{"title":"English Fine Art","description":"\u003ch2 data-section-id=\"eh6tgl\" data-start=\"0\" data-end=\"80\"\u003eEnglish Fine Art: Original Paintings from England’s Most Celebrated Artists\u003c\/h2\u003e\n\u003cp data-start=\"81\" data-end=\"855\"\u003eEnglish fine art represents a rich and varied tradition within the broader history of original fine art, encompassing works created by some of the most influential artists in Britain. From portraiture and landscape painting to Romanticism and Victorian art, original English paintings reflect centuries of artistic development shaped by cultural, political and intellectual change. Collectors searching for English paintings for sale are often drawn to the diversity of styles, the refinement of technique and the historical significance found within works by England’s most celebrated painters. At M.S. Rau, our collection of English fine art includes exceptional original paintings that exemplify the highest standards of quality, connoisseurship and artistic achievement.\u003c\/p\u003e\n\u003ch2 data-section-id=\"103ctdn\" data-start=\"857\" data-end=\"921\"\u003eThe Development of English Fine Art and Painting Traditions\u003c\/h2\u003e\n\u003cp data-start=\"922\" data-end=\"1797\"\u003eThe evolution of English fine art spans several important periods, each contributing to the development of painting in England. During the 18th century, portraiture emerged as a dominant genre, driven by patronage among the British aristocracy and rising elite. Artists such as Sir Joshua Reynolds and Thomas Gainsborough elevated portrait painting into a sophisticated art form, combining elegance with psychological insight. The late 18th and early 19th centuries saw the rise of Romanticism, with artists like J.M.W. Turner and John Constable transforming landscape painting into a powerful expression of mood and atmosphere. Victorian painting later introduced narrative-driven works and academic realism, expanding the scope of English fine art. These movements collectively define the tradition, making original English paintings a cornerstone within European fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"yd0bn4\" data-start=\"1799\" data-end=\"1846\"\u003eHow to Identify Original English Paintings\u003c\/h2\u003e\n\u003cp data-start=\"1847\" data-end=\"2699\"\u003eCollectors interested in original English paintings for sale benefit from understanding the stylistic and technical characteristics associated with works from England. English portraiture is often distinguished by its emphasis on refinement, balance and the careful rendering of fabric, gesture and expression. In landscape painting, artists such as Constable and Turner introduced a naturalistic yet expressive approach, capturing changing light and weather with remarkable sensitivity. Many English works demonstrate a controlled and deliberate brushwork, particularly within academic painting traditions. Subject matter can range from formal portraits and pastoral landscapes to historical scenes and narrative compositions. Attention to composition, atmosphere and technical execution are key factors in identifying quality within English fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"qd05u9\" data-start=\"2701\" data-end=\"2748\"\u003eFamous English Artists and Important Works\u003c\/h2\u003e\n\u003cp data-start=\"2749\" data-end=\"3621\"\u003eEnglish fine art is defined by a number of important artists whose works remain central to the study and collection of original paintings. Sir Joshua Reynolds, the first president of the Royal Academy, established a formal approach to portrait painting that influenced generations of artists. Thomas Gainsborough is celebrated for his elegant portraits and lyrical landscapes, which combine fluid brushwork with a refined sense of composition. J.M.W. Turner is widely regarded as one of the most important figures in Romantic painting, known for his dramatic use of light and color in landscape and seascape works. John Constable brought a naturalistic approach to landscape painting, focusing on the English countryside with an emphasis on observation and atmosphere. These artists, among others, continue to define the market for English paintings and original fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1wsjzg3\" data-start=\"3623\" data-end=\"3667\"\u003eStyles and Subjects in English Fine Art\u003c\/h2\u003e\n\u003cp data-start=\"3668\" data-end=\"4352\"\u003eEnglish fine art encompasses a wide range of styles and subjects that reflect the country’s artistic development. Portrait painting remains one of the most significant genres, often associated with aristocratic patronage and academic training. Landscape painting, particularly within the Romantic movement, captures the natural beauty of England through expressive use of light and color. Historical and narrative paintings also play an important role, especially within Victorian art, where storytelling and moral themes are emphasized. These diverse styles contribute to the enduring appeal of English fine art and provide collectors with a broad range of original works to explore.