{"title":"Fine Art Collection: $100,000 - $399,999","description":"","products":[{"product_id":"emprunt-6-souscrivez-by-raoul-dufy","title":"Emprunt 6% Souscrivez by Raoul Dufy","description":"Raoul Dufy\u003cbr\u003e 1877-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eEmprunt 6% Souscrivez\u003cbr\u003e (War Loan 6% Subscribe)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Raoul Dufy\" (lower right)\u003cbr\u003e Gouache on paper \u003cbr\u003e\u003cbr\u003e This vibrant gouache on paper by the renowned Raoul Dufy is a work of exceptional artistry and represents an important period in world history. The piece was a special commission ordered by the French government, which sought to encourage the French people to join in the post-war reconstruction efforts. Following World War I, the French government was destitute. The cost of the Great War had been tremendous not only in lives lost but also in terms of infrastructure and finances. To reclaim its place as a great power on the world stage, France needed funds to reconstruct its key industries, and quickly. Thus, the government turned to one of the most famous French artists of the day - Raoul Dufy - to create this gouache on paper to advertise the country's war bonds.  \u003cbr\u003e\u003cbr\u003e The extraordinary work represents Dufy's own sense of patriotic duty. Entirely unique in his oeuvre, it is clear that Dufy wished to create something truly special to help his war-torn country. The artist deftly captures the industry of France in the colorful composition, showcasing bridges, buildings, ships and other key elements of the country's infrastructure to evoke the viewers' pride, patriotism and willingness to help. The words \u003cem\u003eEmprunt 6% Souscrivez (War Loan 6% Subscribe)\u003c\/em\u003e are boldly written across the top, seeking subscribers to a 6% interest loan to help rebuild the country - a very healthy return for the age. \u003cbr\u003e\u003cbr\u003e The powerful painting represents one of the most effective and extensive patriotic campaigns of all time. France relied heavily on the willingness of its citizens to lend money to the government during World War I. By the war's end, however, the war-weary public required greater incentive to purchase war loans, so higher interest rates as well as extensive public relations campaigns were needed to sell government bonds. With the purchase of a war loan, every person could make a difference - and earn a significant return on their investment. Dufy's exceptional composition appealed to his countrymen's sense of patriotism, duty and pride, resulting in one of the most successful war and reconstruction funding campaigns of the modern age. \u003cbr\u003e\u003cbr\u003e Aside from its historic importance, the work is exemplary of Dufy's highly modern and distinctive style. The dynamism of the scene is perfectly translated through the artist's vivacious experiments in color and movement. He combines bold and spontaneous black outlines with broad areas of vivid color, creating dynamic planes that captivate the viewer. The resulting work is colorful and full of vigor, displaying the bright fluidity for which Dufy is so loved. \u003cbr\u003e\u003cbr\u003e Born in Le Havre, Normandy, both Dufy and his brother Jean showed a talent for drawing at an early age. He would eventually enroll in the École d'Art in La Havre, and later, the École Nationale Supérieure des Beaux-Arts in Paris. After viewing Matisse's Luxe, Calme et Volupte in 1904, Dufy adopted the bright color and flat compositions of the Fauvists. By 1909, the artist sought more austerity in his painting, and he became drawn to the works of Cézanne and the Cubists. From this point forward, Dufy's compositions presented a blend of the ideals upheld by these two artistic groups. His use of bold lines and colors, dynamic brushstrokes and other painterly qualities found in his paintings are a testament to his unique Expressionist ideals. \u003cbr\u003e\u003cbr\u003e This important work is accompanied by a certificate of authenticity from Mme. Fanny Guillon-Laffaille and will be included in her forthcoming supplement to the \u003cem\u003eCatalogue Raisonné des aquarelles de Raoul Dufy\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Circa 1919 \u003cbr\u003e\u003cbr\u003e Paper: 19\" high x 25\" wide\u003cbr\u003e Frame: 28\" high x 33 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Madame Collette van Leer (the artist's niece), Brussels\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44540181905543,"sku":"30-7592","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-7592_1_b92d0cd5-c541-4105-9323-0e0ceaea9b7a.png?v=1777552447"},{"product_id":"venetian-figural-torcheres-17th-century","title":"Venetian Figural Torchères, 17th Century","description":"Carved wooden torchères\u003cbr\u003e Venetian artist\u003cbr\u003e Early 17th century \u003cbr\u003e\u003cbr\u003e Awe-inspiring in size and artistry, these incredible Venetian figural torchères pay homage to two of Italy’s most celebrated merchant explorers–Marco Polo and Amerigo Vespucci. Standing over nine feet high, these impressive carved wood sculptures were crafted in the late Renaissance in the Lombardo manner and are masterpieces of the centuries-old tradition of Venetian woodcarving. Most works executed during this era were ecclesiastical or architectural in nature, such as the Archangel torchères found in the Palazzo Moncenigo in Venice, a fact that makes these substantial secular figures an incredible rarity. Given their depiction of historical figures, these torchères would most likely have been specially commissioned by a wealthy Venetian merchant or public official to be displayed at the entrance of his palace. Outside of the similar pair housed in the Doge’s Palace in Venice, these figures are the only other secular pair known to exist anywhere in the world.  \u003cbr\u003e\u003cbr\u003e Displaying incredible attention to detail, the merchant explorers are rendered in exotic clothing inspired by their travels that forever changed the course of history. Retaining much of their original paint, a combination of gilt, polychrome and natural wood gives these imposing sculptures a dynamic and more life-like appearance. Known in Italy as androne torchère, these figures would have flanked the entrance hall stairwell making an unquestionably grand impression upon visitors.  \u003cbr\u003e\u003cbr\u003e Wooden sculptures of this immense quality and scale would be nearly impossible to survive in the condition of the present pair. The passage of nearly 400 years, combined with the regularity of floods throughout Venice’s history, make these figural torchères among the rarest works of Venetian art on the market today.  \u003cbr\u003e\u003cbr\u003e Each: 114” high x 44” wide x 30” deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231050629255,"sku":"30-3346","price":348500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-3346_1.png?v=1758655492"},{"product_id":"portrait-of-francis-bennett-by-thomas-gainsborough","title":"Portrait of Francis Bennett by Thomas Gainsborough","description":"Thomas Gainsborough\u003cbr\u003e 1727–1788 | English \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Francis Bennett (1712-1790)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptionally rare portrait was composed by renowned British painter Thomas Gainsborough, one of the most recognizable names in 18th-century art. This masterwork was painted in Bath in 1766, during one of the most significant artistic periods of Gainsborough's career. Just three years later, in 1769, he was invited to become a founding member of the Royal Academy, one of the highest honors a British painter could achieve. With its fluidity of line and boldness of color, \u003cem\u003ePortrait of Francis Bennett (1712-1790)\u003c\/em\u003e reveals the artist's shift away from the more realistic style of his early output toward the elegant grandeur that characterizes his later oeuvre. \u003cbr\u003e\u003cbr\u003e Francis Bennett, like Gainsborough himself, prospered thanks to the huge expansion of Bath as a spa town in the 18th century. Born in Bath in 1712, he established himself as a linen and wool draper who counted the elite of the town—including Gainsborough himself—among his clientele. A slightly earlier portrait of Bennett in a blue waistcoat was formerly in the collection of the late Viscount Cowdray at Cowdray Park. \u003cbr\u003e\u003cbr\u003e Born in 1727 in Suffolk, Gainsborough was the leading portrait painter of the 18th century, alongside Sir Joshua Reynolds, his main rival. Though Gainsborough originally set up his studio in Ipswich in 1752, he later moved to Bath, where he achieved considerable success. A favorite of the aristocracy as a portrait painter, Gainsborough was equally at home painting landscapes and pastoral idylls, presenting nobility, the working class and nature with the same extraordinary technical precision. Gainsborough’s ability to capture his subjects’ personalities, imbuing them with an emotive poetry, set him apart from his contemporaries. His portraits belong to the world's most prestigious museums, including the Louvre, the National Gallery in London, the Metropolitan Museum of Art and many more. \u003cbr\u003e\u003cbr\u003e This painting will be included in the forthcoming catalogue raisonné of the portraits of Thomas Gainsborough currently being prepared by Dr. Hugh Belsey. \u003cbr\u003e\u003cbr\u003e Circa 1766 \u003cbr\u003e\u003cbr\u003e Canvas: 30 1\/8” high x 25” wide (76.52 x 63.50 cm)\u003cbr\u003e Frame: 36 3\/4” high x 32” wide x 3\" deep (93.35 x 81.28 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Thomas Agnew \u0026amp; Sons, London, by 1899\u003cbr\u003e Jointly owned by Agnew’s and Wallis \u0026amp; Son, 1903\u003cbr\u003e Agnew’s half share sold to Wallis \u0026amp; Son on June 2, 1910\u003cbr\u003e Galerie D Heinemann, Munich, 1918 and 1928\u003cbr\u003e Private collection, Amsterdam, 1995-2005\u003cbr\u003e M.S. Rau, New Orleans, 2009\u003cbr\u003e Private collection, Los Angeles, 2012\u003cbr\u003e M.S. Rau, New Orleans, 2016\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Walter Armstrong, \u003cem\u003eGainsborough and His Place in English Art\u003c\/em\u003e, 1904, p. 258 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e French Gallery, 1913, no. 17\u003cbr\u003e Galerie D Heinemann, Munich, 1918 and 1928","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44201313468551,"sku":"29-4019","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-4019_1_04f3c8f3-b19f-42e8-9dc6-3a1ab942f411.png?v=1774961008"},{"product_id":"portrait-of-napoleon-ii-attributed-to-johann-peter-krafft","title":"Portrait of Napoléon II attributed to Johann Peter Krafft","description":"Attributed to Johann Peter Krafft\u003cbr\u003e 1780-1856 | Austrian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Napoléon François Charles Joseph Bonaparte\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Remnants of signature (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The son of the legendary Napoléon Bonaparte, Napoléon François Charles Joseph, takes a spirited stance in this remarkable oil painting attributed to the Austrian portraitist Johann Peter Krafft. Believed to have been exhibited at the Exposition Universelle of 1900 in Paris, this work stands as a testament to both Austrian artistry and the legacy of one of the most powerful men in history. \u003cbr\u003e\u003cbr\u003e After Napoléon's exile to the island of Elba in 1814, his son was seen by many of his supporters as the last hope of France. The child was named the ruler of half of Europe, holding the titles of Napoléon II, King of Rome, Prince of Parma, and the Duke of Reichstadt, the last given to him by his grandfather, Austria’s Emperor Francis II.  \u003cbr\u003e\u003cbr\u003e Following his father’s capture, the then four-year-old Napoléon and his mother fled to her homeland of Austria, never to see the fallen Emperor of France again. Once under the protection of the Habsburg Court, there was a concerted effort to sever all ties to his father. His mother left him in Vienna to pursue her own personal interests. In her absence, his grandfather assumed guardianship and gave him the title of the Duke of Reichstadt, dismissed all of his French attendants, and even disallowed the child to be referred to as “Napoléon”, instead insisting on the name “Franz” or “Francis”.  \u003cbr\u003e\u003cbr\u003e   This portrait, which dates roughly to 1818, features the young Napoléon II as he gazes directly at the viewer and assumes a pose of nonchalant authority. He wears the dress of a Spanish Grandee, a style of costuming that enjoyed a resurgence in popularity in the late years of the prior century with the advent of the majismo tradition. The incorporation of it here, however, has been tied to the young Napoléon II’s acquisition of a new title in 1818 - the Duke of Reichstadt. It was this new title that was purportedly celebrated with a large costume ball, and it is for this reason, as interpreted by experts, that Napoléon II wears such distinctive garb in this portrait.  \u003cbr\u003e\u003cbr\u003e A closer look at the technique and style of this painting leads one to draw connections to the work of Johann Peter Krafft, who devoted much of his career to history and portrait painting. Born in Hanau, Germany, Krafft eventually moved to Vienna near the end of the eighteenth century and subsequently enrolled at the Academy of Fine Arts, Austria’s preeminent artistic academy. First studying alongside Heinrich Friedrich Füger, a history painter, Krafft was also afforded training under the masterful eye of Neoclassical painter Jacques-Louis David in Paris the early 1800s. \u003cbr\u003e\u003cbr\u003e Shortly after this time abroad, Krafft returned to Vienna to establish his studio and gained fast acclaim for his striking portraits. His work garnered him membership in the Academy of Fine Arts as well as a professorial appointment there in 1823; in 1828, he was appointed the director of the Österreichische Galerie Belvedere, which still today is considered one of Austria’s most impressive artistic collections. Throughout these accomplishments, Krafft continued to accept increasingly prestigious commissions, including those from Emperor Franz I and his court. \u003cbr\u003e\u003cbr\u003e Painted in 1818 \u003cbr\u003e\u003cbr\u003e Canvas: 55 1\/4\" high x 36 3\/8\" wide\u003cbr\u003e Frame: 63 1\/2\" high x 44 1\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Haro, La Maison au Genie des Arts, 30 Rue du Colombier, Paris (label stamped on the reverse of the original canvas, the firm was at this address from 1826 - 1836); \u003cbr\u003e Sibylle-Gabrielle Marie-Antoinette de Riquetti de Mirabeau, Comtesse de Martel de Janville, from 1849 until 1932, (French author who wrote under the pseudonym Gyp);\u003cbr\u003e Thereafter, by descent in the family;\u003cbr\u003e Private Collection, Michigan, until 2018 \u003cbr\u003e\u003cbr\u003e Exhibited: \u003cbr\u003e Exposition Universelle de 1900, Paris, April 15 - November 12, 1900 (according to tradition in the Comtesse de Martel de Janville's family)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43641745703047,"sku":"30-9335","price":128500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9335_1_69d04491-9210-4d3c-b0ae-7d800e75fd70.png?v=1769760834"},{"product_id":"bust-of-pope-innocent-xi-odescalchi-by-domenico-guidi","title":"Bust of Pope Innocent XI Odescalchi by Domenico Guidi","description":"Domenico Guidi\u003cbr\u003e 1625-1701 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBust of Pope Innocent XI Odescalchi\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Carrara marble \u003cbr\u003e\u003cbr\u003e This monumental bust is a museum-quality example of Roman Baroque sculpture. Crafted by the legendary Domenico Guidi and carved from Carrara marble, the impressive portrait captures the visage of Pope Innocent XI, Benedetto Odescalchi (1611-1689). It presents a larger-than-life example of Guidi’s remarkable skill as a sculptor, which ultimately made his workshop one of the most important in Rome during his age. Today, his works are rarely found on the market, particularly his extraordinary works in marble. \u003cbr\u003e\u003cbr\u003e Pope Innocent XI was born Benedetto Odescalchi into an Italian noble family of prominent bankers. Spending his early years in banking, he eventually turned to the law, earning his doctorate in 1639. His background would serve him well in his service to the papacy, and he became known as a frugal and devout member of the Church. In 1676, he was unanimously elected Pope after the death of Clement X. During his nearly 13-year reign, he instilled his own personal ideals of austerity and frugality onto the Church, with a deep commitment to reform and piety. \u003cbr\u003e\u003cbr\u003e He is captured here by Guidi in his traditional Pope’s mozzetta and camauro cap. A wide stole is draped over his shoulders, ornamented by acanthus leaves and the coat of arms of the Odescalchi family. It displays Guidi’s mastery over the chiaroscuro effect, particularly in the high level of contrast in his cheeks and his eyes, which Guidi achieved through various methods of high polish.  \u003cbr\u003e\u003cbr\u003e A very similar portrait sculpture of Pope Innocent XI by Guidi can be found in the collection of the Royal Castle in Warsaw. The Warsaw bust belongs to a series of portraits of popes which the Odescalchi family commissioned from Domenico Guidi in the 1690s. Compared to that example, the present bust is far more dramatic, with deeper cut lines and a more precise expression. It is likely that the present piece was seen by the Odescalchi family, who ordered a similar one to be made. The piece was almost certainly intended to be displayed in a niche, given its dramatic cutting and its roughly carved back. \u003cbr\u003e\u003cbr\u003e Others of Guidi’s busts can be found in important collections throughout Italy, England and the United States, though many of these are lesser bronze repetitions. A bronze bust of Pope Alexander VIII by Guidi is currently in the collection of the Victoria \u0026amp; Albert Museum (London), while a terracotta version of the same is in the Los Angeles County Museum. A bronze of Pope Alexander VIII can be found in the Princely Collection of Lichtenstein, and his impressive marble papal bust of Clement IX graces the pope’s tomb in Santa Maria Maggiore. The present bust of Pope Innocent XI stands among these impressive examples as a truly museum-quality work by this Baroque master. That ours is also a marble original makes it all the more exceptional. \u003cbr\u003e\u003cbr\u003e Domenico Guidi was the nephew of the prominent sculptor Giuliano Finella, and in 1639, he joined his uncle in Naples in order to learn the family business. His first task was a monumental one – he assisted Finella on thirteen statues of saints for the Cathedral in Naples. It was well known that his uncle had an ongoing feud with the great Baroque sculptor Bernini, and thus Guidi never entered his workshop. Instead, he went to Rome to work for Bernini’s main rival Alessandro Algardi in 1648 and, after the master’s death in 1654, began his own independent career. His workshop quickly became one of the most popular in Rome, particularly following the death of Bernini, and he also enjoyed remarkable success in France. Today, his sculptures stand as remarkable examples of the Roman Baroque style. \u003cbr\u003e\u003cbr\u003e Circa 1690 \u003cbr\u003e\u003cbr\u003e 46” high x 35” wide x 17” deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542450770055,"sku":"30-7781","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-7781_1_58a93872-762c-425d-84bd-6248f3881c2a.png?v=1743858907"},{"product_id":"virgin-and-child-with-the-infant-saint-john-by-domenico-puligo","title":"Virgin and Child with the Infant Saint John by Domenico Puligo","description":"Domenico Puligo\u003cbr\u003e 1492-1527 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eVirgin and Child with the Infant Saint John\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art in New York, Museo del Prado in Madrid, Palazzo Borghese in Rome and Palazzo Pitti in Florence, among many others. \u003cbr\u003e\u003cbr\u003e Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color are remarkable. The Virgin Mary’s crimson dress displays an impressive level of chiaroscuro, ranging from deep burgundy to vibrant pink. It is perfectly juxtaposed against the dark greens and purples of her mantle. Apart from the two holy children, the remainder of the painting offers a view of a vast landscape, executed in various shades of blues and greens. \u003cbr\u003e\u003cbr\u003e Puligo has perfected the soft sfumato effect; combined with his exaggerated, yet elegant distortion of his figures, his \u003cem\u003eVirgin and Child with the Infant Saint John\u003c\/em\u003e embodies the Mannerist idiom. The 16th-century art form emerged during the Late Renaissance. Whereas painters of the High Renaissance sought to achieve harmonious ideals and perfect proportions, the Mannerists created compositions that evoked drama through elongated limbs, strained poses, and vivid colors. Like other Mannerists of his generation, Puligo’s compositions are imbued with emotion and sentimentality rather than naturalism and perfect perspective. The style is well suited to the Virgin and Child trope, lending a motherly tenderness to Puligo’s devotional works. \u003cbr\u003e\u003cbr\u003e Domenico Puligo was born in Florence into a family of blacksmiths, though little else is known of his early life. He trained under Ridolfo Ghirlandaio, and briefly worked under Andrea del Sarto, who became a profound influence on the young painter. The majority of Puligo’s output was focused on medium-sized religious paintings such as the present work, which he composed as special commissions for his client’s private devotion. A small group of altarpieces and a number of commissioned portraits have also been attributed to the artist. His oeuvre, however, is small, as he died at the young age of 35 after contracting the plague. Today, the majority of his works are found only in museum collections. It is incredibly rare to come across such a fine example as this on the market. \u003cbr\u003e\u003cbr\u003e Circa 1515 \u003cbr\u003e\u003cbr\u003e Panel: 33 1\/2” high x 25” wide\u003cbr\u003e Frame: 50 1\/8\" high x 40 3\/8\" wide \n Provenance: Sotheby's London, Old Master Paintings Auction July 3, 1991, Lot #221 Private Collection, Turin, Italy","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43261604200583,"sku":"30-8679","price":345000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8679_1.png?v=1759512293"},{"product_id":"saint-cosmas-and-saint-damian-attributed-to-bonifacio-bembo","title":"Saint Cosmas and Saint Damian attributed to Bonifacio Bembo","description":"Attributed to Bonifacio Bembo\u003cbr\u003e 1420-1478 | Italy \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSaint Cosmas and Saint Damian\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Tempera on panel \u003cbr\u003e\u003cbr\u003e These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. Based on the research of art historians Marco Tanzi and Andrea de Marchi, it is believed that these represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. \u003cbr\u003e\u003cbr\u003e The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the\u003cem\u003e Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino\u003c\/em\u003e (the chapel’s namesake) and \u003cem\u003eSaint George\u003c\/em\u003e.  \u003cbr\u003e\u003cbr\u003e While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. \u003cbr\u003e\u003cbr\u003e According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. \u003cbr\u003e\u003cbr\u003e The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi currently in the collection of the National Gallery (London). \u003cbr\u003e\u003cbr\u003e Along with the remainder of the Cremonese altarpiece, these present panels have been attributed to the Northern Italian Renaissance painter Bonifacio Bembo. Active in Cremona throughout the 15th century, he would have been a natural choice for the construction of the altarpiece, which was to be part of a new chapel dedicated to San Nicola da Tolentina in the church of Sant'Agostino in Cremona. The Cavalcabò chapel, which is also in the Sant'Agostino, is similarly attributed to him. Several other of his works can be found in museums and churches throughout Italy and beyond, including the Pinacoteca di Brera (Milan), Denver Museum of Art, and the Musée des Arts Décoratifs (Paris), among others. \u003cbr\u003e\u003cbr\u003e Circa 1454-1458 \u003cbr\u003e\u003cbr\u003e Panel: 14 5\/8” high x 11 3\/8” wide (37.15 x 28.89 cm)\u003cbr\u003e Frame: 22 3\/4” high x 19 1\/2” wide x 2 1\/2\" deep (57.79 x 49.53 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_30-8695.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This work was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, London\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050894815367,"sku":"30-8695","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8695_1_e3932cdd-d2ed-4759-b626-be58a4b708f0.png?v=1774967625"},{"product_id":"leda-and-the-swan-by-workshop-of-bartholomaeus-spranger","title":"Leda and the Swan by Workshop of Bartholomaeus Spranger","description":"Workshop of Bartholomaeus Spranger\u003cbr\u003e 16th Century | Flemish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLeda and the Swan\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Retelling one of the most legendary Greco-Roman mythological tales, this exceptional oil on panel of Leda and the Swan is credited to the workshop of the great Flemish master Bartholomaeus Spranger. The story, in which Zeus transforms into a swan to seduce the young beauty Leda, has been taken up by artists since antiquity, and this painting represents a particularly sophisticated rendition of the myth. Leda is depicted as a languishing and voluptuous female nude, as Zeus, in the form of a swan, hovers over her figure in the background. Their children, Helen and Pollux, surround their mother, while a cherubic Cupid occupies the lower right corner of the scene. Lively and vibrant, the scene bears the very best characteristics of Spranger's workshop, exemplifying the elements that make his works so treasured.   \u003cbr\u003e\u003cbr\u003e Spranger was renowned for his painterly style that was revolutionary for its merger of northern European and Italian painterly techniques. \u003cem\u003eLeda and the Swan\u003c\/em\u003e reveals these same stylistic tendencies. The richness of color and the seductive expression of Leda, complete with her limpid yet direct gaze, recall the master artists of 16th-century Italy, such as Parmigianino and late Michelangelo. It particularly recalls Michelangelo's lost 1530s version of the same subject (a copy of which is in London's National Gallery), especially in the placement of the swan and Leda's draped posture. \u003cbr\u003e\u003cbr\u003e The painting's attention to detail, however, reveals a link to Netherlandish traditions. A number of elements can be directly linked to other works by Spranger; the lavish, bejeweled gold arm cuff that Leda wears on her upper left arm, for instance, is strikingly similar to the cuff that appears on the nude nymph Scylla in Spranger's \u003cem\u003eGlaucus and Scylla\u003c\/em\u003e (Kunsthistorisches Museum, Vienna). \u003cbr\u003e\u003cbr\u003e There are also parallels in the atmospheric effects conveyed in the background of each composition. In \u003cem\u003eGlaucus and Scylla\u003c\/em\u003e, storm clouds loom over the horizon, rendered with soft washes of colliding color. A similar effect is created in \u003cem\u003eLeda\u003c\/em\u003e, wherein the hint of the landscape beyond – appearing just over the swan to the right – is captured with delicate washes of color. Taken as a whole, the oil echoes all of the qualities characteristic of Spranger's later 16th-century work, a period during which he developed a larger circle of associates; it is among his workshop that this painting can thus be determined as originating.    \u003cbr\u003e\u003cbr\u003e As one of the most noted European painters working in the 16th century outside of Rome, Flemish master Bartholomaeus Spranger enjoyed incredible acclaim for his lively and vibrant painterly style. Though he was known to invoke subjects ranging from the religious to the mythological, it is for his mythological scenes that Spranger is most well-known today. This painting of Leda and the Swan, which bears the characteristics of Spranger's workshop, exemplifies the elements that make his works so treasured. \u003cbr\u003e\u003cbr\u003e Late 16th century \u003cbr\u003e\u003cbr\u003e Panel: 33 5\/8\" high x 46 7\/8\" wide\u003cbr\u003e Frame: 41 5\/8\" high x 54 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672869306503,"sku":"31-0201","price":198000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0201_1_9c763aad-a535-4607-a009-b76cb8d5014a.png?v=1767206025"},{"product_id":"a-peasant-country-scene-by-jan-thomas-van-kessel","title":"A Peasant Country Scene by Jan Thomas van Kessel","description":"Jan Thomas van Kessel\u003cbr\u003e 1677-1741 | Flemish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Peasant Country Scene\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A quintessential example of Flemish genre painting, \u003cem\u003eA Peasant Country Scene\u003c\/em\u003e reflects a blend of the playfulness of subject and the technical acuity that defined the style of 18th-century Flemish painter Jan Thomas van Kessel. The artist invites viewers into a merry gathering of peasants that spills across the composition. Highlighted at its center is a couple in the midst of a lively dance, their direct gaze out at the viewer conveying their happiness, while also serving as an effective means to pull the viewer's eye into the festivities underway.  \u003cbr\u003e\u003cbr\u003e This gathering of merry revelers assumes a stage-like quality as they are separated visually from the far reaches of the composition by a fence that bisects the composition horizontally, underscoring the intimate feel of the foreground scene. Beyond this enclosure, a farmhouse looms over the scene and opens at right onto a sweeping landscape that carries the eye back into the distant horizon. Here, too, the eye is guided appropriately, as figures dot the path down the river toward the steeple of a church just visible along the horizon line. Overhead, a breathtakingly blue sky, dappled with billowy clouds and soaring birds, complements the festive scene. \u003cbr\u003e\u003cbr\u003e Such genre paintings were incredibly popular during the 17th and 18th centuries, as they served as a reminder of the simple pleasures of pastoral life. Such scenes first emerged during the 16th century in the wake of the Reformation as artists sought new fields of painting in which to showcase their skill. Key figures such as David Teniers the Younger and the Brueghel family ensured the genre's success into the 17th century when they became highly fashionable. This enduring popularity thereby afforded later artists like van Kessel the opportunity to showcase their talents in conjuring such engaging vignettes.  \u003cbr\u003e\u003cbr\u003e Van Kessel clearly capitalized on that popularity, as he developed a following for his works that served as a visual escape from the realities of city life. Little is known of van Kessel's life, save for that he was born in Flanders in 1677 and studied both with the masters of Antwerp's Guild of Saint Luke, and even purportedly trained in Paris. Van Kessel then established his studio in his hometown of Antwerp just after the dawn of the 18th century. Aiding in van Kessel's rapid development as an artist was undoubtedly the fact that he descended from a long family line of painters who explored various subjects from botanical studies to portraits. It is arguably van Kessel's inviting scenes of peasants and pastoral life, as seen in this composition, however, that are the most engaging of his family's oeuvre and earned the artist acclaim for his work in Antwerp and beyond. \u003cbr\u003e\u003cbr\u003e One point often noted in van Kessel's genre paintings are the references he makes to past masters like Teniers, and these connections are tangible in this painting. The layout of this composition, from the cluster of animated figures in the foreground contrasted against the serene expanse of nature in the distance, seem to be direct quotations of Teniers' work. This reinforces both the placement of this work within the 18th century – following Teniers' lifetime – and within van Kessel's body of work. The connection of this painting to Jan Thomas van Kessel's oeuvre is without dispute, however, as this painting benefits from the scrolling script of the artist's signature along the lower edge.  \u003cbr\u003e\u003cbr\u003e Only a handful of van Kessel's works, including those held by prestigious collections such as England's National Trust and the Museum Catharijneconvent in the Netherlands, have been fully documented. As a result, it is rare when such a well-preserved example of this 18th-century Flemish genre painting tradition emerges, and it is particularly exciting when such a find contributes to the emerging legacy of a little-understood artist of the era. \u003cbr\u003e\u003cbr\u003e Canvas: 40 1\/4\" high x 54 1\/4\" wide\u003cbr\u003e Frame: 52 3\/4\" high x 66 5\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672867438727,"sku":"31-0198","price":198000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0198_1.png?v=1767203901"},{"product_id":"escher-inspired-sculpture-concentric-rinds-by-zadora-gerlof","title":"Escher-Inspired Sculpture \"Concentric Rinds\" by Zadora-Gerlof","description":"Crafted by the famed sculptor Andreas von Zadora-Gerlof, this compelling kinetic aluminum sculpture entitled \u003cem\u003eConcentric Rinds\u003c\/em\u003e brings to life the work of the great M.C. Escher. Escher was renowned for his mathematically-inspired woodcuts, including his ingenious 1953 engraving \u003cem\u003eConcentric Rinds\u003c\/em\u003e that inspired the present sculpture. Zadora brings Escher’s two-dimensional design into the third dimension with his perfectly envisioned and executed creation. \u003cbr\u003e\u003cbr\u003e During the mid-20th century, Escher created a series of etchings that explored spherical geometry in an attempt to draw attention to the negative space of three-dimensional objects. His work \u003cem\u003eConcentric Rinds\u003c\/em\u003e developed from this exploration. Consisting of four spherical shells that each consist of nine circles, Escher's complex sphere is divided into 48 similarly shaped triangles that emphasize the immense, mysterious dark space within which his creation exists. \u003cbr\u003e\u003cbr\u003e Zadora brings all of the mathematical precision of Escher's genius design into his large-scale version of the work. His four aluminum spheres are nestled together from small to large, creating a rippling effect when the work is set into motion on its axis. It is powered by a motorized mechanism hidden within its base, ingeniously added by Zadora to fully exploit the incredible visual effects of Escher's original design. \u003cbr\u003e\u003cbr\u003e The Canadian-born sculptor Baron Andreas von Zadora-Gerlof is recognized as the world's leading gemstone artist, and his international clientele includes the world’s most discerning connoisseurs. His pieces, which range from intricate sculptures such as this to innovative bespoke jewelry, are regarded as the most prized decorative artworks in modern times. \u003cbr\u003e\u003cbr\u003e The sculpture is accompanied by a certificate of authenticity signed by the artist. \u003cbr\u003e\u003cbr\u003e Created 2014-15 \u003cbr\u003e\u003cbr\u003e 78 3\/4\" diameter \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Design Days Dubai, March 16-20, 2015","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542471250055,"sku":"30-8670","price":295000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8670_1_6dbbc383-b409-4f76-8cb9-5539982d065a.png?v=1743858924"},{"product_id":"equestrian-portrait-of-louis-xiv-by-girardon","title":"Equestrian Portrait of Louis XIV by Girardon","description":"King Louis XIV, one of France's greatest monarchs, sits confidently astride a prancing steed in this bronze equestrian statue. The extraordinary work is a reduction of the portrait of the Sun King by François Girardon, one of the most noted and influential sculptors of the period. Looking back to the great masterpieces of antiquity, Girardon took his inspiration from the seminal ancient Roman marble of Marcus Aurelius, now in the Musei Capitoline (Rome). Louis XIV is thus portrayed here as a conquering Roman hero, his costume adorned with many neoclassical motifs, hand outstretched in a gesture of command. The result is an imposing royal portrait of power and absolute authority that pays homage to one of the most important sovereigns in French history. \u003cbr\u003e\u003cbr\u003e It was in 1685, at the very height of his rule, when Louis XIV commissioned the monumental bronze of himself from the great Girardon. As sculptor to the king, Girardon was a key figure in the decoration of the gardens at the Château de Versailles, and he was later commissioned to complete several important royal projects, this equestrian sculpture included. The bronze was erected in the Place Louis-le-Grand (now the Place Vêndome) in 1699, but was regrettably destroyed less than a century later during the French Revolution in 1792. One small section of the original does remain — the left foot of the king, which is now held in the Musée Carnavalet (Paris). \u003cbr\u003e\u003cbr\u003e Luckily, Girardon recognized the importance of his creation and executed four bronze reductions of the sculpture. Today, three of these four can be found in the British Royal Collection (London), the State Hermitage Museum (St. Petersburg) and the Louvre. The example in the Louvre is the only signed reduction cast by Girardon. \u003cbr\u003e\u003cbr\u003e Since the 17th century, other reductions of the work have been created, including the present bronze, which dates to the late 19th century. Parisian bronziers such as Henri Dasson and Alfred Beurdeley were among the important makers who re-created the sculpture during this period, and this could have come from their workshops. It is a stunning ode to this great monarch, reflecting the glory of his reign and the glory of France. \u003cbr\u003e\u003cbr\u003e The archetype of absolutism in royalty, the 72-year reign of Louis XIV, the longest in European history, not only enhanced the power of the monarchy but catapulted France to become the most powerful nation in Europe. Louis XIV built Versailles during his reign to reflect the grandeur of the King and his court which ruled under the belief, \"One King, One Law, One Faith.\" The period during which he served as King of France became known as \"The Age of Louis XIV.