{"title":"Fine Art Collection: $400,000 - $999,999","description":"","products":[{"product_id":"autumn-garden-walk-by-john-atkinson-grimshaw","title":"Autumn Garden Walk by John Atkinson Grimshaw","description":"John Atkinson Grimshaw\u003cbr\u003e 1836-1893 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAutumn Garden Walk\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e Signed and dated \"Atkinson Grimshaw 1879-80\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The golden-red glow of the autumnal sun illuminates this countryside scene by British painter John Atkinson Grimshaw. Showcasing the celebrated painter’s mastery of light and atmosphere, the oil is a captivating example of Grimshaw's meticulously rendered evening subjects. While the majority of the artist’s works depict moon-washed cities and the fishing villages of Britain, the location of this piece is the British countryside, giving it a sense of romance that would have resonated with its Victorian audience. \u003cbr\u003e\u003cbr\u003e Born in Leeds the son of an ex-policeman, Grimshaw began painting while he was employed as a clerk for the Great Northern Railway. In 1861 he left his job to pursue a career as a full-time artist. By 1870, he was successful enough to rent Knostrop Hall, a 17th-century mansion near Temple Newsam, which is featured in many of his paintings. His continued success enabled Grimshaw to build a house in Scarborough and to rent a studio in Chelsea. \u003cbr\u003e\u003cbr\u003e His early paintings of still lifes and local landscapes were executed with a precision reminiscent of the Pre-Raphaelite Brotherhood’s ideals. Later in his career, he turned his attention to moonlit urban scenes. He was fascinated by the relatively new art of photography and often used a camera obscura in developing his compositions. He strove relentlessly to perfect his own very individual vision. John Atkinson Grimshaw died on October 31, 1893, leaving three sons, Arthur, Louis and Wilfred, and a daughter, Elaine, who also became artists. Grimshaw’s work can now be seen in galleries all over the world including the Tate Gallery in London and the Leeds Museum.\u003cbr\u003e\u003cbr\u003e Canvas: 20” high x 30” wide\u003cbr\u003e Frame: 33 1\/2” high x 43 1\/2” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542197473415,"sku":"30-6163","price":445000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-6163_1.png?v=1743858833"},{"product_id":"football-by-feodor-ivanovich-zakharov","title":"Football by Feodor Ivanovich Zakharov","description":"Feodor Ivanovich Zakharov\u003cbr\u003e 1882-1967 | Russian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFootball\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed in Cyrillic “F. Zakharov” (lower right) and signed again and inscribed “Feodor Zakharov\/Football” (en verso)\u003cbr\u003e Oil on card laid down on panel \u003cbr\u003e\u003cbr\u003e This exceptionally rare early work by the celebrated portraitist Feodor Ivanovich Zakharov represents the rare opportunity to own a piece of both art historical and cultural significance. Undoubtedly, football is the most beloved sport in the world, commanding the attention of billions of enthusiasts worldwide. However, the sport has seldom been chosen as a subject for fine art, particularly in its early days. Entitled \u003cem\u003eFootball\u003c\/em\u003e, this dynamic oil, which was once owned by the North Carolina Museum of Art, is one of a select few that highlights the excitement of this international pastime. \u003cbr\u003e\u003cbr\u003e The ambitious composition is highly unusual for the artist, who is particularly known for the highly popular portraits of New York society that dominated his later output. Instead, \u003cem\u003eFootball\u003c\/em\u003e offers a glimpse into Zakharov's early experimentation with reflections, light and shadows. In the present work, the technique contributes to the fervor of the game, which is further intensified by the highly saturated patches of orange-red on the players' uniforms and in the packed spectator-stands behind them. Overall, the effect is impressive and dynamic, bringing the atmosphere of the match to life. \u003cbr\u003e\u003cbr\u003e Zakharov painted the work around 1912, which was an historic year for Russian football. The establishment of the Football Union of Russia took place that year, and a number of teams had emerged, including OLLS Moscow (known today as CSKA Moscow). It is possible they are one of the teams depicted here, as they played in distinctive red and blue stripped uniforms. For the first time, Russia also sent a football team to the Olympic Games in Stockholm, where they played teams from Finland, Germany, Hungary and Norway. In this