelike vibrancy, leaving the viewer spellbound. With his delicate painting, Waterhouse has frozen in time the climax of a beloved tale and the moment of sensuous anticipation. \u003cbr\u003e\u003cbr\u003e Born in Rome in 1849 to British parents, John William Waterhouse began his artistic career in the Royal Academy of Art, where he was enrolled as an academic painter. After seeing an exposition in by the Pre-Raphaelite Brotherhood secret society, which rejected the Academy’s infatuation with Neoclassicism, Waterhouse embraced their aesthetic principles and subject matter. His prowess and technical skill in this endeavor led him to be elected a member of the Royal Academy, the very institution that his predecessors disavowed. It is for these romantic paintings of women in classical mythology and Arthurian legend that he is most praised. \u003cbr\u003e\u003cbr\u003e Completed during his final battle with liver cancer before his passing in 1917, \u003cem\u003eTristram and Isolde\u003c\/em\u003e presents the final form of Waterhouse’s artistic maturity and remains one of his crowning achievements in painting. The artist’s own affection for this work is clear, as it is certain he approved the painting for \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000MotR\/sHDE3Gv2sROviBIus7qdslBhIIYTaAXy8Aw1qDea_4o\" target=\"_blank\"\u003eexhibition at the Royal Academy of Arts\u003c\/a\u003e mere months after his death. A museum-quality piece with remarkable provenance, this stunning oil on canvas has been widely exhibited, and it also once graced the significant collection of Sir Rod Stewart. Other works from Waterhouse’s oeuvre reside in important museums worldwide, including \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000MotM\/cptfYb22cT7wiFakrWEfHOeeEVmFROBY.LQEJtvX6ZM\" target=\"_blank\"\u003ethe Tate, the Royal Academy of Arts and the National Gallery of Victoria\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Dated 1916 \u003cbr\u003e\u003cbr\u003e Canvas: 42\" high x 31\" wide\u003cbr\u003e Frame: 55\" high x 43 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The Artist’s studio sale; Christie’s, London, 23 July 1926, lot 28 (218 gns to W.W. Sampson). \u003cbr\u003e Private Collection, UK, 1948 and by descent to \u003cbr\u003e His son, 1981. \u003cbr\u003e Sir Rod Stewart, O.B.E., by 28 June 1999.\u003cbr\u003e Fred and Sherry Ross, New Jersey, by January 2003. \u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Bristol, Royal West of England Academy, 1916, no. 442.\u003cbr\u003e London, Royal Academy, \u003cem\u003eSummer Exhibition\u003c\/em\u003e, 1917, no. 111.\u003cbr\u003e Groningen, Groninger Museum, London, Royal Academy, and Montreal, Montreal Museum of Fine Arts, \u003cem\u003eJ.W. Waterhouse 1849–1917: The Modern Pre-Raphaelite\u003c\/em\u003e, 14 December 2008 - 7 February 2010, no. 63. \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e A. Hobson, \u003cem\u003eThe Art and Life of J W Waterhouse RA 1849–1917\u003c\/em\u003e, London, 1980, pp. 137, 192-93, cat. 219.\u003cbr\u003e A. Jarman (ed.), \u003cem\u003eRoyal Academy Exhibitors 1905–1970\u003c\/em\u003e, London, 1987, p. 224, no 111.\u003cbr\u003e A. Hobson, \u003cem\u003eJ W Waterhouse\u003c\/em\u003e, London, 1989, p. 116, illus., p. 119, no. 89.\u003cbr\u003e P. Trippi, \u003cem\u003eJ W Waterhouse\u003c\/em\u003e, London, 2002, pp. 222–4.\u003cbr\u003e P. Trippi, \u003cem\u003eJ.W. Waterhouse 1849–1917: The Modern Pre-Raphaelite\u003c\/em\u003e (exh. cat.), London, 2008, pp. 21, 186, 190, 194–95, no. 63.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672937529479,"sku":"31-5713","price":4425000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5713_1_a63a9f7f-b74c-4913-8bf9-7086c86b314a.png?v=1767200310"},{"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":"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":"portrait-of-horatio-nelson-attributed-to-lemuel-abbott","title":"Portrait of Horatio Nelson attributed to Lemuel Abbott","description":"Attributed to Lemuel Abbott\u003cbr\u003e 1760-1803 | English \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Horatio Nelson\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This previously unknown portrait is an important discovery in British Naval history. In Admiral Lord Nelson's illustrious and well-studied life, there existed a \"silent period\" spanning 16 years during which no known portraits of Nelson existed. The discovery of this 1790 portrait, rendered just before his reentry into the Navy, is a significant development for Nelson scholars, adding new insight into the leader's life prior to his legendary command as Admiral of the British Navy. \u003cbr\u003e\u003cbr\u003e Almost certainly painted by Lemuel Abbott, the official portraitist of Admiral Nelson, the rendering depicts the naval titan in casual dress. This is one of the two final depictions of Nelson before he acquired the war-inflicted injuries that marked his later years. In 1790, Britain was at peace, and Lord Nelson found himself residing in Burnham Thorpe with his newlywed wife, Frances. Having served with great distinction in South America and the West Indies, he garnered much local acclaim. Yet, the uncertainty of returning to the sea weighed heavily on his mind. At the age of thirty, he lived the life of a country gentleman managing his estate. Only one other much smaller portrait of Nelson in civilian attire exists, a much smaller rendering from 1800 currently held at the National Portrait Gallery.  \u003cbr\u003e\u003cbr\u003e Compelling and atmospheric, the oil on canvas offers viewers a rare glimpse into the visage of a youthful and resolute Nelson, a man driven by an unwavering desire to forge his reputation in the art of naval warfare. This portrait had long been believed by the Nelson family to portray Edmund Nelson, Horatio Nelson's father. When connoisseur Jeremy Knight acquired this treasure directly from the Nelson family, he postulated that the work actually depicted the famed Admiral and not his father, as it was painted around 1790, and the elder Edmund Nelson would have been 68 years old at that time. Knight then hired the renowned Nelson scholar Martin Downer, the former Sotheby's expert and author of the bestselling books Nelson's Purse and Nelson's Lost Jewel, to confirm his hunch. It has now been confirmed by Martin Downer that this portrait is the missing painting of the future Admiral himself. \u003cbr\u003e\u003cbr\u003e This artwork will be discussed in British historian Flora Fraser's forthcoming publication. \u003cbr\u003e\u003cbr\u003e Other portraits of the heroic leader are held in esteemed museum collections, including the aforementioned National Portrait Gallery in London, the National Maritime Museum Greenwich in London, the Smithsonian National Portrait Gallery in Washington D.C. and the collection at Versailles. \u003cbr\u003e\u003cbr\u003e Circa 1790 \u003cbr\u003e\u003cbr\u003e Canvas: 30\" high x 20\" wide\u003cbr\u003e Frame: 39 3\/4\" high x 30 3\/8\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection of Dorothea Scrivener (1761-1831), Yoxfold, Suffolk\u003cbr\u003e Private collection, Rev. Dr. John Bishop, Bishop of Salisbury (1748-1825)\u003cbr\u003e By descent in Fisher family\u003cbr\u003e\u003cbr\u003e Private collection, Cambridge\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42648669159559,"sku":"31-8144","price":348500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8144_1.png?v=1749042212"},{"product_id":"le-loing-et-le-pont-de-moret-by-alfred-sisley","title":"Le Loing et le Pont de Moret by Alfred Sisley","description":"Alfred Sisley \u003cbr\u003e 1839-1899 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Loing et le pont de Moret\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Sisley” (lower left) \u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e A master of the landscape, Alfred Sisley is one of the founders of the French Impressionist style, and his works are counted alongside Monet and Renoir for their magnificent interpretations of the natural world. This vibrant composition, entitled \u003cem\u003eLe Loing et le pont de Moret\u003c\/em\u003e, showcases the artist's mastery of light and color, rendering a group of homes and trees along the famed Pont de Moret. \u003cbr\u003e\u003cbr\u003e Sisley was born in Paris to affluent English parents, who supported him financially until the age of 31 when his father lost his merchant trading company. His early years of financial comfort allowed Sisley to practice his art without concern. In 1860, he studied with Monet, Renoir and Bazille in the atelier of Marc-Charles Gabriel Gleyre. It was here that he learned the technique of painting \u003cem\u003een plein air\u003c\/em\u003e to better capture the effects of light in nature. This innovative technique allowed for more vivid imagery and dynamic scenery than had ever been experienced before, fascinating Sisley. By the time he first exhibited at the \u003cem\u003eSalon\u003c\/em\u003e in 1867, Sisley was a student of Jean Baptiste Camille Corot, an iconic member of the Barbizon School and master of \u003cem\u003eplein air\u003c\/em\u003epainting. \u003cbr\u003e\u003cbr\u003e In 1870, with his father in financial ruin, Sisley’s sole means of support became the sale of his paintings, which did not gain nearly the attention they received until his death in 1899. In 1880, he moved his family to a small village near Moret-sur-Loing where the Barbizon artists had worked in the early part of the century. Sisley thrived upon the serenity of this charming city and channeled the beauty of its surroundings into his paintings. His passion for the sky, and its contrast to the rest of the environment, tends to be the central theme throughout his oeuvre. \u003cbr\u003e\u003cbr\u003e This painting is accompanied by a letter of authenticity by the Sisley Committee \u003cem\u003e(Comité Alfred Sisley)\u003c\/em\u003e and will be included in the new edition of the \u003cem\u003eCatalogue Raisonné of Works by Alfred Sisley\u003c\/em\u003e by François Daulte currently being published.  \u003cbr\u003e\u003cbr\u003e Circa 1891 \u003cbr\u003e\u003cbr\u003e Canvas: 15” high x 21 11\/16” wide\u003cbr\u003e Frame: 24\" high x 30 1\/2\" wide \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8044.