{"title":"EVENT - 2026 San Francisco Show","description":null,"products":[{"product_id":"silver-gilt-portland-vase-by-elkington-co","title":"Silver Gilt Portland Vase by Elkington \u0026 Co.","description":"This magnificent silver-gilt Portland vase was crafted by the pioneering silversmithing firm of Elkington \u0026amp; Co. The iconic classical scenes are chased upon a textured background with the utmost precision and are strikingly accurate to the original antiquity. Known primarily for their electroplate wares, sterling silver crafted by Elkington \u0026amp; Co. is a precious find, especially one of the quality and form of this Portland vase. The vase is hallmarked near the rim by Elkington \u0026amp; Co. The base is stamped “Elkington \u0026amp; Co. Ltd. 22 Regent St. London.”  \u003cbr\u003e\u003cbr\u003e The original Portland Vase, which resides in the British Museum of Art, is the most famous cameo glass vessel from Roman antiquity. In the late 18th century, Josiah Wedgwood received the vase from the Duke of Portland and began to create his famed jasper versions. According to the British Museum, the relief scene is most likely a mythological theme of love and marriage, and it is believed that the original Roman vase may have been created \nas a wedding gift.  \u003cbr\u003e\u003cbr\u003e 9 3\/4” high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42578025939079,"sku":"29-6403","price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-6403_1.png?v=1746450326"},{"product_id":"chippendale-style-mahogany-dining-chairs","title":"Chippendale-Style Mahogany Dining Chairs","description":"This outstanding set of Chippendale-style dining chairs was created from designs by Thomas Chippendale, one of history's most celebrated artisans. A testimony to the incredible workmanship inspired by Chippendale, these chairs not only display marvelous pierced back splats and intricately carved legs, but also feature fine cushioned seats upholstered in supple leather. Fashioned from handsome mahogany, the set is comprised of 10 side chairs and two armchairs. To find an original, unbroken set of this caliber is exceptional. \u003cbr\u003e\u003cbr\u003e Very similar designs are featured in Chippendale's definitive text \u003cem\u003eThe Gentleman \u0026amp; Cabinet-Maker's Director\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Circa 1860 \u003cbr\u003e\u003cbr\u003e Armchairs: 25” wide x 20” deep x 36 1\/2” high \u003cbr\u003e Sidechairs: 22 1\/4” wide x 20” deep x 36 3\/4” high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42628627824775,"sku":"28-9185","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/28-9185_1_f1283807-e710-4be4-acd1-a0ce586fe558.png?v=1746566813"},{"product_id":"mechanical-desk-by-alfred-emmanuel-louis-beurdeley","title":"Mechanical Desk by Alfred Emmanuel Louis Beurdeley","description":"This superb mechanical desk by famed French \u003cem\u003eébéniste\u003c\/em\u003e Alfred Emmanuel Louis Beurdeley is both an artistic and engineering achievement. Enhanced with classical inlays featuring muses and putti engaged in the study of astronomy and the arts, this exquisite table features ornate cast gilt bronze embellishments. These range from the refined border along the top to the intricate acanthus mounts adorning the corners and friezes, as well as the laurel leaf designs on the legs and the ball feet's decorative caps. \u003cbr\u003e\u003cbr\u003e With a special turn of a key, the center panel emerges from the desk's interior, revealing the table's hidden, beautifully constructed second nature. This hidden drawer is comprised of three sections, each with its own expertly inlaid surface. With a pull of a bar located underneath, these latched sections are released. The two side sections unfold outward to reveal two large storage spaces and four small drawers with gilt bronze laurel leaf pulls. The center section rises at an angle for reading or writing. Adjustment of the bar underside locks it in place, and the velvet-lined inset holds a mirror on its reverse side. \u003cbr\u003e\u003cbr\u003e After working alongside his father for many years, Alfred Beurdeley became the successor to his family’s prosperous furniture manufacturing enterprise in 1875. The company specialized in high-quality, 18th-century revivals and his extravagant style captured the attention of wealthy Parisians eager to decorate their estates with rare and important Louis XV and Louis XIV-style furnishings. Beurdeley exhibited his works at the International Exposition of 1878, the Amsterdam Exposition of 1893, after which he was appointed Chevalier de la Légion d’Honneur and the Paris Exposition Universelle of 1889. Shortly after obtaining the prestigious honor of the Gold Medal in Paris, Beurdeley closed his shop in 1895, sold his famous collection, and spent the remainder of his life in seclusion. In the short span of 20 years, Beurdeley made an indelible mark on the history of 19th-century French furnishings, for his creations remain among the finest of the period. \u003cbr\u003e\u003cbr\u003e A similar table is featured in \u003cem\u003e19th-Century European Furniture\u003c\/em\u003e by Christopher Payne, page 54. \u003cbr\u003e\u003cbr\u003e Circa 1870 \u003cbr\u003e\u003cbr\u003e Closed: 42 3\/4” wide x 24 1\/2” deep x 29 3\/4” high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41347119087751,"sku":"29-1724","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-1724_1_e049c3c5-9be1-463a-9f42-969658bb0686.png?v=1715329196"},{"product_id":"silver-and-copper-niello-pitcher-by-tiffany-co","title":"Silver and Copper Niello Pitcher by Tiffany \u0026 Co.","description":"This exceptional and desirable sterling silver and copper inlay pitcher is the work of the iconic Tiffany \u0026amp; Co. The intricate wave motif is a prime example of the Asian-inspired influence of Edward C. Moore, the notable head of Tiffany's silver department for over two decades. The darkened coloration of the copper is thanks to the inlay technique known as niello, where a blackened copper mixture is added as a powder or paste between the engraved silver, creating the desired contrasting effect.  \n\u003cbr\u003e\u003cbr\u003e\nBears full Tiffany \u0026amp; Co. silver marks with the date letter \"M\" for Edward C. Moore, dating this pitcher between 1869 and 1891.\n\u003cbr\u003e\u003cbr\u003e\n7\" wide x 6\" deep x 7 1\/4\" high\n\u003cbr\u003e\u003cbr\u003e\nReference:\u003cbr\u003e\n\u003cem\u003eTiffany Silver,\u003c\/em\u003e, 1978, Charles H. Carpenter, Jr. with Mary Grace Carpenter","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43873581891719,"sku":"30-9351","price":12850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9351_1_61f66e9b-7d62-4766-8a9d-57aaad980d9f.png?v=1770666867"},{"product_id":"flare-gun-cane-1","title":"Flare Gun Cane","description":"This very rare and intriguing cane has the ability to launch rocket flares high into the air with a flick of the lever. An ebonized wood shaft and brass knob handle add a handsome touch to this system cane. \u003cbr\u003e\u003cbr\u003e 19th Century \u003cbr\u003e\u003cbr\u003e 34 7\/8\" length ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43874717532295,"sku":"30-1689","price":4450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-1689_1_7a54378c-4ed3-4198-b5ca-3c422c578784.png?v=1772358718"},{"product_id":"albatross-cameo-glass-perfume-by-thomas-webb-sons","title":"Albatross Cameo Glass Perfume by Thomas Webb \u0026 Sons","description":"This exceptionally rare cameo glass perfume bottle by Thomas Webb \u0026amp; Sons takes the form of an albatross. The upper layer of opal glass is expertly carved to reveal the brilliant yellow glass beneath, lending the bottle an impressive amount of depth and detail. Each feather is intricately rendered, bringing life to the avian masterpiece. \u003cbr\u003e\u003cbr\u003e A silver gilt cap by the Parisian silversmith Gustave Keller seals the bottle; it is cleverly decorated with a band of birds, while a locking hinge mechanism keeps the contents secure. The perfume bottle comes complete with its original Keller retail case. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Bottle: 7\" length x 1 5\/8\" deep x 1 1\/2\" high\u003cbr\u003e Case: 8 1\/8\" length x 2 5\/8\" deep x 2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43897093488775,"sku":"31-1575","price":18850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1575_1_84db58c1-2c09-42dd-8622-eddd91480ef6.png?v=1784056817"},{"product_id":"paul-storr-silver-tea-urn","title":"Paul Storr Silver Tea Urn","description":"This extraordinarily rare and masterfully crafted tea urn is by the hand of the master Georgian silversmith Paul Storr. Created by Storr while working for Rundell, Bridge and Rundell, Jewelers and Goldsmiths to the King, this magnificent piece truly represents the sophisticated style of the renowned firm and the enormous talents of Paul Storr. Applied and engraved decoration envelop this masterpiece equipped with a carved handle, lion's head spigot and spectacular lion's paw supports. The piece bears the arms of the Neave Baronetcy and those of Digby, for Sir Thomas Neave and his wife Frances Caroline, daughter of the Hon. William Digby, the Dean of Durham. \u003cbr\u003e\u003cbr\u003e Though he held no formal title, Storr enjoyed patronage from the most important and powerful figures of the period, including King George III and the Prince of Wales, the future King George IV. His first major work was a gold font commissioned by the Duke of Portland in 1797, and in 1799 he created the “Battle of the Nile Cup” for Lord Nelson. Many of Storr’s successes were partly due to the influence of Philip Rundell, of the popular silver retailing firm of Rundell, Bridge, and Rundell. Rundell’s firm nearly monopolized the early 19th-century market for superior silver, having obtained the Royal Warrant in 1806. A shrewd businessman, Rundell recognized the unique talents of Paul Storr and began pursuing him in 1803, but it wasn’t until after declining many offers that Storr finally joined the firm in 1806. Due to his remarkable talent, Storr was allowed to retain his own mark while working for Rundell. \u003cbr\u003e\u003cbr\u003e Without question, Paul Storr is considered among history's finest smiths and he is known for perfecting the works, styles, and designs of the Regency period. His legacy is an extraordinary body of work of superior craftsmanship and quality that has seldom been seen since. Today works by this amazing smith are highly regarded and collected by museums and silver connoisseurs from around the world, though pieces are increasingly scarce.  \u003cbr\u003e\u003cbr\u003e Hallmarked London, 1809 \u003cbr\u003e\u003cbr\u003e 17 1\/2\" wide x 16\" deep x 16\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40499739459719,"sku":"30-6179","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-6179_1_7376999f-7ed7-440f-a893-9fc289843286.png?v=1699778613"},{"product_id":"temple-of-vespasian-and-titus-roman-micromosaic","title":"Temple of Vespasian and Titus Roman Micromosaic","description":"The ruins of the ancient Roman Temple of Vespasian and Titus are the subject of this Italian micromosaic. Crafted in intricate detail, the scene is composed of thousands of tiny glass tiles that have been painstakingly chosen and placed to create a painting-like effect. A bucolic landscape surrounds the ruins, lending a sense of romance to the scene that is further enhanced by the presence of a mother and child seated near the temple's columns. It is an extraordinary example of this ancient art form that experienced a surge in popularity in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Vespasian was the Roman Emperor from 69 AD to 79 AD and the founder of the Flavian dynasty, which ruled the empire for 25 years. This temple was constructed to honor Vespasian and his older son and successor Titus (ruled 79-81 AD); it was completed by Titus’ brother, Domitian, around 87 AD. Titus and Vespasian were each deified through the ceremony of apotheosis. Thus, tradition dictated that they be honored by Roman citizens and subjects as Roman deities. This imperial worship was as much a sign of allegiance to the emperor of Rome as it was a formal religion. \u003cbr\u003e\u003cbr\u003e The temple suffered significant damage during medieval times, particularly circa 1300 under Pope Boniface VIII and in Pope Nicholas V's remodeling of the Forum. All that survives today is the podium's core, parts of the inner chamber, and the three Corinthian columns depicted in this classic micromosaic. The architrave surmounting the capitals displays the last few letters of an inscription, [R]ESTITVER[UNT] (meaning \"they restored\"), commemorating the restoration of the temple by Septimius Severus and his son, Caracalla, around 200 AD.  \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Micromosaic: 10 1\/2\" high x 12 5\/8\" wide\u003cbr\u003e Frame: 12 1\/2\" high x 14 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43873807597703,"sku":"31-3659","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3659_1.png?v=1770672650"},{"product_id":"french-dueling-pistols-by-deboubert","title":"French Dueling Pistols by Deboubert","description":"This handsome pair of .45-caliber percussion cap pistols, complete in their original case, was crafted by Deboubert of Paris. The octagonal muzzles are rifled with eight grooves, giving an accurate and lethal edge to these genteel weapons. Positioned in their fitted, velvet-lined case and with their accompanying accessories, these pistols are of exceptional quality and condition. Accouterments housed in the case include a mallet, cap box, ball box, cleaning rods, screw drive\/nipple wrench, flask and bullet mold. The mechanism on each pistol is engraved “DEBOUBERT A PARIS.” \u003cbr\u003e\u003cbr\u003e In the 1770s, gunsmiths, chiefly in England and France, began to produce purpose-built dueling pistols. These were usually made as \"cased pairs\" with two identical pistols in a box with powder flasks, bullet molds and other accessories. Many pistols were made with the flintlock mechanism, but this system had some deficiencies, including a vulnerability to weather and a significant delay between the trigger pull and actual firing of the gun. By 1815, gunsmiths were switching to the percussion-cap system, which proved to be much more reliable and less prone to misfire. \u003cbr\u003e\u003cbr\u003e Dueling was a privilege of the upper class. Gentlemen were expected to defend their honor and duels were conducted with exquisite politeness. Dueling developed in southern France during the Renaissance and flourished in Europe and North America in the 18th century. In the mid-1700s, the traditional dueling weapon, the sword, fell out of fashion in favor of the pistol. There were detailed guidelines for the conducting of duels, the most notable being the Rules and Articles of War, which governed not only how countries would interact when in conflict, but also an officer's behavior. Not behaving as a gentleman meant a loss of social standing. \u003cbr\u003e\u003cbr\u003e Circa 1830 \u003cbr\u003e\u003cbr\u003e Pistols: 16” length\u003cbr\u003e Case: 18 7\/8” wide x 10 1\/2” deep x 3 1\/8” high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40499747913863,"sku":"30-3923","price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-3923_1_66ce5276-e553-4f0d-80a4-39726f14ab3c.png?v=1702369096"},{"product_id":"regency-style-mahogany-leather-topped-table","title":"Regency-Style Mahogany Leather-Topped Table","description":"Crafted of rich mahogany, this library table displays all of the sophistication Regency-era furnishings are known for. This table features a straightforward design with beautifully carved details on the legs and frieze. A tooled and gilded red leather surface tops the desk, and lockable drawers with brass pulls provide storage for one's confidential documents. \u003cbr\u003e\u003cbr\u003e 42\" wide x 42\" deep x 31 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238164734087,"sku":"30-7867","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-7867_1.png?v=1717921563"},{"product_id":"buste-dhomme-barbu-by-pablo-picasso","title":"Buste d'homme barbu by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBuste d'homme barbu\u003cbr\u003e (Bust of a Bearded Man)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Picasso\" (upper right) and dated \"8.4.65\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Pablo Picasso and his work transcend art history: they have achieved global celebrity within both academic circles and popular culture. More than any other artist, his ever-evolving, evocative style has come to define modern art of the 20th century, and to this day he continues to gain recognition. The most compelling of his works offer a glimpse into the psyche of the master himself, and the present work can be counted among these. Combining saturated color with a jarring simplicity, \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e represents an important series of bearded men portraits that the artist composed during the last few years of his life. These works are among the most highly personal and intimate of his career, and they serve as remarkable examples of his mature style with their highly modern expressivity. \u003cbr\u003e\u003cbr\u003e Many of Picasso's works from his last years capture the visage of his wife Jacqueline, who was his chief model during this period. In April, however, at his home studio in Mougins, France, Picasso changed direction and produced a series of individual portraits of men. His male subjects derive from various sources. Often they were self-referential portraits; often they referenced his father, Spanish painter José Ruiz y Blasco. Picasso once said, \"Every time I draw a man, I find myself thinking of my father… To me a man means 'Don José,' and it will always be so, all my life… He wore a beard… All the men I draw I see more or less with his features.