context, \u003cem\u003eFootball\u003c\/em\u003e represents a significant step taken in the history of Russian sport, and also the country’s emergence onto the world stage. \u003cbr\u003e\u003cbr\u003e Born in Astrakhan in 1882, Feodor Zakharov studied at the Moscow School of Painting, Sculpture and Architecture from 1910 until 1916. He began to exhibit as early as 1911, an amazing accomplishment for a young artist. He was invited to be an exhibitor and member of the committee organizing the \u003cem\u003eRussian Art Exhibition\u003c\/em\u003e planned for New York City in 1924. \u003cem\u003eFootball\u003c\/em\u003e was among the few compositions the artist leant for the exhibition, representing his entrée into New York society. Like many other émigrés who escaped the Russian Revolution, Zakharov subsequently settled in New York, where he opened a studio in Central Park South in 1932. \u003cbr\u003e\u003cbr\u003e His paintings soon gained a significant following among affluent society. He received a number of commissions from important patrons, including Mrs. Woodrow Wilson, Mrs. Calvin Coolidge and philanthropist Charles R. Crane. Zakharov exhibited both as a solo artist in cities such as Paris, New York and Philadelphia, and contributed to the \u003cem\u003eInternational Exhibition of Modern Art\u003c\/em\u003e held at the Carnegie Institute of Pittsburgh. Enjoying such great success in America, Zakharov thrived as a society portraitist in New York and never return to Russia. He won a number of prizes, and today, his work is exhibited at in number of prestigious collections all over the world, including the Smithsonian Museum of American Art. \u003cbr\u003e\u003cbr\u003e Circa 1912 \u003cbr\u003e\u003cbr\u003e Panel: 27” high x 36 1\/2” wide\u003cbr\u003e Frame: 37 7\/8” high x 47 1\/4” wide \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e \u003cem\u003eThe Russian Art Exhibition\u003c\/em\u003e, 1924, New York, Grand Central Palace\u003cbr\u003e \u003cem\u003eSesqui-Centennial International Exposition\u003c\/em\u003e, 1926, Philadelphia, Department of Fine Arts\u003cbr\u003e \u003cem\u003eFeodor Zakharov: A Retrospective Exhibition\u003c\/em\u003e, 1965, Raleigh, North Carolina Museum of Art \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eFeodor Zakharov: A Retrospective Exhibition\u003c\/em\u003e, 1965, Raleigh, North Carolina Museum of Art, p. 9, no. 3 (illustrated) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist, at least until 1965\u003cbr\u003e Elsie and George Kramer, New York\u003cbr\u003e North Carolina Museum of Fine Art, Raleigh, NC\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44303720153223,"sku":"29-6396","price":495000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-6396_1_4a8ce53e-d241-4077-a832-ec5f255d5e7d.png?v=1774961081"},{"product_id":"at-the-mirror-by-frederick-carl-frieseke","title":"At the Mirror by Frederick Carl Frieseke","description":"Frederick Carl Frieseke\u003cbr\u003e 1874-1939 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAt the Mirror\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F.C. Frieseke\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Part of the second generation of modern American painters to study in Giverny, Frederick Carl Frieseke is among the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. \u003cem\u003eAt the Mirror\u003c\/em\u003e is a charming example of the latter, and it is masterfully executed with the artist's deft handling of color. \u003cbr\u003e\u003cbr\u003e The work demonstrates the artist's remarkable eye for composition; the mirror (with its reflection) divides the canvas horizontally, offering a view of the front and back of the artist's model as she removes her robe. The result is a work that feels both intimate and voyeuristic, allowing the viewer a glimpse into this private space. The soft familiarity of the work is enhanced by the painter’s characteristic limitation of palette, which has been pared down to a series of pale greens, blues and violets that are only occasionally offset by hints of orange, yellow and red in the wallpaper and flowers. All of his distinctive artistic devices come together in \u003cem\u003eAt the Mirror\u003c\/em\u003e, resulting in a highly successful and balanced composition.  \u003cbr\u003e\u003cbr\u003e Executed in 1922, the work embodies Frieseke's mature impressionist style. After spending nearly two decades in the artist's colony at Giverny, Frieseke moved to a farm in Normandy in 1920, and his art of this period concentrated almost solely on the female figure. \u003cem\u003eAt the Mirror\u003c\/em\u003e exemplifies his output of this age. The quietude of the room and the tranquility of the model are poignantly recorded by Frieseke, resulting in an idyllic image that approaches its subject in its most picturesque form. As a whole, the work demonstrates Frieseke's skillful use of impressionistic brushwork and diffuse light.  \u003cbr\u003e\u003cbr\u003e Born in Michigan in 1874, Frieseke studied his craft at the School of the Art Institute of Chicago. After briefly studying in New York, he moved to Paris in 1897 like many artists of his generation. There, he studied at the Académie Julian, where he worked under Benjamin Constant and Jean-Paul Laurens. In the ensuing years, he began to paint the intimate views of women in their boudoirs that would come to dominate his output throughout his career. \u003cbr\u003e\u003cbr\u003e Frieseke first visited the artist colony in Giverny in 1900, and just five years later, he would settle there. The work he created while in Giverny was among the most significant of his career. He and his wife frequently visited Claude Monet, who was a close neighbor, though they more commonly discussed gardens than their artwork. In 1920, Frieseke was appointed a Chevalier of the Legion of Honor, a remarkable achievement for an American painter. Today, his works can be found in museums around the world, including the Detroit Institute of the Arts, the Minneapolis Institute of Arts, the Museum of Fine Arts (Houston) and the Thyssen-Bornemisza Museum (Madrid). \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming catalogue raisonné of Frieseke's work being compiled by Nicholas Kilmer, the artist's grandson. \u003cbr\u003e\u003cbr\u003e Circa 1922 \u003cbr\u003e\u003cbr\u003e Canvas: 32 3\/4\" high x 32 1\/4\" wide\u003cbr\u003e Frame: 43\" high x 42 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Macbeth Gallery, New York\u003cbr\u003e Sotheby's New York, May 25, 1988, Lot 194\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44335886205063,"sku":"31-2880","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2880_1_a73f8f71-5a37-40f7-89f6-17f5e38702a5.png?v=1775143357"},{"product_id":"blackstone-cigars-by-norman-rockwell","title":"Blackstone Cigars by Norman Rockwell","description":"Norman Rockwell \u003cbr\u003e 1894-1978 | American  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBlackstone Cigars\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e A charming relic of a bygone era, this rare oil is the work of the inimitable American illustrator, Norman Rockwell. The iconic artist’s ability to render the details and nuances of everyday life is on full display in this original advertisement, which features a businessman enjoying a Blackstone cigar while dictating to his secretary. Executed by Rockwell in 1921, the work was a special commission for a billboard campaign by the American cigar manufacturer Waitt \u0026amp; Bond. They were so pleased with the work that the company commissioned two additional billboard designs from Rockwell, a hunting scene in 1922 and a fishing scene in 1923. \u003cbr\u003e\u003cbr\u003e Rockwell's ability to capture the character of the nation was prized not only by magazine art editors but also by advertisers. Nearly all major companies of the day called upon Rockwell for his outstanding compositions, including Jell-O, Coca-Cola, General Motors, Ford, Post Cereals, and the U.S. Army, while his works continued to grace the covers of publications such as \u003cem\u003eLiterary Digest\u003c\/em\u003e, \u003cem\u003eLife\u003c\/em\u003e, \u003cem\u003eCountry Gentleman\u003c\/em\u003e, \u003cem\u003eLook\u003c\/em\u003e and the iconic \u003cem\u003eSaturday Evening Post\u003c\/em\u003e. Taken together, his many paintings capture the essence of the American spirit. “I paint life as I would like it to be,” Rockwell once said. Nostalgic and idealistic, his paintings evoke the hopes and aspirations of the entire nation. As filmmaker Steven Spielberg once said, “Rockwell painted the American dream – better than anyone.” \u003cbr\u003e\u003cbr\u003e Norman Rockwell led a very long and incredibly successful career as an artist. His first commission was painted when he was only 16 years old, and his irresistible paintings of American life made him the foremost American illustrator of the 20th century. While history was in the making all around him, Rockwell chose to fill his canvases with the small details and nuances of ordinary people in everyday life. His distinguished career earned him the Presidential Medal of Freedom in 1977, the highest honor bestowed upon an American civilian. \u003cbr\u003e\u003cbr\u003e Circa 1921 \u003cbr\u003e\u003cbr\u003e Canvas: 16 3\/4\" high x 36 3\/4\" wide\u003cbr\u003e Frame: 22 7\/8\" high x 43\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sale, Illustration House NYC, Auction of Illustration Art, 21 May 2005, lot 9\u003cbr\u003e The Illustrated Gallery, 