\u003c\/p\u003e\n\u003ch2 data-section-id=\"insike\" data-start=\"4354\" data-end=\"4389\"\u003eWhere to Buy English Paintings\u003c\/h2\u003e\n\u003cp data-start=\"4390\" data-end=\"5188\"\u003eWhen searching for English paintings for sale, it is important to acquire works from a trusted source with expertise in original fine art and European painting. M.S. Rau offers a carefully curated selection of English fine art, including original paintings by important artists and representative works from key periods and styles. Each painting is supported by thorough research and a commitment to authenticity, ensuring confidence for collectors. Clients may explore our collection online or visit our New Orleans gallery, where English paintings are presented within a refined setting that reflects their historical and artistic significance. Our specialists provide guidance to collectors seeking works that align with their interests in English art, Romantic painting and academic traditions.\u003c\/p\u003e\n\u003ch2 data-section-id=\"ixxo9\" data-start=\"5190\" data-end=\"5223\"\u003eEnglish Fine Art at M.S. Rau\u003c\/h2\u003e\n\u003cp data-start=\"5224\" data-end=\"5869\"\u003eFor over a century, M.S. Rau has been recognized for its expertise in original fine art, offering works that reflect the highest levels of quality and historical importance. Our English fine art collection includes original paintings that exemplify the breadth and sophistication of artistic production in England. From refined portraiture to expressive landscape painting, each work represents a carefully selected example of English artistic achievement. Through both our gallery and our website, M.S. Rau continues to serve as a leading destination for collectors searching for English paintings for sale and museum-quality works of fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1ujimvc\" data-start=\"5871\" data-end=\"5905\"\u003eWhat Defines English Fine Art\u003c\/h2\u003e\n\u003cp data-start=\"5906\" data-end=\"6352\"\u003eEnglish fine art is defined by its diversity of styles, its emphasis on portraiture and landscape painting and its connection to broader European movements such as Romanticism and academic painting. Works from England often reflect a balance between technical discipline and expressive interpretation, particularly in landscape painting and portraiture. These qualities distinguish English paintings within the wider context of original fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"11fiywo\" data-start=\"6354\" data-end=\"6410\"\u003eHow Can You Tell if an English Painting Is Original\u003c\/h2\u003e\n\u003cp data-start=\"6411\" data-end=\"6835\"\u003eDetermining whether a work is an original English painting involves evaluating elements such as technique, materials and stylistic consistency with known artists or schools. Experts examine brushwork, composition and surface quality, as well as provenance and historical documentation. Purchasing from an established gallery such as M.S. Rau ensures that each painting has been carefully vetted for authenticity and quality.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1qibbtv\" data-start=\"6837\" data-end=\"6889\"\u003eWhat Styles Are Most Common in English Fine Art\u003c\/h2\u003e\n\u003cp data-start=\"6890\" data-end=\"7288\"\u003eEnglish fine art is most commonly associated with portrait painting, Romantic landscape painting and Victorian academic art. These styles reflect the evolution of painting in England and include works that emphasize realism, atmosphere and narrative content. Collectors searching for original English paintings often encounter these defining styles within the broader category of European fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1oxu770\" data-start=\"7290\" data-end=\"7323\"\u003eWhy Collect English Fine Art\u003c\/h2\u003e\n\u003cp data-start=\"7324\" data-end=\"7750\"\u003eCollectors are drawn to English fine art for its breadth of subject matter and its ability to represent key developments in the history of painting. Original English paintings offer an opportunity to engage with works that reflect both artistic refinement and cultural context, from formal portraits to expressive landscapes. These works provide a meaningful way to explore the legacy of British art through original fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1ymv9jk\" data-start=\"7752\" data-end=\"7815\"\u003eWhat Should You Look for When Collecting English Paintings\u003c\/h2\u003e\n\u003cp data-start=\"7816\" data-end=\"8254\"\u003eWhen collecting English paintings, attention should be given to the quality of execution, the handling of light and composition and the clarity of the subject. Strong examples often demonstrate confident brushwork, balanced structure and a clear sense of atmosphere or