\" \u003cbr\u003e\u003cbr\u003e While his father’s dark mustache and beard are clearly distinguished in \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e, Picasso's portraits of men from the mid-1960s served more as composite, archetypal figures representing vitality and virility. Although he would live eight more years after this work was created in April of 1965, at the age of 84, Picasso was preoccupied with thoughts of aging and mortality. He was suffering from an ulcer that would require surgery later that year. He seemed to combat these thoughts with a burst of youthful, creative energy, and the mid-1960s witnessed an outpouring of productivity from Picasso, with his subjects such as this displaying that same vitality. \u003cbr\u003e\u003cbr\u003e Highly modern and expressionistic, this painting explores an extreme simplification of form, breaking the figure down to its basic essentials. Remarkably, though, Picasso still managed to capture the most expressive features of his subjects in just a few choice brushstrokes. His male portraits from this period employ a particular set of facial traits delineated with decisive swoops of color to suggest a nose or a cheekbone, built up upon fields of white paint. Composed with a highly simplified palette and sparsity of line, \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e successfully evokes a striking sense of vigor. This character is also endowed with a powerful, hypnotic gaze, the \u003cem\u003emirada fuerte\u003c\/em\u003e, that Picasso included in many of his portraits. These wide eyes allude both to ancient portraiture and to the artist himself, who was known personally for his strong gaze, an indication that he has projected himself onto the figure. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid, before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Critics have often divided Picasso’s artistic output into distinct phases based on his color scheme and style of painting. It was around 1907 that Picasso became very influenced by African masks and art which began making their way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eLes Demoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e Other examples of late portraits by Picasso reside in important museums worldwide such as the Metropolitan Museum of Art, the Museé Picasso in Paris and the Museu Picasso in Barcelona. \u003cbr\u003e\u003cbr\u003e Dated 1965 \u003cbr\u003e\u003cbr\u003e Canvas: 31 1\/2\" high x 25 1\/2\" wide (83.82 x 68.90 cm)\u003cbr\u003e Frame: 33\" high x 27 1\/8\" wide (80.01 x 64.77 cm)  \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5479.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Louise Leiris, Paris\u003cbr\u003e Private collection\u003cbr\u003e Christie’s New York, November 14, 1990, Impressionist and modern paintings, and sculpture (part 1), lot 47\u003cbr\u003e Private collection\u003cbr\u003e Christie’s New York, May 13, 1998, 20th Century Art, lot 238\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003ePablo Picasso\u003c\/em\u003e, Volume 25, 1971, by C. Zervos, p. 57, no. 101 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44310043066503,"sku":"31-5479","price":7950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5479_1_c5bd6857-98ba-4449-a96f-b00785f15832.png?v=1787844019"},{"product_id":"art-deco-trombone-cocktail-shaker","title":"Art Deco Trombone Cocktail Shaker","description":"Charming and whimsical, this Art Deco silver-plated cocktail shaker takes the form of a stylized slide trombone. In the glamorous \"Roaring Twenties,\" new musical styles including jazz, blues and ragtime were reaching grand heights of popularity. Instruments like the trombone were an essential part of the upbeat and syncopated rhythms that kept the nightclubs of the era dancing. \u003cbr\u003e\u003cbr\u003e Originally manufactured by Napier, USA for Alfred Dunhill of London, the shaker's cover and fitted pump are analogous to the trombone's \"mouthpiece,\" while its spout forms the slide. Pumping the mouthpiece allows the cocktail to be mixed thoroughly, while the swiveling slide dispenses the perfect pour. \u003cbr\u003e\u003cbr\u003e Circa 1925 \u003cbr\u003e\u003cbr\u003e Stamped \"NAPIER \/ PAT.PEND.\" and \"DUNHILL, LONDON\" on base \u003cbr\u003e\u003cbr\u003e 15 1\/4\" high x 4 3\/8\" diameter","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43874249244807,"sku":"31-6558","price":28500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6558_1_f9d6fd12-4e05-4d6e-b63e-49e3ab2ca290.png?v=1772352328"},{"product_id":"pair-of-blue-john-and-bronze-cassolettes","title":"Pair of Blue John and Bronze Cassolettes","description":"Blending natural wonder and artistic prowess, this magnificent pair of cassolettes is a symphony of craftsmanship. The intricate gilt bronze decor, only made possible by the finest craftsmen of the 19th century, is further elevated by the bodies, formed from stunning examples of Blue John. The Blue John specimens are not only remarkable in size but also stunning in the natural patterns of the hardstone. The translucent crystalline layers of the stone radiate outwards in bands of deep blues, rich purples and golden yellows. It embodies all of the best attributes of this highly coveted material. Only the most gifted of artisans were charged with crafting exquisite masterworks such as this, as Blue John demands a great deal of skill in its handling. A soft and brittle stone, it responds very quickly to heat and must be carefully dried to retain its original color.  \u003cbr\u003e\u003cbr\u003e The term \"cassolette\" is from the French word \u003cem\u003ecassole,\u003c\/em\u003e meaning \"small container.\" While the word has other meanings in culinary respects, in the decorative arts, cassolettes are small covered vases meant to hold perfumed substances or incense. Popular during the 18th and 19th centuries, these objets d'art were crafted from all manner of materials, including marble, porcelain and bronze. The most coveted examples were formed from desirable stones such as Blue John, amethyst or chalcedony, as seen in the present pair. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Each: 11\" high x 5 7\/8\" wide x 4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42508351897735,"sku":"31-8348","price":68850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8348_1.png?v=1743858789"},{"product_id":"the-royal-boulle-marquetry-commode-by-blake","title":"The Royal Boulle Marquetry Commode by Blake","description":"This monumental Boulle commode was crafted by Robert Blake, one of the finest and most important English cabinetmakers of his time. It is modeled after the legendary pair of commodes made for France’s King Louis XIV by master ébéniste André-Charles Boulle, which is perhaps the most famous and esteemed of all the treasures now housed at the Palace of Versailles. Constructed of ebony and enveloped on all sides with phenomenal tortoiseshell and doré bronze marquetry and ormolu mounts of undeniable skill and artistry, this commode is the pinnacle of furniture craftsmanship. \u003cbr\u003e\u003cbr\u003e The original commodes made by Boulle inspired re-interpretations by history’s most esteemed craftsmen. First created and supplied in 1708 by Boulle for Louis XIV’s bed chamber at Versailles, the original pair was one of only four furnishings deemed worthy enough to be rescued from both destruction and sale after the French Revolution. They were placed in the Bibliothèque Mazarine at the Institut de France, where they became known as the Mazarine Commodes, but have since been returned to Versailles.  \u003cbr\u003e\u003cbr\u003e The commode’s top features a striking example of rare Campan marble, sourced from quarries in the French Pyrenees. This exceptional stone exhibits a refined blend of green, pink, red and white veining—distinguished by its subtler red tones compared to Italian varieties. Reflecting Boulle’s masterful innovation, the marble top is designed to be removable, resting securely within a slightly recessed edge on the wooden frame. This meticulous construction ensures stability without the use of glue, preserving the integrity of the piece. \u003cbr\u003e\u003cbr\u003e The Blake family of cabinet makers was known for their breathtakingly executed Boulle-style marquetry. Blake’s signed works are housed in the Victoria \u0026amp; Albert Museum, the Metropolitan Museum of Art and the Frick Collection, at which one of the few similar pairs of commodes signed by Blake resides. \u003cbr\u003e\u003cbr\u003e Signed Blake London inside a winged sphinx \u003cbr\u003e\u003cbr\u003e Circa 1850 \u003cbr\u003e\u003cbr\u003e 35“ high x 47 1\/2” wide x 24“ deep (88.90 x 120.65 x 60.96 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Important French Estate\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42332240576647,"sku":"31-6676","price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6676_1.png?v=1741267642"},{"product_id":"thomas-webb-sons-cameo-luna-vase-by-george-woodall","title":"Thomas Webb \u0026 Sons Cameo Luna Vase by George Woodall","description":"Of all the glassworks created in the second half of the 19th century, the most difficult to perfect were those done in cameo. Very few artisans ever achieved success in hand-crafting cameo glass, and by far, the most accomplished of these craftsmen was the firm of Thomas Webb and Co. Webb’s cameo masterpieces were far finer than those of any of their major French contemporaries. The most important cameo artisan at Webb was George Woodall, and his greatest creations were his cameo vases done in the neoclassical style, depicting young maidens. These creations are exceptionally rare and seldom come on the market. \u003cbr\u003e\u003cbr\u003e This intricately crafted figural vase exemplifies why Woodall is credited with elevating the art of cameo glass to new heights. The central figure, the goddess Luna, is rendered with stunning precision. As she sits amongst the clouds, her ethereal nature is enhanced by the contrast between her delicate opaque white figure and the rich amethyst-colored glass beneath, creating extraordinary depth. \u003cbr\u003e\u003cbr\u003e Born into a lineage of glassmakers, Thomas Wilkes Webb founded Thomas Webb \u0026amp; Sons in 1837, revolutionizing the market with high-quality engraved crystal and colored glass. His significant contributions earned him the title of Chevalier of the Legion of Honor, and the company gained renown as \"The Crystal King of England.\" After his death in 1869, his sons Thomas, Charles, and Walter further elevated the company by improving working conditions and fostering creativity among their craftsmen. They hired notable artisans George and his brother Thomas Woodall, as well as art director James O’Fallon, who played pivotal roles in developing new cameo glass designs. George Woodall, the master cameo artist, was instrumental in the success of Thomas Webb \u0026amp; Sons. Renowned for his intricate and refined cameo work, Woodall’s pieces are highly sought after by collectors and connoisseurs, solidifying his legacy within the world of fine glassmaking. \u003cbr\u003e\u003cbr\u003e Similar examples have sold in auction for over two-hundred thousand dollars. \u003ca href=\"https:\/\/msrauantiques2022.my.salesforce.com\/sfc\/p\/8c000000eEg1\/a\/Vb000000Xxm6\/O3T9di_kfv69rh58tYyJv08tScuCe_LlwB7SkbUfSto\" target=\"new\"\u003e\u003cb\u003e See link here\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Incised \"Geo. Woodall \/ Luna \/ Thos. Webb \u0026amp; Sons\" \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e 9\" high x 4\" diameter \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Geoffrey W. Beard, Nineteenth Century Cameo Glass, Newport 1956, p. 85, cited \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44518927499399,"sku":"31-9571","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9571_1_077b1839-1568-4975-885e-afd492acb95b.png?v=1777555758"},{"product_id":"thomas-webb-sons-syrena-cameo-vase-by-george-woodall","title":"Thomas Webb \u0026 Sons Syrena Cameo Vase by George Woodall","description":"Of all the glassworks created in the second half of the 19th century, the most difficult to perfect were those done in cameo. Very few artisans ever achieved success in hand-crafting cameo glass, and by far, the most accomplished of these craftsmen was the firm of Thomas Webb and Co. Webb’s cameo masterpieces were far finer than those of any of their major French contemporaries. The most important cameo artisan at Webb was George Woodall, and his greatest creations were his cameo vases done in the neoclassical style, depicting young maidens. These creations are exceptionally rare and seldom come on the market. \u003cbr\u003e\u003cbr\u003e This intricately crafted figural vase exemplifies why Woodall is credited with elevating the art of cameo glass to new heights. The central figure, a siren playing the harp, is rendered with stunning precision. Her ethereal nature is enhanced by the contrast between the opaque white figure and the rich underlying colors, creating a serene yet powerful composition. \u003cbr\u003e\u003cbr\u003e Born into a lineage of glassmakers, Thomas Wilkes Webb founded Thomas Webb \u0026amp; Sons in 1837, revolutionizing the market with high-quality engraved crystal and colored glass. His significant contributions earned him the title of Chevalier of the Legion of Honor, and the company gained renown as \"The Crystal King of England.\" After his death in 1869, his sons Thomas, Charles, and Walter further elevated the company by improving working conditions and fostering creativity among their craftsmen. They hired notable artisans George and his brother Thomas Woodall, as well as art director James O’Fallon, who played pivotal roles in developing new cameo glass designs. George Woodall, the master cameo artist, was instrumental in the success of Thomas Webb \u0026amp; Sons. Renowned for his intricate and refined cameo work, Woodall’s pieces are highly sought after by collectors and connoisseurs, solidifying his legacy within the world of fine glassmaking. \u003cbr\u003e\u003cbr\u003e Similar examples have sold in auction for over two-hundred thousand dollars.\u003ca href=\"https:\/\/msrauantiques2022.my.salesforce.com\/sfc\/p\/8c000000eEg1\/a\/Vb000000Xxm6\/O3T9di_kfv69rh58tYyJv08tScuCe_LlwB7SkbUfSto\" target=\"new\"\u003e\u003cb\u003e See link here\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Inscribed “Geo. Woodall \/ Syrena” \u003cbr\u003e\u003cbr\u003e Circa 1914 \u003cbr\u003e\u003cbr\u003e 8 1\/2\" high x 4\" in diameter \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Arthur Churchill Ltd., Glass Notes, no. 8, London 1948, pp. 22-24, fig. 15\u003cbr\u003e Geoffrey W. Beard, Nineteenth Century Cameo Glass, Newport 1956, p. 91, cited\u003cbr\u003e E Barrington-Haynes, Glass Through the Ages, pl. 43, fig. C\u003cbr\u003e Christopher Woodall Perry, The Cameo Glass of Thomas and George Woodall, Shepton Beauchamp 2000, p. 91, illus. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Arthur Churchill Glass, bearing label\u003cbr\u003e Dr. M. Mitman, Dartford (by 1956)\u003cbr\u003e Sotheby's London, November 14th, 1995, lot 428\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875379740807,"sku":"31-9572","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9572_1_9fb4f0fe-3d96-4d9f-a375-73fbb9331443.png?v=1772362310"},{"product_id":"thomas-webb-son-two-handled-cameo-amphora-vase-by-thomas-woodall","title":"Thomas Webb \u0026 Son Two-Handled Cameo Amphora Vase by Thomas Woodall","description":"Of all the glassworks produced in the late 19th century, cameo glass was the most challenging to perfect. Only a handful of artisans succeeded in mastering this intricate craft, with the firm of Thomas Webb and Co. standing out as the most accomplished. Webb’s cameo masterpieces surpassed those of their major French contemporaries in finesse and artistry. At Webb, the renowned brothers Thomas and George Woodall managed the cameo glass operations, ensuring the creation of glassworks that are exceptionally rare and rarely seen on the market today. \u003cbr\u003e\u003cbr\u003e This intricately crafted amphora vase exemplifies Thomas Woodall’s expertise as a designer. The two-handled vase stands gracefully, overlaid in opaque white, and carved through to the light brown glass underneath with foliate \u003cem\u003eBerainesque\u003c\/em\u003e ornament, leaf garlands and delicate flowers. \u003cbr\u003e\u003cbr\u003e Born into a lineage of glassmakers, Thomas Wilkes Webb founded Thomas Webb \u0026amp; Sons in 1837, revolutionizing the market with high-quality engraved crystal and colored glass. His significant contributions earned him the title of Chevalier of the Legion of Honor, and the company gained renown as \"The Crystal King of England.\" After his death in 1869, his sons Thomas, Charles, and Walter further elevated the company by improving working conditions and fostering creativity among their craftsmen. They hired notable artisans Thomas and his brother George Woodall, as well as art director James O’Fallon, who played pivotal roles in developing new cameo glass designs. The Woodall brothers, the master cameo artists, were instrumental in the success of Thomas Webb \u0026amp; Sons. Renowned for their intricate and refined cameo work, Woodall’s works are highly sought after by collectors and connoisseurs, solidifying his legacy within the world of fine glassmaking. \u003cbr\u003e\u003cbr\u003e Circa 1884 \u003cbr\u003e\u003cbr\u003e 7 1\/2” high x 3 1\/4” wide x 3 1\/4” deep \u003cbr\u003e\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875376988295,"sku":"31-9569","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9569_1.png?v=1781889696"},{"product_id":"thomas-webb-sons-two-color-cameo-vase","title":"Thomas Webb \u0026 Sons Two-Color Cameo Vase","description":"Of all the glassworks produced in the late 19th century, cameo glass was the most challenging to perfect. Only a handful of artisans succeeded in mastering this intricate craft, with the firm of Thomas Webb \u0026amp; Sons standing out as the most accomplished. Webb’s cameo masterpieces surpassed those of their major French contemporaries in finesse and artistry. At Webb, the renowned brothers Thomas and George Woodall managed the cameo glass operations, ensuring the creation of glassworks that were exquisite and exceptionally rare on the market today. \u003cbr\u003e\u003cbr\u003e This intricately crafted vase exemplifies the expertise and ingenuity for which Thomas Webb \u0026amp; Sons became so revered. The vase's petite ovoid shape curves gracefully, overlaid in translucent red and opaque white that is carved through to the light pink glass beneath. The beautifully detailed hand-carved pattern includes masterful trompe l'oeil drapery around the neck along with an array of blossoming flora and fauna. On each side, majestic birds dive for fish in the water below them, framed by flowering chrysanthemums and lifelike gnarled branches. \u003cbr\u003e\u003cbr\u003e Born into a lineage of glassmakers, Thomas Wilkes Webb founded Thomas Webb \u0026amp; Sons in 1837, revolutionizing the market with high-quality engraved crystal and colored glass. His significant contributions earned him the title of Chevalier of the Legion of Honor, and the company gained renown as \"The Crystal King of England.\" After his death in 1869, his sons Thomas, Charles, and Walter further elevated the company by improving working conditions and fostering creativity among their craftsmen. They hired notable artisans Thomas and his brother George Woodall, as well as art director James O’Fallon, who played pivotal roles in developing new cameo glass designs. The Woodall brothers, the master cameo artists, were instrumental in the success of Thomas Webb \u0026amp; Sons. \u003cbr\u003e\u003cbr\u003e Circa 1885-90 \u003cbr\u003e\u003cbr\u003e 7 1\/2” high x 6 3\/4” wide x 3” deep \u003cbr\u003e\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43875382067335,"sku":"31-9575","price":18850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9575_1_97f8700b-6664-4e9f-ba57-99e70b47f3e6.png?v=1783632143"},{"product_id":"la-carmencita-by-john-singer-sargent","title":"La Carmencita by John Singer Sargent","description":"John Singer Sargent\u003cbr\u003e 1856-1925 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Carmencita\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped by artist's estate (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e John Singer Sargent, widely regarded as one of history's most distinguished portraitists, created this captivating oil on canvas titled \u003cem\u003eLa Carmencita\u003c\/em\u003e in 1890, the height of his astonishing career. This portrait masterfully captures the dynamic energy and magnetic allure of the renowned Spanish dancer Carmen Dauset, known as La Carmencita. The painting exemplifies Sargent’s unparalleled ability to combine his technical virtuosity with profound emotional depth. \u003cbr\u003e\u003cbr\u003e In this remarkable composition, Sargent masterfully employs light and shadow to create a sense of movement and vibrancy. La Carmencita is captured mid-performance, her figure animated with the energy and grace that made her an international sensation. The stark contrast between her pale skin and dark hair, accentuated by the vibrant red rose in her hair and the shimmer of her fringed shawl, draws the viewer’s eye and underscores her dynamic presence. Sargent’s minimalist background further enhances the focus on La Carmencita, allowing her expressive features and lively posture to dominate the composition. The careful interplay of colors and the fluidity of Sargent’s brushstrokes bring the portrait to life, making it a true masterpiece of movement and expression. \u003cbr\u003e\u003cbr\u003e La Carmencita was a trailblazing dancer who captivated audiences on both sides of the Atlantic. According to film historian Charles Musser, she was the first woman to appear in a modern motion picture made for commercial purposes and may have been the earliest female to feature in any motion picture. Her performances were characterized by a fiery passion and a magnetic presence, qualities that Sargent skillfully captured in this portrait. \u003cbr\u003e\u003cbr\u003e In 1890, Sargent and Isabella Stewart Gardner arranged a gathering at William Merritt Chase’s Tenth Street studio, where La Carmencita performed for their circle of friends. Sargent then persuaded the dancer to sit for several studio sessions, resulting in two oil paintings and a series of drawings. These works culminated in the renowned full-length portrait that now resides in the Musée d’Orsay. Among Sargent’s many dance-themed works, the d’Orsay’s La Carmencita was called “the picture of the year” when it was shown in London in 1891. Our portrait, with its up-close focus and vivid depiction of movement, is a much more intimate glimpse of Sargent's fascination with this exceptional muse. \u003cbr\u003e\u003cbr\u003e While the full-length composition traveled to France, the present portrait almost certainly remained fondly in the collection of La Carmencita herself until she died in 1910. It then returned to Sargent who kept it until his death. When the artist’s personal collection was sold at Christie's in 1925, our painting was bought by the artist’s sister, Violet Ormond, who knew of her brother’s love for the work, and it remained in her family until 1986. La Carmencita was exhibited widely, most notably in Boston’s Copley Hall in 1899 and the Royal Scottish Academy in 1928. The painting has also been well-represented in major publications. \u003cbr\u003e\u003cbr\u003e Born in Florence to American parents, John Singer Sargent displayed exceptional artistic talent from a young age. He trained in Paris under the tutelage of the great Émile Auguste Carolus-Duran, whose influence helped shape Sargent's distinctive style—a blend of realism with a modernist flair. By the time Sargent painted \u003cem\u003eLa Carmencita\u003c\/em\u003e, he had already established himself as one of the premier portraitists of the late 19th century, known for his ability to capture the essence of his subjects with unparalleled precision. Today, he is widely regarded as one of the greatest painters in history, with works represented in major collections including the Museum of Fine Arts, Boston and the Metropolitan Museum of Art.  \u003cbr\u003e\u003cbr\u003e Painted 1890 \u003cbr\u003e\u003cbr\u003e Canvas: 28\" high x 19\" wide (71.12 x 48.26 cm)\u003cbr\u003e Frame: 38\" high x 29 1\/2\" wide x 3\" deep (96.52 x 74.93 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-9763.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Carmen “Carmencita” Dauset (possibly), from the artist, until her death in 1910\u003cbr\u003e Collection of the artist, until his death in 1925\u003cbr\u003e Sale: Christie’s London, John Singer Sargent’s Studio Sale, July 24, 1925, lot 119\u003cbr\u003e Violet Ormond, the artist’s sister, purchased at the above sale\u003cbr\u003e Jean-Louis Ormond, by descent from the above, 1955–1986\u003cbr\u003e Harry and Brigitte Spiro, New York, 1987\u003cbr\u003e Private collection, 1993\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e William Howe Downes, John S. Sargent, His Life and Work (Boston: Little Brown, 1925 and London: Thornton Butterworth, 1926), p. 161\u003cbr\u003e Evan Charteris, John Sargent (London: London Heinemann, 1927), p. 109; 262\u003cbr\u003e The Sargent Trust List of Paintings and Drawings (London, 1927), p. 32, no. 4\u003cbr\u003e Archibald Standish Hartrick, A Painter’s Pilgrimage, through Fifty Years (Cambridge: Cambridge University Press, 1939), p. 127\u003cbr\u003e Charles Merrill Mount, John Singer Sargent: A Biography (New York: Norton, 1955 and London: Cresset Press, 1957 and New York: Kraus, 1969), p. 432, no. 909\u003cbr\u003e David McKibbin, Sargent’s Boston: With an Essay \u0026amp; a Biographical Summary \u0026amp; a Complete Check List of Sargent’s Portraits (Boston: Museum of Fine Arts, 1956), p. 87\u003cbr\u003e Richard Ormond and Elaine Kilmurray, John Singer Sargent: Portraits of the 1890s, Complete Paintings, Volume II (New Haven and London: Yale University Press, 2002), p. 23 – 24, no. 236 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Boston, MA, Copley Hall, Paintings and Sketches by John Singer Sargent, R.A., February 20 – March 13, 1899, p. 15, no. 69 (as Sketch of Carmencita Singing)\u003cbr\u003e London, Carfax \u0026amp; Co., Loan Exhibition of Sketches and Studies by J.S. Sargent R.A., May – June, 1903, no. 29 (as Carmencita)\u003cbr\u003e Edinburgh, Royal Scottish Academy, One Hundred and Second Annual Exhibition of the Royal Scottish Academy, April 21 – August 25, 1928, no. 207\u003cbr\u003e New York, Coe Kerr Gallery, American Impressionism II, May 19 – June 23, 1989, no. 39 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050950193287,"sku":"31-9763","price":1785000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9763_1_e2b9837e-2888-4193-be80-6a700c48abde.png?v=1789672869"},{"product_id":"pair-of-carrara-marble-busts-of-the-emperor-napoleon-and-empress-marie-louise","title":"Pair of Carrara Marble Busts of the Emperor Napoleon and Empress Marie Louise","description":"\u003cem\u003e\"I am a true Roman Emperor; I am of the best race of the Caesars—those who are founders.\" –Napoleon Bonaparte, 1812\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Among the most iconic and celebrated figures in history, Napoleon Bonaparte's legacy has been immortalized in countless works of art. Yet few pieces carry the personal significance and rarity of this extraordinary pair of Carrara marble busts, almost certainly commissioned by the Emperor himself. These stunning sculptures, depicting Napoleon and his second wife, Empress Marie Louise, stand as some of the most exceptional examples of Napoleonic busts not currently housed in a museum—masterpieces of both historical and artistic importance. \u003cbr\u003e\u003cbr\u003e The busts were likely imperial commissions created to adorn key locations during Napoleon’s reign, embodying the grandeur of his empire. After Napoleon fell from power, these sculptures passed from his personal collection to the next most significant ruler of 19th-century France: his nephew, Emperor Napoleon III. During his reign, both busts were prominently displayed at the imperial Château de Compiègne, one of Napoleon III’s most important palaces. Following his abdication in 1870, the Emperor and Empress Eugénie took the busts with them into exile in England. They were among the few treasured possessions they could bring. After Napoleon III’s death, the busts were separated by Empress Eugénie and later reunited in 1936 by the esteemed Parisian art dealer Élie Fabius. \u003cbr\u003e\u003cbr\u003e As a visionary leader and cultural influencer, Napoleon was known to commission only the finest artists to craft his likeness in marble. The bust of Empress Marie Louise is signed by the renowned Italian sculptor Gaetano Matteo Monti of Ravenna, likely created around 1810 to commemorate her marriage to the Emperor. Monti’s skill in rendering her delicate features in marble exemplifies his exceptional talent, immortalizing her elegance in stone. \u003cbr\u003e\u003cbr\u003e The accompanying bust of Napoleon, attributed to the celebrated sculptor Lorenzo Bartolini, was almost certainly carved earlier, around 1807. Bartolini was one of Napoleon’s favored artists, personally selected by the Emperor to direct the prestigious Carrara sculpture workshop in 1807. The exemplary craftsmanship of this bust, particularly the detailed laurel wreath and the nuanced portrayal of Napoleon's facial musculature, is consistent with Bartolini’s renowned imperial bust now housed at Versailles. This attribution places Napoleon's bust as one of the finest not presently housed in a museum collection. \u003cbr\u003e\u003cbr\u003e The only other similar pair of marbles is the one attributed to Angelo Pizzi at the Museo Correr in Venice, highlighting the exceptional rarity and quality of our pair. The finesse of the carving and the elegant compositions of these busts surpass their Venetian counterparts, suggesting that the Pizzi busts in Venice may have been modeled after these superior works by Bartolini and Monti. Napoleon revered the legendary leaders of the Roman Empire—especially the military genius of Julius Caesar—and many of his iconic images, including these busts, posed Napoleon and his Empire as heirs to the great dynasty of Caesars. \u003cbr\u003e\u003cbr\u003e Standing on beautiful matching bases, these monumental busts possess both an imposing presence and an undeniable beauty. Their storied provenance—having graced the imperial residence of both Napoleon I and Napoleon III—makes them an extraordinary find. To own these very works, once displayed with pride by two of history’s most significant rulers, is a once-in-a-lifetime opportunity. These busts are more than fine marble sculptures. They are tangible links to the grandeur and legacy of the Napoleonic Empire, embodying the iconic reign and strategic genius of one of the most legendary leaders in history, Napoleon Bonaparte. \u003cbr\u003e\u003cbr\u003e Bust of Marie Louise signed \"GMR\" for Gaetano Matteo Monti of Ravenna \u003cbr\u003e\u003cbr\u003e Circa 1807 and 1810 \u003cbr\u003e\u003cbr\u003e Bust of Napoleon: 30 1\/16\" high x 24\" wide x 12 1\/2\" deep\u003cbr\u003e On base: 74 3\/8\" high \u003cbr\u003e\u003cbr\u003e Bust of Marie Louise: 30 9\/16\" high x 20\" wide x 13 1\/8\" deep\u003cbr\u003e On Base: 74\" high \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-9781.pdf\" target=\"new\"\u003e\u003cb\u003eView the Book\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e \u003cb\u003eProvenance of the Bust of Napoleon:\u003c\/b\u003e\u003cbr\u003e