2005-2017\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672895914119,"sku":"31-3782","price":698500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3782_1_6e509485-b560-4941-8d58-9aaa0aa827f3.png?v=1767204934"},{"product_id":"homme-a-lagneau-mangeur-de-pasteque-et-flutiste-by-pablo-picasso","title":"Homme à l'agneau, mangeur de pastèque et flûtiste by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003cbr\u003e (Man with Lamb, Watermelon Eater and Flautist)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, dated and numbered “Picasso \/ 3.2.67 \/ II” (upper right)\u003cbr\u003e Crayon on paper \u003cbr\u003e\u003cbr\u003e Hailed among the fathers of modern art, Pablo Picasso possessed a seemingly endless supply of creativity that allowed him to master nearly every genre and style. Though he constantly reinvented himself as an artist, his compositions are always distinctively “Picasso” with their playful lines and imaginative figures. \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003c\/em\u003e reflects his unique artistic signature; rendered in just a few sparing lines, his subjects nevertheless convey a myriad of themes and art historical references. It is this complexity and ingenious artistry that places Picasso among the most renowned masters in the whole of art history. \u003cbr\u003e\u003cbr\u003e Composed in 1967, \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003c\/em\u003e was part of a playful series of drawings on the subject of Bacchus and bacchanalian pursuits. Here, he captures the god Bacchus himself eating a watermelon with relish; the watermelon was a favored motif of the artist, first appearing in his seminal \u003cem\u003eDemoiselles d'Avignon\u003c\/em\u003e of 1907 (Museum of Modern Art) and frequently re-appearing as a symbol for summer, heat and sensuality. Bacchus himself recalls the artistic legacy of Caravaggio, revealing the depth of Picasso's link to the Spanish Baroque tradition. \u003cbr\u003e\u003cbr\u003e The influence of the brothers Le Nain is also felt in the work. The three brothers, who were active in Paris during the 1630s and 1640s, were renowned for their poignant images of peasants surrounded by farm animals and playing musical instruments such as the flute. Picasso is known to have owned at least one painting by the brothers, whose work he referenced frequently throughout his career. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. It was around 1907 that Picasso became very influenced by African masks and art that had begun making its way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eDemoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a letter of authenticity signed by the artist’s son, Claude Ruiz-Picasso. \u003cbr\u003e\u003cbr\u003e Executed on 3 February 1967 \u003cbr\u003e\u003cbr\u003e Paper: 19\" high x 25\" wide\u003cbr\u003e Frame: 32\" high x 37 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Louise Leiris, Paris\u003cbr\u003e Private Collection (acquired by the above in 1968; sale: Christie's, New York, 10th May 2001, lot 149)\u003cbr\u003e Sotheby's London: Thursday, June 25, 2009 [Lot 00169]\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e Charles Feld, \u003cem\u003ePicasso, Dessins 27.3.66-15.3.68,\u003c\/em\u003e Paris, 1969, no. 92 (illustrated) Christian Zervos, \u003cem\u003ePablo Picasso, Oeuvres de 1967 et 1968\u003c\/em\u003e, Paris, 1973, vol. XXVII, no. 435 (illustrated)\u003cbr\u003e The Picasso Project, \u003cem\u003ePicasso's Paintings, Watercolors, Drawings and Sculpture, the Sixties II 1964-1967\u003c\/em\u003e, San Francisco, 2002, no.67-041, (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44262229901447,"sku":"31-3820","price":648500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3820_1_2073e58e-8cf8-4eb8-868e-8a69111a3b4c.png?v=1774967264"},{"product_id":"marschlandschaft-mit-drei-hausern-by-emil-nolde","title":"Marschlandschaft (mit drei Häusern) by Emil Nolde","description":"Emil Nolde \u003cbr\u003e 1867-1956 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMarschlandschaft (mit drei Häusern)\u003cbr\u003e Marshland (With Three Houses)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Nolde” (lower right)\u003cbr\u003e Watercolor on Japan paper \u003cbr\u003e\u003cbr\u003e A work of engaging richness and emotion, \u003cem\u003eMarschlandschaft (mit drei Häusern)\u003c\/em\u003e invites the viewer directly into the heart of the intuitive, poetic world of Emil Nolde. An essential figure in the German avant-garde, Nolde’s highly modern oeuvre stands as an important precursor to the Abstract Expressionists of the mid-20th century. With its vivid colors and emotional intensity, the present work is exemplary of his output, containing all of the best