\" \u003cbr\u003e\u003cbr\u003e Circa 1820 \u003cbr\u003e\u003cbr\u003e Sculpture: 36\" wide x 19\" deep x 43\" high\u003cbr\u003e Base: 37 1\/4\" wide x 25\" deep x 30\" high\u003cbr\u003e Total: 37 1\/4\" wide x 25\" deep x 73\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41540597252231,"sku":"31-2479","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2479_1_0c11a30e-dadd-42a4-a35c-0aef0ed74a84.png?v=1717920736"},{"product_id":"almond-trees-in-spring-by-achille-lauge","title":"Almond Trees in Spring by Achille Laugé","description":"Achille Laugé\u003cbr\u003e 1861-1944 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAlmond Trees in Spring\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"A. Laugé\" (lower right)\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e This Neo-Impressionist landscape by the French artist Achille Laugé captures an orchard in late spring in his celebrated, highly modern style. The work displays a thick impasto thanks to the artist's distinctive technique of applying his paint in quick dabs, a characteristic of his later works. One of the foremost painters of the Post-Impressionist period, Laugé’s works are beloved for his sensitivity to light, shade and tone, and his mastery of medium is clearly on display in \u003cem\u003eAlmond Trees in Spring\u003c\/em\u003e. The light blue of the sky and the more muted colors of the field, along with the cottony white and pink tones of the blossoming trees create a scenic and calm composition. \u003cbr\u003e\u003cbr\u003e Born in 1861 to wealthy farmers, he moved to Toulouse at the age of 17 to study pharmacy. At this time, he also enrolled part-time at the school of the Beaux-Arts, where he befriended the artist Bourdelle. Three years later, he moved to Paris, where he studied under the famous masters Alexandre Cabandel and Aristide Maillol, making his debut at the \u003cem\u003eSalon\u003c\/em\u003e in 1884. Like many other artists of his generation, Laugé eventually rejected the conservative ideals of this teacher, falling under the Post-Impressionist influence of George Seurat. By 1888, his landscapes became assiduous experiments in complementary colors and light on canvas. He exhibited three paintings at the \u003cem\u003e Salon des Indépendants\u003c\/em\u003e in 1894, as well as with the Nabis that same year. In addition, Laugé held several one-man shows in Paris, Toulouse and Perpignan from 1907 to 1930. \u003cbr\u003e\u003cbr\u003e It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896, Laugé composed his pictures with small points of color. At the end of the century, he abandoned the dots and dabs and painted his landscapes, portraits and still-lives with thin, systematically placed strokes resembling crosshatching. After 1905, he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the translucence of southern light. Today, his exceptional works can be found in museums throughout France, including the Musée D'Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Canvas: 21\" high x 28 1\/2\" wide\u003cbr\u003e Frame: 32 3\/4\" high x 40\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galleris Maurice Sternberg, Chicago\u003cbr\u003e Private collection, Texas, 1975\u003cbr\u003e Private collection, Broadway, UK\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238532915335,"sku":"31-3146","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3146_1_da40b300-a9ae-4767-908f-31e11a2f3694.png?v=1717922680"},{"product_id":"solitude-by-guillaume-seignac","title":"Solitude by Guillaume Seignac","description":"Guillaume Seignac\u003cbr\u003e 1870-1924 | French  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSolitude\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “G-Seignac” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e French Academic painter Guillaume Seignac was renowned for his masterful treatment of the idealized nude. His languishing female subjects based on Greco-Roman prototypes were and remain a favorite from the artist's oeuvre. \u003cem\u003eSolitude\u003c\/em\u003e is exemplary of this preferred subject. Draped in sheer white fabric that lays over her otherwise nude form, she appears as though she has just been interrupted in her solitary enjoyment of the sunset beyond her. Gazing back towards the viewer with a timid yet welcoming expression, she is rendered with a remarkable sense of personality and the high degree of technical skill that sets Seignac apart from his contemporaries. In terms of style, the artist's paintings are perfect examples of the forms favored by the Paris Salon during his lifetime. \u003cbr\u003e\u003cbr\u003e Born in Rennes in 1870, Seignac began his training in Paris in 1889 at the Academie Julian. He was a student of William-Adolphe Bouguereau, whose influence can be seen in both the style and subject matter of his work. Seignac frequently exhibited at the Paris Salon, and his meticulousness and keen sense of balance and color won him numerous medals, including an honorable mention in 1900 and a third-class medal in 1903.  \u003cbr\u003e\u003cbr\u003e Trained in the Academic style of the École des Beaux-Arts, Seignac embraced both the techniques and classical subject matter of the Italian Renaissance masters, whose work enjoyed a surge in popularity in Paris in the late 19th century. As with most French Academic painters, Seignac’s technical skills are masterful, while his color balances and compositional style are on par with the great artists of the Renaissance. During his lifetime, Seignac’s compositions appealed to both traditional art buyers and avant-garde connoisseurs alike, and he enjoyed financial success and critical acclaim. \u003cbr\u003e\u003cbr\u003e Canvas: 29\" high x 39 5\/8\" wide\u003cbr\u003e Frame: 40 7\/8\" high x 51 3\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238625812615,"sku":"31-3741","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3741_1.png?v=1717923007"},{"product_id":"clio-by-studio-of-romanelli","title":"Clio by Studio of Romanelli","description":"Studio of Raffaello Romanelli\u003cbr\u003e Early 20th Century | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eClio\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Inscribed \"Executé sous la Direction du Prof. Romanelli\" (on base)\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e Clio, the muse of history from Greek mythology, is the subject of this compelling neoclassical marble sculpture that hails from the studio of Raffaello Romanelli. Romanelli was the son of the celebrated Pasquale Romanelli, a collaborator of Lorenzo Bartolini who assumed control of his studio following the master's death. He was renowned for his marble studies of the female form, and both his masterful eye and studio were inherited by his son Raffaello. Where Raffaello differed from his father was in his use of multi-colored marbles, a design choice that is displayed in the present work, which was executed by a student in his atelier.  \u003cbr\u003e\u003cbr\u003e The stark, pure white of this Clio is perfectly complemented by her robes carved from Siena marble, lending texture and visual interest to her overall form. Her tablet is inscribed \"\u003cem\u003eHistoria non assentationi, sed fidei veritatique componitur. Pinius\u003c\/em\u003e,\" a quote from the letters of Pliny the Younger that roughly translates to \"History is written not for display but in the interests of strict truth.\" The quote was the perfect choice for the mythological figure, who was heralded as \"the Proclaimer\" of historical truths. \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e 22 1\/4\" wide x 15\" deep x 52 1\/8\" high\u003cbr\u003e Base: 23\" wide x 23\" deep x 27 1\/4\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238685614215,"sku":"31-3877","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3877_1_09cd74fa-4dcd-4ad0-9b74-f847f80ef31f.png?v=1786987306"},{"product_id":"les-roses-dispahan-by-lucien-levy-dhurmer","title":"Les roses d'Ispahan by Lucien Lévy-Dhurmer","description":"Lucien Lévy-Dhurmer\u003cbr\u003e 1865-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLes roses d’Ispahan\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Lévy Dhurmer\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e French painter Lucien Lévy-Dhurmer was one of the leading artists of the Symbolist and Art Nouveau movements at the turn of the century. This stunning oil on canvas is imbued with a misty, hazy romanticism that characterizes many of his landscapes and portraits, and it is an exceptional example of Lévy-Dhurmer’s ability to transport the viewer into an imaginary journey of the senses. \u003cbr\u003e\u003cbr\u003e Partly obscured by a rose bush, the Persian city of Isfahan, in present-day Iran, forms the expansive vista. The painting's title is taken from the poem by Charles Leconte de Lisle, which was famously set to music by Gabriel Fauré in 1884. Lévy-Dhurmer's incredible brushwork and mastery of color bring the vista to life with thousands of feathery strokes, perfectly evoking the allure and mystery of this legendary city. \u003cbr\u003e\u003cbr\u003e Born in French Algeria in 1865, Lucien Lévy-Dhurmer studied drawing and sculpture in Paris as a child and began his artistic career as a decorative painter at a porcelain manufactory in Golfe-Juan. Throughout his long career, Lévy-Dhurmer experimented with different artistic styles and mediums, succeeding as a ceramicist, painter, pastelist and furniture designer. Perhaps his most celebrated work, the famed Wisteria Dining Room, which is now held in the Metropolitan Museum of Art, is a brilliant example of the artist’s remarkable range of skills in various media. \u003cbr\u003e\u003cbr\u003e His trip to Italy in 1895 would change the course of his life and interests. It was there that he discovered an interest in German and Florentine Renaissance—resulting in paintings that fit in nicely alongside those of the English Pre-Raphaelites. That same year, Lévy-Dhurmer officially began his painting career. In 1896, he held his first solo exhibition at the Galerie Georges Petit in Paris, where he appeared for the first time under the name Lévy-Dhurmer, adding to his surname Lévy part of his mother’s maiden name, Pauline-Amelie Goldhurmer. \u003cbr\u003e\u003cbr\u003e His unique blend of Academic detail with Impressionist color and technique garnered the artist considerable attention. He was drawn to the ideals of the Symbolist movement, which offered an intellectual alternative to the purely visual pursuits of the Impressionists. After 1900, Lévy-Dhurmer’s work explored the emotional and lyrical possibilities of landscape and atmosphere. Similar landscapes by Lévy-Dhurmer from this period reside in the Denver Art Museum and the Musée d’Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Circa 1910 \u003cbr\u003e\u003cbr\u003e Canvas: 23 3\/4\" high x 32\" wide (60.33 x 81.28 cm)\u003cbr\u003e Frame: 30\" high x 38 1\/8\" wide x 2\" deep (76.20 x 96.84 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44422079479943,"sku":"31-4730","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4730_1_544fb0d5-bcda-4765-9888-9062b04032a5.png?v=1775582534"},{"product_id":"young-girl-from-tetouan-morocco-by-charles-landelle","title":"Young Girl From Tetouan, Morocco by Charles Landelle","description":"Charles Landelle\u003cbr\u003e 1821-1908 | French \u003cbr\u003e\u003cbr\u003e Young girl from Tetouan, Morocco \u003cbr\u003e\u003cbr\u003e Signed (center right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In this important oil on canvas, French Orientalist painter Charles Landelle captures the engaging visage of a young Moroccan woman in a moment of tranquil contemplation. Seated on the floor of what is almost certainly an opulent \u003cem\u003eriad\u003c\/em\u003e, the young woman wears an intricately embroidered Moroccan kaftan and headdress. The sumptuous patterns on the floor and in the background lend an additional warmth to the strikingly vivid red hues which dominate the composition and are a hallmark of Landelle’s work. \u003cbr\u003e\u003cbr\u003e The symbol behind the young woman is the Islamic Seal of Solomon. Solomon is frequently mentioned in the Qur’an, with many descriptions of his esoteric knowledge granted by God. A talismanic scroll from the Islamic world bearing this symbol resides at the Metropolitan Museum of Art in New York. While Islam was the dominant religion in Morocco in the 19th century, there was also a large Jewish population. Though the woman’s faith is uncertain, there is no question about her transcendent, captivating beauty, which is one of the most remarkable features of this painting. \u003cbr\u003e\u003cbr\u003e Charles Landelle was born in 1821 in Laval, France. He studied under the supervision of the painters Paul Delaroche and Ary Scheffer at the School of Fine Arts in Paris and began exhibiting at the Paris Salon in 1841 with religious works and portraits that found great success among critics and visitors. Noticed by King Louis-Philippe, he won a third-class medal in 1842 and a first-class one in 1848. Four years later, Napoleon III purchased two pieces and appointed him Knight of the Légion of Honor. He also won a medal at the 1855’s Universal Exhibition and in Philadelphia in 1876. \u003cbr\u003e\u003cbr\u003e Landelle’s career took a turning point in 1866 with a trip to Morocco. Infatuation with the warm colors he encountered inspired the trend toward Orientalism in his work. Fascinated by these brand new landscapes, the artist traveled across Egypt and the Nile in 1875, then traveled to Algeria in 1880 with his son Georges, also a painter. From 1881 to 1892, he spent winters in Algeria, sharing his love for the country with Pierre-Auguste Renoir and Paul Leroy. An active member of the Society of French Orientalist Painters, he participated in the creation of the Fine Art Museum of Laval, thanks to his donation of some of his works as well as ancient paintings. At the peak of his fame, he opened the museum in 1895 alongside French president Félix Faure. \u003cbr\u003e\u003cbr\u003e Landelle’s works are well-represented in museums such as the Musée d’Orsay in Paris, the Palace of Versailles, and the Musée de Grenoble in Grenoble, France. A very similar painting by Landelle titled \u003cem\u003eAn Armenian Woman\u003c\/em\u003e resides at the Wallace Collection in London. \u003cbr\u003e\u003cbr\u003e Mid-to-late 19th century \u003cbr\u003e\u003cbr\u003e Canvas: 53 1\/4\" high x 39 1\/4\" wide\u003cbr\u003e Frame: 64 1\/4\" high x 51 1\/8\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Japan\u003cbr\u003e Private collection, France\u003cbr\u003e M.S. Rau, New Orleans \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672915673223,"sku":"31-4686","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4686_1_0d5145a2-c3d3-4ed7-8bda-f4ed7868368e.png?v=1767201572"},{"product_id":"portrait-of-a-beauty-by-william-clarke-wontner","title":"Portrait of a Beauty by William Clarke Wontner","description":"William Clarke Wontner\u003cbr\u003e 1857-1930 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"W. Wontner 1918\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. \u003cbr\u003e\u003cbr\u003e Entitled \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  \u003cbr\u003e\u003cbr\u003e Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. \u003cbr\u003e\u003cbr\u003e Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mnqq\/cvLbUpnWoYJZe3lo0HCdZEBKb9j75Am6ZYyt0EX4Cvk\" target=\"_blank\"\u003eNational Portrait Gallery (London) and the Harris Museum (Preston, UK)\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Dated 1918 \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 21\" wide\u003cbr\u003e Frame: 36\" high x 32\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42578025513095,"sku":"31-5487","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5487_1.png?v=1746450329"},{"product_id":"les-deux-soeurs-by-federico-zandomeneghi","title":"Les deux sœurs by Federico Zandomeneghi","description":"Federico Zandomeneghi\u003cbr\u003e 1841-1917 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLes deux sœurs\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(The two sisters)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Zandomeneghi 95\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Two sisters enjoy a quiet moment in a rich green landscape in this intimate oil on canvas from Federico Zandomeneghi. An Italian painter by birth who became a fixture in the Parisian Impressionist scene, Zandomeneghi is best remembered for his sentimental and affectionate scenes of women in both domestic and public spheres.  \u003cbr\u003e\u003cbr\u003e Zandomeneghi’s creative and technical prowess in composition is highlighted in this painting. The artist deftly frames the young pair in the lower register of the canvas, imbuing the work with a remarkably observational feel. The girls pensively gaze off to the right, lost in thought; Zandomeneghi allows the viewer to witness a natural moment of discussion and contemplation shared among the sisters. The soft palette employed by the artist gives the whole scene an atmospheric glow, with dappled rays of sunshine breaking through the lush foliage. Though the girls remain in the shaded areas of the landscape, Zandomeneghi’s skillful application of paint allows a brightness to remain nevertheless. \u003cbr\u003e\u003cbr\u003e Federico Zandomeneghi was born in Venice to a long line of neoclassical sculptors. As if created to be an artist, Zandomeneghi began his artistic education early, enrolling in the Accademia di Belle Arti in Venice at just 15 years old before transferring to the Academy of Fine Arts in Milan. By 1862, the artist had arrived in Florence, where he became fast acquaintances with several Italian artists dedicated to executing landscape paintings \u003cem\u003een plein air\u003c\/em\u003e. Zandomeneghi embraced the spontaneity, seeking to bring unparalleled luminosity to his works. \u003cbr\u003e\u003cbr\u003e When Zandomeneghi arrived in Paris in 1874, he found kindred spirits among the French Impressionists shortly after their first exhibition, sharing a common style. His close friend and artistic great Edgar Degas invited him to participate in four of the Impressionists’ later exhibitions. In the meantime, “Zandò,” as his French friends called him, began to form a relationship with the famed Durand-Ruel gallery in Paris, which hosted a solo show of his work in 1893. The year he painted \u003cem\u003eLes deux sœurs\u003c\/em\u003e, the acclaimed art dealer executed a contract with Zandomeneghi to show his work across Europe and the United States.  \u003cbr\u003e\u003cbr\u003e Today, many artworks by this Italian Impressionist reside in museums, including the Galleria d’Arte Modern in Palermo and the Palazzo Te in Mantua. Beloved for his serene compositions and impressionistic palette, Zandomeneghi remains popular in the market among collectors. \u003cbr\u003e\u003cbr\u003e Dated 1895 \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/4“ high by 15 3\/8” wide\u003cbr\u003e Framed: 27 1\/4“ high by 23 1\/2“ wide by 2 3\/4\" deep \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5730.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 Durand-Ruel \u0026amp; Cie, Paris, 1895, no. 3608 (purchased from the artist on December 23, 1895)\u003cbr\u003e Durand-Ruel \u0026amp; Cie, New York, no. 1582\u003cbr\u003e D.S. Miller, (acquired from the above February 18, 1898)\u003cbr\u003e Jacqueline Stewart, California (since 1950s)\u003cbr\u003e Thence by descent\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e \u003cem\u003eZandomeneghi e Degas. Impressionismo tra Firenze e Parigi\u003c\/em\u003e. Palazzo Roverella, February 27, 2026 – June 28, 2026.