presence. Whether selecting portraiture or landscape painting, collectors benefit from focusing on works that exemplify the defining characteristics of English fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"javom1\" data-start=\"8256\" data-end=\"8306\"\u003eHow Do You Start Collecting Original Fine Art\u003c\/h2\u003e\n\u003cp data-start=\"8307\" data-end=\"8735\"\u003eStarting a collection of original fine art involves developing an understanding of different styles, periods and artistic traditions. English fine art provides a strong foundation for collectors due to its diversity and its connection to major movements such as Romanticism and academic painting. Working with a knowledgeable gallery such as M.S. Rau allows collectors to explore original paintings with guidance and confidence.\u003c\/p\u003e\n\u003ch2 data-section-id=\"1vjn7u\" data-start=\"8737\" data-end=\"8810\"\u003eWhat Makes English Fine Art Different from Other European Traditions\u003c\/h2\u003e\n\u003cp data-start=\"8811\" data-end=\"9273\"\u003eEnglish fine art is distinguished by its strong emphasis on portraiture and landscape painting, as well as its role in the development of Romanticism. While other European traditions often focused heavily on religious or historical subjects, English artists explored personal expression, natural scenery and individual identity through their work. This focus contributes to the unique character of English paintings within the broader world of original fine art.\u003c\/p\u003e\n\u003ch2 data-section-id=\"106xmsj\" data-start=\"9275\" data-end=\"9321\"\u003eHow Should English Paintings Be Displayed\u003c\/h2\u003e\n\u003cp data-start=\"9322\" data-end=\"9736\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eDisplaying English paintings involves thoughtful consideration of lighting and environment to enhance their visual qualities. Portraits benefit from balanced lighting that highlights facial detail and texture, while landscapes are best appreciated in settings that allow their depth and atmosphere to emerge. Proper display ensures that original English fine art can be fully experienced and appreciated over time.\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-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":"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":"a-study-of-two-models-by-sir-william-russell-flint","title":"A Study of Two Models by Sir William Russell Flint","description":"Sir William Russell Flint, R.A., P.R.W.S. 1880-1969 | Scottish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Study of Two Models\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"WRussell Flint\" (bottom right)\u003cbr colored chalks on buff paper\u003e\u003cbr\u003e Ethereal and sensual, Sir William Russell Flint's \u003cem\u003eStudy of Two Models\u003c\/em\u003e highlights the artist's skillful mastery in capturing the female form. One of the most celebrated watercolorists of the 20th century, Flint enjoyed considerable success during his lifetime, and today his lasting reputation is tied to his remarkable talent for portraying women, like the two models featured here. This study gives an alluring view of the artist's process in rendering his famous nude watercolors. \u003cbr\u003e\u003cbr\u003e Though six figures are visible in this study, Flint was working with only two models, each of which has been rendered in a different color: red or black chalk. The artist captured both women in a variety of poses and angles, paying meticulous attention to their facial expressions and the drapery of their clothing. A semi-nude woman lays across the foreground with her hair flowing above her head, and Flint has masterfully captured her wistful expression with a few deft strokes of chalk. \u003cbr\u003e\u003cbr\u003e Born in Edinburgh, Flint began his artistic training at the age of 14 when he embarked upon a six-year apprenticeship as a lithographic draughtsman. In 1903 he joined The Illustrated London News, earning him a reputation as a gifted illustrator. After serving in World War I, Flint devoted his time to painting, and soon became an Associate Member of the Royal Academy in 1924. In a career spanning 70 years, it would be his treatment of the female figure that was considered most masterful. He was honored in 1962 by the Royal Academy with a retrospective exhibition of his works - the highest such recognition an artist can achieve during his lifetime. \u003cbr\u003e\u003cbr\u003e 20th century \u003cbr\u003e\u003cbr\u003e Unframed: 17\" high x 34½\" wide Framed: 24\" high x 39¾\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The Fine Art Society, London, by May 1958\u003cbr\u003e Sale: Sotheby's, London, 10 November 1981, lot 123\u003cbr\u003e Richard Green, London\u003cbr\u003e Private Collection, Germany\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42215088750727,"sku":"31-5745","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5745_1_ef82deb7-2181-48ce-b098-4821270705fe.png?v=1736115887"},{"product_id":"caricatures-of-queen-victoria-and-edward-vii-by-sir-leslie-matthew-ward-spy","title":"Caricatures of Queen Victoria and Edward VII by Sir Leslie Matthew Ward (Spy)","description":"Sir Leslie Matthew Ward (aka Spy)\u003cbr\u003e 1851-1922 | British \u003cbr\u003e\u003cbr\u003e Caricatures of Queen Victoria and Edward VII \u003cbr\u003e\u003cbr\u003e Charcoal on paper \u003cbr\u003e\u003cbr\u003e These satirical caricatures of Queen Victoria and Edward VII offer an amusing glimpse into the mind of famed British cartoonist Sir Leslie Matthew Ward, who frequently published his drawings in \u003cem\u003eVanity Fair\u003c\/em\u003e under the pseudonym \"Spy.