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Private collection of Eugene Fasquelle, Paris\u003cbr\u003e Durand-Ruel, Paris\u003cbr\u003e Private collection of Jacques Dubourg, Paris \u003cbr\u003e Private collection, Florida \u003cbr\u003e\u003cbr\u003e Literature: \u003cbr\u003e Francois Daulte, \u003cem\u003eAlfred Sisley, Catalogue Raisonné of Painted Works\u003c\/em\u003e, New York: Wildenstein \u0026amp; Co., 1959, no. 775","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43673046941831,"sku":"31-8044","price":1650000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8044_1.png?v=1767194817"},{"product_id":"henry-bowles-howard-12th-earl-of-suffolk-and-5th-earl-of-berkshire-by-sir-joshua-reynolds","title":"Henry Bowles Howard, 12th Earl of Suffolk and 5th Earl of Berkshire by Sir Joshua Reynolds","description":"Sir Joshua Reynolds\u003cbr\u003e 1723-1792 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSir Henry Bowles Howard, 12th Earl of Suffolk and 5th Earl of Berkshire\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Sir Joshua Reynolds is unequivocally considered the most important English portraitist of the 18th century who was instrumental in adapting the Grand Manner style in the portrait genre. In fact, when the Royal Academy was founded in 1768, Reynolds was elected its first President, setting the precedent of quality for which all other portraitists would strive. \u003cbr\u003e\u003cbr\u003e Reynolds's portrait of Henry Bowles Howard, 12th Earl of Suffolk, showcases his genius in the genre and mastery over the medium. Reynolds’s portrait of the Earl expertly invokes classical values with strong lighting, rich colors and expert attention to detail to help underscore the prominence and revered echelon of the sitter. Howard was an esteemed British politician and Knight of the Garter. He served as Secretary of State for the Northern Department from 1771 to 1779, and he played a key role in utilizing mercenaries during the American Revolution and safeguarding Sweden's independence. \u003cbr\u003e\u003cbr\u003e The portrait employs Reynolds's signature style to render Howard rightfully as a gentleman of distinction. Captured seated in a stately library, the Earl appears learned and austere as he places one hand upon a stack of important documents and looks wistfully into the distance. Reynolds makes these compositional choices decisively, as the seated position gives Howard a weighty appearance of importance and the semi-profile turn captures his countenance at an attractive angle that highlights his strong, masculine features. The work draws on the classical conventions of Greek and Roman art and the Italian Renaissance masters, anchoring the nobleman in a history of refinement. Everything from his strong yet welcoming expression to his pale face enlivened by a rush of blood to the cheeks presents the picture of a strong, vital and powerful leader. \u003cbr\u003e\u003cbr\u003e As the first president of the Royal Academy in London, Reynolds’s commissions raised the status of an artist in Britain during the Romantic period and also established the portrait as an esteemed high art genre that garnered equal import to the history paintings that reigned supreme in decades prior. Today, Reynolds’s works grace the walls of the most important museums in the world, including the Louvre, the Metropolitan Museum of Art, and the National Gallery in London, among others. \u003cbr\u003e\u003cbr\u003e Circa 1770 \u003cbr\u003e\u003cbr\u003e Canvas: 50 1\/2\" high x 40 1\/4\" wide\u003cbr\u003e Framed: 61\" high x 52 1\/2\" wide x 3 1\/2\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sir Henry Howard, 12th Earl of Suffolk and 5th Earl of Berkshire, 1739-1779\u003cbr\u003e His mother, Lady Mary Howard, née Finch, Lady Andover, d. 1803\u003cbr\u003e Acquired by descent to her daughter, Frances, and her husband Richard Bagot (later Howard)\u003cbr\u003e Acquired by descent to their daughter, Mary (1784-1877), and her husband Col. Fulke Greville Upton (later Howard), d. 1846\u003cbr\u003e Acquired by descent to Lieutenant Colonel H.R.G. Howard\u003cbr\u003e Sale, Christie's, London, March 24, 1961, no. 29\u003cbr\u003e Julius Weitzner, London and New York\u003cbr\u003e Sale, Paris, Musée Galliéra, December 7, 1965, no. 165\u003cbr\u003e Newhouse Galleries, New York, NY\u003cbr\u003e Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas, 1966\u003cbr\u003e Walsh Family Art Trust\u003cbr\u003e Private collection, Oregon\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e British Institution, London, 1844, no. 130, loaned by the Hon. Fulke Greville Howard.\u003cbr\u003e South Kensington, \"Second special exhibition of National Portraits,\" 1867, no. 478, lent by the Hon. Mrs. Greville.\u003cbr\u003e Agnew's, London, 1903, no. 17. \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Algernon Graves and W. V. Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., vol. 3 (London, 1899), p. 945.\u003cbr\u003e David Mannings, Sir Joshua Reynolds. A Complete Catalogue of His Paintings (New Haven, 2000), p. 267, no. 951, illus. fig. 1274.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43641746292871,"sku":"31-8220","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8220_1_2a0d54e5-29e5-4457-8b55-97280637356f.png?v=1767194743"},{"product_id":"a-day-on-the-beach-by-dorothea-sharp","title":"A Day on the Beach by Dorothea Sharp","description":"Dorothea Sharp\u003cbr\u003e 1874-1955 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Day on the Beach\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Dorothea Sharp\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e British painter Dorothea Sharp captures the joyful spirit of childhood in this enchanting seaside scene. The work, entitled \u003cem\u003eA Day on the Beach\u003c\/em\u003e, is part of an important series by the artist, which follows a group of children along the beach. In the foreground, an older child helps a young girl don her sweater to find comfort in the blustery breeze. Delightfully observed and rendered in the impressionist style, it embodies the distinctive output from Sharp, an artist who is counted among the most popular painters of the modern British era.  \u003cbr\u003e\u003cbr\u003e Sharp was particularly renowned for her paintings of women and children, and this idyllic scene is an exceptional example of the genre. Her young subjects embody the carefree innocence of youth as they enjoys the sandy seaside, while Sharp's spontaneous, energetic brushstrokes add to the vitality of the scene. Cheerful yet nostalgic, Sharp's touching oil on canvas epitomizes her inimitable ability to capture the gleeful joy of children along the shore. \u003cbr\u003e\u003cbr\u003e Born in Kent in 1874, Sharp did not begin painting until the age of 21. After inheriting a small sum from an uncle, she enrolled first at the Richmond art school, and then at Regent Street Polytechnic. She studied for a short time in Paris, where she first discovered the work of Claude Monet and the Impressionists; the encounter would greatly influence her style for the rest of her life. She exhibited for the first time at the Royal Academy in 1901 and exhibited there often until a few years before her death. She held her first one-woman show at the Connell Gallery in 1933; the exhibition was such a success that she was lauded as \"one of England’s greatest living woman painters\" by \u003cem\u003eThe Artist\u003c\/em\u003e editor Harold Sawkins. Today her works continue to enjoy a universal appeal for their charming portrayals of children at play. \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e Canvas: 40\" high x 45\" wide\u003cbr\u003e Frame: 47\" high x 52\" wide x 2 1\/2\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, UK\u003cbr\u003e MacConnal-Mason Gallery, Lonodn, 1999\u003cbr\u003e Private collection, UK\u003cbr\u003e Private collection, UK\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41452083019911,"sku":"31-8316","price":298500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8316_1_2982406a-c526-4693-a30d-9ebe8e77faeb.png?v=1715328322"},{"product_id":"pincher-a-german-spaniel-by-sir-edwin-henry-landseer","title":"Pincher, A German Spaniel by Sir Edwin Henry Landseer","description":"Sir Edwin Henry Landseer\u003cbr\u003e 1803-1873 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePincher, A German Spaniel\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Inscribed en verso \u003cbr\u003e\u003cbr\u003e This deeply personal portrait of Lord High Chancellor Eldon John Scott’s beloved German Spaniel was painted by the preeminent animal portraitist of the 19th century, Sir Edwin Henry Landseer. Distinguished as Queen Victoria’s favorite painter, Landseer gained international recognition for creating the famous lion statues that flank Nelson’s Column at Trafalgar Square and also for immortalizing Queen Victoria’s menagerie of animals in paint. His portrait of Lord High Chancellor Eldon John Scott’s beloved German Spaniel named Pincher puts forth the quintessence of his genius. \u003cbr\u003e\u003cbr\u003e The present painting is a fascinating record of the life and career of John Scott Lord Eldon and his devotion to his German Spaniel. The painting bears a lengthy inscription en verso that reads, “Pincher a German Spaniel by Landseer. This is a portrait, painted for me in 1839 by Edwin Landseer ESQ RA of Pincher, a German Spaniel. He is now buried at the foot of the Eldon Seat, at Encombe under a stone engraved with the following words: ‘Below this stone lies The Favourite Dog of the Late Lord Chancellor Eldon, Pincher who died May 19th 1840. Eldon 1840.’” \u003cbr\u003e\u003cbr\u003e Lord High Chancellor Eldon John Scott was a leading Whig Reformer who had famously worked with George III and George IV. He amassed an extraordinary fortune during his lifetime totaling £2,300,000, a huge sum for the day. This painting is chock full of visual representations of Lord Eldon’s illustrious connections and career. That the nobleman’s life is venerated in a portrait absent of his countenance shows how inextricably linked he was to his canine companion. Landseer paints Pincher surrounded by items representing the legacy of his master including Lord Eldon’s red despatch box, the correspondence between him and George III and George IV, his cane and gloves and the Fob Watch and seal presented to him by George III.  \u003cbr\u003e\u003cbr\u003e Still, Lord Eldon’s devotion to Pincher is perhaps his greatest legacy. The spaniel was originally the charge of Eldon’s son William who met an untimely death due to illness. Lord Eldon recalled in his writings, “He belonged to poor William Henry, and after I last took the Sacrament with him when he was dying, he called me back as I was leaving the room, and said, ‘Father, you will take care of poor Pincher.’” Thus, the two became constant companions. Following his death in 1838, Lord Eldon specifically allocated funds in his will to his daughter Lady Frances to pay for the care of the dog. When Pincher died on May 19th, 1840, a memorial was placed directly next to Lord Eldon’s grave at Eldon Seat, a stone bench on the edge of his country estate. These monuments became famous in their day and remain popular destinations for travelers along the coast. \u003cbr\u003e\u003cbr\u003e While the portrait itself is a remarkable tribute by a legendary artist, it is accompanied by a treasure that takes it to the next level: a loyal Pincher’s original engraved collar! A relic of one of the great tales of the bond between a dog and its owner, the collar adds another layer of enchantment to the work.  \u003cbr\u003e\u003cbr\u003e Considered by many the greatest animal painter of all time, Landseer’s immense talent emerged at a young age. The son of the engraver John Landseer A.R.A, Landseer was considered a child prodigy, and he showcased his first painting at the Royal Academy in 1815 at the age of just 13. His reputation as an animal painter was unrivaled in his age, and many of his works were reproduced as engravings by his brother, Thomas Landseer, a practice which earned them both considerable income. Queen Victoria, recognizing his talent, commissioned over 40 portraits of her pets, most of which remain housed at Buckingham Palace. Today, his works hang in some of the most important collections in the world, including the Victoria and Albert Museum in London, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, the Wallace Collection in London, the Tate Gallery in London, and the Royal Collection at Buckingham Palace. \u003cbr\u003e\u003cbr\u003e Dated 1840 \u003cbr\u003e\u003cbr\u003e Canvas: 40” high x 50” wide\u003cbr\u003e Frame: 50” high x 60” wide \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e H. Twiss, The Public and Private Life of Lord Chancellor Eldon, London, 1844, vol. III, pg. 273. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Commissioned by John Scott, 2nd Lord Eldon and by descent in the family\u003cbr\u003e Private Collection, UK\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42556824748167,"sku":"31-8330","price":498500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8330_1.png?v=1744385238"},{"product_id":"the-tent-by-charles-walter-simpson","title":"The Tent by Charles Walter Simpson","description":"Charles Walter Simpson, RBA, RI, ROI\u003cbr\u003e 1885-1971 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Tent\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Charles Simpson\" (lower right) Oil on canvas \u003cbr\u003e\u003cbr\u003e The sunny warmth of a leisurely day on the beach radiates from this composition by acclaimed British genre painter, Charles Walter Simpson. \u003cem\u003eThe Tent\u003c\/em\u003e is an enchanting depiction of pastoral tranquility and youthful contemplation that epitomizes Simpson's mastery of idyllic British scenes. \u003cbr\u003e\u003cbr\u003e Nestled beneath their billowing tent and stylish ribboned hats, the girls share a pensive moment of quiet while protecting their porcelain complexions from the harsh rays of the blaring sun. Simpson's sitters are the quintessence of early 20th-century young womanhood, with their fashionable dresses, coiffured ringlets and docile expressions that take in a day of beachside recreation. \u003cem\u003eThe Tent\u003c\/em\u003e comes to life with a luminous color palette and bold layers of impasto that are the hallmarks of Simpson's oeuvre. \u003cbr\u003e\u003cbr\u003e The son of a major general, Charles Walter Simpson was born in Camberley, Surrey, into a family of esteemed art patrons who had supported important artists including Millais and Watts. Trained in both England and Paris, Simpson would go on to exhibit widely at prestigious venues such as the Royal Academy, the Paris Salon, and many others, even winning the silver medal at the Paris Salon of 1923. He was elected RI in 1914 and ROI in 1921, and Simpson's later years were spent in Cornwall where he and his wife established a painting school in St. Ives. \u003cbr\u003e\u003cbr\u003e 20th century \u003cbr\u003e\u003cbr\u003e Canvas: 20\" high x 24\" wide (50.80 x 60.96 cm)\u003cbr\u003e Frame: 27 1\/4\" high x 31\" wide x 2 3\/4\" deep (69.22 x 78.74 x 6.99 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42911941755015,"sku":"31-8315","price":74500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8315_1.png?v=1752866691"},{"product_id":"sark-by-edward-reginald-frampton","title":"Sark by Edward Reginald Frampton","description":"Edward Reginald Frampton, R.O.I., R.B.A. \u003cbr\u003e English I 1872-1923  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSark \u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"E. REGINALD FRAMPTON\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Edward Reginald Frampton was a pivotal figure in the post-Pre-Raphaelite movement, distinguishing himself through his brilliant synthesis of Symbolist and Pre-Raphaelite traditions. This seascape, Sark, inspired by the serene beauty of the Channel Island, was showcased at the Royal Academy in 1922, and vividly illustrates Frampton's adept use of color and form. Inspired by the Pre-Raphaelite ideal of capturing the truth of nature, yet executed with an other-worldly vibrant palette, this composition perfectly epitomizes the famed innovations of the late Pre-Raphaelite movement. \u003cbr\u003e\u003cbr\u003e An avid sailor, Frampton had a deep affinity for the sea, an important motif in his oeuvre. In this canvas, the striking colors and forms—from the wide expanse of blue water to the patch of wildflowers in the foreground—are hallmarks of Frampton's exquisite work. Imbued with a stylized aesthetic drawn from his early engagement with stained glass, the stylistic technique in this canvas serves as a direct representation of the influence of Sir Edward Burne-Jones, whose work profoundly impacted Frampton. \u003cbr\u003e\u003cbr\u003e Born into a lineage of artists, Frampton's father, a leading stained-glass master, helped pave the way for Frampton’s career that would blend the intricacies of mural and stained-glass artistry. His artistic vision, however, evolved beyond these early influences, incorporating elements inspired by the Italian Primitives, Puvis de Chavannes and notably, the French Symbolists. The latter stages of his career saw Frampton draw inspiration from the early Flemish masters and the rich cultural and spiritual fabric of Brittany, much like Paul Gauguin, signaling a significant shift in his artistic trajectory. \u003cbr\u003e\u003cbr\u003e Early 20th Century \u003cbr\u003e\u003cbr\u003e Canvas: 17 3\/4\" high x 19 3\/4\" wide (45.72 x 50.80 cm)\u003cbr\u003e Frame: 24 1\/2\" high x 26 1\/4\" wide (61.91 x 66.68 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e J.G. Gribble, and by descent until\u003cbr\u003e Philip Gribble; \u003cbr\u003e Christie's, London, 10 June 1938, lot 35\u003cbr\u003e Lancelot Ussher, Cape Town, and by descent to\u003cbr\u003e Patrick Ussher, Dublin\u003cbr\u003e with Julian Hartnoll, London\u003cbr\u003e M.S. Rau, New Olreans\u003cbr\u003e Private Collection, California\u003cbr\u003e Bonhmans, LA, 2-20 March 2024, lot 36\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited: London, Fine Art Society, E.R. Frampton Memorial Exhibition, 1924, no. 28.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41279281856647,"sku":"31-8819","price":98500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8819_1.png?v=1715329987"},{"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_7f5e3879-970a-4636-8a02-15ee8c48338b.png?v=1728289685"},{"product_id":"untitled-spin-painting-by-damien-hirst","title":"Untitled Spin Painting by Damien Hirst","description":"Damien Hirst\u003cbr\u003e b. 1965 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eUntitled, Spin Painting\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Household gloss on canvas \u003cbr\u003e\u003cbr\u003e Damien Hirst has stunned art audiences globally since his arrival on the scene in the late 1980s. His thought-provoking works have made him one of the most famous living artists of all time, and his effervescent spin paintings are among the most coveted. The present work is an exceptional example from the spin series that exudes the signature energy and vibrancy of Hirst’s spinning compositions.  \u003cbr\u003e\u003cbr\u003e Coveted for their monumental visual impact, Hirst’s spin paintings embody a tongue-in-cheek attitude toward the tradition of art history, which places a reverent emphasis on the hand of the painter. The sunburst-like splashes of lime green, red, yellow, orange and blue in this painting were made by dripping paint onto the surface of a motorized canvas. The result is a striking surge of bright, primary color that has been liberated from the artist’s hand to take on its purest form. \u003cbr\u003e\u003cbr\u003e Hirst created his first revolutionary spin painting in 1993 while dressed as a clown at a street fair, emphasizing his intention to foreground play and wonder in this series. Inspired by a popular British children’s TV show called Blue Peter, Hirst himself confirmed the role of humor in this work: “I got my idea for the spin paintings from an episode in the 1970s… I remember thinking, that’s fun, whereas art is something more serious… I just thought, why does it have to be like that?” The spin paintings, with their whimsical bursts of color, have become a hallmark of Hirst’s renowned practice, contrasting with the neatness of his spot paintings and the darker themes of his formaldehyde and butterfly works. \u003cbr\u003e\u003cbr\u003e Hirst remains one of the most in-demand artists on the contemporary art market, with both museums and private collectors competing for his works. In September 2008, a Sotheby's auction of Hirst's work raised $198 million dollars—ten times higher than any single artist's sale at Sotheby's—and his spin paintings alone have fetched over $1 million at auction. This bold spin painting offers the rare opportunity to own a work by one of art history's greatest renegades. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a letter from the Hirst Authentication Committee and will be included in the forthcoming catalogue raisonné.  \u003cbr\u003e\u003cbr\u003e Painted 2010 \u003cbr\u003e\u003cbr\u003e Canvas: 47 1\/2\" high x 47 1\/2\" wide (120.65 x 120.65 cm)\u003cbr\u003e Frame: 50 1\/2\" high x 50 1\/2\" wide x 1 1\/2\" deep (128.27 x 128.27 x 3.81 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, acquired directly from the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44024388026503,"sku":"31-8913","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8913_1.png?v=1774961089"},{"product_id":"mount-snowdon-after-the-rain-by-alfred-de-breanski","title":"Mount Snowdon, After the Rain by Alfred de Bréanski","description":"Alfred de Bréanski, Sr., R.B.A.\u003cbr\u003e 1852-1928 I British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMount Snowdon, After the Rain\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Alfred. de Bréanski\" (lower left)\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e A tempestuous stretch of rapids races through the Snowdon mountains of Wales in this majestic landscape by Alfred de Bréanski, Sr., entitled \u003cem\u003eMount Snowden, After the Rain.\u003c\/em\u003e His keen eye and ability to depict the dynamic, innate beauty of land upon canvas has made de Bréanski the most beloved landscape artist in Britain and abroad.  \u003cbr\u003e\u003cbr\u003e A highly successful and gifted artist, de Bréanski ranks among the finest landscape painters of the Victorian era. He has garnered considerable praise and recognition for his Scottish and Welsh landscapes, particularly river and mountain scenes such as this composition. The Snowdon mountain is renowned for its grandeur and diversity of rare flora and wildlife. The artist demonstrates his immense talent, using a subtle play of light on the land and water to create a sense of tranquility, even as the waters of the river rage and swell after the rainfall.  \u003cbr\u003e\u003cbr\u003e A favorite of Queen Victoria, de Bréanski exhibited his works at the Royal Academy from 1872 to 1918 and at the Royal Society of British Artists at Suffolk Street where more than 50 of his paintings were shown.  \u003cbr\u003e\u003cbr\u003e Canvas: 23 1\/4” high x 35 1\/2” wide\u003cbr\u003e Frame: 31 3\/8” high x 43 1\/2” wide \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Private collection, Rio Grande\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, Texas\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Relevant Literature: \u003cbr\u003e E. Bénézit, \u003cem\u003eDictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs\u003c\/em\u003e, 1976\u003cbr\u003e Christopher Wood, \u003cem\u003eDictionary of British Art, Victorian Painters, Volume IV\u003c\/em\u003e, 1995\u003cbr\u003e Algernon Graves, F.S.A., \u003cem\u003eDictionary of Artists Who Have Exhibited Works in the Principal London Exhibitions From 1760-1893\u003c\/em\u003e, 1901\/1970\u003cbr\u003e Philip Hook and Mark Poltimore, \u003cem\u003ePopular 19th-Century Painting, A Dictionary of European Genre Painters\u003c\/em\u003e, 1986","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42024072511623,"sku":"31-9152","price":18500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9152_1.png?v=1733473478"},{"product_id":"a-ligurian-garden-by-henry-herbert-la-thangue","title":"A Ligurian Garden by Henry Herbert La Thangue","description":"Henry Herbert La Thangue\u003cbr\u003e 1859-1929 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Ligurian Garden\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"HH La Thangue\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e\"Never has Mr. La Thangue given us a more beautiful picture of sunlight than this.