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050709577863,"sku":"31-5730","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5730_1.png?v=1785792017"},{"product_id":"study-for-lacropole-by-paul-delvaux","title":"Study for L'Acropole by Paul Delvaux","description":"Paul Delvaux\u003cbr\u003e 1897-1994 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eStudy for “L’Acropole”\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"P.Delvaux 1965\" (lower right)\u003cbr\u003e Watercolor, pen and ink on paper \u003cbr\u003e\u003cbr\u003e This preliminary drawing for Paul Delvaux’s greatest masterpiece \u003cem\u003eL’Acropole\u003c\/em\u003e, which resides today in the Centre Pompidou in Paris, features the artist’s most beloved subject—mystical scenes of nude women. A centrally placed, stoic woman draped in a long green gown stands with her arms outstretched by her sides. She gazes at another idealized woman in the foreground, lying nude on a chaise lounge, while behind her, multitudes of other women in white dresses undertake a long procession towards a distant door. The captivating scene exudes the unique Surrealist style for which the artist has become known. \u003cbr\u003e\u003cbr\u003e With this skillful rendering of the surreal setting, Delvaux has mastered depicting nude women in a sensual yet non-erotic manner. The artist drew inspiration from a variety of sources, including the futuristic writings of Jules Verne and the mythos of Homer, and blended them with his subconscious themes, which frequently included the nude female form. In combination with the loose concepts of form and perspective found in the 16th-century Mannerist paintings that Delvaux studied in Italy before World War II, his distinctive style served to create memorable dreamscapes without veering into lewdness. Like the very best Surrealist images, the work is both innovative and engaging. \u003cbr\u003e\u003cbr\u003e Paul Delvaux's earliest and most lasting influences in his art were the futuristic writings of Jules Verne and the mythos of Homer. After completing his initial artistic training at the Académie Royale des Beaux-Arts in Brussels, Delvaux exhibited with Surrealists Dalí, de Chirico, and Magritte at the Exposition Minotaure of 1934. Though his atmospheric compositions are reminiscent of his contemporaries in some ways, Delvaux rejected the Surrealist label for his work. In his later oeuvre, like \u003cem\u003eStudy for “L’Acropole“\u003c\/em\u003e, the artist deftly combines his Academic training with symbolist and surrealist influences to create his own distinct visual language — a mature, embodied style that sets his work apart. \u003cbr\u003e\u003cbr\u003e Paul Delvaux’s unforgettable paintings reside in prestigious museum collections around the globe, including the Metropolitan Museum of Art, the Tate Modern and the Centre Pompidou, which houses \u003cem\u003eL’Acropole\u003c\/em\u003e. His work has generated reinvigorated institutional attention in recent years, including a 2013 solo show in the UK and the exhibition \u003cem\u003eThe Shape of Dreams\u003c\/em\u003e at the Dalí Museum in the fall of 2022. \u003cbr\u003e\u003cbr\u003e The work's authenticity has been further confirmed by the Foundation Paul Delvaux, who operates the artist’s estate and the Museum Paul Delvaux in Koksijde, Belgium. \u003cbr\u003e\u003cbr\u003e Dated 1965 \u003cbr\u003e\u003cbr\u003e Paper: 15 3\/4“ high x 24 1\/4” wide\u003cbr\u003e Frame: 27 3\/4“ high x 35 1\/2” wide x 1 1\/4“ deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Christie's London, 30 November 1982, lot 217\u003cbr\u003e Private Collection, Switzerland\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231093031047,"sku":"31-5995","price":265000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5995_1_2b5365e8-4e0d-4d99-9528-13f1c6e0dc75.png?v=1787325653"},{"product_id":"escher-inspired-mobius-strip-ii-by-zadora-gerlof","title":"Escher-Inspired Mobius Strip II by Zadora-Gerlof","description":"Crafted by the famed jeweler and sculptor Andreas von Zadora-Gerlof, this compelling sculpture brings to life the work of the great M.C. Escher. Escher was renowned for his so-called impossible creations, such as his 1963 woodcut \u003cem\u003eMöbius Strip II (Red Ants)\u003c\/em\u003e that inspired the present sculpture. Zadora imparts a remarkable degree of skill and planning in the construction of the piece, bringing Escher’s two-dimensional mathematically-inspired work into the third dimension. The design itself seems to defy gravity, illustrating the genius of these two artistic greats, Escher and Zadora. \u003cbr\u003e\u003cbr\u003e During the mid-20th century, Escher created a series of works on the concept of the Möbius strip, discovered by the German mathematician and astronomer Ferdinand Möbius (1790-1868). A looping surface with one continuous side, a Möbius strip appears at first glance to be physically impossible, but it can, in fact, exist in reality. Escher incorporated the complex in his work for the first time in 1946 with his woodcut \u003cem\u003eHorseman\u003c\/em\u003e. \u003cem\u003eMöbius Strip I\u003c\/em\u003e from 1961 represents his first fully developed conceptualization of the form, with \u003cem\u003eMöbius Strip II\u003c\/em\u003e following shortly after in 1963. \u003cbr\u003e\u003cbr\u003e Zadora brings Escher's vision to life in this large-scale work. Constructed from aluminum, copper and carbon fiber, the piece incorporates gigantic ants into its continuous form. Through a series of complex gear and wheel mechanisms powered by a magnetic and electrical propulsion system, the ants march endlessly around the infinity symbol, making Escher's vision a reality.  \u003cbr\u003e\u003cbr\u003e The Canadian-born sculptor Baron Andreas von Zadora-Gerlof is recognized as the world's leading gemstone artist, and his international clientele includes the world’s most discerning connoisseurs. His pieces, which range from intricate sculptures such as this to innovative bespoke jewelry, are regarded as the most prized decorative artworks in modern times. \u003cbr\u003e\u003cbr\u003e The sculpture is accompanied by a certificate of authenticity signed by the artist. \u003cbr\u003e\u003cbr\u003e Created 2014-15 \u003cbr\u003e\u003cbr\u003e 157 1\/2\" high \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Design Days Dubai, March 16-20, 2015","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542472986759,"sku":"30-8669","price":295000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8669_1_040f692a-287e-46fe-930c-cb9bf2682af4.png?v=1743858924"},{"product_id":"aoum-ii-by-auguste-herbin","title":"Aoum II by Auguste Herbin","description":"Auguste Herbin\u003cbr\u003e 1882-1960 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAoum II\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated 'herbin 1944' (lower right); titled \"aoum\" 2 (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This bold and vivid abstract oil on canvas was painted by French painter Auguste Herbin, a pioneer in popularizing Modernist abstraction. Over his expansive nearly 60-year career, Herbin rubbed shoulders with art history greats from Pablo Picasso to Georges Braque before honing his personal and innovative style. Entitled \u003cem\u003eAoum II\u003c\/em\u003e, the painting stands apart for its daring color palette and crisp composition. \u003cbr\u003e\u003cbr\u003e Painted in 1944, \u003cem\u003eAoum II\u003c\/em\u003e embodies Herbin’s fully-formed artistic aesthetic and stylistic tenets. Only two years prior to its creation, Herbin developed his “alphabet plastique,” a synergistic visual language of color and form that he described in detail in his published book \u003cem\u003eL’art non-figuratif non-objectif\u003c\/em\u003e. Though the artist was highly cerebral in his process of creating art, one does not need to perfectly understand his principles to feel \u003cem\u003eAoum II\u003c\/em\u003e's magnetism. The geometric shapes visible in the composition — primarily fragmented triangles and circles — are rendered in bold pinks, blues and yellows on a deep black background. His tiered application of color creates a natural three-register visual effect as if to tell a story from the apex of the form to its denouement. \u003cbr\u003e\u003cbr\u003e Auguste Herbin began his artistic training at the École des Beaux-Arts de Lille before moving to Paris in 1901. In the early years of his career, he experimented with a variety of styles, exhibiting Post-Impressionistic works at the Salon des Indépendants in 1906 and Fauvist paintings at the Salon d'Automne in 1907. After a brief Cubist period following his introduction to Pablo Picasso, Georges Braque and Otto Freundlich, Herbin co-founded his own artistic movement in the 1930s: Abstraction-Création group in Paris. Devoted to encouraging abstract art as a response to the representational tenets of the Surrealist movement, then led by André Breton, Herbin served as the publisher and author for the group's eponymous art journal. Today, Herbin’s work resides in prestigious private collections and museum institutions around the globe, including \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X0000001hoz\/iBnHTNX2syhv9UvZV2vzNOcS8EjC8l5pkrNeCD.i_RY\" target=\"_blank\"\u003ethe Tate Modern in London, the Museum of Modern Art in New York and the Centre Pompidou in Paris\u003c\/a\u003e, among others. \u003cbr\u003e\u003cbr\u003e Painted 1944 \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 39\" wide\u003cbr\u003e Frame: 34 3\/8\" high x 48 1\/8\" wide x 2\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Switzerland\u003cbr\u003e Private Collection, Belgium\u003cbr\u003e Galerie Von Bartha, Basel\u003cbr\u003e Sale: Tajan, Paris, November 30, 2004, lot 7\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Geneviève Claisse, \u003cem\u003eHerbin, Catalogue raisonné de l'oeuvre peint\u003c\/em\u003e, Lausanne, 1993, no. 817, illustrated p. 424 \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Brussels, Palais des Beaux-Arts, \u003cem\u003eHerbin Rétrospective\u003c\/em\u003e, 1956, no. 33\u003cbr\u003e Cologne, Galerie Bargera, \u003cem\u003eAbstraction-Création\u003c\/em\u003e, 1974, no. 22, illustrated in the catalogue","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42977434501255,"sku":"31-6584","price":134500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6584_1_96b853e9-6771-478d-b104-e87e7edf5600.png?v=1754004288"},{"product_id":"la-terrasse-devant-la-mer-by-jean-pierre-cassigneul","title":"La terrasse devant la mer by Jean Pierre Cassigneul","description":"Jean-Pierre Cassigneul\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa terrasse devant la mer\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Terrace by the Sea\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “Cassigneul” (lower left)\u003cbr\u003e Oil on canvas laid on panel \u003cbr\u003e\u003cbr\u003e This monumental, three-paneled oil painting is among the largest ever composed by the celebrated French painter Jean-Pierre Cassigneul. Capturing a woman in grey against a windswept seascape, the composition is classic Cassigneul, exuding a serenity and sophistication that is unique to his aesthetic. Triptychs are highly rare in the artist's oeuvre, and the panels can be displayed apart or attached. Renowned for his portraits that bring together brilliant pops of color with an atmosphere of elegance and tranquility, Cassigneul's upbringing in French fashion is keenly felt in the composition, as he brings the chic Parisian ideal to life. \u003cbr\u003e\u003cbr\u003e One of the most famous living French artists, Cassigneul is set apart by his unique ability to produce works that feel both dramatically contemporary and classic in style. \u003cem\u003eLa terrasse devant la mer\u003c\/em\u003e brings together two of his most common tropes: a sleepy-eyed beauty and a vibrantly hued landscape. The green colors of the sea and the dusky sky provide a sharp contrast to the central figure, whose large hat and billowing scarf exude a timeless fashion. With its vivid, rich palette and flat spatial planes, Cassigneul’s style follows in the tradition of the French Post-Impressionist group known as Les Nabis, which included celebrated French artists such as Pierre Bonnard, Edouard Vuillard and Maurice Denis. Expressionist painter Kees van Dongen was another important influence on the young Cassigneul, whose portraits resemble van Dongen’s elongated, sharply contoured female forms. \u003cbr\u003e\u003cbr\u003e Born in Paris in 1935, Cassigneul's grandfather was the founder of the ground-breaking French fashion house Jean Dessès. Raised among the glamor and excitement of the Parisian fashion world, the young Cassigneul observed models, dressmakers and runway shows from a very young age. His interest in art also manifested early, and he painted his first landscape at Deauville at the young age of 12. He studied at the École des Beaux-Arts, holding his first one-man exhibition at just 17 years of age. Since that first show, his work has been widely exhibited worldwide, particularly in Western Europe, the United States and Japan, where he enjoys an especially devoted following. \u003cbr\u003e\u003cbr\u003e Painted 1975 \u003cbr\u003e\u003cbr\u003e Triptych: 51 1\/4\" high x 71” wide\u003cbr\u003e Panel: 51 1\/4” high x 23 1\/2” wide x 1 3\/8\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44555221205127,"sku":"31-6704","price":268500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6704_1.png?v=1786828818"},{"product_id":"portrait-of-a-mother-and-child-by-tsuguharu-foujita","title":"Portrait of a Mother and Child by Tsuguharu Foujita","description":"Tsuguharu Foujita\u003cbr\u003e 1886-1968 | Japanese-French \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of a Mother and Child\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Foujita \/ Paris” (lower left)\u003cbr\u003e Ink and watercolor on Japanese tissue \u003cbr\u003e\u003cbr\u003e An artistic luminary well ahead of his time, Tsuguharu Foujita burst onto the international art scene in the early 20th century as one of the most important artists in early Japanese modernism. \u003cem\u003ePortrait of a Mother and Child\u003c\/em\u003e hails from an important period in the artist’s later career following his conversion to Christianity. Foujita’s integration of Japanese techniques with European subjects forms a distinctive visual language that garnered the artist great renown in his lifetime.  \u003cbr\u003e\u003cbr\u003e Born and trained as an artist in Japan, Foujita fulfilled a lifelong dream of traveling to Paris in 1913, where his brilliance gained newfound direction in the avant-garde circles of Montparnasse. Surrounded by prominent figures of the era such as Pierre Bonnard, Henri Matisse, Georges Braques and others, Foujita quickly achieved acclaim and accomplishment for his artworks. On the opening night of Foujita’s first solo exhibition in Paris in 1917, Picasso himself was so enamored by Foujita's watercolors that he acquired as many as he could physically hold. \u003cbr\u003e\u003cbr\u003e Foujita positioned himself as a luminary of modernism by blending Japanese \u003cem\u003eukiyo-e\u003c\/em\u003e techniques with European subjects and mediums. This dual influence led Foujita to create his famed portraits of women, cats and perhaps most importantly, iconic renditions of the Virgin and Child. \u003cem\u003ePortrait of a Mother and Child\u003c\/em\u003e echoes the graceful figures painted by Renaissance masters Foujita viewed at the Louvre, while simultaneously drawing from the bold simplicity of his contemporaries, including Amedeo Modigliani. Foujita expertly renders the humanistic notion of maternal love in the Madonna’s expression and the languid stretch of her hands, evoking a protective cradle. The bold strokes of ink converge and contrast with the colorful and hazy watercolor hues of the mother and child’s clothing. The luminescence of their skin is achieved through Foujita’s signature pearly iridescent glaze, a highly secret blend of flaxseed oil, chalk and magnesium silicate that became a signature component of his oeuvre. \u003cbr\u003e\u003cbr\u003e A lifelong Francophile, Tsuguharu Foujita seamlessly immersed himself in the vibrant artistic community of Paris in 1913, rubbing shoulders with modernist icons before his departure in 1933. During the Second World War, Foujita served as a war artist in Japan. After the war, Foujita and his wife became French citizens, and later in 1957, the artist became an officer of the esteemed Legion of Honor. Foujita’s subsequent conversion to Catholicism offers a crucial lens into his complex understanding of faith, identity and belonging, with works like \u003cem\u003ePortrait of a Mother and Child\u003c\/em\u003e forming cornerstones of his later oeuvre. \u003cbr\u003e\u003cbr\u003e Foujita's works are held by prestigious institutions worldwide, such as the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington, DC, the Musée d’Art Moderne de la Ville de Paris and the National Museum of Modern Art in Kyoto. Notably, the National Museum of Art, Kyoto has hosted two significant retrospectives of Foujita's oeuvre in 2006 and 2018. \u003cbr\u003e\u003cbr\u003e This artwork is accompanied by a certificate of authenticity from the Tobi Appraisal Institute. \u003cbr\u003e\u003cbr\u003e Circa 1957 \u003cbr\u003e\u003cbr\u003e Paper: 12 1\/4” high x 9 1\/4” wide (31.12 cm x 23.5 cm)\u003cbr\u003e Frame: 20 1\/2” high x 17 1\/8” wide x 2 1\/4” deep (52.07 cm x 43.50 cm x 5.72 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-7755.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 Private collection, Tokyo\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050797428871,"sku":"31-7755","price":285000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7755_1.png?v=1783632068"},{"product_id":"the-bass-season-by-john-atherton-1","title":"The Bass Season by John Atherton","description":"John Atherton\u003cbr\u003e 1900-1952 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Bass Season\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Atherton\" (lower right)\u003cbr\u003e Inscribed \"The Bass Season opens in the east July 1st \/ out west earlier\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The art of fishing is celebrated in this exceptional oil on canvas by the great American painter John Atherton. Atherton's cover illustrations for the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e were each a resounding success with the American public, who were engrossed by his highly detailed still lifes of distinctly American pastimes. This fishing still life graced the June 29, 1946 edition of the \u003cem\u003ePost\u003c\/em\u003e, and it is a stunning celebration of the time-honored essence of the sport.  \u003cbr\u003e\u003cbr\u003e An avid fisherman himself, Atherton did not have to go far for inspiration. The various flies and lures in the scene are painstakingly rendered, and they very well may have been his own. He would later write an influential book on the subject of fly-fishing, entitled \u003cem\u003eThe Fly and the Fish\u003c\/em\u003e, which was published in 1951 and is still read to this day. His appreciation for the sport is keenly felt in this carefully designed composition, from the dangling flies to the bucolic lake in the distance. \u003cbr\u003e\u003cbr\u003e Atherton would later become known as a significant figure in the Magic Realism movement, an American take on the Surrealists. His initial success, however, came from his commercial illustration work for popular publications such as \u003cem\u003eFortune\u003c\/em\u003e and the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e. Throughout the 1940s, he was a frequent exhibitor at most of the major American art institutions, including the Art Institute of Chicago, the Pennsylvania Academy of Fine Arts, and the Whitney Museum of American Art. His first cover for the \u003cem\u003ePost\u003c\/em\u003e was created in 1942, and he continued to create covers with some regularity until 1961. Today, his works can be seen in the Smithsonian American Art Museum (Washington D.C.), Metropolitan Museum of Art (New York), and the Art Institute of Chicago, among many others. \u003cbr\u003e\u003cbr\u003e Painted in 1946 \u003cbr\u003e\u003cbr\u003e Canvas: 28\" high x 20 1\/4\" wide\u003cbr\u003e Frame: 33 7\/8\" high x 27 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42643133399175,"sku":"30-8602","price":138500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8602_1_019410f7-7860-48a9-b2ac-84720f1b1ed4.png?v=1747148434"},{"product_id":"henry-bowles-howard-12th-earl-of-suffolk-and-5th-earl-of-berkshire-by-sir-joshua-reynolds","title":"Henry Bowles Howard, 12th Earl of Suffolk and 5th Earl of Berkshire by Sir Joshua Reynolds","description":"Sir Joshua Reynolds\u003cbr\u003e 1723-1792 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSir Henry Bowles Howard, 12th Earl of Suffolk and 5th Earl of Berkshire\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Sir Joshua Reynolds is unequivocally considered the most important English portraitist of the 18th century who was instrumental in adapting the Grand Manner style in the portrait genre. In fact, when the Royal Academy was founded in 1768, Reynolds was elected its first President, setting the precedent of quality for which all other portraitists would strive. \u003cbr\u003e\u003cbr\u003e Reynolds's portrait of Henry Bowles Howard, 12th Earl of Suffolk, showcases his genius in the genre and mastery over the medium. Reynolds’s portrait of the Earl expertly invokes classical values with strong lighting, rich colors and expert attention to detail to help underscore the prominence and revered echelon of the sitter. Howard was an esteemed British politician and Knight of the Garter. He served as Secretary of State for the Northern Department from 1771 to 1779, and he played a key role in utilizing mercenaries during the American Revolution and safeguarding Sweden's independence. \u003cbr\u003e\u003cbr\u003e The portrait employs Reynolds's signature style to render Howard rightfully as a gentleman of distinction. Captured seated in a stately library, the Earl appears learned and austere as he places one hand upon a stack of important documents and looks wistfully into the distance. Reynolds makes these compositional choices decisively, as the seated position gives Howard a weighty appearance of importance and the semi-profile turn captures his countenance at an attractive angle that highlights his strong, masculine features. The work draws on the classical conventions of Greek and Roman art and the Italian Renaissance masters, anchoring the nobleman in a history of refinement. Everything from his strong yet welcoming expression to his pale face enlivened by a rush of blood to the cheeks presents the picture of a strong, vital and powerful leader. \u003cbr\u003e\u003cbr\u003e As the first president of the Royal Academy in London, Reynolds’s commissions raised the status of an artist in Britain during the Romantic period and also established the portrait as an esteemed high art genre that garnered equal import to the history paintings that reigned supreme in decades prior. Today, Reynolds’s works grace the walls of the most important museums in the world, including the Louvre, the Metropolitan Museum of Art, and the National Gallery in London, among others. \u003cbr\u003e\u003cbr\u003e Circa 1770 \u003cbr\u003e\u003cbr\u003e Canvas: 50 1\/2\" high x 40 1\/4\" wide\u003cbr\u003e Framed: 61\" high x 52 1\/2\" wide x 3 1\/2\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sir Henry Howard, 12th Earl of Suffolk and 5th Earl of Berkshire, 1739-1779\u003cbr\u003e His mother, Lady Mary Howard, née Finch, Lady Andover, d. 1803\u003cbr\u003e Acquired by descent to her daughter, Frances, and her husband Richard Bagot (later Howard)\u003cbr\u003e Acquired by descent to their daughter, Mary (1784-1877), and her husband Col. Fulke Greville Upton (later Howard), d. 1846\u003cbr\u003e Acquired by descent to Lieutenant Colonel H.R.G. Howard\u003cbr\u003e Sale, Christie's, London, March 24, 1961, no. 29\u003cbr\u003e Julius Weitzner, London and New York\u003cbr\u003e Sale, Paris, Musée Galliéra, December 7, 1965, no. 165\u003cbr\u003e Newhouse Galleries, New York, NY\u003cbr\u003e Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas, 1966\u003cbr\u003e Walsh Family Art Trust\u003cbr\u003e Private collection, Oregon\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e British Institution, London, 1844, no. 130, loaned by the Hon. Fulke Greville Howard.\u003cbr\u003e South Kensington, \"Second special exhibition of National Portraits,\" 1867, no. 478, lent by the Hon. Mrs. Greville.\u003cbr\u003e Agnew's, London, 1903, no. 17. \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Algernon Graves and W. V. Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A., vol. 3 (London, 1899), p. 945.\u003cbr\u003e David Mannings, Sir Joshua Reynolds. A Complete Catalogue of His Paintings (New Haven, 2000), p. 267, no. 951, illus. fig. 1274.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43641746292871,"sku":"31-8220","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8220_1_2a0d54e5-29e5-4457-8b55-97280637356f.png?v=1767194743"},{"product_id":"orientala-by-reuven-rubin","title":"Orientala by Reuven Rubin","description":"Reuven Rubin\u003cbr\u003e Israeli | 1893-1974 \u003cbr\u003e\u003cbr\u003e \u003cem\u003eOrientala\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Reuven Rubin\"\u003cbr\u003e Signed and dated \"Rubin Orientala 1964\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A striking and unique work rendered in a breathtaking jewel-toned palette, \u003cem\u003eOrientala\u003c\/em\u003e by Rueven Rubin showcases the dynamic artistry and singular point-of-view of the Israeli artist. While olive trees, sheep and fishermen were typical subjects for the artist, this rare work features the countenance of a woman. Considered a pioneering figurative Israeli artist of the mid-20th century, Rubin was a founder of the Eretz-Yisrael style alongside artists Nachum Gutman and Ziona Tajar. Rubin is celebrated for his portraits and sun-bleached modernist landscapes painted over the artist’s six-decade career spent living between Tel Aviv, New York, and Los Angeles. \u003cbr\u003e\u003cbr\u003e Enigmatic and colorful, \u003cem\u003eOrientala\u003c\/em\u003e features a scantily clad woman wearing a turban-like headdress and holding a potted plant. Rubin renders the woman’s strong features in a plethora of non-naturalistic colors and with bold, angular brushstrokes. Reminiscent of works by Picasso, Jawlensky and even Chagall, Rubin employs a vivid and original palette along with striking modern techniques to create a composition that firmly establishes his own distinctive style. \u003cbr\u003e\u003cbr\u003e Rubin Zelicovici, later Reuven Rubin, was born in Galaţi to a Romanian Jewish Hasidic family. In 1912, he left to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France and began to cultivate his artistic vision. Influenced by artists like Cezanne, Rubin’s early depictions of his country’s landscapes rebelled against Bezalel and helped to establish Rubin as an internationally recognized artist. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem and that year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin also designed backdrops for the Habima Theater and the Ohel Theater. Rubin’s work frequently explored themes of the biblical landscape, folklore and people in his works. Today, Rubin’s works are included in the collections of several major museums, including the Museum of Modern Art in New York City. \u003cbr\u003e\u003cbr\u003e Dated 1964 \u003cbr\u003e\u003cbr\u003e Canvas: 32” high x 26” wide\u003cbr\u003e Frame: 44” high x 37 3\/8”wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Sam Salz, New York\u003cbr\u003e Estate of Harold Weill, New York\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eRubin: Retrospective Exhibition\u003c\/em\u003e, The Tel Aviv Museum, Israel, July 1966, no. 49 \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e \u003cem\u003eRubin: Retrospective Exhibition\u003c\/em\u003e, The Tel Aviv Museum, July 1966, no. 49\u003cbr\u003e \u003cem\u003eSummer Times\u003c\/em\u003e, The Tel Aviv Museum, Israel, July 26, 2021 - September 23, 2021\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42352654516359,"sku":"31-8230","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8230_1.png?v=1741268214"},{"product_id":"churchill-bronze-bust-by-vivien-mallock-9-12","title":"Churchill Bronze Bust by Vivien Mallock 9\/12","description":"Vivien Mallock\u003cbr\u003e b.1945 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSir Winston Churchill\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “VM” and numbered \"9\/12\"\u003cbr\u003e Bronze with a brown patina \u003cbr\u003e\u003cbr\u003e Winston Churchill stands as one of the greatest leaders of the modern world and is among the most recognizable figures in Western history. This bronze bust by the English sculptor Vivien Mallock masterfully captures his unmistakable visage, as well as his determined air and strong resilience. It is the ninth in a series of only twelve, and it stands as a compelling tribute to one of the greatest wartime leaders in history. \u003cbr\u003e\u003cbr\u003e This bust was first conceived as a commission by the British Ministry of Defence to give as a gift to the United States Department of Defense in 2015, where it was dedicated at the Pentagon’s Hall of Heroes. Several sculptors were invited to submit designs and compete for the high-profile commission, but it was Mallock who received the prestigious honor. Following the sculpture’s unveiling, Mallock produced a limited series of twelve bronze casts of the work.  \u003cbr\u003e\u003cbr\u003e Striking and remarkably true to life, this sculpture captures the Prime Minister’s inner strength and indomitable spirit. Mallock took the unusual step of including her subject’s arms and hands positioned firmly on his chest in the bust — an artistic choice that lends not only personality but also a sense of gravitas and calm confidence to the portrayal. His strong stance and focused gaze reflect this legendary politician's steadfast leadership and resistance to defeat.  \u003cbr\u003e\u003cbr\u003e Vivien Mallock's artistic focus lies in portraying the legacy of Great Britain through war memorials and portraits dedicated to some of the country’s most notable figures. She began working in bronze in the 1980s, and her first major commission came from the Museum of Army Flying in Hampshire for several bronze portraits of WWII fighter pilots to mark the 50th anniversary of the Battle of Britain. She was the last artist for whom the Queen Mother sat for a portrait, and the resulting bronze now resides in the Queen Elizabeth The Queen Mother wing of St Mary’s Hospital Trust in London. She has received multiple prestigious public commissions for monuments and statues around England and abroad. \u003cbr\u003e\u003cbr\u003e Bust: 20 1\/2\" wide x 13 1\/4\" deep x 26 1\/8\" high\u003cbr\u003e With pedestal: 14 1\/8\" wide x 14 1\/4\" deep x 40 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43687164248199,"sku":"31-3850","price":178500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3850_1.png?v=1767193167"},{"product_id":"casablanca-declaration-by-marcia-gaylor","title":"Casablanca Declaration by Marcia Gaylor","description":"Marcia Gaylor\u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCasablanca Declaration\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In her original oil on canvas titled \u003cem\u003eCasablanca Declaration\u003c\/em\u003e, American historical artist Marcia Gaylor vividly captures Roosevelt and Churchill at a time when the fate of the world hung in the balance. Their historic and often contentious discussions culminated in the Casablanca Declaration, which demanded nothing less than the unconditional surrender of the enemy. In January 1943, American President Franklin D. Roosevelt and British Prime Minister Winston Churchill convened at the Casablanca Conference in a seaside resort in Morocco with the goal of strategizing the Allied forces' victory over the major WWII Axis powers: Germany, Italy and Japan. These formidable leaders of the free world, once political adversaries, had forged a bond of deep respect and personal friendship during Churchill's visit to the White House, just two weeks after the bombing of Pearl Harbor. \u003cbr\u003e\u003cbr\u003e Based in California, Marcia Gaylor is known for her historical scenes that celebrate the power of capitalism. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted 2023 \u003cbr\u003e\u003cbr\u003e Canvas: 35\" high x 47\" wide (88.90 x 119.38 cm)\u003cbr\u003e Frame: 45 1\/2\" high x 57 1\/4\" wide x 3 1\/4\" deep (115.57 x 145.42 x 8.26 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41912055267463,"sku":"31-8941","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8941_1.png?v=1730881527"},{"product_id":"untitled-spin-painting-by-damien-hirst","title":"Untitled Spin Painting by Damien Hirst","description":"Damien Hirst\u003cbr\u003e b. 1965 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eUntitled, Spin Painting\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Household gloss on canvas \u003cbr\u003e\u003cbr\u003e Damien Hirst has stunned art audiences globally since his arrival on the scene in the late 1980s. His thought-provoking works have made him one of the most famous living artists of all time, and his effervescent spin paintings are among the most coveted. The present work is an exceptional example from the spin series that exudes the signature energy and vibrancy of Hirst’s spinning compositions.  \u003cbr\u003e\u003cbr\u003e Coveted for their monumental visual impact, Hirst’s spin paintings embody a tongue-in-cheek attitude toward the tradition of art history, which places a reverent emphasis on the hand of the painter. The sunburst-like splashes of lime green, red, yellow, orange and blue in this painting were made by dripping paint onto the surface of a motorized canvas. The result is a striking surge of bright, primary color that has been liberated from the artist’s hand to take on its purest form. \u003cbr\u003e\u003cbr\u003e Hirst created his first revolutionary spin painting in 1993 while dressed as a clown at a street fair, emphasizing his intention to foreground play and wonder in this series. Inspired by a popular British children’s TV show called Blue Peter, Hirst himself confirmed the role of humor in this work: “I got my idea for the spin paintings from an episode in the 1970s… I remember thinking, that’s fun, whereas art is something more serious… I just thought, why does it have to be like that?” The spin paintings, with their whimsical bursts of color, have become a hallmark of Hirst’s renowned practice, contrasting with the neatness of his spot paintings and the darker themes of his formaldehyde and butterfly works. \u003cbr\u003e\u003cbr\u003e Hirst remains one of the most in-demand artists on the contemporary art market, with both museums and private collectors competing for his works. In September 2008, a Sotheby's auction of Hirst's work raised $198 million dollars—ten times higher than any single artist's sale at Sotheby's—and his spin paintings alone have fetched over $1 million at auction. This bold spin painting offers the rare opportunity to own a work by one of art history's greatest renegades. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a letter from the Hirst Authentication Committee and will be included in the forthcoming catalogue raisonné.  \u003cbr\u003e\u003cbr\u003e Painted 2010 \u003cbr\u003e\u003cbr\u003e Canvas: 47 1\/2\" high x 47 1\/2\" wide (120.65 x 120.65 cm)\u003cbr\u003e Frame: 50 1\/2\" high x 50 1\/2\" wide x 1 1\/2\" deep (128.27 x 128.27 x 3.81 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, acquired directly from the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44024388026503,"sku":"31-8913","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8913_1.png?v=1774961089"},{"product_id":"chevaux-de-courses-by-raoul-dufy","title":"Chevaux de courses by Raoul Dufy","description":"Raoul Dufy\u003cbr\u003e 1877-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eChevaux de courses\u003cbr\u003e (Racing Horses)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Raoul Dufy 1929\" (lower right)\u003cbr\u003e Watercolor and gouache on Arches paper \u003cbr\u003e\u003cbr\u003e Raoul Dufy's fascination with horse racing first emerged in his art as early as 1913. However, it was not until the early 1920s, when couturier Paul Poiret encouraged him to observe the races to study fashionable dress, that horse racing began to solidify as a central theme in Dufy's work. Friends who joined Dufy on his initial visits to the racecourse noted his keen interest in the vibrant colors of the horses and jockeys, rather than the fashionable crowd. Over time, Dufy's racecourse scenes evolved to highlight the dynamic interplay of green turf, blue railings and multicolored crowds set against a backdrop of nature, capturing the energetic and colorful essence of the races. \u003cem\u003eChevaux de courses\u003c\/em\u003e exemplifies the dynamic scenes and vibrant colors that characterize Dufy's oeuvre, capturing the lively spirit of the 1920s. \u003cbr\u003e\u003cbr\u003e This scene bursts to life with vibrant colors and the dynamic movement of majestic horses. In the foreground, horses and their jockeys prepare for their moment in the spotlight, while in the background, a race unfolds at full speed. A vivid snapshot of sport, fashion and culture, this painting is brimming with life and energy. \u003cbr\u003e\u003cbr\u003e Born in Le Havre, Normandy, both Dufy and his brother Jean showed a talent for drawing at an early age. He would eventually enroll in the École d'Art in Le Havre, and later, the École Nationale Supérieure des Beaux-Arts in Paris. After viewing Matisse's \u003cem\u003eLuxe, Calme et Volupte \u003c\/em\u003ein 1904, Dufy adopted the bright color and flat compositions of the Fauvists. By 1909, the artist sought more austerity in his painting, and he became drawn to the works of Cézanne and the Cubists. From this point forward, Dufy's compositions presented a blend of the ideals upheld by these two artistic groups. His use of bold lines and colors, dynamic brushstrokes and other painterly qualities found in his paintings are a testament to his unique Expressionist ideals. \u003cbr\u003e\u003cbr\u003e Dated 1929 \u003cbr\u003e\u003cbr\u003e Paper: 18\" high x 24\" wide (45.72 cm x 60.96 cm)\u003cbr\u003e Frame: 29\" high x 35\" wide x 2 1\/2\" deep (73.66 cm x 88.90 cm x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Fanny Guillon-Laffaille, Raoul Dufy, \u003cem\u003eThe supplement to the Catalogue raisonné des aquarelles, gouaches et pastels\u003c\/em\u003e, Paris, reference As-0773 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, California\u003cbr\u003e Sale: Christie's New York, Sale 7452, May 13, 1992, Lot 253\u003cbr\u003e Private collection, Atlanta, GA\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42618970079367,"sku":"31-9436","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9436_1_23392fb1-6cf9-47f2-ac6a-5f8213127dcd.png?v=1746450821"},{"product_id":"la-casta-susanna-by-urbano-lucchesi","title":"La Casta Susanna by Urbano Lucchesi","description":"Urbano Lucchesi\u003cbr\u003e 1844 - 1906 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Casta Susanna\u003cbr\u003e (The Chaste Susanna)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e This elegant statue entitled \u003cem\u003eLa Casta Susanna\u003c\/em\u003e depicts the virtuous biblical figure Susanna, expertly crafted by Italian sculptor Urbano Lucchesi—the most important sculptor of nineteenth-century Lucca, Italy. The narrative of Susanna—found in versions of the Book of Daniel—portrays her as a virtuous wife unjustly accused of adultery by two elders when she rejects their advances. Daniel's intervention reveals discrepancies in the elders' stories, ultimately vindicating Susanna and highlighting her moral integrity. Numerous artists have depicted this narrative, notably during the early Christian era and the later Renaissance and Baroque periods. \u003cbr\u003e\u003cbr\u003e This stunning marble statue presents Susanna in a classically inspired pose, her figure exemplifying an elegant contrapposto crafted by a master artisan. A sheet covers her form in modesty, carved to appear soft and light—a remarkable achievement in marble. Likewise, her features are rendered with an expert hand, appearing almost lifelike in stone. \u003cbr\u003e\u003cbr\u003e Urbano Lucchesi, renowned for his significant contributions to the artistic heritage of Lucca and beyond, is the most prominent artist in nineteenth-century Lucca. His works are integral to the city’s cultural landscape, with prominent sculptures adorning its streets and squares. Notable works include busts of Giuseppe Mazzini, Benedetto Cairoli and Vincenzo Consani, as well as monuments to Giuseppe Garibaldi and the fallen of Italy’s battles. Lucchesi’s influence extended to Florence, where he created the monument to Donatello outside the sculptor’s studio, and to Viareggio, where he crafted the impressive monument to the romantic poet Percy Bysshe Shelley. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Casta Susanna\u003c\/em\u003e is not only a stunning representation of a biblical tale but also a sculpture that embodies the artistic and cultural essence of its era. Statues of the same figure can be seen in museums worldwide and at churches such as the Santa Maria di Loreto. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Signed “Lucchesi” \u003cbr\u003e\u003cbr\u003e Inscribed “La Casta Susanna” \u003cbr\u003e\u003cbr\u003e 54 1\/2\" high x 15\" wide x 14 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43511184130183,"sku":"31-8802","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8802_1_0cf44c73-91e7-4a84-af35-a89139f0a9e9.png?v=1764593387"},{"product_id":"sir-winston-churchill-bronze-by-ivor-roberts-jones","title":"Sir Winston Churchill Bronze by Ivor Roberts-Jones","description":"Ivor Roberts-Jones\u003cbr\u003e 1913-1996 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSir Winston Churchill\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Numbered “132” (on base)\u003cbr\u003e Bronze with a brown patina on a stone base \u003cbr\u003e\u003cbr\u003e “My dear friends, this is your hour.” These were Winston Churchill’s words as he spoke on the evening of the Allied victory in Europe, and so ended the Second World War. A man of undeniable strength and resilience, Winston Churchill stands as one of the greatest leaders of the modern world. This important bronze masterfully captures the man’s irrepressible air of determination and indomitable character. Crafted by Ivor Roberts-Jones, the sculpture is an edition of the original maquette for the large-scale monument of the prime minister found in Parliament Square. One of England's most recognizable public monuments, it stands as a magnificent tribute to one of the greatest wartime heroes in history. \u003cbr\u003e\u003cbr\u003e Roberts-Jones crafted the original maquette in 1971, and it was from this preliminary model that he created his monumental bronze. Following the monument's unveiling, the sculpture was so popular that a series of cast versions of the maquette was created. These were subsequently offered exclusively to Roberts-Jones' clients and the original subscribers to Churchill’s recently published Collected Works. This exceptional example is numbered 132 conceived as an edition of 500 that were cast by Meridian Bronze Foundry. \u003cbr\u003e\u003cbr\u003e It was in 1967, two years after Churchill's death, that the commemorative sculpture of Churchill was first envisioned, and it was decided that Parliament Square was the most appropriate area. In fact, Churchill himself had suggested the location before his death. Eight sculptors were invited to submit designs and compete for the high-profile commission. Roberts-Jones’s maquette was shortlisted, and after a few minor design changes, he was officially awarded the commission in March 1971. \u003cbr\u003e\u003cbr\u003e Ivor Roberts-Jones rose to prominence in 1961 thanks to an influential commission from Lord Beaverbrook for a bust of the British playwright Somerset Maugham. He earned his first full-scale commission in 1964 for a sculpture of the British painter Augustus John. After its completion in 1967, Roberts-Jones was elected as an associate of the Royal Academy. He became a full member in 1973, following the completion of his Churchill monument. This bronze is an extraordinary symbol of the sculptor's single greatest achievement. \u003cbr\u003e\u003cbr\u003e Circa 1971 \u003cbr\u003e\u003cbr\u003e 9 3\/4\" wide x 7 1\/4\" deep x 20\" high \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Peter Cannon-Brookes, \u003cem\u003eIvor Roberts-Jones: The Journey to Harlech\u003c\/em\u003e, London: Trefoli Books, 1983, pp. 51-59 (another cast illustrated). \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Pennsylvania\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44027721580679,"sku":"31-9069","price":275000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9069_1_472ee2bd-0175-4118-ab09-1515faed081a.png?v=1774966820"},{"product_id":"le-turban-orange-by-tamara-de-lempicka","title":"Le Turban Orange by Tamara de Lempicka","description":"Tamara De Lempicka\u003cbr\u003e 1898-1980 | Polish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe turban orange\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(The Orange Turban)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Wrapped in a spectacular orange headdress, the alluring woman at the center of this portrait is a signature subject of famed Art Deco artist Tamara de Lempicka. Her iconic portraits of women have come to define her esteemed oeuvre, and this turbaned sitter is one that she returned to and repeated the most throughout her long career. \u003cbr\u003e\u003cbr\u003e Gazing out at the viewer with mesmerizing intensity, the woman's visage is rendered in Lempicka's typical feminine color palette and softness. The artist captures the planes of her subject's face and the deep folds of her turban with masterful depth. Based on two earlier paintings from 1945, Lempicka returned to this idealized woman in an orange turban again in the 1970s. After the huge success of her major retrospective at Galerie Luxembourg in 1972, Lempicka answered the call to reprise some of her greatest and most beloved works for avid collectors—with the mysterious woman in the orange turban among them. Today, versions of this important subject can be found in museum collections including the Musée d’Art Moderne in Le Havre, France. \u003cbr\u003e\u003cbr\u003e Born in Poland at the turn of the 20th century, Lempicka was forced to flee to France in 1918 after the beginning of the Russian Revolution. During a visit to Italy in her youth, she became enraptured by the Italian Old Masters. Inspired by this formative experience, Lempicka enrolled in Académie de la Grande Chaumière in Paris to take up painting. She studied under famed avant-garde artists Maurice Denis and André Lhote, who introduced her to Cubism, and she began exhibiting at the Parisian salons as early as 1922. Lempicka became a fixture in Parisian high society, spending much of her time hosting wealthy elites in her atelier on Rue Méchain.  \u003cbr\u003e\u003cbr\u003e With a resurgence of appreciation for the Art Deco period, combined with the success of her retrospective at Galerie de Luxembourg in 1971, Lempicka’s work has achieved remarkable acclaim in recent decades. Much of her work resides in museums worldwide, including the Metropolitan Museum of Art, the Musée des Beaux-Arts du Havre, and the National Museum Warsaw, among others. Alain Blondel, the esteemed French author who compiled the artist’s catalogue raisonné, wrote fondly of her uniqueness: “Tamara de Lempicka will always continue to defy categorization. Her art and her life destiny do not fit into the usual framework for 20th-century artists. The idea that art could be a profession was foreign to Lempicka. Her life and her painting were too closely intertwined for that.” \u003cbr\u003e\u003cbr\u003e Circa 1975 \u003cbr\u003e\u003cbr\u003e Canvas: 9 1\/2\" high x 7 5\/8\" wide (24.13 x 19.37 cm)\u003cbr\u003e Frame: 13\" high x 11\" wide x 1\" deep (33.02 x 27.94 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e By descent, from the artist","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44491868733575,"sku":"31-9612","price":224500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9612_1_aef7c53b-0f49-4762-87d1-744d7fbad34a.png?v=1789053640"},{"product_id":"raisins-et-oranges-by-tamara-de-lempicka","title":"Raisins et oranges by Tamara de Lempicka","description":"Tamara de Lempicka\u003cbr\u003e 1898-1980 | Polish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eRaisins et oranges\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Lempicka\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This charming still life by Art Deco icon Tamara de Lempicka epitomizes the artist's talent for capturing a vivid sense of beauty and grace, no matter her chosen subject or style. Described by one of her earliest collectors as the “first Pop Star of the century,” Lempicka's masterful paintings such as this one radiate with Art Deco's signature blend of elegance and modernity. \u003cbr\u003e\u003cbr\u003e Painted circa 1963, \u003cem\u003eRaisins et oranges\u003c\/em\u003e displays Lempicka's masterful use of color and texture to create a remarkable sense of depth in her still life. Ever the adventurer, Lempicka began exploring new painting techniques even at this mature stage of her career. She used her palette knife as one of her main implements, creating new textures and ways of directly applying color in her alluring works. During this experimental period, Lempicka focused on some of her favorite recurring motifs such as floral bouquets and tablescapes bursting with fruit like this one. \u003cbr\u003e\u003cbr\u003e Born in Poland at the turn of the 20th century, Lempicka was forced to flee to France in 1918 after the beginning of the Russian Revolution. During a visit to Italy in her youth, she became enraptured by the Italian Old Masters. Inspired by this formative experience, Lempicka enrolled in Académie de la Grande Chaumière in Paris to take up painting. She studied under famed avant-garde artists Maurice Denis and André Lhote, who introduced her to Cubism, and she began exhibiting at the Parisian salons as early as 1922. Lempicka became a fixture in Parisian high society, spending much of her time hosting wealthy elites in her atelier on Rue Méchain.  \u003cbr\u003e\u003cbr\u003e With a resurgence of appreciation for the Art Deco period, combined with the success of her retrospective at Galerie de Luxembourg in 1971, Lempicka’s work has achieved remarkable acclaim in recent decades. Much of her work resides in museums worldwide, including the Metropolitan Museum of Art, the Musée des Beaux-Arts du Havre, and the National Museum Warsaw, among others. Alain Blondel, the esteemed French author who compiled the artist’s catalogue raisonné, wrote fondly of her uniqueness: “Tamara de Lempicka will always continue to defy categorization. Her art and her life destiny do not fit into the usual framework for 20th-century artists. The idea that art could be a profession was foreign to Lempicka. Her life and her painting were too closely intertwined for that.” \u003cbr\u003e\u003cbr\u003e Circa 1963 \u003cbr\u003e\u003cbr\u003e Canvas: 14 1\/2\" high x 23 1\/4\" wide (36.83 x 59.06 cm)\u003cbr\u003e Frame: 20 1\/2\" high x 30\" wide (52.07 x 76.20 x 3.81 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, 1990\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Alain Blondel, \u003cem\u003eTamara de Lempicka, Catalogue raisonné 1921-1979\u003c\/em\u003e, Lausanne, 1999, no. B456, p. 409\u003cbr\u003e Marc Vaux, \u003cem\u003eFonds Lempicka\u003c\/em\u003e, MNAM, Paris, 1972 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e By descent, from the artist","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42488645484679,"sku":"31-9614","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9614_1_022a779c-cd70-42a9-b715-926a0278cec3.png?v=1789651276"},{"product_id":"abstract-with-blue-on-red-by-frank-sinatra","title":"Abstract with Blue on Red by Frank Sinatra","description":"Frank Sinatra\u003cbr\u003e 1915-1998 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAbstract with Blue on Red\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Sinatra '89\"(lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Easily one of the greatest American pop musicians of the 20th century, Frank Sinatra was both an iconic entertainer and an accomplished painter. A lover of art for his entire life, Sinatra became a collector of significance after his rise to fame, acquiring works by both modern and postmodern painters. Sinatra spent his free time creating colorful compositions inspired by modern art luminaries, looking to their bold aesthetics for guidance while creating his own original works with a unique point of view. \u003cbr\u003e\u003cbr\u003e This bold composition uses the power of bold colors and geometric shapes to create a mesmerizing space. Sinatra masterfully renders the central blue square to give the work a sense of depth and movement, while the striking red background pulses with energy. Visually alluring and monumental in size, this composition combines the colorful geometry of Mondrian with the stark simplicity of Mark Rothko, resulting in an exciting and original work from the famed singer. \u003cbr\u003e\u003cbr\u003e Born in 1915 to Italian immigrants in New Jersey, Frank Sinatra rose to fame in the early 1940s, singing first with the famed \"Sentimental Gentleman of Swing\" Tommy Dorsey, and later striking out on his own as a solo artist. His career blossomed in the mid-1940s thanks to a series of successful, chart-topping singles when his baritone earned him the moniker \"The Sultan of Swoon.\" He made his debut as an actor in 1943 with the film \u003cem\u003eReveille with Beverley\u003c\/em\u003e, and in 1945, he won an Academy Award for the short film \u003cem\u003eThe House I Live In\u003c\/em\u003e. \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 during this period away from the stage, he focused on painting. 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: 46 3\/4\" high x 57\" wide (118.75 x 144.78 cm)\u003cbr\u003e Frame: 48 1\/4\" high x 58 1\/4\" wide x 1 5\/8\" deep (122.56 x 147.96 x 4.13 cm) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eA Man and His Art: Frank Sinatra\u003c\/em\u003e, 1991, Random House: New York, p. 6 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44060179300487,"sku":"31-9076","price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9076_1.png?v=1774966696"},{"product_id":"pair-of-dragons-in-clouds-by-prime-minister-morihiro-hosokawa","title":"Pair of Dragons in Clouds by Prime Minister Morihiro Hosokawa","description":"Prime Minister Morihiro Hosokawa\u003cbr\u003e b. 1938 | Japanese \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePair of Dragons in Clouds\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, lower left and right\u003cbr\u003e Ink on paper, framed in Jindai cedar \u003cbr\u003e\u003cbr\u003e Crafted by the esteemed Morihiro Hosokawa, the 79th Prime Minister of Japan and 18th-generation head of the historic Hosokawa clan, this pair of dragon paintings is a stunning testament to Japan's rich artistic tradition. After retiring from politics, Hosokawa dedicated himself to the arts, and these works represent the pinnacle of his mastery. Depicting the mythical dragon protector, a revered symbol in Japanese culture, the paintings embody the ancient “A-Un” concept, a harmonious motif that wards off evil spirits. \u003cbr\u003e\u003cbr\u003e Hosokawa’s dragons exude a fierce elegance, their faces and talons emerging from the inky mist with dynamic energy. One dragon, mouth open in the “A” sound, is perfectly balanced by the second dragon, mouth closed in the “Un” sound. This delicate balance between opposing forces is a hallmark of traditional Japanese artistry. The fine ink work melds seamlessly with the atmospheric background, creating a sense of movement and mysticism. Further enhancing the composition is the remarkable frame, crafted from Jindai cedar, a precious wood naturally darkened after being buried underground for over 1,000 years. \u003cbr\u003e\u003cbr\u003e Recently, Hosokawa painted and dedicated monumental fusuma-e (sliding-door) paintings of dragons at the storied Ryoanji temple, a UNESCO World Heritage site in Kyoto, Japan. The site of Japan's most famous rock garden, Ryoanji thrived as a great Zen center for the cultural activities of the elite from the late 16th through the first half of the 17th century under the patronage of the Hosokawa family—the very dynasty from which the former Prime Minister descended. Covering 40 sliding doors, the epic “Unryuzu” work features powerful brush strokes to depict nine dragons and the lifespan of the mythical creatures. \u003cbr\u003e\u003cbr\u003e Now in his late 80s, Hosokawa continues to create art, experimenting with a variety of materials and techniques to create large-scale works. Further examples of Hosokawa's works are in museum collections, including The Five Colleges and Historic Deerfield Museum Consortium, Western Massachusetts and The Portland Art Museum, Oregon. \u003cbr\u003e\u003cbr\u003e Each Canvas: 23 1\/4\" high x 35 1\/4\" wide (59.06 x 89.54 cm)\u003cbr\u003e Frame: 27 1\/8\" high x 39 1\/8\" wide x 2 1\/8\" deep (68.90 x 99.39 x 5.40 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Japan\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41984628424839,"sku":"32-0053","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0053_1.png?v=1733473312"},{"product_id":"cleopatra-by-oscar-spalmach","title":"Cleopatra by Oscar Spalmach","description":"Oscar Spalmach\u003cbr\u003e 1864-1917 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCleopatra\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Marble \u003cbr\u003e\u003cbr\u003e This