\" Ward established his moniker through secretly observing his subjects and capturing them from a distance with varying degrees of flattery or uncouthness. Ward drew 1,325 cartoons for \u003cem\u003eVanity Fair\u003c\/em\u003e between 1873 and 1911. While some critics found Ward’s depictions of royalty and other high-ranking society members to be overly flattering and sympathetic, these rare sketches reveal a more critical yet playful point of view. Here, Ward abstractly sketches his subjects, Queen Victoria and Edward VII, in profile, rendered not as monarchs but rather as mice. Spy utilized spare lines to draw identifiable attributes, like the queen’s veiled crown, but emphasizes the two figures’ anthropomorphic qualities including raised paws and long tails. \u003cbr\u003e\u003cbr\u003e While Spy eventually became a member of the society circles immortalized in his cartoons, moving from satirical caricature to what he termed \"characteristic portraits,\" these rare sketches reveal that the artist’s irreverent humor remained. These two sketches are perfectly preserved and framed together with an identification plaque. \u003cbr\u003e\u003cbr\u003e Circa 1900 \u003cbr\u003e\u003cbr\u003e Drawings:\u003cbr\u003e Queen Victoria: 4 3\/4\" high x 5 1\/2\" wide\u003cbr\u003e Edward VII: 5 5\/8\" high x 4 3\/4\" wide\u003cbr\u003e Framed: 15 1\/8\" high x 10 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43874355314823,"sku":"31-6072","price":4450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6072_1_6e0db977-eb67-485e-a530-ab8298250718.png?v=1772353178"},{"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":"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":"churchill-bronze-bust-by-vivien-mallock-9-12","title":"Churchill Bronze Bust by Vivien Mallock 9\/12","description":"Vivien Mallock\u003cbr\u003e b.1945 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSir Winston Churchill\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “VM” and numbered \"9\/12\"\u003cbr\u003e Bronze with a brown patina \u003cbr\u003e\u003cbr\u003e Winston Churchill stands as one of the greatest leaders of the modern world and is among the most recognizable figures in Western history. This bronze bust by the English sculptor Vivien Mallock masterfully captures his unmistakable visage, as well as his determined air and strong resilience. It is the ninth in a series of only twelve, and it stands as a compelling tribute to one of the greatest wartime leaders in history. \u003cbr\u003e\u003cbr\u003e This bust was first conceived as a commission by the British Ministry of Defence to give as a gift to the United States Department of Defense in 2015, where it was dedicated at the Pentagon’s Hall of Heroes. Several sculptors were invited to submit designs and compete for the high-profile commission, but it was Mallock who received the prestigious honor. Following the sculpture’s unveiling, Mallock produced a limited series of twelve bronze casts of the work.  \u003cbr\u003e\u003cbr\u003e Striking and remarkably true to life, this sculpture captures the Prime Minister’s inner strength and indomitable spirit. Mallock took the unusual step of including her subject’s arms and hands positioned firmly on his chest in the bust — an artistic choice that lends not only personality but also a sense of gravitas and calm confidence to the portrayal. His strong stance and focused gaze reflect this legendary politician's steadfast leadership and resistance to defeat.  \u003cbr\u003e\u003cbr\u003e Vivien Mallock's artistic focus lies in portraying the legacy of Great Britain through war memorials and portraits dedicated to some of the country’s most notable figures. She began working in bronze in the 1980s, and her first major commission came from the Museum of Army Flying in Hampshire for several bronze portraits of WWII fighter pilots to mark the 50th anniversary of the Battle of Britain. She was the last artist for whom the Queen Mother sat for a portrait, and the resulting bronze now resides in the Queen Elizabeth The Queen Mother wing of St Mary’s Hospital Trust in London. She has received multiple prestigious public commissions for monuments and statues around England and abroad. \u003cbr\u003e\u003cbr\u003e Bust: 20 1\/2\" wide x 13 1\/4\" deep x 26 