\" –The Sheffield Daily Telegraph, upon seeing A Ligurian Garden\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Henry Herbert La Thangue was an artist who defied genre and became one of the acclaimed stars of London's Royal Academy. Recently rediscovered, \u003cem\u003eA Ligurian Garden\u003c\/em\u003e, is a radiant display of his masterful handling of light, color and atmosphere. Exhibited at the Royal Academy in 1908, it is the masterpiece of the series inspired by his visit to Italy’s Ligurian coast in 1903. \u003cbr\u003e\u003cbr\u003e La Thangue painted \u003cem\u003eA Ligurian Garden\u003c\/em\u003e during a period of retreat from Britain’s industrialization, seeking solace in the untouched landscapes of the Italian Riviera. It was there he discovered the picturesque villa in this painting, quickly forming a bond with its owners and picturing their daughters as the subjects of this work. Under the dappled light filtering in through the pergola, the young girl in the foreground serenely gathers oranges, while another in the background stretches to pick more of the fruit. La Thangue beautifully captured an idyllic vignette as well as an enduring sense of place, preserving the essence of the old world’s allure. \u003cbr\u003e\u003cbr\u003e This painting is one of four monumental canvases La Thangue completed of the family's pergola, and it is widely considered the best of the series. Exhibited alongside a companion piece at the Royal Academy in 1908, it was praised by scholars as his most triumphant work. \u003cem\u003eThe Times\u003c\/em\u003e and \u003cem\u003eThe Daily Telegraph\u003c\/em\u003e hailed it as “radiant” and “scintillating,” with critics from as far north as Scotland’s Moray Firth proclaiming La Thangue to be at his peak. \u003cbr\u003e\u003cbr\u003e After completing this work, inspired by its success at the Royal Academy and beyond, La Thangue returned to this Italian haven, only to discover that the daughter at the forefront of his portrait had passed away and the villa was abandoned. \u003cem\u003eA Ligurian Garden\u003c\/em\u003e thus represents the final glimpse of a fleeting moment of serenity, perfectly preserved. The painting was purchased by Sir William Prince-Smith, 3rd Bt, OBE, MC, and remained in this family collection of prominent Yorkshire family of industrialists for over 100 years. \u003cbr\u003e\u003cbr\u003e Henry Herbert La Thangue, born in Croydon, Surrey, studied at Dulwich College and later at the Royal Academy, London, where he won a gold medal in 1879. This earned him a prestigious scholarship to study under Jean-Léon Gérôme at the École des Beaux-Arts in Paris, where he was influenced by the Barbizon school. Upon returning to England in 1886, La Thangue exhibited widely at the Royal Academy, Royal Society of British Artists and other notable galleries. He co-founded the New English Art Club and was made an Associate of the Royal Academy in 1898, becoming a full member in 1912. Today his works can be found in the permanent collections of the Tate, London, Art Gallery of Western Australia and the Glasgow Museums. \u003cbr\u003e\u003cbr\u003e Circa 1907 \u003cbr\u003e\u003cbr\u003e Canvas: 41 1\/4\" high x 34 3\/4\" wide (104.78 x 88.27 cm)\u003cbr\u003e Frame: 52\" high x 45 1\/4\" wide x 2 1\/2\" deep (132.08 x 114.94 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0030.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sir William and Lady Marjorie Prince-Smith, Southburn House, Yorkshire, Enland\u003cbr\u003e Thence by descent, until 2022\u003cbr\u003e Private Collection \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1908, no. 55 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Kenneth McConkey, A Ligurian Garden, expert summary, updated 2024\u003cbr\u003e \u003cem\u003ePaul Mall Magazine Extra\u003c\/em\u003e, 1908, \"The Pictures of 1908,\" p. 14 (illustrated)\u003cbr\u003e \u003cem\u003eLloyd's Weekly Newspaper\u003c\/em\u003e, 3 May 1908, \"Most Noticeable Picture,\" p. 14\u003cbr\u003e \u003cem\u003eThe Times\u003c\/em\u003e, 4 May 1908, \"Royal Academy – First Notice,\" p. 13\u003cbr\u003e T\u003cem\u003ehe Morning Post\u003c\/em\u003e, 4 May 1908, \"The Royal Academy Exhibition – First Notice,\" p. 4\u003cbr\u003e \u003cem\u003eEast Anglian Daily Times\u003c\/em\u003e, 4 May 1908, \"The Royal Academy,\" p. 4\u003cbr\u003e \u003cem\u003eEastern Daily Press\u003c\/em\u003e, 5 May 1908, \"The Royal Academy,\" p. 6\u003cbr\u003e \u003cem\u003eForres, Elgin and Nairn Gazette\u003c\/em\u003e, 6 May 1908, \"The Royal Academy,\" p. 3\u003cbr\u003e \u003cem\u003eSheffield Daily Telegraph\u003c\/em\u003e, 6 May 1908, \"The Royal Academy - Second Notice,\" p. 8\u003cbr\u003e \u003cem\u003eFolkestone Express\u003c\/em\u003e 6 May 1908, \"The Royal Academy – Specially Written Notice,\" p. 7\u003cbr\u003e \u003cem\u003eNorthern Whig\u003c\/em\u003e, 7 May 1908, \"Royal Academy Exhibition – Second Notice,\" p. 3\u003cbr\u003e \u003cem\u003eThe Scotsman\u003c\/em\u003e, 8 May 1908, \"The Royal Academy Exhibition – Second Notice,\" p. 9\u003cbr\u003e \u003cem\u003eThe Tablet\u003c\/em\u003e, 9 May 1908, \"The Royal Academy,\" p. 6\u003cbr\u003e \u003cem\u003eFolkestone Express\u003c\/em\u003e, 9 May 1908, p. 3\u003cbr\u003e \u003cem\u003eThe Graphic\u003c\/em\u003e, 9 May 1908, \"The Royal Academy – I,\" p. 7\u003cbr\u003e \u003cem\u003eIllustrated London News\u003c\/em\u003e, 9 May 1908, \"Art Notes,\" p. 676\u003cbr\u003e \u003cem\u003eLakes Chronicle and Reporter\u003c\/em\u003e, 13 May 1908, \"Notes on News,\" p. 2\u003cbr\u003e T\u003cem\u003ehe Daily Telegraph\u003c\/em\u003e, 30 June 1908, \"Royal Academy – Third Notice,\" p. 7","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42024078639239,"sku":"32-0030","price":595000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0030_1.png?v=1730932153"},{"product_id":"portrait-of-benjamin-franklin-attributed-to-mason-chamberlin","title":"Portrait of Benjamin Franklin attributed to Mason Chamberlin","description":"Attributed to Mason Chamberlin\u003cbr\u003e 1729-1787 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Benjamin Franklin\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptional portrait of Benjamin Franklin represents one of the most significant rediscoveries in American portraiture history, attributed to the renowned British artist Mason Chamberlin and dating to circa 1775. Among only 36 known oil portraits documenting Franklin's celebrated life, this work captures the statesman during his final diplomatic mission to London, depicting him in his characteristic brown suit and powdered wig before he abandoned such formal attire in 1776. The portrait's provenance and historical context make it an extraordinarily rare treasure from the founding era of American independence. \u003cbr\u003e\u003cbr\u003e The composition presents Franklin seated at his study table in the identical setting Chamberlin employed for his acclaimed 1762 portrait, now housed in the Philadelphia Museum of Art. The artist masterfully captures the thirteen years that had elapsed between sittings, incorporating Franklin's additional wrinkles and the spectacles placed near an open book that reflect his matured wisdom as a diplomat. The brushwork demonstrates Chamberlin's characteristic refined technique, with the subject's contemplative expression conveying both intellectual gravitas and the weight of his diplomatic responsibilities during this pivotal moment in Anglo-American relations. \u003cbr\u003e\u003cbr\u003e Mason Chamberlin established himself as one of London's most sought-after portraitists during the Georgian era, serving as a founding member of the Royal Academy of Arts in 1768. His 1762 portrait of Franklin, which depicted the polymath surrounded by his scientific instruments, became one of the most iconic representations of the American philosopher and was reproduced as woodcuts that Franklin himself distributed to friends. Chamberlin's ability to capture both physical likeness and psychological depth made him the preferred choice for prominent figures of his era, including members of the British aristocracy and distinguished visitors to London. \u003cbr\u003e\u003cbr\u003e The painting's fascinating provenance includes more than a century in Italian collections, where it was mistakenly attributed to Pietro Longhi by art historian Giuseppe Fiocco in the early 20th century. However, the brushwork, canvas and painting technique are unmistakably 18th-century English, consistent with Chamberlin's documented methods. The historical timing supports the attribution, as Franklin arrived in London in 1774 for his final diplomatic mission and fled in 1775 to avoid arrest, which would explain why he never retrieved this completed portrait from the artist's studio. \u003cbr\u003e\u003cbr\u003e Circa 1775 \u003cbr\u003e\u003cbr\u003e Canvas: 45 3\/8\" high x 39 1\/8\" wide (115.25 x 99.38 cm)\u003cbr\u003e Frame: 54\" high x 47 7\/8\" wide (137.16 x 121.60 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Italy\u003cbr\u003e Collection of Don Ermanno Volta (1925-2016)\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43802674823303,"sku":"31-8971","price":298500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8971_1_24acb04f-88f5-4dee-b3ac-0b3d0a0f2a88.png?v=1770132384"},{"product_id":"the-balneator-by-sir-lawrence-alma-tadema","title":"The Balneator by Sir Lawrence Alma-Tadema","description":"Sir Lawrence Alma-Tadema\u003cbr\u003e 1836-1912 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Balneator\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and inscribed \"L Alma Tadema. op CLXXVI.\" (lower right)\u003cbr\u003e Pencil and watercolor with scratching out on paper on board \u003cbr\u003e\u003cbr\u003e This exceptional work by Sir Lawrence Alma-Tadema depicts a Roman bath attendant, executed with the meticulous accuracy and technical brilliance that established the artist as the preeminent painter of classical antiquity in Victorian Britain. Created circa 1876 during Alma-Tadema's mature period, \u003cem\u003eThe Balneator\u003c\/em\u003e demonstrates his remarkable ability to achieve oil painting effects in the challenging medium of watercolor. \u003cbr\u003e\u003cbr\u003e Historically, a balneator was a bath attendant in Ancient Rome who assisted bathers in the caldarium, the hottest room of Roman bath complexes. Using sponges, strigils and specialized instruments, these attendants applied oils to bathers' skin and scraped them clean—an early form of cleansing that preceded modern soap. Alma-Tadema's fascination with Roman baths intensified around 1875 following his acquisition of extensive photographs documenting Pompeii and the archaeological treasures of its museum in Naples. \u003cbr\u003e\u003cbr\u003e Executed in pencil and watercolor with a unique scratching out technique, this work showcases Alma-Tadema's legendary skill in rendering splendid interiors. Through subtle gradations of color and tone, he contrasts different types and colors of marble, creating a convincing architectural environment. The lifelike texture of the figure's costume tassels is a result of the artist's innovative technique of scratching horizontal lines directly into the paper, achieving remarkably convincing textile detail. \u003cbr\u003e\u003cbr\u003e This work was first exhibited at the Society of Painters in Water-Colours winter exhibition of 1876-1877 alongside its accompanying work \u003cem\u003eThe Balneatrix,\u003c\/em\u003e depicting a female bath attendant. Critics praised the work for achieving the same highly finished quality as Alma-Tadema's oil paintings and for his \"consummate ability in the depiction of marbles and interiors.