characteristics of his mature style. \u003cbr\u003e\u003cbr\u003e Brilliant, amorphous fields of color suggest the vast, marshy landscape of Nolde’s native Schleswig-Holstein region near the German-Danish border. The artist’s application of paint is powerful and dramatic, conveying with a few brushstrokes the impression of passing storm clouds, allowing light and sky to peek through and illuminate the colors of his landscape. A sense of fluidity and immediacy were of great importance to Nolde. He once said, “I try to avoid all thinking. A vague concept of color and luminosity suffices, and the picture evolves during the act of painting.” The flow and spontaneity of watercolor lent themselves well to Nolde’s creative approach, and he achieved a vibrancy in the medium that is unsurpassed. \u003cbr\u003e\u003cbr\u003e Nolde is considered one of the most important exponents of German Expressionism and was one of the most prominent representatives of the avant-garde in Germany. His participation in the seminal group Die Brücke (The Bridge) links him to one of the earliest artists' associations which had a crucial impact on the development of modern art. His interplay of color and form set him apart from his contemporaries, and his work is recognized as a monumental step toward modernism. \u003cbr\u003e\u003cbr\u003e However, Nolde’s work was derided in his day by the Nazi regime in Germany, and he was forbidden from painting. Deemed too “decadent,” 33 of his works were displayed in the infamous \u003cem\u003eEntartete Kunst\u003c\/em\u003e, Degenerate Art Exhibition in Munich in 1937, labeling the artist's works as a “threat” to Germany. The Nazi Party destroyed hundreds of Nolde's works and confiscated over one thousand more — the greatest number of any artist — highlighting the rarity of the present composition. \u003cbr\u003e\u003cbr\u003e Throughout his career, Nolde received numerous awards, including the Print Prize of the XXVL Venice Biennale and the Order “Pour le mérite,” the highest achievement for German arts and sciences. Nolde's auction history has also been triumphant. In 2021, a similar watercolor by Nolde sold at Sotheby's London for over $1,000,000, setting a record for the artist. Today, Nolde's works are held in important museum collections internationally, including in the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000MkWU\/y42fae8P6suUKCBWCCmE7qUnECgWydZJ_H5tbZbwQPQ\" target=\"_blank\"\u003eArt Institute of Chicago and the Museo Nacional Thyssen-Bornemisza\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Circa 1920 \u003cbr\u003e\u003cbr\u003e Paper: 13 1\/2\" high x 18 1\/2\" wide (34.29 x 46.99 cm)\u003cbr\u003e Frame: 25 5\/8\" high x 30\" wide x 1 3\/8\" deep (65.09 x 76.2 x 3.49 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5395.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Germany, a gift from the artist\u003cbr\u003e Thence by descent\u003cbr\u003e Sale, Christie's, London, 1 December 1987, lot 355.\u003cbr\u003e Anonymous sale, Hauswedell \u0026amp; Nolte, Hamburg, 12 June 1999, lot 2052.\u003cbr\u003e Galerie Neher, Essen.\u003cbr\u003e Private collection, Germany. \u003cbr\u003e M.S. Rau, New Orleans. \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Balingen, Stadthalle, \u003cem\u003eEmil Nolde, Weltsicht, Farbe Phantasie\u003c\/em\u003e, 2008, p. 132 (illustrated).","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542075838599,"sku":"31-5395","price":785000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5395_1.png?v=1743858694"},{"product_id":"illuminated-manuscript-painting","title":"Illuminated Manuscript Painting","description":"Extraordinary in its beauty and rarity, this early 16th-century painting of an illuminated manuscript showcases a masterful \u003cem\u003etrompe l’oeil\u003c\/em\u003e effect. Among the finest of only 17 known works of its kind, the oil on panel is both rare and captivating. With illusory pages that appear to leap from the panel, this virtuosic painting of a hand-colored book suspended into space is exceptional. \u003cbr\u003e\u003cbr\u003e Created more than four centuries ago, the composition evokes a strong sense of realism. Executed by a masterful Northern Renaissance artist perhaps of the German school, the illuminated manuscript pictured shows the astonishing splendor of the historical books of the period. Sumptuously decorated with scrolling floral motifs in the margins, the manuscript appears before a deep black background, heightening the \u003cem\u003etrompe l’oeil\u003c\/em\u003e illusion of depth through its strong contrast and the naturalistic shadows falling across the fluttering pages. It has been said that of the 17 known versions of this composition, ours stands alone in its precision in both perspective and the play of light and shadow. \u003cbr\u003e\u003cbr\u003e The visible folios feature choral arrangements and other texts, indicating the pictured manuscript likely served a role in the celebration of church services. In fact, other examples of manuscript paintings from the period were used to serve as placeholders for the missals, lectionaries and breviaries when they were stored away following worship. The famed choral lectern from the Olivetan monastery of Santa Maria in Organo, Verona offers an example of how such paintings were displayed in churches.  \u003cbr\u003e\u003cbr\u003e While there is no doubt some of these extraordinary works of art were intended for use in churches, scholars believe that oil paintings of illuminated manuscripts were also commissioned by elite and scholarly 16th-century collectors. The advent and widespread use of the printing press transformed the social fabric of Europe at the turn of the 16th century, and the production of printed books was far less laborious and time-consuming than painstakingly hand-painting and illuminating manuscripts. By the time this panel was painted in the first half of the 16th century, illuminated manuscripts — already highly valuable and exclusive for the elite — were becoming obsolete. The wealthy patron of these paintings was almost certainly someone who valued knowledge and sought to preserve the hand-wrought artistry of those captivating early manuscripts. \u003cbr\u003e\u003cbr\u003e The other few German school manuscript paintings reside in private and public collections around the globe, including the impressive collections of Eltz Castle in Germany and Ambras Castle in Austria.  \u003cbr\u003e\u003cbr\u003e Painted in the early 16th century \u003cbr\u003e\u003cbr\u003e Panel: 18\" high x 20 1\/4\" wide\u003cbr\u003e Frame: 25\" high x 27 5\/8\" wide x 2 1\/4\" deep \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Flassans-sur-Issole, France, Exposition Peyrassol, April 1-November 1, 2022 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Germany\u003cbr\u003e Private collection, Geneva\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43786998481031,"sku":"31-6844","price":648500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6844_1_bd2bd7d3-12a8-494b-a025-e10297795bfb.png?v=1781637676"},{"product_id":"guitare-sur-un-gueridon-by-pablo-picasso","title":"Guitare sur un guéridon by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish\u003cbr\u003e\u003cbr\u003e \u003cem\u003eGuitare sur un guéridon\u003cbr\u003e (Guitar on a pedestal)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Gouache on Western wove paper laid on board\u003cbr\u003e Signed “Picasso” (upper left) \u003cbr\u003e\u003cbr\u003e Picasso’s prolific career has been marked by many grand love affairs, both romantic, intellectual and creative. Beyond his lovers like Olga Khoklova and Dora Maar and his intellectual muses like Georges Braques and Gertrude Stein, Picasso’s greatest love and inspiration was perhaps a humble instrument: the guitar. Whether it be the \u003cem\u003eOld Guitarist\u003c\/em\u003e from his early blue period, his groundbreaking series of three-dimensional guitar sculptures from his nascent explorations in Cubism, or his \u003cem\u003eMandolin and Guitar\u003c\/em\u003e composition’s grander explorations with color and biomorphic shapes, the guitar is an elusive calling card for modern art’s greatest genius.  \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eGuitare sur un guéridon\u003c\/em\u003e, Picasso intertwines his signature guitar and a bowl of fruit. These two elements are playfully brought together and skillfully anchored on the tabletop by a square positioned at the center of the composition. The result is a captivating and harmonious arrangement that showcases Picasso's artistic ingenuity in blending these everyday objects into a visually striking and cohesive composition.  \u003cbr\u003e\u003cbr\u003e This rare gouache was created during the pivotal summer of 1920. During this time, Picasso lived in Juan-les-Pins, a small coastal resort town in the South of France away from the confines of the city and the fallout of World War I. With this newfound freedom, Picasso entered an exciting and innovative creative period and began to interrogate the connections between Neoclassicism and Cubism. \u003cbr\u003e\u003cbr\u003e Picasso created a series of gouache paintings characterized by their flat, geometric nature, sinuous contours and strikingly vivid colors. Though not a complete departure from his previous Cubist works, this series showcased the influence of the Surrealists, especially the biomorphic subconscious explorations of Joan Miró, upon Picasso’s oeuvre. While the breadth of his creativity grew, he returned back to a familiar motif — the guitar — with a renewed sense of vigor and excitement.  