1\/8\" high\u003cbr\u003e With pedestal: 14 1\/8\" wide x 14 1\/4\" deep x 40 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43687164248199,"sku":"31-3850","price":178500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3850_1.png?v=1767193167"},{"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":"sir-winston-churchill-bronze-by-ivor-roberts-jones","title":"Sir Winston Churchill Bronze by Ivor Roberts-Jones","description":"Ivor Roberts-Jones\u003cbr\u003e 1913-1996 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSir Winston Churchill\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Numbered “132” (on base)\u003cbr\u003e Bronze with a brown patina on a stone base \u003cbr\u003e\u003cbr\u003e “My dear friends, this is your hour.” These were Winston Churchill’s words as he spoke on the evening of the Allied victory in Europe, and so ended the Second World War. A man of undeniable strength and resilience, Winston Churchill stands as one of the greatest leaders of the modern world. This important bronze masterfully captures the man’s irrepressible air of determination and indomitable character. Crafted by Ivor Roberts-Jones, the sculpture is an edition of the original maquette for the large-scale monument of the prime minister found in Parliament Square. One of England's most recognizable public monuments, it stands as a magnificent tribute to one of the greatest wartime heroes in history. \u003cbr\u003e\u003cbr\u003e Roberts-Jones crafted the original maquette in 1971, and it was from this preliminary model that he created his monumental bronze. Following the monument's unveiling, the sculpture was so popular that a series of cast versions of the maquette was created. These were subsequently offered exclusively to Roberts-Jones' clients and the original subscribers to Churchill’s recently published Collected Works. This exceptional example is numbered 132 conceived as an edition of 500 that were cast by Meridian Bronze Foundry. \u003cbr\u003e\u003cbr\u003e It was in 1967, two years after Churchill's death, that the commemorative sculpture of Churchill was first envisioned, and it was decided that Parliament Square was the most appropriate area. In fact, Churchill himself had suggested the location before his death. Eight sculptors were invited to submit designs and compete for the high-profile commission. Roberts-Jones’s maquette was shortlisted, and after a few minor design changes, he was officially awarded the commission in March 1971. \u003cbr\u003e\u003cbr\u003e Ivor Roberts-Jones rose to prominence in 1961 thanks to an influential commission from Lord Beaverbrook for a bust of the British playwright Somerset Maugham. He earned his first full-scale commission in 1964 for a sculpture of the British painter Augustus John. After its completion in 1967, Roberts-Jones was elected as an associate of the Royal Academy. He became a full member in 1973, following the completion of his Churchill monument. This bronze is an extraordinary symbol of the sculptor's single greatest achievement. \u003cbr\u003e\u003cbr\u003e Circa 1971 \u003cbr\u003e\u003cbr\u003e 9 3\/4\" wide x 7 1\/4\" deep x 20\" high \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Peter Cannon-Brookes, \u003cem\u003eIvor Roberts-Jones: The Journey to Harlech\u003c\/em\u003e, London: Trefoli Books, 1983, pp. 51-59 (another cast illustrated). \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Pennsylvania\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44027721580679,"sku":"31-9069","price":275000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9069_1_472ee2bd-0175-4118-ab09-1515faed081a.png?v=1774966820"},{"product_id":"pair-of-bronze-busts-of-queen-mary-by-william-henry-tyler","title":"Pair of Bronze Busts of Queen Mary by William Henry Tyler","description":"Pair of Bronze Busts of Queen Mary when Duchess of York\u003cbr\u003e William Henry Tyler\u003cbr\u003e Dated 1893 \u003cbr\u003e\u003cbr\u003e These rare and highly important bronze busts of the future Queen Mary, created in 1893 by the esteemed British sculptor William Henry Tyler, capture the future queen in the year of her marriage to the Duke of York, later King George V. Set on elegant Connemara marble columns, these sculptures were likely commissioned by the Duchess of York herself as diplomatic gifts to be presented to royal family members and close friends. Their museum-quality execution, combined with an inscription reading \"May\"—Mary’s intimate nickname used only by family—strongly suggests this royal provenance and personal significance. \u003cbr\u003e\u003cbr\u003e Each bronze bust portrays Mary with regal poise, rendered in remarkable detail by Tyler’s skilled hand. A serene, composed expression softens her youthful features, while her hair is carefully styled in a manner reflective of Victorian aristocratic fashion. The rich patina of the bronze contrasts beautifully with the green-hued Irish marble base, highlighting the fine craftsmanship. \u003cbr\u003e\u003cbr\u003e