\" Reviews appeared in major London publications, including \u003cem\u003eThe Art Journal, The Globe, The Spectator\u003c\/em\u003e and \u003cem\u003eIllustrated London News\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e The work's provenance traces directly from the artist through respected London dealers Pilgeram \u0026amp; Lefèvre in 1877, subsequently passing through important private collections. The painting has been extensively documented in literature, including Vern Swanson's definitive catalogue raisonné and Robert Barrow's comprehensive monograph.  \u003cbr\u003e\u003cbr\u003e Sir Lawrence Alma-Tadema was one of the most influential artists of the 19th century and perhaps art history’s greatest Neoclassical painter. During a career that spanned more than 60 years, he painted distinctive and “real to life” depictions of classical Greek and Roman antiquity. In 1852, he entered the Royal Academy of Antwerp in Belgium, and he devoted himself to thoroughly researching his subjects, striving for accuracy down to the smallest detail. It was a habit that would persist throughout his career and earn him great success during his lifetime. \u003cbr\u003e\u003cbr\u003e In 1870, Alma-Tadema settled in England, where his Neoclassical works were particularly prized. He earned gold medals and highest honors in Amsterdam, at the Royal Academy, the Paris Salon and the 1867 Exposition Universelle, among countless others. Widely celebrated and admired, Queen Victoria herself awarded him British citizenship in 1873 and granted him knighthood in 1899. Today, his works are heralded as a significant part of art history, with his works gracing the walls of many major international museums, including Tate Britain, the Rijksmuseum and the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e Circa 1876 \u003cbr\u003e\u003cbr\u003e Paper: 14 3\/4“ high x 10 3\/4” wide (37.47 x 27.31 cm)\u003cbr\u003e Framed: 21 1\/2“ high x 17 1\/8” wide x 2“ deep (69.75 x 54.61 x 5.08 cm)  \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e With Pilgeram \u0026amp; Lefèvre, London, acquired directly from the above, 1877\u003cbr\u003e Private collection, acquired in 1997\u003cbr\u003e Private collection, California\u003cbr\u003e Private collection, California\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \"Society of Painters in Water Colours,\" The Globe, London, 5 December 1876, p. 6.\u003cbr\u003e \"Art Exhibition in London,\" The Glasgow Herald, Glasgow, 7 December 1876, p. 3.\u003cbr\u003e \"Society of Painters in Water Colours,\" The Daily News, London, 8 December 1876, p. 2.\u003cbr\u003e \"Art,\" The Spectator, London, 9 December 1876, p. 1541.\u003cbr\u003e \"Fine Arts,\" Illustrated London News, London, 9 December 1876, no. 1950, vol. LXIX,p. 562.\u003cbr\u003e \"Society of Painters in Water Colours,\" The Graphic, London, 9 December 1876, p. 578.\u003cbr\u003e \"Winter Exhibition of the Society of Painters in Water-Colours,\" The Athenaeum, London, 9 December 1876, p. 767.\u003cbr\u003e \"Water-Colour Exhibitions,\" The Saturday Review, London, 16 December 1876, p. 756.\u003cbr\u003e E. W. Godwin, \"Afternoon Strolls,\" The Architect, London, 23 December 1876, p. 364.\u003cbr\u003e C. H. Ross, ed., \"Winter Exhibition of the Society of Painters in Water Colours,\" Judy, vol. XX, London, 27 December 1876, p. 108.\u003cbr\u003e L. Robinson, \"Correspondance D'Angleterre,\" La Chronique des arts, Paris, 24 February 1877, p. 74.\u003cbr\u003e \"Fine Arts,\" Illustrated London News, London, 1 December 1877, no. 2003, vol. LXXI, p. 534.\u003cbr\u003e C. E. Pascoe, \"London Exhibitions,\" The Art Journal, vol. 3, London, 1887, p. 60.\u003cbr\u003e \"Winter Exhibitions,\" The Art Journal, vol. 8, London, 1887, p. 55.\u003cbr\u003e R. Dircks, \"Sir L. Alma-Tadema O.M., R.A., R.W.S.,\" The Art Journal, London, December 1910, p. 30.\u003cbr\u003e V. G. Swanson, \u003cem\u003eSir Lawrence Alma-Tadema\u003c\/em\u003e, London, 1977, p. 138.\u003cbr\u003e R. Borger, \u003cem\u003eDrei Klassizisten: Alma Tadema, Ebers, Vosmaer\u003c\/em\u003e, Leiden, 1978, p. 11, no. 176.\u003cbr\u003e V. G. Swanson, \u003cem\u003eThe Biography and Catalogue Raisonné of the Paintings of Sir Lawrence Alma-Tadema\u003c\/em\u003e, London, 1990, p. 196, under no. 217.\u003cbr\u003e R. J. Barrow, \u003cem\u003eLawrence Alma-Tadema\u003c\/em\u003e, London and New York, 2001, pp. 99, 102, no. 95, illustrated.\u003cbr\u003e B. Massabò, \u003cem\u003eAlbingaunum: itinerari archeologici di Albenga\u003c\/em\u003e, Genoa, 2004, p. 102, illustrated. \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Society of Painters and Water-Colours, Winter Exhibition, 1876-1877, no. 332.\u003cbr\u003e London, Dudley Gallery, Winter Exhibition, December 1877.\u003cbr\u003e Los Angeles, The J. Paul Getty Museum, \u003cem\u003eLuminous Paper: British Watercolors and Drawings\u003c\/em\u003e, 19 July-23 October 2011, no. 27.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43990871343239,"sku":"32-1372","price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1372_1.png?v=1772377072"},{"product_id":"writ-on-water-by-patrick-hughes","title":"Writ on Water by Patrick Hughes","description":"Patrick Hughes\u003cbr\u003e b. 1939 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eWrit on Water\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel\u003cbr\u003e Signed, titled, and dated “Writ on Water \/ Patrick Hughes \/ 2025” (en verso) \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eWrit on Water\u003c\/em\u003e, Patrick Hughes transforms the Venetian cityscape into a dazzling exercise in perception and paradox. Part painting, part sculpture and wholly mind-boggling, the work exemplifies the artist’s signature reverspective technique, in which three-dimensional structures painted in perfect linear perspective appear to shift and move as the viewer walks past. The façades of Venetian palazzi tilt toward the viewer, their reflections rippling across the canal’s mirrored surface, while the distant dome of a church anchors the composition. \u003cbr\u003e\u003cbr\u003e The title \u003cem\u003eWrit on Water\u003c\/em\u003e draws its meaning from the Old English idiom—most famously inscribed on the gravestone of the Romantic poet John Keats—signifying the transience of human endeavor. In the context of Venice, a city perpetually defined by its relationship to the sea, the phrase acquires poetic resonance: the entire urban fabric seems literally “written on water,” its beauty ever endangered by time and tide. Hughes captures that fragility through an optical structure that, though physically solid, seems to dissolve and reform with every movement of the observer. \u003cbr\u003e\u003cbr\u003e Constructed from meticulously joined trapezoidal and triangular wooden panels, the composition projects forward from the wall while simultaneously receding into the painted space. The artist digitally maps his imagery to match the skewed planes, then translates each surface into oil paint with flawless precision. Light, color, and shadow are orchestrated so that what should advance appears to retreat—an ingenious inversion that deceives the mind into seeing motion within stillness. \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 related 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 2025 \u003cbr\u003e\u003cbr\u003e Panel: 25 1\/2\" high x 60 1\/2\" wide (64.77 x 155.67 cm)\u003cbr\u003e Frame: 32 3\/4\" high x 77 1\/2\" wide x 11 1\/2\" deep (83.19 x 196.85 x 29.21 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44555421089927,"sku":"32-1517","price":234500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1517_1_d42c95a5-2781-4c32-bb41-54719dbab139.png?v=1780144267"},{"product_id":"warholed-by-patrick-hughes","title":"Warholed by Patrick Hughes","description":"Patrick Hughes\u003cbr\u003e b. 1939 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eWarholed\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Warholed \/ Patrick Hughes” (en verso)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Almost defying definition and description, the artwork of London artist Patrick Hughes renders the world in the most fascinating and puzzling way. His signature three-dimensional constructions, dubbed \u003cem\u003ereverspectives\u003c\/em\u003e, challenge the idea of traditional perspective, instead creating a completely unique visual experience. These works appear to move in conjunction with the viewer’s movements, inviting participation and sparking curiosity. \u003cbr\u003e\u003cbr\u003e Hughes has long been intrigued by ideas of illusion, visual irony and how one can be misled by the familiar. This work, entitled \u003cem\u003eWarholed,\u003c\/em\u003e employs Andy Warhol's iconic visual language through a three-dimensional assemblage of Brillo soap pad boxes—the very consumer product Warhol transformed into high art in 1964. The installation features portraits that echo Warhol's signature silkscreen aesthetic: Mao Zedong and Judy Garland, both subjects immortalized in Warhol's oeuvre. \u003cbr\u003e\u003cbr\u003e Hughes coined the term \u003cem\u003ereverspective\u003c\/em\u003e for these types of constructions, which he describes as “perspective in reverse.” He utilizes the traditional idea of one-point perspective, in which an artist can create the illusion of receding space and dimensionality with converging lines upon a single vanishing point on the horizon line. However, he reverses this concept by bringing these lines forward into space using three-dimensional planes, but still abides by a strict vanishing point. Hughes says, “When the principles of perspective are reversed, the mind is deceived into believing that a static painting can move of its own accord.” \u003cbr\u003e\u003cbr\u003e The panel’s construction is a proprietary technique developed by the artist. Starting from large panels of wood, the artist forms trapezoids and triangles that are then glued together to form three-dimensional shapes that jut out from the flat plane of the wall. Then, two-dimensional images are manipulated in Photoshop and given the proper perspective for their placement within the composition. These images are translated precisely onto the panels in oil paint, creating the final illusion. Perfection of line, light and shadow is essential, and all told, a \u003cem\u003ereverspective\u003c\/em\u003e painting can take up to three months from start to finish. \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 authored several books on themes related to his art, including visual paradoxes and oxymorons. He also holds a doctorate in science from King’s