Commissioned by Napoleon I, Château de Compiègne (likely), circa 1807\u003cbr\u003e The personal collection of Emperor Napoleon III at Château de Compiègne\u003cbr\u003e Thence to Napoleon III’s widow, the Empress Eugénie\u003cbr\u003e Gifted to Firmin Rainbeaux by Empress Eugénie on 18th April 1881\u003cbr\u003e By descent from Firmin Rainbeaux to his son Félix Rainbeaux\u003cbr\u003e Sale, Hôtel Drouot, Paris, “Succession de M. Félix Rainbeaux, Fils de Firmin Rainbeaux, écuyer de l’Empereur Napoleon III souvenirs napoléoniens: fusils, pistolets, couteaux de vénerie, dagues, miniatures etc,” 23rd October 1936, lot 267\u003cbr\u003e Élie Fabius, purchased from the above sale\u003cbr\u003e Private collection, Stuttgart, Germany\u003cbr\u003e Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Marie Louise, both illustrated on the front cover\u003cbr\u003e Private collection, Switzerland\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \u003cb\u003eProvenance of the Bust of Marie Louise:\u003c\/b\u003e\u003cbr\u003e Commissioned by Napoleon I, Château de Compiègne (likely), circa 1810\u003cbr\u003e The personal collection of Emperor Napoleon III at Château de Compiègne\u003cbr\u003e Thence to Napoleon III’s widow, the Empress Eugénie\u003cbr\u003e Sale, Hampton \u0026amp; Sons of London, “English and French Furniture, the Remaining Library, Porcelain, Sculpture, Bronzes, Table Plate, China and Glass Services, Pictures, Drawings, Prints, Vintage Wines etc” from Empress Eugénie’s home at Farnborough Hill, Hampshire, 18–27th July 1927, lot 1328\u003cbr\u003e Élie Fabius, purchased from the above sale\u003cbr\u003e Private collection, Stuttgart\u003cbr\u003e Sale, Galerie Koller, Zurich, 2nd November 1995, lot 4162, with bust of Napoleon, both illustrated on the front cover\u003cbr\u003e Private collection, Switzerland\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \u003cb\u003eLiterature:\u003c\/b\u003e\u003cbr\u003e Georges Mauguin, “L’Iconographie Napoléonnienne au Palais National des Arts”, in \u003cem\u003eRevue de l’Institut Napoléon\u003c\/em\u003e, 1er trimestre, 1938; opposite p. 40, illustrated\u003cbr\u003e Gérard Hubert, \u003cem\u003eLa Sculpture dans l’Italie Napoléonienne\u003c\/em\u003e, 1964, p. 349, illustrated\u003cbr\u003e Galerie Koller, Zürich, Sale catalogue, \u003cem\u003eEine Hochbedeutende Europäische Privatsammlung: Napoleonica, möbel, bronzen, pendulen, skulpturen, gemälde, miniaturen\u003c\/em\u003e, 02 November 1995, lot 4162, illustrated\u003cbr\u003e Gérard Hubert and Guy Ledoux-Lebard, \u003cem\u003eNapoléon, portraits contemporains bustes et statues\u003c\/em\u003e, 1999, p. 98, pl. 70, illustrated\u003cbr\u003e Olivier Gabet, \u003cem\u003eUn marchand entre deux empires - Élie Fabius et le monde de l’art\u003c\/em\u003e, 2011, p. 77\u003cbr\u003e Enrico Noè, “Lo scultore Angelo Pizzi (Milano 1775–Venezia 1819)” in \u003cem\u003eSaggi e Memorie di storia dell’arte\u003c\/em\u003e, vol. 36, 2012, p. 264, pl. 48 \u0026amp; p. 265, pl. 49, illustrated \u003cbr\u003e\u003cbr\u003e \u003cb\u003eExhibited:\u003c\/b\u003e\u003cbr\u003e Musée National de Malmaison, \u003cem\u003eDe Napoleon Ier à Napoleon III, Souvenirs de la Famille Impériale, Conservés par l’Impératrice Eugénie dans sa Résidence de Farnborough et Provenant de sa Succession\u003c\/em\u003e 1928, no. 15, p. 10\u003cbr\u003e Musée de l’Orangerie, Paris, \u003cem\u003eSouvenirs du Roi de Rome\u003c\/em\u003e, 1932, no. 209\u003cbr\u003e Bibliothèque National, Paris, \u003cem\u003e318 Lettres de Napoléon à Marie-Louise\u003c\/em\u003e, 1935, no. 10\u003cbr\u003e Palais National des Arts, Paris, \u003cem\u003eChefs d’Oeuvre de l’Art Français\u003c\/em\u003e, 1937, nos. 1105 \u0026amp; 1106\u003cbr\u003e The World’s Fair, New York, \u003cem\u003eFive Centuries of History Mirrored in Five Centuries of French Art\u003c\/em\u003e, 1939, no. 322, pl. LV \u0026amp; no. 323, pl. LIV","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231128420487,"sku":"31-9781","price":1650000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9781_1_6f3246a8-b8cc-49da-b85d-30668472d908.png?v=1758656468"},{"product_id":"automne-dor-by-andre-brasilier","title":"Automne d'or by André Brasilier","description":"André Brasilier\u003cbr\u003e 1929-2026 I French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAutomne d'or\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “André Brasilier” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eAutomne d'or\u003c\/em\u003e, celebrated French artist André Brasilier exquisitely conveys the essence of his distinctive style, merging expressive lyricism with a serene autumnal atmosphere. This mesmerizing scene reflects Brasilier’s signature themes: a symphony of rich hues and a profound connection to the natural world. Famed for his poetic interpretations of horses, Brasilier presents a vibrant tableau where a procession of powerful horses and their riders gallops through a landscape ablaze with the fiery tones of fall. \u003cbr\u003e\u003cbr\u003e Rendered with elegant simplicity, the horses exude a quiet power and grace. Brasilier’s use of broad, sweeping areas of color imparts harmony and depth to the composition, and his meticulous study of equine form and movement is on full display. The autumnal setting bursts with vibrant golds and russet tones, as the foliage glows beneath a soft, diffused light, illustrating Brasilier’s masterful ability to balance bold color with delicate atmospheric nuance. \u003cbr\u003e\u003cbr\u003e Born to artist parents, Brasilier was steeped in the art world from a young age. He trained at the prestigious École des Beaux-Arts in Paris and swiftly gained recognition, winning both the Prix Florence Blumenthal in 1952 and the Prix de Rome in 1953. A rare honor, Brasilier had a retrospective at the Hermitage Museum in Saint Petersburg alongside only one other artist, Pablo Picasso. His works exhibited with the likes of Braque, Chagall and Miro, are celebrated worldwide and reside in prominent collections, including the Metropolitan Museum of Art in New York. \u003cbr\u003e\u003cbr\u003e Canvas: 25 5\/8“ high x 39 1\/2” wide (65.09 x 100.33 cm)\u003cbr\u003e Frame: 34 3\/8“ high x 48 1\/4” wide x 1 3\/4“ deep (87.31 x 122.56 x 4.45 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42776543035527,"sku":"32-0517","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0517_1.png?v=1789060818"},{"product_id":"specimen-table-attributed-to-william-trotter","title":"Specimen Table Attributed to William Trotter","description":"Octagonal Specimen Table\u003cbr\u003e William Trotter\u003cbr\u003e Early 19th Century \u003cbr\u003e\u003cbr\u003e This extraordinary early 19th-century Scottish specimen table is a museum-quality masterpiece attributed to William Trotter of Edinburgh, who is widely regarded as Scotland’s greatest cabinetmaker. The octagonal top is exquisitely inlaid with agate, jasper and rare Scottish hardstones, arranged in a striking pattern reminiscent of a stunning plume of feathers. The result is a remarkable fusion of geometric precision and the natural beauty of indigenous minerals. It is among the most important Scottish specimen tables ever made, and no other like it is known to exist. \u003cbr\u003e\u003cbr\u003e A finely carved foliate border in richly figured rosewood frames the top, enhancing its ornamental elegance. The vibrant gemstones are fitted with precision, reflecting a masterful command of both materials and technique. The table is supported by a well-balanced base and remains in untouched “country house” condition, a rare and desirable state that speaks to its long history and impeccable provenance. \u003cbr\u003e\u003cbr\u003e William Trotter (1772–1833) was the preeminent cabinetmaker of the Scottish Regency period and served as Lord Provost of Edinburgh from 1825 to 1827. He established his firm on Princes Street in 1805 and supplied furnishings to Scotland’s most distinguished estates, as well as to the Royal Collection. His work is instantly recognizable for its refined lines and commanding presence. This table stands among the finest examples of his output, combining superior craftsmanship with exceptional materials in a work of singular historical and artistic importance. \u003cbr\u003e\u003cbr\u003e 28 3\/4\" high x 20 1\/2\" wide x 16 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43049837461639,"sku":"32-0777","price":48850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0777_1.png?v=1755293110"},{"product_id":"leternel-printemps-by-auguste-rodin","title":"L'Éternel Printemps by Auguste Rodin","description":"Auguste Rodin\u003cbr\u003e 1840-1917 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eL'Éternel Printemps\u003cbr\u003e (The Eternal Spring)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Bronze with brown patina\u003cbr\u003e Signed \"Rodin\" (on base), with Barbedienne foundry mark \u003cbr\u003e\u003cbr\u003e Perhaps one of the most well-known and celebrated sculptures of his oeuvre, Auguste Rodin's passionate bronze \u003cem\u003eL'Éternel Printemps\u003c\/em\u003e is the embodiment of this artist's rare genius. Conceived in 1884, the bronze is regarded as one of the masterpieces of his mature output, conveying a sensuality and aura of passionate love from every angle. \u003cbr\u003e\u003cbr\u003e This work was conceived at the height of Rodin's career in 1884, during an intense period of work on his pivotal \u003cem\u003eGates of Hell\u003c\/em\u003e commission. It tells the age-old narrative of forbidden love, depicting the affair of Francesca da Rimini and Paolo Malatesta, who famously appear in Dante's \u003cem\u003eInferno\u003c\/em\u003e for their transgression. Highlighting the lovers' bliss rather than their ultimate punishment, Rodin felt the bronze was too joyful and removed it from his \u003cem\u003eGates of Hell\u003c\/em\u003e. Instead, he executed it as a stand-alone sculpture that would become one of his most acclaimed and beloved works. \u003cem\u003eThe Kiss\u003c\/em\u003e, another masterpiece by the sculptor, shares a similar origin and subject, though \u003cem\u003eL'Éternel Printemps\u003c\/em\u003e is more dynamic in its pose. \u003cbr\u003e\u003cbr\u003e Rodin's technical mastery was unmatched in his day, and by the turn of the century, he was regarded as the best sculptor since Michelangelo. His composition is dynamic from every angle, utilizing negative space in the arch of the woman's back and her lover's outstretched arm to create movement and feeling. Like many of his major works, Rodin looked back to one of his previous models in order to develop his amorous lovers. The female figure is based on his sensuous \u003cem\u003eTorso of Adèle\u003c\/em\u003e (Musée Rodin, Paris), which appears in the upper left-hand corner of the tympanum of his \u003cem\u003eGates of Hell\u003c\/em\u003e. \u003cem\u003eL'Éternel Printemps\u003c\/em\u003e is also believed to resemble Camille Claudel, a sculptor with whom Rodin began a passionate affair after she joined his studio in 1882. The autobiographical element of Rodin's own forbidden love perhaps accounts for the work's intimacy and intensity. \u003cbr\u003e\u003cbr\u003e After its successful showing at the \u003cem\u003eSalon\u003c\/em\u003e of 1897, Rodin awarded the casting of this bronze to the Barbedienne foundry in 1898. This sculpture is from the founder's second reduction, meaning it is the second largest of four versions they produced. It was also importantly cast during Rodin's lifetime and thus under his supervision, between 1905-1910. Other versions of this bronze can be found in museums worldwide, including the Musée Rodin (Paris), the Metropolitan Museum of Art (New York), the Museum of Fine Arts (Boston) and others. \u003cbr\u003e\u003cbr\u003e Auguste Rodin is counted among the greatest artists of the late 19th and early 20th centuries, along with names such as van Gogh, Monet and Renoir. In the history of sculpture, he occupies a place even more important than his painterly contemporaries, for he alone revived the art of sculpture, returning it to prominence among mainstream art. During the mid-1870s, after two decades of struggling as an artist, Rodin visited Italy and studied the works of Michelangelo, who inspired his first major work, \u003cem\u003eThe Bronze Age\u003c\/em\u003e. Exhibited in Brussels in 1877, it was so well received that the State purchased the work in 1880, which led to the commission of Rodin's \u003cem\u003eThe Gates of Hell\u003c\/em\u003e. His works, so naturalistic and expressive in detail, were far removed from conventional, decorative sculpture and ultimately transformed the history of art. Today, he is widely regarded as the father of modern sculpture. \u003cbr\u003e\u003cbr\u003e This important work is accompanied by a letter from the Comité Auguste Rodin confirming it will be included in the forthcoming \u003cem\u003eCatalogue Critique de l’Oeuvre Sculpté d’Auguste Rodin\u003c\/em\u003e by Jérôme Le Blay. \u003cbr\u003e\u003cbr\u003e Conceived in 1884; cast between 1905-1910  \u003cbr\u003e\u003cbr\u003e 20 1\/4\" high x 26\" wide x 13\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Argentina, acquired in the 1910s\u003cbr\u003e Private Collection, France\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, Texas\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44218370883719,"sku":"32-1428","price":1285000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1428_1_71ef979d-528b-4ae6-b255-cfbf2912b420.png?v=1774963983"},{"product_id":"king-of-swords-by-salvador-dali","title":"King of Swords by Salvador Dalí","description":"Salvador Dalí\u003cbr\u003e 1904-1989 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eKing of Swords\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Dalí” (lower center)\u003cbr\u003e Gouache on photographic background \u003cbr\u003e\u003cbr\u003e This unique gouache by Surrealist master Salvador Dalí combines the artist’s celebrated and singular point of view with the spiritual world of tarot. Dalí began conceptualizing an original custom-made tarot deck when he was approached by Albert Broccoli, the producer of the James Bond film \u003cem\u003eLive and Let Die\u003c\/em\u003e, who sought a tarot card deck to use in the film. Though the contract eventually fell through, Dalí continued the project of his own accord, largely thanks to the inspiration of his wife Gala, who had an interest in mysticism.  \u003cbr\u003e\u003cbr\u003e The present gouache reimagines the traditional King of Swords card, which features a seated monarch on a throne. In \u003cem\u003eRider–Waite Tarot\u003c\/em\u003e, the king’s throne is decorated with butterflies, and in \u003cem\u003eVictorian Fairy Tarot\u003c\/em\u003e, the king has butterfly wings himself. The King of Swords symbolizes sound intellectual understanding and reasoning and heralds a strong will and decisiveness. In its reverse meaning, \u003cem\u003ethe King of Swords\u003c\/em\u003e can also symbolize being ruthless or excessively judgmental.  \u003cbr\u003e\u003cbr\u003e Here, Dalí reimagines the card with a photographic print of the 1592-95 painting \u003cem\u003eSaint Louis\u003c\/em\u003e by the master El Greco, a famous work on view at the Louvre in Paris. The painting depicts Louis IX of France wearing 16th-century armor and a crown, holding the fleur-de-lys and the traditional scepter of the kings of France. Dalí surrounds the king with suffusive green gouache paint, adding a saintly soft focus glow to the figure. In reference to the traditional composition of the card, Dalí adds a beautiful, colorful butterfly just above the monarch’s crown. In his own unique touch, Dalí includes a small fish at the base of the king’s throne. This card showcases the myriad of iconographies Dalí engaged with when envisioning his original deck. \u003cbr\u003e\u003cbr\u003e The Surrealist maestro drew upon a number of influences to complete the deck, which comprised 78 cards in total—22 major arcana and 56 minor. His own self-portrait served as the Magician card, while his beloved wife Gala naturally posed for the Empress. Jan Gossaert’s 1516 Renaissance work \u003cem\u003eNeptune and Amphitrite\u003c\/em\u003e was the basis for the Lovers card, while the Queen of Cups card represents a fascinating marriage of Duchamp’s iconic Mona Lisa remix, \u003cem\u003e L.H.O.O.Q.