William Henry Tyler (1852–1906) was one of Britain’s leading sculptors of the late Victorian era, celebrated for his portraiture and royal commissions. The Royal Collection Trust holds a nearly identical pair of busts, currently housed at Buckingham Palace. Tyler’s ability to balance dignity and approachability in royal subjects made him a favored sculptor among Britain’s elite, and these busts exemplify his masterful technique and deep understanding of character. \u003cbr\u003e\u003cbr\u003e Signed and dated “Will Tyler 1893” with the foundry mark “Cie Des Bronzes, Bruxelles” \u003cbr\u003e\u003cbr\u003e 12 7\/8\" high x 4 1\/2\" wide x 3 3\/4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43317040480391,"sku":"32-0727","price":16850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0727_1.png?v=1762000789"},{"product_id":"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":"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":"madonna-and-child-by-henry-moore","title":"Madonna and Child by Henry Moore","description":"Henry Moore\u003cbr\u003e 1898-1986 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMadonna and Child\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Moore\" (on reverse)\u003cbr\u003e Bronze \u003cbr\u003e\u003cbr\u003e Henry Moore was the preeminent British sculptor of the modern era, whose works blended abstraction, figuration and non-Western influences in a way that revolutionized the medium. One of his most celebrated and enduring motifs was the mother and child, and in 1943, Moore would receive his most significant commission on this subject: the \u003cem\u003eMadonna and Child\u003c\/em\u003e for St. Matthew's Parish Church. This exceptionally rare bronze is tied to that iconic work, a world-famous cornerstone of British sculpture. \u003cbr\u003e\u003cbr\u003e In 1943, the Reverend Walter Hussey invited Moore to create a Madonna and Child sculpture for his church, a proposal the artist accepted with hesitation. Moore felt the immense weight of depicting such a religious subject, wondering if he could distinguish the sacred Madonna and Child from his long‑standing mother and child theme. Of the commission, he said: \"This is one of the most difficult and heart-searching sculptures that I ever tried to do.”  \u003cbr\u003e\u003cbr\u003e He began cautiously, completing many drawings and modeling a series of 12 small maquettes in clay. Only then did Moore fully commit to the commission. This bronze was cast from one of these final clay models, which Moore returned to after completing his version in Hornton stone for St. Matthew’s. In our bronze, the statuesque seated Madonna envelops the child tenderly, embodying quiet strength and emotional protection. \u003cbr\u003e\u003cbr\u003e Cast in an edition of 7 with an artist’s proof, this bronze is an extraordinarily rare link to one of Moore’s most pivotal commissions. Other examples of these bronzes reside in prestigious museums worldwide, including the Tate Modern in London and the Museum of Fine Arts, Boston. Importantly, this bronze was signed by the artist and is accompanied by a copy of the letter from the Henry Moore Foundation, confirming the work is recorded in their archives as LH223.  \u003cbr\u003e\u003cbr\u003e Moore was born in Castleford, England in 1898, and after some brief artistic training in his early years, he volunteered for army service in the First World War. After the war, Moore resumed his sculptural practice and gained notoriety as well as prestigious teaching posts at the Royal College and the Chelsea School of Art. At the height of his career, Moore achieved widespread international recognition, with major exhibitions such as his 1946 retrospective at the Museum of Modern Art in New York and by winning the International Prize for Sculpture at the 1948 Venice Biennale. \u003cbr\u003e\u003cbr\u003e Cast circa 1945 \u003cbr\u003e\u003cbr\u003e 5 1\/2\" high x 2 1\/4\" wide x 3\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Jeffrey Coria, NYC \u0026amp; FL, acquired in 1968\u003cbr\u003e Gallery Moss, Toronto\u003cbr\u003e Private collection, acquired from the above\u003cbr\u003e Private collection, Florida\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e David Sylvester, ed., \u003cem\u003eHenry Moore Complete Sculpture 1921-48\u003c\/em\u003e, vol. 1, London, 1988, no. 223, illustration of the terracotta version p. 138","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050685952135,"sku":"32-2307","price":188500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2307_1_6a368170-4a49-4302-95c7-4fd3dbbcec1f.png?v=1780145668"},{"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. Rau","offers":[{"title":"Default Title","offer_id":44740448977031,"sku":"32-2562","price":67500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2562_1.png?v=1780144341"}],"url":"https:\/\/rauantiques.com\/collections\/english-fine-art.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}