College in London for his work in the psychology of perception. Today, his work resides in important permanent collections, including the British Library and the British Academy in London. \u003cbr\u003e\u003cbr\u003e Panel: 18 3\/4\" high x 24 1\/2\" wide (47.63 x 62.23 cm)\u003cbr\u003e Frame: 26\" high x 31 3\/4\" wide x 8\" deep (66.04 x 80.65 x 20.32 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43437622263943,"sku":"32-1518","price":74500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1518_1_2cd022e2-ff85-42fe-b0fa-9304e930cd3c.png?v=1781630475"},{"product_id":"london-bridge-from-the-south-side-of-the-river-by-louis-h-grimshaw","title":"London Bridge from the South Side of the River by Louis H. Grimshaw","description":"Louis Hubbard Grimshaw\u003cbr\u003e 1870-1943 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLondon Bridge from the South Side of the River\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Louis H. Grimshaw \/ 6\/94” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The iconic London Bridge glows under the moonlight in this ethereal painting by Louis Hubbard Grimshaw. The son of famed British painter John Atkinson Grimshaw, Louis Grimshaw painted in the same manner as his father, favoring highly detailed, moonlit scenes that captured the great landmarks of London with mesmerizing atmospheric effects. This extraordinary composition rivals the best works by his father, standing as one of Louis Grimshaw's most stunning masterpieces. \u003cbr\u003e\u003cbr\u003e Grimshaw perfectly captures the nocturnal haze settling over London, revealing the artist’s impressive command of light as moonbeams and gaslamps shimmer across the rippling surface of the Thames. The skyline is punctuated by other landmarks, including St. Magnus the Martyr and the Monument to the Great Fire of London, which have been rendered with meticulous architectural details. An ode to the alluring grandeur of Victorian London at night, this exceptionally large painting embodies Louis Grimshaw at his best. \u003cbr\u003e\u003cbr\u003e Before the death of his father in 1893, the two artists collaborated on several works, with John Atkinson painting the background and Louis painting the figures. Of all of his father's followers, Louis Grimshaw was by far the most successful, and often his works, such as this magnificent view of the London Bridge, are nearly indistinguishable from John Atkinson's canvases. Following his father's death, Grimshaw continued his career as a painter, though he eventually abandoned his art in 1905 to become a cartographer for the \u003cem\u003eManchester Guardian.\u003c\/em\u003e Thus, his works are quite rare, and those of this exceptional quality hardly ever appear on the market. \u003cbr\u003e\u003cbr\u003e Dated 1894 \u003cbr\u003e\u003cbr\u003e Canvas: 23 1\/8\" high x 41 1\/8\" wide (58.74 x 104.46 cm)\u003cbr\u003e Frame: 30 1\/4\" high x 48 1\/8\" wide x 1 3\/4\" deep (76.84 x 122.24 x 4.45 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sotheby \u0026amp; Co., London, 3rd April 1968, lot 47\u003cbr\u003e Richard Green, London\u003cbr\u003e Private collection, UK, 1968, thence by descent\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43774629019783,"sku":"32-2057","price":228000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2057_1_b16ac91b-43c3-4767-b375-b721387d813a.png?v=1769778844"},{"product_id":"the-funeral-of-queen-victoria-by-ernest-crofts","title":"The Funeral of Queen Victoria by Ernest Crofts","description":"Ernest Crofts\u003cbr\u003e 1847-1911 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Funeral of Her Majesty Queen Victoria\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"E. Crofts 1901\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This monumental masterpiece by renowned British painter Ernest Crofts captures the grand procession of Queen Victoria's funeral in 1901. Solemn yet majestic, Crofts conveys both the scale of the event and the impressive imperial ritual marking the end of one of the country's most defining eras. Exhibited at the Royal Academy in 1903, this painting is one of the finest in Crofts' oeuvre. \u003cbr\u003e\u003cbr\u003e At the heart of the scene, the Queen’s coffin rests upon a gun carriage draped in white, fulfilling Victoria’s explicit wish to be buried “as a soldier’s daughter\" and setting a precedent for all subsequent monarchs. The procession advances up St. James’s Street past the Devonshire Club, its façade draped in black, as London bears witness to the passing of one of its most influential rulers. Crofts reveals his masterful command of movement, perspective and detail, guiding the viewer’s eye through the densely populated scene. \u003cbr\u003e\u003cbr\u003e The painting is also rich in historical specificity. Immediately behind the gun carriage rides King Edward VII, joined on his left by his brother, Prince Arthur, Duke of Connaught and the German Emperor Wilhelm II, Queen Victoria’s grandson, on the right. The vast assembly of mourners echoes contemporary accounts, including Henry James’s description of an “incredibly and immensurably vast” crowd, underscoring the emotional magnitude of the moment. \u003cbr\u003e\u003cbr\u003e Ernest Crofts was among the foremost historical and military painters of his generation. Born in Leeds, he trained in England and Germany, studying under Alfred Borron Clay and later in Düsseldorf with Emil Hünten, military painter to the Prussian royal family. His early exposure to continental military art and firsthand observation of the Franco-Prussian War informed a career devoted to scenes of conflict, ceremony and national history. \u003cbr\u003e\u003cbr\u003e Crofts exhibited regularly at the Royal Academy from 1874 to 1904, becoming an Associate in 1878 and a full Royal Academician in 1896, later serving as Keeper and Trustee of the Academy. Renowned for his scholarly approach, he maintained an extensive collection of uniforms to ensure accuracy in his compositions. His works are represented in major public collections, including the Royal Collection, and remain valued for their precision, narrative clarity and authoritative treatment of Britain’s military and ceremonial past. \u003cbr\u003e\u003cbr\u003e Dated 1901 \u003cbr\u003e\u003cbr\u003e Canvas: 55 1\/4\" high x 40 1\/4\" wide (140.34 x 102.11 cm)\u003cbr\u003e Frame: 64 3\/4\" high x 50\" wide x 2\" deep (164.47 x 127 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Europe, acquired circa 1950\u003cbr\u003e Private collection, Europe\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1903, no.167\u003cbr\u003e Christchurch, \u003cem\u003eNew Zealand International Exhibition 1906-7: Fine Art Section\u003c\/em\u003e, no.42","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43748252516487,"sku":"32-2056","price":98500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2056_1_12ad2475-d28c-49f1-8f67-b806a14a736d.png?v=1769778239"},{"product_id":"a-flower-seller-by-john-william-godward","title":"A Flower Seller by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Flower Seller\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated lower right \"J.W. Godward 96\"\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This stunning painting by John William Godward is a monumental masterpiece of the artist's oeuvre. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e A large-scale masterwork, \u003cem\u003eA Flower Seller\u003c\/em\u003e was exhibited at the prestigious Royal Academy in 1896, the most important venue for artists of the 19th century, where only the best works were shown. Here, the flower seller boldly engages the viewer with her mesmerizing gaze, and her rosy cheeks and glowing skin exude an ethereal beauty. Godward displays his extraordinary talent for rendering every surface with incredible realism, immersing his viewers in the allure of this bygone era. Of Godward's compelling oeuvre, esteemed art historian Vern Grosvenor Swanson wrote, “He sought to portray peace, feminine charm and ideal perfection by marvelously painted and composed classical pictures of beautiful women in halcyon marble environments.”  \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Dated 1896 \u003cbr\u003e\u003cbr\u003e Canvas: 47 1\/2” high x 35 1\/2” wide (120.65 x 90.17 cm)\u003cbr\u003e Frame: 55 1\/2” high x 43 1\/2” wide x 7 3\/4” deep (140.97 x 110.49 x 12.07 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Messrs. Thomas McClean, London, May 2, 1896\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e H.G. Blackburn, Academy Notes, 1896\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1998, p. 194, no. 5, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Royal Academy of Art, Summer Exhibition, London, 1896, no. 597","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43803065876615,"sku":"32-2119","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2119_1_0aaae865-66ad-490b-ae67-d6aea1dd0f69.png?v=1770139471"},{"product_id":"a-classical-beauty-in-profile-by-john-william-godward","title":"A Classical Beauty in Profile by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Classical Beauty in Profile\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"J.W. Godward\" (center right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e An extraordinary portrait by John William Godward, \u003cem\u003eA Classical Beauty in Profile\u003c\/em\u003e embodies his renowned style. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e Draped in a golden tunic, Godward's signature beauty is caught in a moment of quiet reverie. His exceptional talent for color and texture is on full display, with each element of the composition rendered with a supreme, naturalistic finish. This work also centers one of Godward's favorite models, an Italian beauty who also posed for a similar portrait the same year, entitled \u003cem\u003eThe Engagement Ring.\u003c\/em\u003e Embodying the essence of \"peace, feminine charm and ideal perfection\" that art historian Vern Grosvenor Swanson identified in Godward's best works, this painting is a masterpiece. \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Circa 1888 \u003cbr\u003e\u003cbr\u003e Canvas: 24 3\/8” high x 19 3\/8” wide (61.79 x 49.09 cm)\u003cbr\u003e Frame: 37” high x 32” wide x 4 1\/4” deep (93.98 x 81.28 x 10.80 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, United States\u003cbr\u003e Anonymous sale, Christie's New York, 22 October 1997, lot 72\u003cbr\u003e Private collection, acquired at the above sale\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1997, p. 173, no. 1 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44315758428295,"sku":"32-2120","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2120_1.png?v=1780145817"},{"product_id":"mashallah-by-carl-haag","title":"Mashallah! by Carl Haag","description":"Carl Haag\u003cbr\u003e 1820–1915 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMashallah!\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Carl Haag \/ 1870” (lower right)\u003cbr\u003e Titled and signed “Mash: Allah! \/ by Carl Haag” (en verso)\u003cbr\u003e Watercolor heightened with white \u003cbr\u003e\u003cbr\u003e A commanding and highly evocative work, \u003cem\u003eMashallah!