\u003c\/em\u003e, with a portrait of Elizabeth of Austria. The iconography of the deck is as eclectic as one would expect from the Surrealist master; it is little wonder that it took him 10 years to complete the project. \u003cbr\u003e\u003cbr\u003e After Dalí completed his deck, the original cards were assembled and published in a limited art edition in 1984. While a number of editions have since been printed of the cards, the present King of Swords is the artist’s original gouache creation. \u003cbr\u003e\u003cbr\u003e Born in Catalonia in 1904, Dalí was formally educated in the fine arts in Madrid, particularly falling under the influence of the Impressionists and the Renaissance masters. He eventually grew more acquainted with avant-garde movements such as Cubism, Dada and Futurism. By the late 1920s, his mature Surrealist style had already begun to emerge, and in 1929, he officially burst onto the avant-garde art scene with his \u003cem\u003eUn Chien Andalou\u003c\/em\u003e, a short film he made with Spanish director Luis Buñuel. Today, he is remembered as one of the most legendary and significant contributors to Surrealism. His \u003cem\u003ePersistence of Memory\u003c\/em\u003e, with its melting clocks, is arguably the most recognizable painting of the movement. Two museums—one in St. Petersburg, Florida and another in Catalonia—are entirely devoted to his oeuvre; other important works by the artist can be found in the Museum of Modern Art (New York), the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Philadelphia Museum of Art and the National Gallery of Art (Washington, D.C.), among many others. \u003cbr\u003e\u003cbr\u003e Circa 1971 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, New York\u003cbr\u003e Private collection, London, acquired from the above in 2009\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44548549542023,"sku":"32-1421","price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1421_1.png?v=1777554722"},{"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":"tiffany-studios-ruffled-rim-floriform-glass-vase","title":"Tiffany Studios Ruffled Rim Floriform Glass Vase","description":"Ruffled Rim Floriform Glass Vase\u003cbr\u003e Tiffany Studios\u003cbr\u003e Circa 1900 \u003cbr\u003e\u003cbr\u003e A beautifully hued floriform vase by Tiffany Studios, this exquisite piece exemplifies the innovative genius of Louis Comfort Tiffany and his revolutionary Favrile glass technique. Created circa 1900, this vase belongs to the earliest and most sought-after examples of Tiffany's flower form creations, which emerged around 1894 as among the studio's most celebrated works. \u003cbr\u003e\u003cbr\u003e The vase captures the organic beauty of a blooming flower with remarkable naturalism. Its rippling upper edge in luminous cream tones reveals glimpses of golden hues within, while the body showcases a gradient of warm amber and coral shades enriched with subtle iridescence. The slender stem transitions through vibrant Kelly green, culminating in an elegantly undulating base that features gossamer striations of green, gold and pale tones. Each element demonstrates the technical mastery of Favrile glass, where metallic salts are incorporated during production to create lustrous, opalescent effects that seem to glow from within. \u003cbr\u003e\u003cbr\u003e Louis Comfort Tiffany established Tiffany Glass and Decorating Company in 1892, which became Tiffany Studios in 1902. His development of Favrile glass—patented in 1894—revolutionized American decorative arts and positioned him as one of the foremost artists of the Art Nouveau movement. Examples of Tiffany's flower form vases are held in prestigious collections, including the Chrysler Museum and the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e Signed and numbered \"L.C.T. N5204\" \u003cbr\u003e\u003cbr\u003e 15\" high x 5\" diameter \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e A similar vase is pictured in \u003cem\u003eThe Tiffany Collection of the Chrysler Museum at Norfolk\u003c\/em\u003e, by Paul E. Doros, Richmond, VA: W. M. Brown \u0026amp; Son, Inc., 1978, cat. no. 27","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44422860963975,"sku":"32-1619","price":22850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1619_1.png?v=1775589755"},{"product_id":"sevres-medicis-vases-commissioned-by-napoleon-for-talleyrand","title":"Sèvres Médicis Vases Commissioned by Napoléon for Talleyrand","description":"Pair of Médicis Vases Commissioned by Napoléon for Charles-Maurice de Talleyrand-Périgord\u003cbr\u003e Sèvres\u003cbr\u003e Circa 1806 \u003cbr\u003e\u003cbr\u003e Commissioned by Emperor Napoléon I and executed by the world-renowned Sèvres manufactory, this extraordinary pair of vases was presented to Charles Maurice de Talleyrand-Périgord, Prince of Benevento—one of history’s most gifted diplomats whose influence spanned successive French regimes. Their provenance links two of the most formidable figures of the early 19th century, embodying the confluence of imperial ambition and refined taste that defined the First Empire. \u003cbr\u003e\u003cbr\u003e To Napoleon, who valued merit and brilliance above all, Talleyrand’s counsel was indispensable in shaping the Empire. The diplomat had served Louis XVI, survived the Revolution, advised Napoleon with strategic brilliance, remained essential under Louis XVIII and later guided France through the reign of Louis-Philippe. These vases were presented to the diplomat by the Emperor on the occasion of the marriage of Stéphanie Louise Adrienne de Beauharnais to Karl Ludwig Friedrich, Prince of Baden. \u003cbr\u003e\u003cbr\u003e Taking the celebrated Médicis form, the vases feature a deep \u003cem\u003ebeau bleu\u003c\/em\u003e ground enriched with gilt bronze-mounted Jupiter heads and sumptuous gilding throughout by Charles-Marie-Pierre Boitel. Rather than imperial insignia, the hand-painted decoration by Gilbert Drouet is composed of garlands of purple bellflowers—symbols of constancy and gratitude—designed with scientific precision by Alexandre Brongniart père, a botanist turned painter at Sèvres. Each flower’s naturalistic rendering reflects both Brongniart’s rare technical mastery and the Emperor’s calculated symbolism: a visual tribute to Talleyrand’s brilliance, loyalty and indispensability. Notably, Brongniart’s original preparatory drawing for this floral motif is preserved in the Sèvres archives. \u003cbr\u003e\u003cbr\u003e The manufactory’s official records confirm that these vases were commissioned by Napoléon specifically for Talleyrand at a cost of 1,200 francs—an extraordinary sum equivalent to four years of a laborer’s wages. Few commissions of this magnitude were ever produced. Closely related examples include a Médicis vase with floral decoration ordered by Napoléon for Ferdinand III of Habsburg-Lorraine, now in the Uffizi Gallery, and a pair of lilac-ground floral vases created for Empress Marie-Louise, which remain at Compiègne. Displayed at the Palais Vivienne among one of the finest Napoleonic collections ever assembled, this pair represents an unparalleled convergence of imperial history, diplomacy, and the pinnacle of French porcelain artistry. \u003cbr\u003e\u003cbr\u003e Red stenciled Manufacture Impériale de Sèvres marks with date symbol for Revolutionary Year 14, and BT gilder’s mark for Boitel in gilding. \u003cbr\u003e\u003cbr\u003e Each on bases: 22 3\/8\" high x 12 1\/4\" diameter \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e C. Leprince, \u003cem\u003eNapoléon 1er et La Manufacture de Sèvres: l’Art de la Porcelaine au Service de l’Empire\u003c\/em\u003e, Paris, 2016, p. 184, no. 5. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Charles Maurice de Talleyrand-Périgord, Prince of Benevento, Paris\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43786801905799,"sku":"32-1327","price":238500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1327_1_62c76cdb-56af-4b32-9618-c4d3f99a26ca.png?v=1769780437"},{"product_id":"italian-hobnail-safe","title":"Italian Hobnail Safe","description":"Hobnail Floor Safe\u003cbr\u003e Italian\u003cbr\u003e Circa 1820 \u003cbr\u003e\u003cbr\u003e This rare and monumental Italian safe, circa 1820, is constructed from reinforced wrought iron, rendering it virtually indestructible. Designed to be impenetrable without the proper keys and expertise, it served as a secure repository for safeguarding one’s most valuable possessions. A hallmark of Italian safes of this caliber is their intricate locking mechanisms, and this exceptional example features a masterfully engineered system. To unlock it, one would need not only four distinct iron keys—each corresponding to a concealed keyhole—but also a specialized lock pick. Known as a \"partner safe,\" this design required the cooperation of multiple keyholders, often business partners, to open the safe, providing an extraordinary level of security. \u003cbr\u003e\u003cbr\u003e In addition to its measured, architectural form, the safe displays a refined gilt design across the front that underscores its ceremonial character. The interior is equally engaging. Opening the door reveals a locked lower chest that remains entirely original, complemented by a series of upper wooden drawers preserved in remarkable condition. These drawers retain their period inscriptions, which function as practical labels identifying materials related to purchases, documents and goods associated with Biella in northern Italy. Each inscription clarifies the nature of the contents once stored within and reflects the safe’s connection to Biella, a city in the Piedmont region situated at the foothills of the Alps. \u003cbr\u003e\u003cbr\u003e Crafted to protect against both theft and fire, safes of this complexity and scale were frequently used by merchants in lieu of banks, making them essential tools for safeguarding wealth during the period. Few hobnail safes of this extraordinary size, craftsmanship, and sophistication have survived to the present day, making this example an exceptionally rare and significant artifact. \u003cbr\u003e\u003cbr\u003e 43 3\/8\" high x 30 7\/8\" wide x 17 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43541227864199,"sku":"32-1376","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1376_1_30b6b184-bd09-4a2c-b8ec-7a9735ed592e.png?v=1781212876"},{"product_id":"victorian-jockey-scale-1","title":"Victorian Jockey Scale","description":"Jockey Scale\u003cbr\u003e Late 19th Century \u003cbr\u003e\u003cbr\u003e This Victorian jockey scale is an iconic piece of horse racing history. These handsome scales were used at the tracks to determine the jockey’s weight before a big race. This was done to prevent jockeys from being lighter than the rules regulated, since it would give them and their horse the utmost advantage over their competitors. Crafted of oak and intricately carved with floral motifs, this example features a tufted leather seat and a beautifully crafted, built-in brass scale. \u003cbr\u003e\u003cbr\u003e The scale retains its original brass weights, each representing a certain number of stones, the British unit of weight measurement. The jockey would sit in the seat and the brass weights would be placed in the pan until nearly balanced. To refine the measurement, the slide would be placed within the notches along the main scale arm until perfectly balanced, and the corresponding measurement would provide the jockey's weight. \u003cbr\u003e\u003cbr\u003e 36 1\/2\" high x 33 1\/2\" wide x 19 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44028172697735,"sku":"32-1788","price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1788_1.png?v=1774964694"},{"product_id":"un-beau-matin-dete-by-henri-matisse","title":"Un beau matin d'été by Henri Matisse","description":"Henri Matisse\u003cbr\u003e 1869-1954 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eUn beau matin d'été\u003cbr\u003e (A beautiful summer morning)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Henri Matisse\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptionally vibrant oil is among the most coveted Matisse masterworks. Finding any painting by this giant of modern art is difficult, but one from the pivotal year of 1905—the origin of the Fauves—is an incredible rarity. \u003cem\u003eUn beau matin d'été\u003c\/em\u003e was not only painted in this critical year, but it also captures the birthplace of this groundbreaking movement. \u003cbr\u003e\u003cbr\u003e In the summer of 1905, Matisse and his friend André Derain spent a few weeks painting and drawing along the enchanting blue waters of the French Riviera. Their time in the quaint fishing village of Collioure would go on to be one of the most important moments in art history. It was here that Matisse pushed his color palette and energetic brushwork to daring new heights, which founded an entire movement. In \u003cem\u003eUn beau matin d'été\u003c\/em\u003e, painted during this fateful summer in Collioure, the surface pulses with electric hues, and Matisse's confident strokes bring the vivid street scene swirling to life. \u003cbr\u003e\u003cbr\u003e When Matisse exhibited the works he created in Collioure a few months later at the Salon d'Automne, one critic, Louis Vauxcelles, famously referred to the works as \"les fauves,\" which translates to \"wild beasts.\" Matisse and his circle took up this name as a badge of honor, and the Fauves became the first modern art movement of the 20th century. \u003cbr\u003e\u003cbr\u003e Matisse created just fifteen canvases during this pivotal stay in Collioure, making \u003cem\u003eUn beau matin d'été\u003c\/em\u003e one of the rarest treasures in his vast oeuvre. Almost all of these important works are in prestigious institutions worldwide, including the Museum of Modern Art, the Metropolitan Museum of Art and the San Francisco Museum of Modern Art. Importantly, this exact painting was exhibited at the San Francisco Museum of Modern Art as recently as February–June 2026. \u003cbr\u003e\u003cbr\u003e Matisse was renowned throughout his career for his versatility as an artist, and his revolutionary works in painting, drawing, sculpture, graphic arts, paper cutouts and book illustration changed the course of modern art. As the leading force of the Fauves, his bold colors and simplified shapes radically challenged tradition and influenced generations of artists to come. \u003cbr\u003e\u003cbr\u003e Painted 1905 \u003cbr\u003e\u003cbr\u003e Canvas: 15 1\/4\" high x 12 1\/4\" wide (38.74 x 31.12 cm)\u003cbr\u003e Frame: 28 1\/4\" high x 25 1\/4\" wide x 4 1\/4\" deep (71.76 x 64.14 x 10.80 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2148.