exquisite 19th-century white and grey marble sculpture of Cleopatra, signed by Oscar Spalmach and created in the renowned Studio O. Andreoni in Rome, captures the tragic grace of one of history's most important figures. Spalmach masterfully portrays Cleopatra in a poignant moment of introspection, just before her famous and fateful decision to take her own life. As she gazes at her arm, Cleopatra appears lost in contemplation, reflecting on the act she is about to commit—placing a venomous snake upon it. The sculpture conveys her inner turmoil and resolve, capturing the complexity of her final moments with striking realism. The intricate details—from the finely rendered folds of her garments to her dignified yet resigned expression—showcase Spalmach's remarkable ability to imbue marble with lifelike emotion and texture. \u003cbr\u003e\u003cbr\u003e Oscar Spalmach, working within the studio of Orazio Andreoni—a name synonymous with excellence in Italian sculpture—exhibited his work at the World's Fairs and across Europe, gaining recognition for his contribution to the art world. The collaboration within Andreoni's studio, noted for its influential role in the artistic renaissance of the period, offered Spalmach an unparalleled platform for his talent. This sculpture, likely produced under Andreoni's supervision, stands as a testament to the studio's legacy and Spalmach's artistry, securing their place in the pantheon of great sculptors. \u003cbr\u003e\u003cbr\u003e Brief History of Cleopatra:\u003cbr\u003e Cleopatra VII, the last active ruler of the Ptolemaic Kingdom of Egypt, remains one of history's most compelling figures, celebrated for her intelligence, political acumen and legendary beauty. This sculpture is said to be one of the finest portrayals of the ancient queen in existence. Born in 69 BCE, Cleopatra ascended the throne alongside her brothers, later consolidating power as sole ruler. Cleopatra's reign was marked by alliances and relationships with two of Rome's most powerful figures, Julius Caesar and Mark Antony, through which she sought to preserve Egypt's independence amidst Roman expansion. \u003cbr\u003e\u003cbr\u003e After the defeat of her and Antony's forces at the Battle of Actium in 31 BCE, and Antony's subsequent suicide, Cleopatra faced the prospect of capture by Octavian (the future Emperor Augustus). Rather than endure humiliation as a captive in Rome, she chose to take her own life in 30 BCE. According to tradition, she used a venomous snake, to administer the fatal bite. This act symbolized both her defiance of Roman domination and her desire to control her own fate, solidifying her legacy as a powerful and tragic figure in history. \u003cbr\u003e\u003cbr\u003e 19th century \u003cbr\u003e\u003cbr\u003e 75\" high x 37\" wide x 30\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43743333580935,"sku":"31-8588","price":278500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8588_1.png?v=1769785547"},{"product_id":"gravity-by-andreas-von-zadora-gerlof-1","title":"Gravity by Andreas von Zadora-Gerlof","description":"Gravity\u003cbr\u003e Andreas von Zadora-Gerlof\u003cbr\u003e Created 2014-15 \u003cbr\u003e\u003cbr\u003e This monumental, mind-boggling work of stainless steel was crafted by the famed jeweler and sculptor Andreas von Zadora-Gerlof, a man commonly regarded as America's Fabergé. The sculpture was inspired by the 1952 mixed media work \u003cem\u003eGravitation\u003c\/em\u003e by the great Dutch artist M.C. Escher, a man celebrated for his so-called impossible constructions. With a high level of skill and precise planning, Zadora brings Escher’s two-dimensional print vividly to life in a three-dimensional sculptural work that seemingly defies the laws of gravity. Breathtaking in its massive size, quality and precision, this work is a modern masterpiece of design. \u003cbr\u003e\u003cbr\u003e Escher’s \u003cem\u003eGravitation\u003c\/em\u003e was developed as part of an important series of works that the artist created during the mid-20th century that explored planetoids and stars in a science fiction world. \u003cem\u003eGravitation\u003c\/em\u003e focused on the impossibility of multiple sources of gravity working together on a single object. Within his complex geometric structure, Escher places twelve turtles without shells, who use the star as a common shell. Represented in six colored pairs—red, orange, yellow, purple, green and blue—each turtle rests directly opposite its counterpart. \u003cbr\u003e\u003cbr\u003e Though Escher’s creation is a physical impossibility, like all of his works, he presents it in a visually credible and logical way. That same mathematical precision is applied to Zadora’s version of the work. Exactingly rendered, this sculpture manifests the genius of Escher’s creation through precisely cut pieces of stainless steel and polymer. At first glance, the work appears to be a nonsensical jumble of turtle heads and limbs, though a closer inspection reveals the inherent symmetry and harmony of the ingenious creation. \u003cbr\u003e\u003cbr\u003e The Canadian-born sculptor Baron Andreas von Zadora-Gerlof is recognized as the world's leading gemstone artist, and his international clientele includes the world’s most discerning connoisseurs. His works, which range from intricate sculptures such as this to innovative bespoke jewelry, are regarded as some of the most prized decorative artworks in modern times. \u003cbr\u003e\u003cbr\u003e The sculpture is accompanied by a certificate of authenticity signed by the artist. \u003cbr\u003e\u003cbr\u003e 61\" wide x 72\" deep x 58\" high (147.32 x 154.94 x 182.88 cm) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Design Days Dubai, March 16-20, 2015","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42230760996999,"sku":"31-9630","price":128500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-9630_1.png?v=1736119251"},{"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":"le-port-de-marseille-le-quai-et-les-cargos-by-henri-martin","title":"Le port de Marseille, le quai et les cargos by Henri Martin","description":"Henri Martin\u003cbr\u003e 1860-1943 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe port de Marseille, le quai et les cargos\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed Henri Martin (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Exemplifying the masterful synthesis of Post-Impressionist technique with classical compositional precision, Henri Martin's \u003cem\u003eLe port de Marseille, le quai et les cargos\u003c\/em\u003e presents a vibrant panorama of industrial maritime life. This captivating harbor scene demonstrates Martin's virtuosic ability to translate atmospheric conditions into luminous color relationships that capture both place and moment with remarkable authenticity. \u003cbr\u003e\u003cbr\u003e The composition features a sturdy quayside anchoring the foreground while cargo vessels create rhythmic vertical elements against the expansive Mediterranean horizon. Martin's characteristic brushwork—comprised of distinct strokes that allow colors to blend at viewing distance—creates a shimmering effect that perfectly evokes the interaction of light, water and industrial architecture. The artist's extraordinary command of color is evident in his nuanced transitions between the blue waters, rust-colored vessels and golden architecture that frames the bustling port. \u003cbr\u003e\u003cbr\u003e Henri Martin began his formal artistic training at the École des Beaux-Arts in Toulouse before relocating to Paris in 1879 to study under academic painter Jean-Paul Laurens. His early adherence to conventional academic principles brought him recognition from the Paris Salon at the remarkably young age of 23. Following this early success, Martin was awarded a state-sponsored journey to Italy—an experience that would fundamentally transform his artistic vision. His encounters with the frescoes of early Renaissance masters Giotto and Masaccio prompted a profound reconsideration of light's expressive potential, catalyzing his gradual movement away from academic conventions toward the more progressive techniques of Impressionism.  \u003cbr\u003e\u003cbr\u003e Throughout his career, Martin experimented with various avant-garde pictorial strategies, producing significant works that incorporated elements of Divisionism, Symbolism and Pointillism while maintaining his distinctive artistic voice. His technical innovations and compositional sophistication earned him the Grand Prize at the 1900 Paris Exposition Universelle—confirmation of his established importance within the European art world. Today, Martin's works are represented in prestigious museum collections worldwide, including the Musée d'Orsay and the Palais des Beaux-Arts in Paris. \u003cbr\u003e\u003cbr\u003e This work has remained within the artist's family collection since its creation and was displayed at the Musée Henri Martin in Cahors during the significant 1993 retrospective exhibition. It will also be included in the definitive catalogue raisonné by Marie-Anne Destrebecq-Martin. \u003cbr\u003e\u003cbr\u003e Circa 1930 \u003cbr\u003e\u003cbr\u003e Canvas: 30\" high x 25\" wide (76.20 x 63.50 cm)\u003cbr\u003e Frame: 38 3\/4\" high x 31 3\/4\" wide x 2\" deep (98.43 x 80.65 x 5.00 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0726.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 Family of the artist, by descent\u003cbr\u003e Private collection, Marseille\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Henri Martin, Musée Henri Martin, Cahors, then Capitole, Toulouse, September 14 – October 29, 1993, reproduced in the exhibition catalog on p. 93, no. 86","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44585784377479,"sku":"32-0726","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0726_1.png?v=1778527319"},{"product_id":"la-ronde-des-cavaliers-by-andre-brasilier","title":"La ronde des cavaliers by André Brasilier","description":"André Brasilier\u003cbr\u003e 1929-2026 I French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa ronde des cavaliers\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"André Brasilier\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e\"I always try to give the quintessence of a subject, to say a great deal with limited means.\"\u003c\/em\u003e - André Brasilier \u003cbr\u003e\u003cbr\u003e Masterfully rendered with dynamic brushwork and a luminous palette, \u003cem\u003eLa ronde des cavaliers\u003c\/em\u003e exemplifies André Brasilier's signature artistic vision that has captivated collectors worldwide. Brasilier stands among the most celebrated French painters of the post-war period, with his highly personal style that combines elements of expressionism and abstraction while maintaining figurative representation. This exceptional composition showcases the artist's lifelong fascination with horses in motion, here depicted against the dramatic backdrop of a coastal landscape. \u003cbr\u003e\u003cbr\u003e The scene depicts a circle of riders galloping along a sandy shoreline, their forms rendered with Brasilier's characteristic simplification and dynamism. The horses and riders appear as silhouetted figures in motion, creating a sense of rhythm and movement across the canvas. Brasilier employs a distinctive color palette dominated by cobalt blues contrasted against soft pinks and sandy beiges, creating a harmonious yet bold composition. \u003cbr\u003e\u003cbr\u003e Born in 1929 to artistic parents, Brasilier studied at the École des Beaux-Arts in Paris and won the prestigious Grand Prix de Rome in 1953. Throughout his prolific career spanning over seven decades, he has remained steadfastly dedicated to his artistic vision despite changing trends in the art world. Horses have remained a central motif throughout his oeuvre, representing freedom, beauty and the connection between humans and nature. Brasilier's works have been exhibited in prestigious galleries and museums worldwide, including a retrospective at the Hermitage Museum in Saint Petersburg—making him, along with Pablo Picasso, the only artists to be awarded a retrospective at the renowned institution during their lifetimes. Brasilier's works, exhibited with the likes of Braque, Chagall and Miro, are celebrated worldwide and reside in prominent collections, including the Metropolitan Museum of Art in New York. \u003cbr\u003e\u003cbr\u003e Painted 2022 \u003cbr\u003e\u003cbr\u003e Canvas: 28 3\/4“ high x 39 1\/2” wide (73.03 x 100.33)\u003cbr\u003e Frame: 37 1\/2“ high x 47 3\/4” wide x 1 3\/4“ deep (94.62 x 121.29 x 4.43 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42593043021959,"sku":"32-0828","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0828_1.png?v=1789060836"},{"product_id":"nu-tenant-un-miroir-by-pablo-picasso","title":"Nu tenant un miroir by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu tenant un miroir\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Nude holding a mirror)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Picasso\" (lower right)\u003cbr\u003e Pen and ink on paper \u003cbr\u003e\u003cbr\u003e Pablo Picasso's Rose Period is among the most iconic bodies of work in art history. This beautiful drawing, entitled \u003cem\u003eNu tenant un miroir\u003c\/em\u003e, exemplifies the refined elegance and simplicity that characterized this pivotal period and laid the foundation for his visionary career. Picasso's Rose Period works are highly rare and coveted by collectors, making this ink drawing an extraordinary treasure of modern art. \u003cbr\u003e\u003cbr\u003e Created in 1906, \u003cem\u003eNu tenant un miroir\u003c\/em\u003e captures the artist's companion Fernande Olivier with remarkable minimalism, demonstrating Picasso's extraordinary ability to convey form and emotion through a few precise, self-assured gestures. This drawing served as the foundation for Picasso's monumental oil painting, \u003cem\u003eLa Toilette\u003c\/em\u003e, now in the permanent collection of the Buffalo AKG Museum. In the drawing, Picasso synthesizes the dual vision of Fernande's personality—combining the nude figure and the mirror holder into one person, which he would later split in two in the final painting. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu tenant un miroir\u003c\/em\u003e also reveals Picasso's growing interest in classical antiquity, with unmistakable references to Roman and Egyptian artistic traditions. The figure exists in an undefined space, creating a sense of timelessness and eternity. Through masterful restraint, Picasso achieves a composition that is simultaneously ancient and thoroughly modern, balancing naturalistic representation with elements of abstraction. \u003cbr\u003e\u003cbr\u003e The summer of 1906 marked a transformative period in Picasso's artistic development. Having relocated from his native Spain to Paris in 1904, Picasso and Fernande temporarily retreated to the remote Spanish village of Gósol in the Pyrenees. This rural sojourn provided Picasso with the solitude and focus to refine his artistic direction, resulting in works of remarkable clarity and purpose such as this one. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid before traveling to Paris in 1900. Landing in the epicenter of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Works from his pivotal Rose Period are especially prized by collectors and institutions for their historical significance and aesthetic sophistication. Comparable drawings from this critical year can be found in prestigious collections worldwide, including the Musée Picasso in Paris, the Metropolitan Museum of Art in New York and the National Gallery of Art in Washington, D.C. \u003cbr\u003e\u003cbr\u003e Created 1906 \u003cbr\u003e\u003cbr\u003e Paper: 9 3\/4\" high x 6 1\/2\" wide (24.77 x 16.51 cm)\u003cbr\u003e Framed: 21 1\/2\" high x 17 3\/8\" wide x 1 3\/4\" deep (54.61 x 44.01 x 4.45 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Gustave \u0026amp; Leon Bollag Collection, Zurich\u003cbr\u003e Sale, Galerie Bollag, Zurich, 3rd April 1925, lot 167\u003cbr\u003e Constance Charlotte Bailward, United Kingdom, acquired during the 1920s\u003cbr\u003e Thence by descent\u003cbr\u003e Private Collection, California \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Pierre Daix, \u003cem\u003ePicasso 1900-1906: Catalogue raisonne l'oeuvre peint\u003c\/em\u003e, Paris, 1966, no. XV.29, illustrated p. 300\u003cbr\u003e Christian Zervos, \u003cem\u003ePablo Picasso, Supplement aux annees de 1903-1906\u003c\/em\u003e, Paris, 1970, vol. XXII, no. 430, illustrated p. 151\u003cbr\u003e Alberto Moravia, \u003cem\u003eL'opera completa di Picasso blu e rosa\u003c\/em\u003e, Milano, 1979, no. 270A, illustrated p. 109\u003cbr\u003e Joseph Palau i Fabre, \u003cem\u003ePicasso Vivo (1881-1907)\u003c\/em\u003e, Barcelona, 1980, no. 1242, illustrated p. 448\u003cbr\u003e \u003cem\u003eLe miroir noir, Picasso, sources photographiques 1900-1928\u003c\/em\u003e (exhibition catalogue), Musée Picasso, Paris, 1997, fig. 45, illustrated p. 58","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43894124380295,"sku":"32-0866","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0866_1.png?v=1772378242"},{"product_id":"tri-directional-portrait-commemorating-the-russo-turkish-war","title":"Tri-Directional Portrait Commemorating the Russo-Turkish War","description":"Austrian School\u003cbr\u003e 18th Century \u003cbr\u003e\u003cbr\u003e Tri-Directional Portrait Commemorating the Russo-Turkish War \u003cbr\u003e\u003cbr\u003e Oil on wooden strips \u003cbr\u003e\u003cbr\u003e This extraordinary tri-directional portrait exemplifies the rare innovation known as a triscenorama, capturing a pivotal diplomatic moment through ingenious artistic technique. Employing triangularly cut wooden strips, this remarkable work simultaneously depicts three imperial figures central to the Russo-Turkish War of 1735-1739: Empress Anna Ivanovna Romanova of Russia when viewed directly, Holy Roman Emperor Charles VI from the left and Ottoman Sultan Mahmud I from the right, commemorating the Treaty of Nissa that concluded this significant European conflict. \u003cbr\u003e\u003cbr\u003e The portrait utilizes an exceptionally rare optical technique that predates modern movable imaging technology. When observed from different angles, the painted triangular wooden strips create a transformative effect, revealing entirely different imperial portraits as the viewer shifts position. The precision required to execute such a work demonstrates remarkable technical mastery, as the artist had to conceptualize three distinct portraits as well as the meticulous arrangement of the panels. This sophisticated manipulation of perspective creates an interactive viewing experience considered revolutionary for its time. \u003cbr\u003e\u003cbr\u003e Almost certainly created by an Austrian artist, this diplomatic artwork likely served as a commemorative piece marking the Treaty of Nissa, signed in September 1739. The treaty concluded Russia's ambitious campaign to secure access to the Black Sea while countering Ottoman raids in Ukraine and the Caucasus regions. Given its exceptional quality and historical significance, this portrait was possibly commissioned by Emperor Charles VI himself, potentially serving as a diplomatic gift to either Empress Anna or Sultan Mahmud I during the treaty negotiations. \u003cbr\u003e\u003cbr\u003e Under Empress Anna's leadership, Russia sought to counter devastating raids from Ottoman allies, particularly the Crimean Tatars, who had been destabilizing Ukraine