\u003c\/em\u003e stands as an exceptional example of Carl Haag’s Orientalist production. Executed in 1870, shortly after the artist’s extensive travels through the Middle East, this large-scale watercolor reflects Haag’s firsthand engagement with the region and his remarkable ability to translate lived experience into images of enduring visual power. Rich in atmosphere and cultural resonance, the work captures the contemplative dignity that defines Haag’s finest portraits. \u003cbr\u003e\u003cbr\u003e The composition centers on a male figure dressed in traditional Middle Eastern attire, rendered with striking presence. His calm expression and distant gaze convey introspection, while the soft modeling of the face demonstrates Haag’s refined understanding of anatomy and character. A vivid green hookah held delicately in his hand introduces a moment of chromatic contrast against the muted earth tones of the palette. Heightened with white and subtly scratched to create texture, the surface shimmers with delicate detail. \u003cbr\u003e\u003cbr\u003e Carl Haag was among the most accomplished Orientalist painters of the 19th century and remains celebrated for his meticulous draftsmanship and mastery of watercolor technique. Bavarian-born and later naturalized as a British subject, Haag trained in Nuremberg and Munich before settling in England in 1847. His election to the Royal Society of Painters in Water Colours—first as an Associate in 1850 and then as a full member in 1853—confirmed his standing among Britain’s artistic elite, a reputation reinforced by his patronage from Queen Victoria. Between 1858 and 1860, Haag undertook extended journeys through Egypt, Jerusalem, Lebanon and Syria, often working directly from life. These travels fundamentally shaped his oeuvre, grounding his Orientalist imagery in direct observation rather than romantic invention. \u003cbr\u003e\u003cbr\u003e The title \u003cem\u003eMashallah!\u003c\/em\u003e—an Arabic expression meaning “God has willed it,” is commonly used to express admiration, reverence or gratitude. Works of this scale and quality are among Haag’s most sought-after compositions, prized for their authenticity, technical finesse and poetic restraint. \u003cbr\u003e\u003cbr\u003e Painted 1870 \u003cbr\u003e\u003cbr\u003e Paper: 19 5\/8\" high x 13 5\/8\" wide (49.85 x 34.61 cm)\u003cbr\u003e Frame: 35 1\/2\" high x 27 1\/2\" wide x 2 1\/2\" deep (90.17 x 69.85 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, London\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43775347818631,"sku":"32-2060","price":44500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2060_1_d3da8f65-16e0-4da2-82bb-8374672dbc0e.png?v=1781292126"},{"product_id":"a-pompeian-lady-in-blue-by-john-william-godward","title":"A Pompeian Lady in Blue by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Pompeian Lady in Blue\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated lower right \"J.W. Godward 1916\"\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This masterwork by John William Godward, \u003cem\u003eA Pompeian Lady in Blue\u003c\/em\u003e, evokes the romantic splendor of the Classical world. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e Draped in a brilliant tunic of gold and blue, Godward's signature beauty gazes boldly out at the viewer, inviting them in by pulling back a luxurious curtain. His exceptional talent for jewel-like color and texture is on full display, with each element of the composition rendered with a supreme, naturalistic finish. Godward renders an extraordinary array of marbles and hardstones throughout, with the delightful detail of an agate oculus window shining above the figure's head. Embodying the essence of \"peace, feminine charm and ideal perfection\" that art historian Vern Grosvenor Swanson identified in Godward's best works, this painting is a captivating treasure. \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Dated 1916 \u003cbr\u003e\u003cbr\u003e Canvas: 35 3\/8” high x 17 1\/4” wide (89.7 x 43.8 cm)\u003cbr\u003e Framed: 42 5\/8” high x 24 1\/2” wide x 2 3\/8” deep (108.3 x 62.2 x 5.9 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, New Jersey\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1998, p. 151, plate 147, illustrated. Titled:\u003cem\u003eA Pompeian Lady\u003c\/em\u003e.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44417983152263,"sku":"32-2121","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2121_1_9e88f4bc-d1e8-433d-9f99-b00b5e020412.png?v=1775503340"},{"product_id":"view-of-the-grand-canal-by-william-james-1","title":"View of the Grand Canal by William James","description":"William James\u003cbr\u003e Fl. 1754-1771 | British  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eView of the Grand Canal, Venice, with San Geremia and the Entrance to the Cannaregio\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e This luminous Venetian scene was painted by the celebrated 18th-century British artist William James. He was renowned for his highly detailed and brightly colored canvases that captured iconic views of the famed City of Water. \u003cbr\u003e\u003cbr\u003e In this work, James renders the Grand Canal and the entrance to the Cannaregio Canal, which was the principal route from central Venice to mainland Italy in the 18th century. The Ponte di Cannaregio spans the famous waterway, bustling with pedestrians and gondolas that flow beneath it. The church and campanile of San Geremia, the Palazzo Labia and the Palazzo Querini detti Papozze are all included, rendered with the thoroughness and precision for which James' best works are renowned. \u003cbr\u003e\u003cbr\u003e Though he is known to have been active in London between 1754 and 1771, very little else is known about James’ personal life. What is known is that he never left England, relying on the images of other artists to create his own, unique interpretations. A student of the London artist Samuel Scott, he was also a pupil of the great Venetian painter Canaletto, who undoubtedly had a tremendous impact on James' output. The influence of Canaletto is particularly evident in this composition, which closely resembles a painting by Canaletto that is now found in the British Royal Collection. \u003cbr\u003e\u003cbr\u003e Thanks to a British fervor for all things Italian in the 18th century, James' works gained him a great deal of attention, and he exhibited at the Society of Artists of Great Britain from 1761 to 1768 and at the Royal Academy from 1769 to 1771. He was invited to become a member of the Society of Artists in 1766. His works now belong to prestigious museums, including the Yale Center for British Art, the Royal Collection at Hampton Court and the Victoria \u0026amp; Albert Museum. \u003cbr\u003e\u003cbr\u003e Canvas: 14 1\/4” high x 24 3\/8” wide (36.2 x 61.8 cm)\u003cbr\u003e Frame: 22 1\/2” high x 32 1\/2” wide x 3 3\/8” deep (57.2 x 82.6 x 8.5 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, United States","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44057379668103,"sku":"32-2295","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2295_1.png?v=1774961844"},{"product_id":"merab-and-michal-by-edwin-longsden-long","title":"Merab and Michal by Edwin Longsden Long","description":"Edwin Longsden Long\u003cbr\u003e 1829–1891 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMerab\u003c\/em\u003e and \u003cem\u003eMichal\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Both signed with monogram (lower left and right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The paintings of Edwin Longsden Long stand among the most celebrated achievements of Victorian historical painting, distinguished by their meticulous detail, archaeological rigor and dramatic narrative force. Exhibited as a pair at the Royal Academy of Arts in 1883, \u003cem\u003eMerab\u003c\/em\u003e and \u003cem\u003eMichal\u003c\/em\u003e were immediately recognized as exceptional works within the artist’s oeuvre. Contemporary critics were unequivocal in their praise, with Lady’s Pictorial declaring the figures “perhaps the finest single figures Mr. Long has painted.” Preserved together for over 140 years, these paintings represent a rare survival of Long’s most ambitious and critically acclaimed masterworks. \u003cbr\u003e\u003cbr\u003e Depicting the daughters of King Saul, the compositions explore contrasting expressions of feminine character. Rather than relying solely on the biblical text, Long drew on the dramatic interpretations in the oratorio \u003cem\u003eSaul\u003c\/em\u003e by George Frideric Handel, enriching each figure with psychological nuance. Merab, the elder daughter, is rendered with commanding presence, her upright stance and proximity to arms and armor underscoring her pride and royal authority. Michal, by contrast, is imbued with quiet introspection, her softened gaze and delicately clasped hands framed by sumptuous textiles. Together, the paintings form a carefully balanced dialogue between strength and tenderness, authority and devotion—an intellectual and aesthetic pairing characteristic of Long’s most sophisticated works. \u003cbr\u003e\u003cbr\u003e When exhibited at the Royal Academy, the paintings were singled out for their beauty and commanding presence. The Globe praised their “great beauty of an Oriental type,” while noting that neighboring works paled in comparison. Their impact was such that they were later exhibited across Britain alongside Long’s monumental biblical canvas \u003cem\u003eAnno Domini,\u003c\/em\u003e further cementing their status within his most important productions. \u003cbr\u003e\u003cbr\u003e Long’s reputation during his lifetime was extraordinary. In 1882, just one year before these works were completed, his \u003cem\u003eBabylonian Marriage Market\u003c\/em\u003e achieved £6,615 at auction—the highest price ever paid for a work by a living artist at that time. Many of his most significant paintings are held in important collections, including the Yale Center for British Art, the National Gallery of Victoria and the Russell-Cotes Art Gallery \u0026amp; Museum. \u003cbr\u003e\u003cbr\u003e Both dated 1883 \u003cbr\u003e\u003cbr\u003e Canvas (each): 47 3\/4\" high x 29 3\/8\" wide (121.3 x 74.6 cm)\u003cbr\u003e Frame (each): 60\" high x 44 1\/4\" wide x 4 1\/4\" deep (152.4 x 112.4 x 10.8 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2447.