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Druet, Paris (1908)\u003cbr\u003e Professor Braune, Breslauer (acquired from the above in 1908)\u003cbr\u003e Galerie Thannhauser, Luzern (16 December 1926)\u003cbr\u003e Galerie Matthiesen, Berlin (1927)\u003cbr\u003e Charles H. Worcester (1928)\u003cbr\u003e Helen W. Bradley (donated from the above)\u003cbr\u003e Kenneth Ingels, California (by descent from the above)\u003cbr\u003e Private collection, Europe (acquired in 2006)\u003cbr\u003e Private collection, Paris (acquired in 2013)\u003cbr\u003e M.S. Rau, New Orleans  \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Ceret, Musée d’art moderne; Le Cateau-Cambresis, Musée Matisse, \u003cem\u003eMatisse-Derain: Collioure 1905, un été fauve\u003c\/em\u003e, 2005-06, p. 81, no. 8 (illustrated)\u003cbr\u003e This work has been requested for a major Matisse exhibition at the San Francisco Museum of Modern Art in 2026","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44518681411719,"sku":"32-2148","price":5500000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2148_1.png?v=1786742496"},{"product_id":"jeune-fille-au-chien-by-berthe-morisot","title":"Jeune fille au chien by Berthe Morisot","description":"Berthe Morisot\u003cbr\u003e 1841-1895 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJeune fille au chien\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eYoung girl with dog\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped with signature \"Berthe Morisot\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A pioneering figure of Impressionism, Berthe Morisot stands out not only as a leader of this revolutionary movement but also as one of the most groundbreaking women artists in history. This extraordinarily rare masterpiece, \u003cem\u003eJeune fille au chien\u003c\/em\u003e, is among her largest and most beautiful works available today. \u003cbr\u003e\u003cbr\u003e Glowing with a luminous palette and an ethereal softness, \u003cem\u003eJeune fille au chien\u003c\/em\u003e was painted in one of the most important years of Morisot’s life. In the spring of 1892, Morisot achieved a monumental milestone with her first solo retrospective at Paris's prestigious Boussod, Valadon et Cie gallery—a first for a woman Impressionist. Just one month before the exhibition opened, her husband of nearly two decades, Eugène Manet, died. Grief-stricken, Morisot entered the most innovative year of her career, seeking solace in her art and reinventing herself as an artist. \u003cbr\u003e\u003cbr\u003e Set in Morisot's garden at 40 Rue de Villejust, this captivating composition centers the stunning Jeanne Fourmanoir, the famous model who posed for both Morisot and Renoir during this period. Fourmanoir's distinctive cap and hair harmonize with the lush foliage, exemplifying the stylistic dialogue between Morisot and Renoir. This work reveals Morisot's evolution toward her softer, richer textures compared to her earlier energetic brushwork, creating a hazy, dreamlike quality that mirrors the emotional world of the artist in the final years of her life. \u003cbr\u003e\u003cbr\u003e Fourmanoir was one of Morisot’s favorite subjects, frequently appearing in Morisot's iconic masterpieces, most notably as a cherry picker in \u003cem\u003eLe Cerisier\u003c\/em\u003e of 1891, now at the Musée Marmottan Monet. Our painting depicting this famed model also has distinguished provenance, once belonging to the major American collectors Ralph Coe of Cleveland and Harry and Doris Rubin of New York. Its remarkable exhibition history includes the important 1896 Durand-Ruel exhibition, organized shortly after Morisot's death by her distinguished peers: Edgar Degas, Claude Monet, Pierre-Auguste Renoir and Stephane Mallarmé. An incredible tribute to one of Impressionism's most visionary talents, this show was a grand event in the Parisian art scene. \u003cbr\u003e\u003cbr\u003e Born in Bourges, France, in 1841, Berthe Morisot came from a wealthy family. Like many young girls of her social class, she received private art lessons beginning at the age of 11. Her teacher, the painter Joseph Guichard, helped to introduce her to the Parisian art scene. Through him, Morisot made the acquaintance of Jean-Baptiste-Camille Corot and Édouard Manet, both of whom would have a profound impact on her career and artistic style. Morisot exhibited regularly at the Paris Salon from 1864 to 1873 until, in 1874, she officially joined and became a vital leader of the Impressionists, exhibiting in all but one of the eight Impressionist shows. \u003cbr\u003e\u003cbr\u003e Today, Morisot's paintings remain some of the rarest Impressionist works on the market—she produced just 416 oil paintings, significantly less than Monet, Degas and Renoir. The majority of Morisot’s works are held in prestigious museum collections worldwide, including the Metropolitan Museum of Art in New York, the Tate Modern in London, the Musée du Louvre and the Musée d’Orsay in Paris. She has also been the focus of endless scholarship and landmark exhibitions, including a major retrospective at The Barnes Foundation in 2019 that traveled to the Musée National des Beaux-Arts du Québec, the Dallas Museum of Art and the Musée d’Orsay. \u003cbr\u003e\u003cbr\u003e Painted 1892 \u003cbr\u003e\u003cbr\u003e Canvas: 25 1\/4\" high x 31 1\/2\" wide (64.14 x 80.01 cm)\u003cbr\u003e Framed: 35\" high x 41\" wide x 2 3\/8\" deep (88.90 x 104.14 x 5.91 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0999.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e C.W. Kraushaar Galleries, New York\u003cbr\u003e Ralph M. Coe, Cleveland (acquired from the above, 1926)\u003cbr\u003e Sale, Sotheby's New York, January 14, 1959, lot 70 (sold by the above)\u003cbr\u003e Milch Gallery, New York (acquired at the above sale)\u003cbr\u003e Harry and Doris Rubin, New York (acquired from the above in 1959)\u003cbr\u003e Sale, Sotheby’s New York, May 7, 2008, lot 10 (sold by the above)\u003cbr\u003e Private collection (acquired at the above sale)\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J. Rewald, \u003cem\u003eThe History of Impressionism\u003c\/em\u003e, New York, 1961, p. 573 (illustrated in color)\u003cbr\u003e M.-L. Bataille and G. Wildenstein, \u003cem\u003eBerthe Morisot, Catalogue des peintures, pastels et aquarelles\u003c\/em\u003e, Paris, 1961, p. 44, no. 311 (illustrated fig. 318)\u003cbr\u003e A. Clairet, D. Montalant and Y. Rouart, \u003cem\u003eBerthe Morisot, Catalogue Raisonné de l’oeuvre Peint\u003c\/em\u003e, Paris, 1997, p. 267, no. 315 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Durand-Ruel et Cie., \u003cem\u003eBerthe Morisot (Madame Eugène Manet), Exposition de son oeuvre\u003c\/em\u003e, March 1896, p. 19, no. 29 (dated 1887)\u003cbr\u003e Paris, Galerie Bernheim, \u003cem\u003eRetrospective de Berthe Morisot\u003c\/em\u003e, June – July 1922\u003cbr\u003e Chicago, The Arts Club, \u003cem\u003eBerthe Morisot\u003c\/em\u003e, March-April 1943, no. 26 (titled \u003cem\u003eGirl with a Dog in a Garden\u003c\/em\u003e)\u003cbr\u003e New Haven, Yale University Art Gallery, \u003cem\u003ePictures Collected by Yale Alumni\u003c\/em\u003e, May-June 1956, no. 87 (illustrated; titled \u003cem\u003eJeanne Foumanoir in Madame Morsiot’s Garden, with the Little Dog\u003c\/em\u003e)\u003cbr\u003e New York, Wildenstein \u0026amp; Co., \u003cem\u003eBerthe Morisot\u003c\/em\u003e, November-December 1960, no. 58 (illustrated; titled \u003cem\u003eJeanne Fourmanoir et son Petit Chien Colas\u003c\/em\u003e)\u003cbr\u003e Turin, Galleria Civica d’arte Moderna e Contemporanea, \u003cem\u003eBerthe Morisot, Impressionist painter\u003c\/em\u003e, 16 October 2024 – 9 March 2025, no. 38","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44024810176647,"sku":"32-0999","price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0999_1_5e52282a-6568-4eae-9074-162bf078ec28.png?v=1783696876"},{"product_id":"a-scout-is-friendly-by-norman-rockwell","title":"A Scout is Friendly by Norman Rockwell","description":"Norman Rockwell\u003cbr\u003e 1894-1978 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Scout is Friendly\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Norman Rockwell\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Norman Rockwell captured the heart and soul of America in the 20th century like no other artist. This iconic work, entitled \u003cem\u003eA Scout is Friendly\u003c\/em\u003e, embodies the artist's decades-long connection to the Boy Scouts of America—a relationship that would define some of his most significant images. Rockwell believed the Scouts embodied the nation's highest values, and his narrative depictions of these young men stand among the most profound and coveted images he ever created. \u003cbr\u003e\u003cbr\u003e Rockwell created this work for the 1943 Boy Scouts of America calendar produced by Brown \u0026amp; Bigelow. Rather than set in the wilderness, \u003cem\u003eA Scout is Friendly\u003c\/em\u003e shows a helpful Scout fulfilling his duty in an everyday moment. As he guides the elderly couple through a city map, their young grandson looks on in quiet admiration. In quintessential Rockwell fashion, each character comes to life with extraordinarily relatable, human details. \u003cbr\u003e\u003cbr\u003e Rockwell’s relationship with the Boy Scouts of America extended for more than six decades, during which his calendar illustrations and contributions to Boys’ Life became visual touchstones for countless American households. Notably, he accepted no royalties for these commissions, assigning all reproduction rights to the organization. It was a gesture that affirmed his deep belief in the Scouts and the virtues they instilled.  \u003cbr\u003e\u003cbr\u003e Norman Rockwell stands as America's most beloved illustrator, whose work transcended commercial art to become a defining visual narrative of 20th-century American life. His Brown \u0026amp; Bigelow calendar series (1948-1964) ranks alongside his \u003cem\u003eSaturday Evening Post\u003c\/em\u003e covers as works that elevated him from celebrated illustrator to national institution. Rockwell's extraordinary ability to find profound meaning in everyday moments earned him the Presidential Medal of Freedom in 1977, the highest civilian honor bestowed upon American citizens. Museums worldwide, including the Norman Rockwell Museum in Stockbridge, Massachusetts, preserve and celebrate his legacy as an artist who documented American values, aspirations and the tender moments that unite us all. \u003cbr\u003e\u003cbr\u003e Painted 1943 \u003cbr\u003e\u003cbr\u003e Canvas: 32 1\/2\" high x 21 1\/2\" wide (82.55 x 54.61 cm)\u003cbr\u003e Frame: 45 1\/2\" high x 34 1\/2\" wide x 2 1\/2\" deep (115.57 x 87.63 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1958.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the Boy Scouts of America\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Boy Scouts of America Calendar, Brown \u0026amp; Bigelow Co., Saint Paul, Minnesota, 1943, n.p., illustrated\u003cbr\u003e W. Hillcourt, \u003cem\u003eNorman Rockwell's World of Scouting\u003c\/em\u003e, New York, 1977, p. 136\u003cbr\u003e M. Moline, \u003cem\u003eNorman Rockwell Encyclopedia\u003c\/em\u003e, Indianapolis, Indiana, 1979, p. 222, fig. 8-22, illustrated\u003cbr\u003e L.N. Moffatt, \u003cem\u003eNorman Rockwell: A Definitive Catalogue\u003c\/em\u003e, Vol. I, Stockbridge, Massachusetts, 1986, pp. 276-77, no. A63, illustrated\u003cbr\u003e J. Csatari, \u003cem\u003eNorman Rockwell's Boy Scouts of America\u003c\/em\u003e, New York, 2009, pp. 42-3, illustrated","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43891945308295,"sku":"32-1958","price":1950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1958_1_1c43c236-4c35-4127-8114-81ba1885bb3e.png?v=1789831216"},{"product_id":"cupids-fire-french-empire-mantel-clock-by-bergmiller","title":"Cupid's Fire French Empire Mantel Clock by Bergmiller","description":"French Empire Mantel Clock\u003cbr\u003e Bergmiller\u003cbr\u003e Circa 1810 \u003cbr\u003e\u003cbr\u003e A radiant expression of French Empire luxury, this exceptional mantel clock by Bergmiller combines the artistry of mercury-gilt bronze with the elegance of neoclassical design. The clock presents a winged Cupid warming his hands by a fireplace in a narrative scene imbued with both allegorical meaning and refined craftsmanship. The ormolu mounts exhibit the superior mercury-gilding technique that distinguishes the finest French bronze of the Empire period, while delicate lovebirds grace the top, completing the composition with classical charm. The circular white enamel dial with Roman numerals, signed by Bergmiller of Paris, is seamlessly integrated into an architectural design inspired by Antiquity. \u003cbr\u003e\u003cbr\u003e Cupid has discarded his bow beside fallen torches, from which fire spreads across the hearth, symbolizing the consuming and unpredictable power of love. Decorative arrows adorned with butterflies reference his mortal consort Psyche, whose name means “butterfly” in Greek. \u003cbr\u003e\u003cbr\u003e Bergmiller was active from 1810 to 1830 on rue du Petit-Lion Saint-Sauveur. A follower of Rouvière and influenced by the royal horology traditions of Louis XVI’s court, Bergmiller represents the highest standards of early 19th-century Parisian craftsmanship. \u003cbr\u003e\u003cbr\u003e Dial signed \"Bergmiller à Paris\" \u003cbr\u003e\u003cbr\u003e 18\" high x 11\" wide x 5 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43888666083463,"sku":"32-1950","price":28500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1950_1.png?v=1786742416"},{"product_id":"art-nouveau-silver-nude-cane","title":"Art Nouveau Silver Nude Cane","description":"Silver Nude Cane\u003cbr\u003e 19th Century \u003cbr\u003e\u003cbr\u003e Exquisite in both form and detail, this decorative crutch cane features a silver handle shaped as a sensuous woman. Her swirling locks echo a rolling wave motif, creating the impression of fluid motion. Mounted on a rich snakewood shaft, the cane exemplifies the intricate elegance and naturalistic artistry characteristic of the Art Nouveau style. \u003cbr\u003e\u003cbr\u003e 35 1\/4\" length","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43982104854663,"sku":"32-2078","price":2985.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2078_1_c9d34f6e-9f9e-40b4-9f34-776054f00ad8.png?v=1772375182"},{"product_id":"gold-quartz-californian-walking-cane-1","title":"Gold Quartz Californian Walking Cane","description":"Gold Quartz Californian Walking Cane\u003cbr\u003e Circa 1870 \u003cbr\u003e\u003cbr\u003e This superb California-made walking stick epitomizes the refinement and prosperity born of the Gold Rush era. Its half-crooked handle is plated in 18K gold and adorned with intricate floral garlands and acanthus leaves, inlaid with beveled gold quartz stone set in its natural matrix. This decorative handle crowns a lustrous ebony shaft finished with a white metal and iron ferrule. \u003cbr\u003e\u003cbr\u003e During the late 19th century, California’s elite embraced such canes as emblems of social ascendancy. Born from the fortune and optimism of the Gold Rush, these objects symbolized the ascent of self-made magnates who transformed the American West. The use of native gold quartz left in its raw, natural formation was particularly significant, representing both the source of newfound wealth and the pioneering spirit that defined an era of expansion and ambition.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43906665152647,"sku":"32-2286","price":7850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2286_1.png?v=1790371276"},{"product_id":"white-and-pink-glass-swan-perfume-bottle-by-thomas-webb-sons","title":"White and Pink Glass Swan Perfume Bottle by Thomas Webb \u0026 Sons","description":"White and Pink Glass Swan Perfume Bottle\u003cbr\u003e Thomas Webb \u0026amp; Sons\u003cbr\u003e Cap hallmarked London, 1884 \u003cbr\u003e\u003cbr\u003e This rare Victorian perfume bottle is formed as a swan and executed in softly shaded white-over-pink glass by Thomas Webb \u0026amp; Sons, one of the leading English glasshouses of the nineteenth century. The elongated neck and gently modeled body demonstrate a refined command of form, while subtle color gradation enhances its sculptural presence. The bottle retains its silver-mounted stopper, finely engraved with foliate motifs that contrast crisply with the delicacy of the glass. \u003cbr\u003e\u003cbr\u003e Swan-form perfume bottles gained popularity in the late nineteenth century, reflecting Victorian interest in naturalistic motifs and technical refinement. Its silver cap is marked with London hallmarks for 1884 and the maker’s mark of Frederick Bradford McCrea, a silversmith closely associated with the Army \u0026amp; Navy Co-operative Society Ltd, which catered to British military officers and their families. \u003cbr\u003e\u003cbr\u003e 6“ high x 2” wide x 1 1\/4“ deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Canada\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050684149895,"sku":"32-2267","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2267_1_3644bb0f-c8ae-4278-bd6e-b78eca2841ef.png?v=1774962563"},{"product_id":"le-marabout-in-the-harem-bath-by-jean-leon-gerome","title":"Le Marabout: In the Harem Bath by Jean-Léon Gérôme","description":"Jean-Léon Gérôme\u003cbr\u003e 1824–1904 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Marabout: In the Harem Bath\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"J.L. Gerome\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Jean-Léon Gérôme is widely regarded as one of the most important painters of the nineteenth century. Renowned for his unrivaled command of the human figure, he was among the most celebrated artists of his time. Though his oeuvre encompassed a wide range of subjects, Gérôme’s Orientalist scenes were the most sought after. Painted circa 1889, \u003cem\u003eLe Marabout: In the Harem Bath\u003c\/em\u003e is an exceptional example of his intimate bather compositions and ranks among the few works of this scale and significance remaining in private hands. \u003cbr\u003e\u003cbr\u003e Gérôme’s harem bathers were an instant sensation with his audiences, inviting them into a mystical, faraway world. During his travels to Bursa in 1879, he visited the famed Turkish baths, going to great lengths to conduct careful studies of the experience and completely immersing himself in the relaxed atmosphere and luxurious architecture. Back in his Paris studio, Gérôme’s firsthand observations enabled him to recreate the fantastical magic of these baths. \u003cem\u003eLe Marabout: In the Harem Bath\u003c\/em\u003e reveals Gérôme’s incredible ability to render these enticing interiors with intimacy and authenticity—even though he, of course, was never allowed into the women’s bathing quarters himself. \u003cbr\u003e\u003cbr\u003e Featuring several of Gérôme’s iconic female figures, the work epitomizes his singular ability to render the human form and complexion with remarkable accuracy. The women are depicted with stunning naturalism, their pearl-white skin suffused with luminosity. Even the marabou assumes an anthropomorphic presence, standing amused yet authoritative as it keeps watch over the bath.  \u003cbr\u003e\u003cbr\u003e The most prominent French academic painter of the 19th century, Gérôme was also among the foremost inventors of Orientalist themes. After the year he spent in Rome with his teacher Paul Delaroche in 1843, he developed an insatiable appetite for traveling, which inspired his treks to Egypt, Turkey and North Africa. During his career, Gérôme achieved great popularity, exhibiting at countless Salons and wielding considerable influence as a defender of academic tradition. \u003cbr\u003e\u003cbr\u003e His skill was so widely admired that he was appointed as professor of painting at the École des Beaux-Arts in 1863. Over many decades, he would go on to teach over 2,000 students there (including Mary Cassatt and Thomas Eakins) and publish the most important instructional book on drawing that would influence many great artists, including William Bouguereau, Odilon Redon and Pablo Picasso. \u003cbr\u003e\u003cbr\u003e Circa 1889 \u003cbr\u003e\u003cbr\u003e Canvas: 18 7\/8\" high x 25\" wide (47.8 x 63.5 cm)\u003cbr\u003e Framed: 29 3\/4“ high x 36 3\/4” wide x 4“ deep (75.6 x 93.4 x 10.2 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_29-6201.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Boussod, Valadon \u0026amp; Cie., Paris\u003cbr\u003e Knoedler, New York\u003cbr\u003e Acquired from the above by Schaus, New York\u003cbr\u003e Tomkins Collection, New York\u003cbr\u003e American Art Association, 5 March 1915\u003cbr\u003e Acquired at the above sale by J. Frick\u003cbr\u003e John Hemming Fry, Ohio\u003cbr\u003e Bequeathed by the above to the Canton Museum of Art, Ohio\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, Florida\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e G. Ackerman, \u003cem\u003eJean-Léon Gérôme\u003c\/em\u003e, Paris, 2000, p. 326, no. 374 (illustrated)\u003cbr\u003e W. Rau, \u003cem\u003eNineteenth-Century European Painting: From Barbizon to Belle Epoque\u003c\/em\u003e, Suffolk, 2013, p. 85 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44250118586503,"sku":"29-6201","price":1485000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-6201_1_c5b7d327-fd07-4111-8971-bf92c05f6d74.png?v=1780145764"},{"product_id":"la-baie-de-lampaul-ile-d-ouessant-by-henry-moret","title":"La baie de Lampaul, île d’Ouessant by Henry Moret","description":"Henry Moret\u003cbr\u003e 1856–1913 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa baie de Lampaul, île d'Ouessant\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Henry Moret 97\" (lower right)\u003cbr\u003e Inscribed \"La baie de Lampaul Ouessant\" (on stretcher)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Painted at the height of his career, Henry Moret's \u003cem\u003eLa baie de Lampaul, île d'Ouessant\u003c\/em\u003e stands as a supreme achievement among his celebrated Brittany seascapes. The shimmering azure waters, sun-warmed rock formations and luminous coastal light of the île d'Ouessant—one of Moret's most beloved and frequently revisited motifs—are rendered with a vibrancy and technical mastery that place this canvas among the finest examples of Post-Impressionist landscape painting available outside a museum collection. \u003cbr\u003e\u003cbr\u003e The composition pulses with chromatic energy. The surface of the Bay of Lampaul is animated by hundreds of carefully layered brushstrokes, each contributing to the water's luminous, shifting character. Warm, orange-red rock formations emerge from the sea with geological weight, their earthen tones providing a vivid counterpoint to the brilliant blues and greens that dominate the scene. Fresh grass blankets the hillsides in rich, varied greens, while Moret weaves additional tonal accents throughout with a painter's instinct for harmony and contrast.  \u003cbr\u003e\u003cbr\u003e Henry Moret occupies a distinguished place in the Post-Impressionist tradition as one of the most accomplished painters to emerge from the celebrated Pont-Aven circle. His attachment to Brittany began during his military service and deepened through his close association with Paul Gauguin and the Nabis, whose bold approach to color permanently transformed his palette. The île d'Ouessant, perched at the western extreme of the Breton coast, became a defining subject in Moret's oeuvre — its ever-changing seas and skies offering an inexhaustible source of painterly inspiration. By 1897, when this work was executed, Moret had secured a pivotal relationship with the influential dealer Paul Durand-Ruel, who championed his work across Europe and the United States and presented him with a coveted solo exhibition in 1898. As fellow artist Maxime Mofra observed, \"Coasts, forests, valleys, in every season Moret observed them with all his senses, reproducing them with all his spirit and sincerity.\" Today, Moret's Brittany paintings are held by world-famous institutions, among them the Musée d'Orsay, the Museum of Fine Arts in Boston and the National Gallery of Art in Washington, D.C. \u003cbr\u003e\u003cbr\u003e This work is listed in Jean-Yves Rolland’s archives and will be included in the catalogue raisonné currently in preparation. \u003cbr\u003e\u003cbr\u003e Painted 1897 \u003cbr\u003e\u003cbr\u003e Canvas: 21\" high x 25\" wide (53.3 x 63.5 cm)\u003cbr\u003e Frame: 29 3\/8\" high x 33 1\/2\" wide x 3\" deep (74.6 x 85.1 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2137.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Abels, Cologne:\u003cbr\u003e Private Collection, Germany:\u003cbr\u003e Private Collection, France:\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44003911794823,"sku":"32-2137","price":498500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2137_1.png?v=1785864039"},{"product_id":"panier-de-poires-et-theiere-by-bernard-buffet","title":"Panier de poires et théière by Bernard Buffet","description":"Bernard Buffet\u003cbr\u003e 1928-1999 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePanier de poires et théière\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Basket of Pears and Teapot)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Bernard Buffet\" (upper right) and dated (upper left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Bernard Buffet was one of France's most innovative 20th-century painters. He masterfully captures the existential spirit of the Post-War era with his dramatic, angular style. In his day, he was the most collected artist in France. \u003cem\u003ePanier de poires et théière\u003c\/em\u003e is a stunning still life that exemplifies Buffet’s genius, rendered with striking intensity and bright primary colors. \u003cbr\u003e\u003cbr\u003e Buffet, a prominent member of the artistic movement \u003cem\u003eL'Homme Témoin\u003c\/em\u003e (The Witness-Man), rejected the ideals of abstraction, favoring the expression of reality and raw emotion. While the group was known for its generally pessimistic outlook, Buffet’s embrace of bold, vibrant colors and moments of lightness was uniquely his own. In this work, Buffet’s unmistakable style is applied to a still life of fruits and flowers, arranged on a crisp white tablecloth against a luminous red background. The interplay of vivid colors and bold, angular lines results in a striking, visceral masterpiece that captures both emotional depth and visual brilliance. \u003cbr\u003e\u003cbr\u003e Born in Paris, Buffet began his art studies at the École Nationale Supérieure des Beaux-Arts in December 1943, training in the studio of painter Eugène Narbonne. After just two years, Buffet set out on his own, launching a successful career that began with the exhibition of a self-portrait at the Salon des Moins de Trente Ans at Galerie Beaux-Arts in 1946. His stark, existential compositions brought him global fame and fortune at a remarkably young age. Today, Buffet’s works are held in prestigious institutions such as the Museum of Modern Art in New York, the Tate Gallery in London and the Metropolitan Museum of Art, among many others. His legacy is further celebrated by museums in Japan dedicated exclusively to his oeuvre. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity, issued by Danielle Buffet dated December 19, 2025. \u003cbr\u003e\u003cbr\u003e Dated 1996 \u003cbr\u003e\u003cbr\u003e Canvas: 23” high x 31 1\/4” wide (58.4 x 79.4 cm)\u003cbr\u003e Frame: 33” high x 41 1\/4” wide x 1 1\/4” deep (83.8 x 104.8 x 3.2 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2198.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Estate of the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44388045684871,"sku":"32-2198","price":375000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2198_1_cfc6e034-b6b6-4a37-b84d-272bbcf0214b.png?v=1775251334"},{"product_id":"une-tulipe-et-trois-jacinthes-by-bernard-buffet","title":"Une tulipe et trois jacinthes by Bernard Buffet","description":"Bernard Buffet\u003cbr\u003e 1928-1999 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eUne tulipe et trois jacinthes\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(A Tulip and Three Hyacinths)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Bernard Buffet 1986\" (upper and lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This vibrant masterwork embodies the celebrated French artist Bernard Buffet at his best. He was one of France's most innovative 20th-century painters, perfectly capturing the existential spirit of the post-war era with his dramatic, angular style. This extraordinarily large-scale floral still life exemplifies why Buffet was the most coveted and collected artist in France in his day. \u003cbr\u003e\u003cbr\u003e Buffet, a prominent member of the artistic movement \u003cem\u003eL'Homme Témoin\u003c\/em\u003e (The Witness-Man), rejected the ideals of abstraction, favoring the expression of reality and raw emotion. While the group was known for its generally pessimistic outlook, Buffet’s embrace of vivid colors and moments of lightness was uniquely his own. In this work, his unmistakable style brings a pair of potted plants to life with exceptional brilliance. The interplay of electrifying complementary colors and his signature black lines results in a mesmerizing masterwork by this renowned artist. \u003cbr\u003e\u003cbr\u003e Born in Paris, Buffet began his art studies at the École Nationale Supérieure des Beaux-Arts in December 1943, training in the studio of painter Eugène Narbonne. After just two years, Buffet set out on his own, launching a successful career that began with the exhibition of a self-portrait at the Salon des Moins de Trente Ans at Galerie Beaux-Arts in 1946. His striking compositions brought him global fame and fortune at a remarkably young age. Buffet’s works are now held in prestigious institutions worldwide, such as the Museum of Modern Art, the Tate Gallery and the Metropolitan Museum of Art, among many others. His legacy is further celebrated by museums in Japan dedicated exclusively to his oeuvre. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity issued by Danielle Buffet. \u003cbr\u003e\u003cbr\u003e Dated 1986 \u003cbr\u003e\u003cbr\u003e Canvas: 28 3\/8” high x 39” wide (72 x 99.1 cm)\u003cbr\u003e Frame: 38 1\/4” high x 48 1\/2” wide x 1 1\/4” deep (97.2 x 123.2 x 3.2 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Estate of the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050645778567,"sku":"32-2199","price":495000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2199_1_d783b9a0-8ef7-4ac4-9261-4433fce7786d.png?v=1790356818"},{"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":"evening-sun-by-ivan-fedorovich-choultse","title":"Evening Sun by Ivan Fedorovich Choultsé","description":"Ivan Fedorovich Choultsé\u003cbr\u003e Russian | 1874–1939 \u003cbr\u003e\u003cbr\u003e \u003cem\u003eEvening Sun\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Iw. F. Choultsé 21\" (lower left)\u003cbr\u003e Oil on canvas on wooden panel \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eEvening Sun\u003c\/em\u003e, Ivan Fedorovich Choultsé demonstrates the extraordinary command of light that made him one of the most admired landscape painters of his generation. A monumental sunlit rock face rises from still water, its pale surface ignited by the last rays of day. Twisted pines cling to the cliff above, their dark, wind-shaped forms silhouetted against a luminous blue sky. Through rich impasto and a highly refined sensitivity to atmosphere, Choultsé turns a rugged coastal view into an image of radiance and serenity, particularly through his treatment of the shimmering water below the cliffside. \u003cbr\u003e\u003cbr\u003e Born in Saint Petersburg to a family of German origin, Choultsé received his earliest artistic training under Constantin Iacovlevich Krijitski, the distinguished painter associated with the court of Tsar Nicholas II. He quickly gained recognition, exhibiting widely in Russia and eventually serving as court painter to the imperial family. Extensive travels through Europe, Asia, North Africa and the Arctic deepened his fascination with landscape and the effects of light across varied terrains. \u003cbr\u003e\u003cbr\u003e After the Russian Revolution, Choultsé left his homeland and settled in Paris, where he adopted the French transliteration of his name. There he enjoyed renewed success, exhibiting at the Salon des Artistes Français and building an international reputation through exhibitions in Paris, London and New York. Today, his works are held in Russian museum collections, and examples also reside at Hillwood Estate, Museum \u0026amp; Gardens in Washington, D.C. \u003cbr\u003e\u003cbr\u003e Dated 1921 \u003cbr\u003e\u003cbr\u003e Panel: 12 5\/8” high x 9 13\/16” wide (32.07 x 24.96 cm)\u003cbr\u003e Frame: 20 1\/2” high x 17 5\/8” wide x 2 3\/4” deep (52.07 x 44.77 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Finch College Museum of Art, as \u003cem\u003eView of a River\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Henry P. Dumay, acquired directly from the artist, Arcachon-Gironde, France, summer 1929\u003cbr\u003e Later gifted to Irene and Victor, according to an inscription on the reverse\u003cbr\u003e Private collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44554951229575,"sku":"32-2321","price":54500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2321_1.png?v=1785964865"},{"product_id":"lucioles-by-alexander-calder","title":"Lucioles by Alexander Calder","description":"Alexander Calder\u003cbr\u003e 1898–1976 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLucioles\u003cbr\u003e (Fireflies)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Calder 72” (lower right)\u003cbr\u003e Gouache and ink on paper \u003cbr\u003e\u003cbr\u003e Few artists defined the visual language of modern abstraction as decisively as Alexander Calder. Much like his revolutionary mobiles and stabiles, Calder brought the same sense of movement, balance and playful invention to his works on paper. \u003cem\u003eLucioles\u003c\/em\u003e, executed in 1972, belongs to the final decade of the artist’s career, when his compositions achieved a remarkable clarity of form and confidence of color. \u003cbr\u003e\u003cbr\u003e In these late works, Calder distilled his visual vocabulary to its most essential elements, creating compositions that are at once bold, rhythmic and immediately captivating. Thick black contours structure the composition, dividing the surface into a dynamic arrangement of geometric forms—triangles, circles and spirals—that appear to pulse across the picture plane. Within these compartments, saturated primary colors are deployed with striking intensity. The circular motifs recall the kinetic qualities of Calder’s famed sculptures. \u003cbr\u003e\u003cbr\u003e Like his his larger-than-life revolutionary mobiles, Calder’s works on paper were fully realized compositions that stand independently within his oeuvre. Throughout his career, he maintained a deep commitment to drawing, using it as a means of exploring the same formal concerns that defined his sculpture: balance, movement and spatial tension. By the 1970s, his style had become at once rigorous and playful, abstract yet deeply engaging. Works from this period are held in major institutions worldwide, including the Museum of Modern Art and the Whitney Museum of American Art in New York.  \u003cbr\u003e\u003cbr\u003e Dated 1972 \u003cbr\u003e\u003cbr\u003e Paper: 29 1\/4\" high x 43\" wide (74.3 x 109.2 cm)\u003cbr\u003e Frame: 32 3\/4\" high x 46 1\/4\" wide x 2\" deep (83.2 x 117.5 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44562070962311,"sku":"32-2428","price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2428_1_12781c97-41ad-4668-af7a-5921a52e6fca.png?v=1787160086"},{"product_id":"peintre-a-la-veste-rouge-et-le-nu-vert-by-marc-chagall","title":"Peintre à la veste rouge et le nu vert by Marc Chagall","description":"Marc Chagall\u003cbr\u003e 1887-1985 | Russian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePeintre à la veste rouge et le nu vert\u003cbr\u003e (Painter with the Red Jacket and the Green Nude)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped with signature \"Chagall\" (lower left)\u003cbr\u003e Pastel, India ink and graphite on paper \u003cbr\u003e\u003cbr\u003e This masterful self-portrait vividly captures some of Marc Chagall's most iconic motifs in his signature dreamlike style. Painted circa 1960, this work embodies the extraordinary significance of Chagall’s final decades, often referred to as his “Mediterranean Renaissance.” \u003cbr\u003e\u003cbr\u003e Much like Rembrandt, whom Chagall greatly admired, the artist returned frequently to his own image as a means of exploring identity, memory and the very nature of artistic creation. In this vibrant work, Chagall depicts himself as the painter in a vivid red jacket, surrounded by the signature symbols of his unique visual language: a lush bouquet of florals, a floating nude, the yellow-headed goat and the rooftops of his beloved birthplace of Vitebsk. The result is a profoundly autobiographical composition in which the artist places himself at the center of his own dreamlike world. \u003cbr\u003e\u003cbr\u003e This painting dates to one of the most consequential periods of Chagall's career. He had recently completed his revolutionary stained-glass windows for the Hadassah synagogue in Jerusalem and the Metz Cathedral. In 1960, France's Minister of Cultural Affairs commissioned Chagall to paint the iconic ceiling of the Paris Opera—a monumental undertaking that cemented his status as one of the most important living artists in the world. Despite being in his seventies, this extraordinary era of Chagall's output would ultimately prove to be one of his most ambitious and internationally acclaimed. \u003cbr\u003e\u003cbr\u003e Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life. \u003cbr\u003e\u003cbr\u003e Chagall died at the age of 97 in Saint-Paul de Vence, France, in 1985, leaving behind an incredible body of work that remains among the most coveted in the art world, especially his profound self-portraits such as this one. His works belong to the collections of prestigious museums across the world, including the Museum of Modern Art, the Centre Pompidou, Tate Modern and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity issued by the Comité Marc Chagall. \u003cbr\u003e\u003cbr\u003e Circa 1960 \u003cbr\u003e\u003cbr\u003e Paper: 16 1\/2” high x 11 1\/2” wide (41.9 x 29.2 cm)\u003cbr\u003e Frame: 33” high x 28” wide x 1 1\/2” deep (83.8 x 71.1 x 3.8 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44556564791431,"sku":"32-2450","price":598500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2450_1.png?v=1784308897"},{"product_id":"ormolu-and-champleve-enamel-singing-bird-box","title":"Ormolu and Champlevé Enamel Singing Bird Box","description":"Champlevé Enameled Bronze Singing Bird Box\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Striking in both form and function, this champlevé enameled bronze singing bird box reflects a refined blend of decorative artistry and mechanical ingenuity. The lid opens to reveal a delicate feathered bird that springs to life, fluttering its wings, turning in place and opening its beak in song. \u003cbr\u003e\u003cbr\u003e The box’s surface is adorned with vibrant enamelwork, with cartouches of stylized flowers and scrolling foliage that animate the gilding with color and depth. Raised on four feet, the form possesses a sculptural presence, its intricate detailing reflecting the enduring influence of historic European ornament. The box was likely made in France. \u003cbr\u003e\u003cbr\u003e Originating in the late 18th century, mechanical singing bird boxes were among the most enchanting luxuries produced for European elites. Often referred to as \u003cem\u003etabatières\u003c\/em\u003e, these objects combined the elegance of snuff boxes with ingenious internal mechanisms. By the late 19th century, they remained coveted for their craftsmanship and charm, continuing a tradition that celebrates both artistry and innovation. \u003cbr\u003e\u003cbr\u003e 3 3\/8\" high x 4 5\/8\" wide x 3 1\/4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44552781463687,"sku":"32-2512","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2512_1_ce0ce38a-1dc6-4295-a274-ff79b9f664a4.png?v=1777569699"},{"product_id":"gorham-shrapnel-shell-cocktail-shaker","title":"Gorham Shrapnel Shell Cocktail Shaker","description":"The “Eighteen Pounder” Cocktail Shaker\u003cbr\u003e Attributed to the Gorham Manufacturing Company\u003cbr\u003e Circa 1917 \u003cbr\u003e\u003cbr\u003e A striking fusion of wartime engineering and American cocktail culture, this rare shaker takes the form of a World War I 18-pound shrapnel shell. Attributed to the Gorham Manufacturing Company, it reflects a moment when industrial design inspired domestic luxury objects. Produced after the war, it is finely detailed, even incorporating a decorative time delay fuze mechanism. At almost two feet high, it is among the largest cocktail shakers of its era. The base conceals a fitted interior with a vertical stand for four shot glasses, while the upper section functions as a fully operational cocktail shaker with strainer and stopper. \u003cbr\u003e\u003cbr\u003e Gorham, one of America’s leading silver manufacturers, became renowned for its inventive silver plate production, particularly during the early 1900s when novelty and craftsmanship merged in the decorative arts. The firm’s “Shrapnel Cocktail Sets,” introduced around 1915, captured public fascination with wartime motifs adapted for the home, transforming industrial design language into objects of luxury. \u003cbr\u003e\u003cbr\u003e Underside marked \"Fac-Simile Eighteen Pounder Shrapnel Shell \/ Patent Applied for in America and Foreign Countries\" \u003cbr\u003e\u003cbr\u003e 22 3\/4\" high x 4\" diameter","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44543905267847,"sku":"32-2511","price":14850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2511_1_d39bd56c-eb81-488e-9dfa-7dffc63fdaec.png?v=1780428075"},{"product_id":"18k-gold-handled-sword-cane","title":"18K Gold-Handled Sword Cane","description":"18K Gold-Handled Sword Cane\u003cbr\u003e Late 19th Century \u003cbr\u003e\u003cbr\u003e This exceptional cane conceals a deadly secret. Its solid gold handle withdraws to reveal a hidden blade, ingeniously housed within the wooden shaft and accented by decorative notches. Cast in 18K gold, the handle is richly adorned with refined scrollwork and a finely engraved interlocking monogram. Known as sword sticks, such discreet weapons enjoyed particular popularity during the 19th century. \u003cbr\u003e\u003cbr\u003e 35 3\/4“ length","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44563729055879,"sku":"32-2553","price":19850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2553_1.png?v=1784316052"},{"product_id":"purple-abstract-by-frank-sinatra","title":"Purple Abstract by Frank Sinatra","description":"Frank Sinatra\u003cbr\u003e 1915-1998 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePurple Abstract\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Sinatra 89\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Few artists so thoroughly impacted the American cultural landscape as Frank Sinatra. A lifelong art enthusiast, he developed a discerning eye as a collector following his rise to fame, acquiring notable modern and postmodern works from around the world. In his own practice, he explored bold, abstract compositions such as this, drawing inspiration from leading abstractionists while shaping a distinct and personal visual language. \u003cbr\u003e\u003cbr\u003e This geometric abstract painting displays a vertical cascade of angular forms set against a soft lavender ground. Clean-edged rectangles in cream, ochre, deep purple and emerald anchor the composition, while a lively cluster of triangles in crimson, cobalt, yellow, black and pink energizes the center. Smaller fragments extend outward, lending a sense of movement and visual rhythm. The flat planes of color and crisp geometry reflect the legacy of mid-century abstraction, recalling artists such as Hans Hofmann, Henri Matisse, Piet Mondrian and Frank Stella. \u003cbr\u003e\u003cbr\u003e By the mid-1960s, Sinatra was an icon. He famously became the founding member of the \"Rat Pack,\" an informal group of Las Vegas entertainers that also included Dean Martin, Sammy Davis Jr., Peter Lawford and others. Sinatra briefly retired from his long-standing gig at Caesars Palace in the early 1970s, and it was during this period away from the stage when he painted the present work. He eventually returned and would continue to perform until 1995, when he played his last show at the age of 79. He died just three years later of a heart attack at the age of 82. Today, Sinatra memorabilia, particularly such personal objects as his paintings, are highly prized by both lovers of his music and lovers of fine art. \u003cbr\u003e\u003cbr\u003e Dated 1989 \u003cbr\u003e\u003cbr\u003e Canvas: 39 3\/4\" high x 29 1\/2\" wide (101 x 74.9 cm)\u003cbr\u003e Frame: 40 3\/4\" high x 30 1\/2\" wide x 2 1\/2\" deep(103.5 x 77.5 x 6.4 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, California\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44563724206215,"sku":"32-2429","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2429_1.png?v=1777994618"},{"product_id":"russian-silver-and-enamel-dessert-service-for-12","title":"Russian Silver and Enamel Dessert Service for 12","description":"Russian Silver and Champlevé Enamel Dessert Service for 12\u003cbr\u003e Assayed Moscow, 1886 \u003cbr\u003e\u003cbr\u003e A vision of Imperial refinement, this rare Russian silver and enamel dessert service embodies the grandeur and artistry of late 19th-century Moscow craftsmanship. Comprising 37 pieces, the service includes teaspoons, butter knives, dessert forks and sugar tongs. Each element reflects the elevated craftsmanship and elegance associated with elite Russian silver production of the late 19th century. \u003cbr\u003e\u003cbr\u003e The surface of each piece is richly adorned in a traditional Pan-Slavic foliate and scrolling design rendered in vivid champlevé enamel. Shades of deep blue, green and turquoise create a striking contrast against the polished silver ground. The terminals are crowned with a finely detailed coat of arms beneath a princely crown, accompanied by a banner inscribed “Sempre Alta Lafronte,” reinforcing the service’s aristocratic associations. The set is complete with its original presentation case, lined in velvet and silk. \u003cbr\u003e\u003cbr\u003e Produced in Moscow circa 1886, this service reflects the height of Russian decorative silverwork during the Imperial period. Marked with the Cyrillic maker’s initials “UG” and the 88 zolotnik standard, it denotes a high-grade silver purity of .9166 fine. The use of champlevé enamel, combined with heraldic decoration, places this service firmly within the tradition of luxurious presentation silver created for noble and aristocratic households. \u003cbr\u003e\u003cbr\u003e Maker’s mark “UG” in Cyrillic \u003cbr\u003e\u003cbr\u003e In box: 2 1\/4\" high x 15 1\/4\" wide x 12 1\/4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44578425962631,"sku":"32-2526","price":48500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2526_1_caa862d9-9ba6-4bb9-bbda-693d14861629.png?v=1786404054"},{"product_id":"standing-female-nude-by-gustav-klimt","title":"Standing Female Nude by Gustav Klimt","description":"Gustav Klimt\u003cbr\u003e 1862-1918 | Austrian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eStanding Female Nude\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped by the artist's estate (lower right)\u003cbr\u003e Pencil on paper \u003cbr\u003e\u003cbr\u003e Gustav Klimt stands as one of the most influential figures of modern art, celebrated for his richly ornamental vision of modern beauty. More than any other subject, Klimt’s mesmerizing female figures were his most important motif—singularly powerful in their beauty, sensuality and psychological depth. This exceptional drawing, \u003cem\u003eStanding Female Nude\u003c\/em\u003e, is a rare work connected to one of the artist’s now-lost masterpieces and a remarkable example of his genius as a draftsman. \u003cbr\u003e\u003cbr\u003e By 1916-17, when this drawing was created, Klimt was at the height of his powers. His golden phase had given way to a freer, more daring late style, marked by heightened color, exotic patterning and an increasingly modern vision of the female form. It was during these final years of the artist’s life that he created some of his most sought-after portraits and figural compositions, including \u003cem\u003eFreundinnen II\u003c\/em\u003e, the masterwork to which our drawing is linked.  \u003cbr\u003e\u003cbr\u003e In preparation for his ambitious portraits, Klimt made dozens of drawings, often created spontaneously in his studio where models lounged around him endlessly. In our \u003cem\u003eStanding Female Nude\u003c\/em\u003e, Klimt’s signature fluid linework brings the figure remarkably to life, as if captured perfectly in an instant. Her elongated form, lifted arm and direct gaze give the drawing both sensuality and authority. This rhythm between freedom and control is central to Klimt’s greatest drawings, and one can see how this work directly informed the alluring figures pictured in \u003cem\u003eFreundinnen II\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Tragically, this painting was destroyed in 1945 in the fire at Schloss Immendorf, where numerous works by Klimt were lost in the final days of World War II. The drawings for \u003cem\u003eFreundinnen II\u003c\/em\u003e thus survive as the last direct witnesses to that vanished masterpiece. \u003cbr\u003e\u003cbr\u003e As a founding figure of the Vienna Secession, Klimt helped lead Austrian art away from academic convention and toward a radical modern language, uniting Symbolism, Byzantine splendor, Japanese design and Art Nouveau elegance in some of the most recognizable images ever painted. His famed “Golden Phase” produced icons such as \u003cem\u003eThe Kiss\u003c\/em\u003e and \u003cem\u003ePortrait of Adele Bloch-Bauer I\u003c\/em\u003e, while his late portraits and landscapes reveal an artist of remarkable range, refinement and decorative genius. \u003cbr\u003e\u003cbr\u003e Klimt’s enduring importance is affirmed not only by his presence in major institutions—including the Belvedere in Vienna, which holds the world’s largest collection of his paintings, as well as the Neue Galerie New York, The Metropolitan Museum of Art and The Museum of Modern Art—but also by his extraordinary market performance. His \u003cem\u003ePortrait of Elisabeth Lederer\u003c\/em\u003e reached an astonishing $236.4 million at Sotheby’s in 2025, becoming the most expensive modern artwork ever sold at auction. \u003cbr\u003e\u003cbr\u003e Circa 1916-17 \u003cbr\u003e\u003cbr\u003e Paper: 28\" high x 19\" wide (71.12 x 48.26 cm)\u003cbr\u003e Frame: 31\" high x 22 1\/4\" wide x 1 1\/4\" deep (78.74 x 56.52 x 3.18 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie St. Etienne, New York\u003cbr\u003e Private collection, acquired from the above circa 2005\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Marian Bisanz-Prakken, Albertina, Vienna, will include this work in her forthcoming Supplement to Alice Strobl’s catalogue raisonné of Klimt’s drawings","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44819653820551,"sku":"32-2728","price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2728_1.png?v=1789406415"}],"url":"https:\/\/rauantiques.com\/collections\/event-2026-san-francisco-show.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}