through systematic incursions. While Russian forces achieved notable victories at Bakhchisaray and Ochakov under Field Marshals von Münnich and Lacy, Austria faced repeated defeats by Ottoman forces. The resultant Treaty of Nissa produced mixed outcomes: Russia gained the fortress of Azov (though its fortifications were to be dismantled) but failed to secure naval access to the Black Sea, while Austria surrendered Belgrade and northern Serbia. This treaty stands as Russia's final attempt to secure the Crimean Peninsula until Catherine the Great's successful campaigns nearly five decades later. \u003cbr\u003e\u003cbr\u003e Circa 1739 \u003cbr\u003e\u003cbr\u003e Panel: 15 1\/8\" high x 12\" wide (38.42 x 30.48 cm)\u003cbr\u003e Framed: 18 7\/8\" high x 15 7\/8\" wide x 2\" deep (47.94 x 40.32 x 5.08 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43317056274567,"sku":"32-0979","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0979_1_f1d44bb2-30d5-4073-9cda-ec26eb86eaf1.png?v=1762000854"},{"product_id":"dog-with-a-kitten-by-otto-eerelman","title":"Dog with a Kitten by Otto Eerelman","description":"Otto Eerelman\u003cbr\u003e 1839-1926 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDog with a Kitten\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed “O. Eerelman” (lower right) \u003cbr\u003e\u003cbr\u003e This monumental painting is by the celebrated Dutch artist Otto Eerelman, one of 19th-century Europe's most popular and important animal portraitists. A triumph of the genre, \u003cem\u003eDog with a Kitten\u003c\/em\u003e showcases two of Eerelman's favored subjects: large-breed dogs and a meticulously executed Dutch interior. Impeccably painted, the work possesses the precise detailing and depth of character that are the quintessential components of Eerelman’s output. \u003cbr\u003e\u003cbr\u003e In this heartwarming composition, a majestic large breed dog rests in a lavishly decorated room, complete with a luxurious carpet and silk-covered table, with a snoozing kitten beside him in a moment of unlikely friendship. Eerelman mastered the art of depicting not only the dogs’ physical characteristics but also their unique expressions and personalities. His wealthy clientele would bring their pets to his home in The Hague, where they would live for a period of time while having their portraits done, allowing for a remarkably true-to-life portrayal. The narrative is simple yet profound, embodying both the elegance and emotional depth for which Eerelman became so famous. \u003cbr\u003e\u003cbr\u003e Hailing from Groningen, Netherlands, Eerelman was dubbed the “Northern Rembrandt” during his lifetime. He received his artistic training at the Academy Minerva in Groningen, the Royal Academy of Fine Arts in Antwerp and then private lessons in the studio of the great Lawrence Alma-Tadema. He successfully captured the attention of the Dutch court, particularly Princess Wilhelmina, with his meticulous approach to endearing subjects. His artistic contributions were so great, and his work was so valued in the Netherlands, that he was knighted at the age of 80. Eerelman’s paintings have long been coveted on the market for their inherent charm. Other examples of his dog portraits can be found in the Rijksmuseum, and in 2015, a major retrospective of his work was held at the Museum Nienoord in Leek, Netherlands.  \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Canvas: 37\" high x 55\" wide (93.98 x 139.70 cm)\u003cbr\u003e Frame: 43 3\/4\" high x 61 1\/2\" wide x 2 3\/4\" deep (111.12 x 156.21 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Harry J. Kraaij, \u003cem\u003eOtto Eerelman, Groninger kunstenaar, 1839-1926\u003c\/em\u003e, Schiedam 2012, no. 160, p. 125, illustrated","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231147327623,"sku":"32-0833","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0833_1.png?v=1758656339"},{"product_id":"the-potter-by-leon-olivie-bon","title":"The Potter by Léon Olivié-Bon","description":"Léon Olivié-Bon\u003cbr\u003e 1863-1901 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Potter\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed and dated \"Olivie-Bon 1888\" (lower right) \u003cbr\u003e\u003cbr\u003e This monumental masterpiece by French artist Léon Olivié-Bon is one of the finest by the celebrated artist. Its impressive scale and revolutionary subject matter would have commanded attention at the prestigious Paris Salon, where it was showcased in 1888. At over four feet high, \u003cem\u003eThe Potter\u003c\/em\u003e beautifully elevates a humble craftsman to heroic status. \u003cbr\u003e\u003cbr\u003e To be invited to showcase a painting in the Salon was often the high point of an artist’s career. Artists reserved their finest works for this prestigious venue, and Olivié-Bon followed suit with \u003cem\u003eThe Potter\u003c\/em\u003e. His rendering of the ceramicist at work captivates through both technical brilliance and emotional resonance, with a strategic beam of sunlight creating a theatrical illumination within the bustling studio. \u003cbr\u003e\u003cbr\u003e The depiction of laborers in fine art underwent a profound transformation throughout the 19th century. Before mid-century, academic tradition dictated that significant paintings should portray classical, mythological, religious or aristocratic subjects. Working-class figures appeared primarily as peripheral elements or in genre scenes of rustic charm, rarely as worthy central subjects for serious artistic consideration. \u003cbr\u003e\u003cbr\u003e Jean-François Millet's revolutionary \u003cem\u003eGleaners\u003c\/em\u003e (1857) marked a decisive turning point, despite huge criticism from the artistic establishment. These groundbreaking works elevated peasant labor to a level of dignity previously reserved for classical heroes. \u003cem\u003eThe Potter\u003c\/em\u003e exemplifies this pivotal shift in artistic consciousness. Rather than romanticizing or sentimentalizing manual labor, Olivié-Bon presents his subject with stoic dignity, capturing both the physical prowess and intellectual concentration of the craftsman. The work stands as a visual manifesto for the elevation of craft to art. \u003cbr\u003e\u003cbr\u003e Olivié-Bon's career, though brilliant, was tragically short (1863-1901), resulting in a very limited body of work. After the success of \u003cem\u003eThe Potter\u003c\/em\u003e at the 1888 Salon, he continued exhibiting, securing a medal at the 1892 Salon. By his untimely death at just 38 years old, he had firmly established himself among the significant talents of his generation. \u003cbr\u003e\u003cbr\u003e Painted 1888 \u003cbr\u003e\u003cbr\u003e Canvas: 52 7\/8\" high x 42 1\/2\" wide (134.30 x 107.95 cm)\u003cbr\u003e Frame: 60 1\/4\" high x 50 1\/4\" wide x 3\" deep (153.04 x 127.64 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Salon des Artistes Français, 1888, no. 1936","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43024746414215,"sku":"32-0523","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0523_1.png?v=1754609097"},{"product_id":"the-night-after-james-pradier","title":"The Night after James Pradier","description":"After James Pradier\u003cbr\u003e 1790–1852 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Night\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e White marble on a grey marble socle \u003cbr\u003e\u003cbr\u003e Drifting in a dreamlike ascent, this exquisite allegorical sculpture, \u003cem\u003eThe Night\u003c\/em\u003e, pays tribute to James Pradier’s iconic vision of feminine beauty and romantic symbolism. Executed in luminous white Carrara marble, the work once belonged to the celebrated actress and sculptor Gina Lollobrigida. Pradier’s ability to imbue classical forms with emotion and sensuality is fully realized here, in a scene that radiates both serenity and mystery. \u003cbr\u003e\u003cbr\u003e The female figure lifts a flowing cloak above her head while a cherubic putto beneath her presents a garland of flowers. With one hand shielding her eyes as if to retreat from the waking world, the maiden embodies Night as both protector and dream-bringer. The natural finish of the marble accentuates the softness of her skin and the subtle movement of fabric and hair, giving the work a sense of ethereal lightness and grace. \u003cbr\u003e\u003cbr\u003e The composition is a masterful homage to Pradier’s 1846 works \u003cem\u003eLa Nuit\u003c\/em\u003e and \u003cem\u003eLe Jour\u003c\/em\u003e, celebrated examples of Romantic sculpture. Pradier, a Prix de Rome-winning sculptor, was widely regarded for his neoclassical forms infused with emotional vitality. \u003cbr\u003e\u003cbr\u003e This marble was once part of the private collection of Italian actress, sculptor and photojournalist Gina Lollobrigida, one of the most iconic stars of European cinema in the 1950s and 1960s. Known as “La Lollo,” she began her artistic life studying sculpture in Rome before achieving international fame in films such as \u003cem\u003eFanfan la Tulipe\u003c\/em\u003e, \u003cem\u003eBeat the Devil\u003c\/em\u003e and \u003cem\u003eTrapeze\u003c\/em\u003e. Lollobrigida later returned to sculpture and became a renowned photojournalist, capturing powerful images of global figures including Indira Gandhi, Salvador Dalí and Fidel Castro. A passionate art collector with refined taste, she curated a personal collection that reflected her lifelong dedication to beauty and the arts. \u003cbr\u003e\u003cbr\u003e Circa 1900 \u003cbr\u003e On base: 78 1\/2\" high x 26 5\/8\" wide x 24\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of Gina Lollobrigida, Italy\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43231147491463,"sku":"32-0835","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0835_1.png?v=1758656338"},{"product_id":"the-water-carrier-by-eugen-von-blaas-1","title":"The Water Carrier by Eugen von Blaas","description":"Eugen von Blaas\u003cbr\u003e Italian I 1843-1932 \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Water Carrier\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"E. von Blaas 1891\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Eugen von Blaas’ unparalleled skill for genre painting is on display in this exceptional oil, entitled \u003cem\u003eThe Water Carrier\u003c\/em\u003e. This luminous painting perfectly captures the spirit of Venice through the charm of its alluring inhabitants—two of von Blaas' favorite and most celebrated subjects. \u003cbr\u003e\u003cbr\u003e The work centers a young Venetian woman during the course of her chores as she carries filled water vessels. Layer upon layer of fine glazes were applied to create the rich, blushing skin tone of the Italian beauty, while her vibrant clothing lends mesmerizing detail to the scene. Von Blaas' precise technique, combined with the work's luminous palette, creates a sense of immediacy and warmth that defines the best of von Blaas' Venetian genre paintings. \u003cbr\u003e\u003cbr\u003e Born in 1843 to Austrian parents in Italy, von Blaas was raised in a household steeped in artistic tradition. His father, Karl Blaas, was a renowned portraitist and history painter, while his brother specialized in military scenes. When Karl was appointed professor at the Venice Academy of Fine Arts, the family relocated to the floating city—a move that profoundly shaped von Blaas’ artistic vision. Though he studied in Rome, Vienna and Paris, it was Venice that remained his greatest muse. Captivated by its light, architecture and everyday moments of romance and social interplay, he became the foremost painter of Venetian genre scenes. \u003cbr\u003e\u003cbr\u003e During Venice’s Austrian rule, von Blaas adopted the Italianized name “Eugen de Blaas” for his local clientele, while retaining “von Blaas” for his Austrian patrons. His works were widely exhibited throughout Europe, including at the Royal Academy, Grafton Gallery and New Gallery between 1875 and 1892, earning him international acclaim. Today, his paintings remain highly sought after by collectors and institutions alike, prized for their technical brilliance and timeless charm. \u003cbr\u003e\u003cbr\u003e Dated 1891 \u003cbr\u003e\u003cbr\u003e Canvas: 35 1\/2\" high x 16 1\/2\" wide (90.17 x 41.91 cm)\u003cbr\u003e Frame: 45 1\/2\" high x 26\" wide x 2 3\/4\" deep (115.57 x 66.04 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, United Kingdom\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, United States\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44254100947079,"sku":"32-1263","price":165000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1263_1.png?v=1774964010"},{"product_id":"kronen-narr-by-paul-klee","title":"Kronen-Narr by Paul Klee","description":"Paul Klee\u003cbr\u003e 1879-1940 | Swiss-German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eKronen-Narr\u003cbr\u003e (Crown Fool)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Klee\" (lower right)\u003cbr\u003e Gouache and ink on newsprint on cardboard \u003cbr\u003e\u003cbr\u003e One of the most important artists of the 20th century, Paul Klee's revolutionary compositions defied easy categorization. His paintings blended abstraction, personal and historical narratives into works that transformed the history of modern art. This striking 1938 gouache, entitled \u003cem\u003eKronen-Narr (Crowned Fool)\u003c\/em\u003e, is an exceptional example of Klee's masterful technique and unique vision. \u003cbr\u003e\u003cbr\u003e Rendered in gouache and ink on newsprint, the crowned figure hovers over fragments of contemporary headlines—a bold juxtaposition of whimsical imagery and the era's turbulence in Europe. The fool’s elongated form and angular crown recall medieval jesters, while his bright palette and graphic precision imbue the figure with both humor and profound weight. Bright and playful, the composition demonstrates Klee's genius for balancing serious political commentary and delightful works of art. \u003cbr\u003e\u003cbr\u003e Born in Switzerland in 1879, Klee began his studies in both art and music before dedicating himself fully to painting. His practice was transformed during a 1914 journey to Tunisia, where the intensity of the North African light awakened his celebrated approach to color. By 1915 he had abandoned representational painting, choosing instead to create compositions from imagination, memory and musical rhythm. \u003cbr\u003e\u003cbr\u003e His influence extended beyond his own practice to his role as a Bauhaus teacher alongside Wassily Kandinsky, where he articulated theories of color and form that shaped the trajectory of modern abstraction. Even after his exile from Germany in 1933, Klee continued to innovate, producing a remarkable body of work despite his declining health. \u003cem\u003eKronen-Narr\u003c\/em\u003e belongs to this final period, when the artist’s imagery grew sharper and more symbolic, distilling complex themes into deceptively simple forms. Today, works of this caliber belong to the world's leading institutions, including the Museum of Modern Art, Tate Modern, the Centre Pompidou and the San Francisco Museum of Modern Art. \u003cbr\u003e\u003cbr\u003e Dated 1938 \u003cbr\u003e\u003cbr\u003e Paper: 24 3\/8\" high x 15 3\/8\" wide (61.91 x 39.05 cm)\u003cbr\u003e Frame: 33 1\/4\" high x 24 1\/4\" wide x 2 1\/2\" deep (84.46 x 61.60 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Hans and Erika Meyer-Bentelli, Bern until 1955\u003cbr\u003e Berggruen \u0026amp; Cie, Paris, 1955-58\u003cbr\u003e Saidenberg Gallery, Inc., New York, 1958-59\u003cbr\u003e James Wise, Geneva, New York and Nice from 1959\u003cbr\u003e Nahum Goldman, Jerusalem until 1983\u003cbr\u003e The Collection of Sidney Rothberg, Philadelphia, Pennsylvania\u003cbr\u003e Private collection, The Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Paul Klee Foundation, Kunstmuseum Bern, \u003cem\u003ePaul Klee: Catalogue Raisonné\u003c\/em\u003e, Band 7, 1934-1938, Thames and Hudson, London, 1998-2004, p. 344, n° 7250 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Amsterdam and Brussels, Stedelijk Museum and Palais de Beaux-Arts, \u003cem\u003ePaul Klee\u003c\/em\u003e, 1957, no. 97a","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44548478500999,"sku":"32-1460","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1460_1.png?v=1777554704"},{"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":"vase-anemones-et-citrons-draperie-by-louis-valtat","title":"Vase anémones et citrons, draperie by Louis Valtat","description":"Louis Valtat\u003cbr\u003e 1869-1952 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eVase anémones et citrons, draperie\u003cbr\u003e (Vase with Anemones and Lemons, Drapery)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"L. Valtat\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Extraordinarily vibrant, this magnificent still life is an exceptional example of Louis Valtat's mesmerizing style. Valtat was celebrated for his refreshing take on this traditional genre, and his iconic depictions of flowers are among his most coveted works. Here, a bouquet springs to life in jewel-toned brilliance, with its blooms marvelously echoed in the drapery's elaborate pattern. Reminiscent in its boldness to the works of Vincent van Gogh and Paul Cézanne, \u003cem\u003eVase anémones et citrons, draperie\u003c\/em\u003e displays the artist's virtuoso and visionary Post-Impressionist style. \u003cbr\u003e\u003cbr\u003e Born in Normandy in 1869, Valtat enrolled at the École des Beaux-Arts at the age of 17, where he studied under the great French figure painters Gustave Boulanger and Jules Lefebvre. There, he began his association with several artists who would influence the trajectory of his career, including Henri Matisse, Édouard Vuillard, Pierre Bonnard, Paul Signac and Pierre-Auguste Renoir, with whom he remained lifelong friends. \u003cbr\u003e\u003cbr\u003e Renoir introduced Valtat’s works to Ambroise Vollard, the renowned art dealer. Vollard identified Valtat as one of the most exciting painters working in Paris at the turn of the 20th century. On Renoir’s advice, Vollard made an agreement with Valtat to purchase almost all of the artist’s work for the first decade of the 20th century (1902 – 1912), becoming his dealer and agent. \u003cbr\u003e\u003cbr\u003e The relationship was a fruitful one; Vollard went on to organize Valtat’s first solo exhibition at his gallery and submitted Valtat’s works to other exhibitions in Paris. Throughout his career, the artist remained true to his unique style. He was never completely associated with a particular art movement, but is remembered for his crucial influence on early Fauvism. Today, similar works by Valtat are found in important collections around the world, including the Art Institute of Chicago, the Musée d'Orsay and many others. \u003cbr\u003e\u003cbr\u003e Painted 1934 \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 31\" wide (63.50 x 78.74 cm)\u003cbr\u003e Frame: 35\" high x 41\" wide x 3 1\/2\" deep (88.90 x 104.14 x 8.89 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Jean Valtat, \u003cem\u003eLouis Valtat: Catalogue de l'Oeuvre Peint, 1869-1952\u003c\/em\u003e, vol. I, Paris, 1977, no. 2332, p. 260 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43939134210183,"sku":"32-2007","price":188500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2007_1_f7452003-7da8-4679-8236-918ebd2d4853.png?v=1781306491"}],"url":"https:\/\/rauantiques.com\/collections\/fine-art-collection-100-000-399-999.oembed?page=4","provider":"M.S. Rau","version":"1.0","type":"link"}