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Fairless \u0026amp; Beeforth, London\u003cbr\u003e Sir John Holder, Bart., by 1906\u003cbr\u003e Anonymous sale, Sotheby’s, London, 21 March 1990, lot 221\u003cbr\u003e With Zangrilli \u0026amp; Co., London\u003cbr\u003e Private collection, United Kingdom\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e The Echo, 11 April 1883, p. 2\u003cbr\u003e The Times, 5 May 1883, p. 12\u003cbr\u003e The Globe, 5 May 1883, p. 6\u003cbr\u003e Saturday Review, 5 May 1883, p. 566; 26 May 1883, p. 665; 16 February 1884, p. 216\u003cbr\u003e Evening Irish Times, 7 May 1883, p. 6\u003cbr\u003e Punch, 12 May 1883, p. 220\u003cbr\u003e Athenaeum, 12 May 1883, p. 607\u003cbr\u003e Building News, 18 May 1883, p. 656\u003cbr\u003e Lady's Pictorial, 26 May 1883, p. 359; 5 September 1885, p. 210\u003cbr\u003e Art Journal, 1883, p. 202\u003cbr\u003e Academy Notes, 1883, p. 13\u003cbr\u003e Birmingham Daily Gazette, 29 March 1906, p. 6\u003cbr\u003e Austin Chester, “The Art of Edwin Long RA,” Windsor Magazine, February 1908, p. 548\u003cbr\u003e Richard Quick, The Life and Works of Edwin Long, R.A., Bournemouth, 1931, p. 44\u003cbr\u003e Mark Bills, Edwin Longsden Long RA, London, 1998, no. 194 (Merab), pp. 137–138, illustrated; no. 195 (Michal), pp. 138–139, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1883, no. 91 (Merab) and no. 97 (Michal)\u003cbr\u003e Fairless and Beeforth, 168 Bond Street, London, 1884–85\u003cbr\u003e Toured with Anno Domini, 1889: T. Cranfield Galleries, Dublin (April–May); Rodman’s Gallery, Belfast (June); Frost and Reed, Bristol (September–October)\u003cbr\u003e Birmingham Art Gallery, Royal Society of Artists, 1906","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44540348661895,"sku":"32-2447","price":498500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2447_1_09d87d93-0a47-46f4-80e3-0de25f3c73d7.png?v=1777555295"},{"product_id":"grand-canal-in-venice-from-campo-san-vio-by-william-james-1","title":"Grand Canal in Venice from Campo San Vio by William James","description":"William James\u003cbr\u003e Fl. 1754-1771 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eView of the Grand Canal, Venice, looking east from Campo San Vio towards the Dogana and the Bacino di San Marco\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The legendary Venetian Grand Canal is the subject of this brilliantly hued scene by 18th-century British artist William James. His meticulously detailed canvases earned him recognition among the leading painters of Venetian views in his day. Here, he renders the vista from Campo San Vio toward the Riva degli Schiavoni with assured technical mastery. Every element is carefully orchestrated, from the stately 16th-century Palazzo Barbarigo to the lively figures that animate the foreground. \u003cbr\u003e\u003cbr\u003e Like many of James’ compositions, this work draws inspiration from a comparable view by Canaletto, whose Grand Canal scene from San Vio (circa 1723–24) is now in the Museo Nacional Thyssen-Bornemisza. James adopts a similar vantage point and even echoes select figures, including the maiden at the balcony in the upper right. Yet where Canaletto favored restrained browns, tans and cool blues, James enlivens the architecture with a more vivid palette of crimson and deep orange. The effect is less strictly naturalistic but strikingly radiant, underscoring the artist’s distinctive interpretation of Venice. \u003cbr\u003e\u003cbr\u003e Active in London between 1754 and 1771, William James remains a somewhat elusive figure. He was a pupil of the great Venetian master Canaletto, likely assisting in his studio during the artist’s visit to England in 1754. Canaletto’s influence is evident in James’ exceptional Venetian views. Such scenes were immensely popular in the later 18th century, as increasing numbers of British gentlemen embarked on the Grand Tour and sought painted souvenirs of Italy’s splendors. James capitalized on this demand, producing accomplished views that earned him recognition in London. He exhibited at the Society of Artists of Great Britain from 1761 to 1768 and at the Royal Academy of Arts from 1769 to 1771, and was elected a member of the Society of Artists in 1766. Today, his works are held in prestigious collections, including the Royal Collection at Hampton Court Palace. \u003cbr\u003e\u003cbr\u003e Mid-18th century \u003cbr\u003e\u003cbr\u003e Canvas: 19 7\/8\" high x 34\" wide (50.48 x 86.36 cm)\u003cbr\u003e Frame: 25 1\/2\" high x 39 5\/8\" wide x 2 1\/2\" deep (64.77 x 100.65 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, England\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, Florida\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44517541544071,"sku":"32-2297","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2297_1.png?v=1780145465"},{"product_id":"the-floating-city-by-patrick-hughes","title":"The Floating City by Patrick Hughes","description":"Patrick Hughes\u003cbr\u003e b. 1939 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Floating City\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil and collage on panel\u003cbr\u003e Signed, titled, editioned and dated “The Floating City \/ 2\/5 \/ Patrick Hughes \/ 2026” (en verso) \u003cbr\u003e\u003cbr\u003e Part painting, part collage and part sculptural object, \u003cem\u003eThe Floating City\u003c\/em\u003e belongs to Patrick Hughes’ celebrated “reverspective” series, in which built three-dimensional forms are painted in inverse perspective to create an animated experience as the viewer moves. This example, the second in a limited edition of five plus two artist’s proofs, presents a rare opportunity to engage with one of Hughes’ most compelling explorations of perception and architectural fantasy. \u003cbr\u003e\u003cbr\u003e The composition evokes a dreamlike view of Venice, where the city appears to float between reality and illusion. The palazzi in the foreground are constructed from collaged photographic elements, lending a grounded sense of architectural specificity, while the lagoon, sky, reflections and distant buildings are hand-painted, dissolving into atmospheric abstraction. As the viewer shifts position, the geometric structures appear to pivot and reconfigure, heightening the sense of movement across water and stone. Subtle variations in the hand-painted passages ensure that each work in the edition is one-of-a-kind. \u003cbr\u003e\u003cbr\u003e Hughes first developed his revolutionary approach to reverse perspective in 1964 with his installation \u003cem\u003eSticking-Out Room\u003c\/em\u003e at the Institute of Contemporary Arts in London, initiating decades of inquiry into perception, paradox and spatial cognition. He has since authored multiple texts on visual illusion and perceptual psychology and holds a doctorate in science from King’s College London. His work is held in major institutional collections, including the British Library and the British Academy, underscoring his significance as both artist and theorist of visual perception. \u003cbr\u003e\u003cbr\u003e Dated 2026 \u003cbr\u003e\u003cbr\u003e Panel: 17 3\/4\" high x 27 1\/8\" wide (45.1 x 68.9 cm)\u003cbr\u003e Frame: 25\" high x 34 1\/4\" wide x 5 1\/4\" deep (63.5 x 87 x 13.3 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44737032978567,"sku":"32-2564","price":54500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2564_1_acf5799f-7a67-4ec1-a495-3f0d5802d768.png?v=1780144471"},{"product_id":"magrittian-by-patrick-hughes","title":"Magrittian by Patrick Hughes","description":"Patrick Hughes\u003cbr\u003e b. 1939 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMagrittian\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, titled and dated “Magrittian \/ Patrick Hughes \/ 2026” (en verso)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Bringing an art historian’s library to life, \u003cem\u003eMagrittian\u003c\/em\u003e\u003cbr\u003e Drawing on real publications—including \u003cem\u003eMagritte\u003c\/em\u003e by Jacques Meuris, \u003cem\u003eMagritte: Attempting the Impossible\u003c\/em\u003e by Siegfried Gohr, \u003cem\u003eDecoding Magritte\u003c\/em\u003e by Silvano Levy and more—the composition reimagines a bookshelf as an immersive structure. Through ingeniously constructed and painted three-dimensional forms, Hughes creates a dynamic optical illusion in which the books appear to shift and reconfigure as the viewer moves, transforming static texts into a living, unstable homage to Magritte’s world of surrealism and paradox. \u003cbr\u003e\u003cbr\u003e Hughes’ practice is rooted in decades of investigation into perception, paradox and spatial cognition. Since his first \"reverspective\" installation, \u003cem\u003eSticking-Out Room\u003c\/em\u003e (1964) at the Institute of Contemporary Arts in London, he has developed a distinctive visual language that fuses architectural structure with painted illusion. His work draws upon both scientific inquiry and conceptual art traditions, reflecting his academic background, including a doctorate in science from King’s College London in the psychology of perception. His works are held in major institutional collections, including the British Library and the British Academy, affirming his significance as both innovator and theorist of visual illusion. \u003cbr\u003e\u003cbr\u003e Dated 2026 \u003cbr\u003e\u003cbr\u003e Panel: 22 3\/8\" high x 24 1\/2\" wide (56.7 x 62.2 cm)\u003cbr\u003e Frame: 25 3\/4\" high x 27 3\/4\" wide x 9 1\/2\" deep (65.4 x 70.5 x 24.1 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44740437311623,"sku":"32-2561","price":67500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2561_1.png?v=1780144372"},{"product_id":"lovely-stack-by-patrick-hughes","title":"Lovely Stack by Patrick Hughes","description":"Patrick Hughes\u003cbr\u003e b. 1939 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLovely Stack\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, titled and dated “Lovely Stack \/ Patrick Hughes \/ 2026” (en verso)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e A striking homage to some of the most iconic works in modern and contemporary art, \u003cem\u003eLovely Stack\u003c\/em\u003e exemplifies Patrick Hughes’ celebrated \"reverspective\" technique. Through ingeniously constructed and painted three-dimensional forms, Hughes creates a dynamic optical illusion in which the composition appears to shift as the viewer moves. In this vertical arrangement, he constructs a surreal tower of instantly recognizable artworks, resulting in a playful yet intellectually charged meditation on the visual language of art history and contemporary culture. \u003cbr\u003e\u003cbr\u003e At the base rests a painted chair inspired by Vincent van Gogh’s \u003cem\u003eChair\u003c\/em\u003e, supporting a sky-and-rainbow patterned box referencing Hughes’ own \u003cem\u003eSolid Sky\u003c\/em\u003e. Above, a shark appears suspended within an aquarium, evoking Damien Hirst’s iconic conceptual work, \u003cem\u003eThe Physical Impossibility of Death in the Mind of Someone Living\u003c\/em\u003e. Caught in the shark’s open mouth is a \u003cem\u003eBalloon Dog\u003c\/em\u003e from Jeff Koons, a pointed gesture that folds Koons’ glossy pop exuberance into Hirst’s clinical spectacle. \u003cbr\u003e\u003cbr\u003e Layered above are folded, blanket-like forms that reference Maria Watts’ \u003cem\u003eBlanket Story\u003c\/em\u003e and its poetic meditation on material memory. The composition culminates in Robert Indiana’s \u003cem\u003eLOVE\u003c\/em\u003e, anchoring the stack with one of the most recognizable symbols of contemporary art. The illusionistic construction intensifies the sense of instability, as each element appears to tilt, hover and shift with the viewer’s movement. \u003cbr\u003e\u003cbr\u003e Hughes’ practice is rooted in decades of investigation into perception, paradox and spatial cognition. Since his first \"reverspective\" installation, \u003cem\u003eSticking-Out Room\u003c\/em\u003e (1964) at the Institute of Contemporary Arts in London, he has developed a distinctive visual language that fuses architectural structure with painted illusion. His work draws upon both scientific inquiry and conceptual art traditions, reflecting his academic background, including a doctorate in science from King’s College London in the psychology of perception. His works are held in major institutional collections, including the British Library and the British Academy, affirming his significance as both innovator and theorist of visual illusion. \u003cbr\u003e\u003cbr\u003e Dated 2026 \u003cbr\u003e\u003cbr\u003e Panel: 33 5\/8\" high x 15 7\/8\" wide (85.4 x 40.3 cm)\u003cbr\u003e Frame: 35 3\/4\" high x 18\" wide x 6 1\/2\" deep (90.8 x 45.7 x 16.5 cm)","brand":"M.S. 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