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGuitare sur un guéridon’s\u003c\/em\u003e undulating lines and biomorphic appeal bring Picasso's preoccupation with the guitar into deeper focus. The sinuous lines of guitar mirror the sensuous lines of the female form — the other most prevalent subject in Picasso's oeuvre. This beautiful and colorful gouache work illustrates the seminal movement in Picasso's oeuvre from Analytic Cubism toward the evolved sensual, biomorphic style that would characterize Picasso's later works. Similar gouaches from this time can be found in the permanent collections of the Solomon R. Guggenheim Museum in New York and the National Gallery of Art in Washington DC. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid, before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Critics have often divided Picasso’s artistic output into distinct phases based on his color scheme and style of painting. It was around 1907 that Picasso became very influenced by African masks and art which began making their way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eLes Demoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e Painted 1920 \u003cbr\u003e\u003cbr\u003e Paper: 11” high x 8 1\/8” wide (27.94 x 20.64 cm)\u003cbr\u003e Frame: 22 1\/2\" high x 19 5\/8\" wide x 1 1\/2\" deep (57.15 x 49.85 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-7796.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Justin K. Thannhauser, New York\u003cbr\u003e Galerie Beyeler, Basel, Switzerland\u003cbr\u003e Sale: Sotheby’s, New York, May 16, 1984, lot 134\u003cbr\u003e Sale: Sotheby's New York, November 4, 1993\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003ePablo Picasso: Supplement aux Annies 1920-1929\u003cem\u003e, Vol. 30, Paris, 1975, by Christian Zervos, p. 30, no. 73 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Long Island Collections: May 12-August 4, 2002\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, European Art Between World Wars: May 9-August 1, 2004\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Picasso: February 20-April 17, 2005\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Picasso and the School of Paris: Nov. 19, 2006-Feb. 4, 2007\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, The Jazz Age: March 23-July 8, 2018\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Selections from the Collection of Dr. Harvey Manes, January 19 - May 12, 2019\u003c\/em\u003e\u003c\/em\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44180422983815,"sku":"31-7796","price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7796_1_1255109d-d112-43ca-8408-fbbe55ecd5a6.png?v=1774966147"},{"product_id":"the-garden-near-cailhau-by-achille-lauge","title":"The Garden Near Cailhau by Achille Laugé","description":"Achille Laugé\u003cbr\u003e 1861-1944 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"A. Laugé 96\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e “Laugé’s art is one of great sensitivity and controlled reason; he is a master of light.” — Antoine Bourdelle, French Artist, Esteemed Peer, June 1927 \u003cbr\u003e\u003cbr\u003e This incredible work by Achille Laugé entitled \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e showcases the masterful artist at his very best. During his lifetime, Achille Laugé was celebrated by his peers and the public alike for producing dazzling works with subtly divided southern light, pure tones and rigorous geometry. His reputation continued to grow after his death, and today the art market recognizes him as a master of Neo-Impressionism. Though his command of the pointillist and divisionist styles often draws comparison to his Neo-Impressionist peers like Seurat and Signac, Laugé approached the style with his own unique sensibility. Laugé‘s oeuvre showcases his taste for monumental, static art emphasizing rhythm, line and purity. More personally, Laugé was deeply inspired by his hometown's natural beauty and familiarity. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e depicts a quintessential scene from the artist — a touching tribute to his beloved home. Featuring a road flanked by trees and bathed in sunlight, the flowering trees that line the path merge with the pointillist dots to create a stunning visual effect. The tree-lined path recedes into the distance towards the commune of Cailhau on top of a hill. The composition masterfully combines all the principles of divisionism while staying true to Laugé’s roots. Marked by a luminous color palette and a robust paint application that causes the scene to emerge in three dimensions, it is among the finest of Laugé’s output, and the canvas remains in its original unlined state in perfect condition. \u003cbr\u003e\u003cbr\u003e The son of a farmer, Achille Laugé initially opted for a career as a pharmacist before giving up his studies to enroll at the Toulouse School of Fine Arts in 1876. During his apprenticeship, he met Antoine Bourdelle, Henri Martin and Henri Marre, who encouraged him to go to Paris in 1882 to study at the École des Beaux-Arts. It was in Paris in the early 1890s that Laugé discovered the paintings of Seurat and Signac. \u003cbr\u003e\u003cbr\u003e He was encouraged by Bourdelle, who told him, \"You bring a very personal vision, a great deal of serene logic and a beautiful gift of unity in the love of the luminous air that reigns even in your shadows\" — very high praise from a peer! After his sojourn to Paris, Laugé returned to his childhood home of Cailhau near Carcassonne in the Aude, establishing himself permanently in somewhat relative isolation and only exhibiting on the rare occasion at the Salon des Indépendants in Paris. It was within this strategic isolation that the artist refined his point of view and honed his individual stylistic language. \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 Cabanel and Aristide Maillol, making his debut at the Salon 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 Georges 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-lifes 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 effect of southern light. Today, his exceptional works can be found at the Museum of Fine Arts, Houston and museums throughout France, including the Musée d'Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Dated 1896 \u003cbr\u003e\u003cbr\u003e Canvas: 25 1\/2\" high x 32\" wide (64.77 x 81.28 cm)\u003cbr\u003e Frame: 31 1\/2\" high x 37 7\/8\" wide (80.01 cm x 96.2 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8276.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 Acquired directly from the artist\u003cbr\u003e Private Collection\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050699157639,"sku":"31-8276","price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8276_1_28ffce1f-2ff2-4401-bf28-bf8a607cb00a.png?v=1774965906"},{"product_id":"tender-years-moth-holes-by-norman-rockwell","title":"Tender Years: Moth Holes by Norman Rockwell","description":"Norman Rockwell\u003cbr\u003e 1894-1978 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTender Years: Moth Holes\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Norman Rockwell\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e From Norman Rockwell's acclaimed \u003cem\u003eFour Seasons\u003c\/em\u003e calendar series for Brown \u0026amp; Bigelow, \u003cem\u003eTender Years: Moth Holes\u003c\/em\u003e represents the artist's masterful exploration of mature American relationships and his unparalleled ability to transform ordinary domestic moments into profound artistic narratives. This 1957 painting displays Rockwell's sentimental commitment to celebrating the \"charms and comforts of maturity\" during an era obsessed with youth. \u003cbr\u003e\u003cbr\u003e The composition presents a couple discovering the unfortunate fate of their stored seasonal clothing, with the husband displaying his moth-riddled red long underwear while his wife examines the damage with resigned familiarity. Rockwell's meticulous attention to detail manifests in every element: the weathered wooden trunk with its brass fittings, the scattered moths dancing above the scene, the couple's expressive faces and the comfortable acceptance that comes with decades of shared domestic trials. The careful rendering of textures—from the soft wool of the sweaters to the worn leather of the trunk—demonstrates Rockwell's technical virtuosity at every turn. \u003cbr\u003e\u003cbr\u003e Norman Rockwell stands as America's most beloved illustrator, whose work transcended commercial art to become a defining visual narrative of 20th-century American life. His Brown \u0026amp; Bigelow calendar series (1948-1964) ranks alongside his Saturday Evening Post covers as works that elevated him from celebrated illustrator to national institution. Rockwell's extraordinary ability to find profound meaning in everyday moments earned him the Presidential Medal of Freedom in 1977, the highest civilian honor bestowed upon American citizens. His art, characterized by meticulous detail and emotional depth, captures the essence of the American spirit with an authenticity that continues to resonate across generations. Museums worldwide, including the Norman Rockwell Museum in Stockbridge, Massachusetts, preserve and celebrate his legacy as an artist who documented American values, aspirations and the tender moments that unite us all. \u003cbr\u003e\u003cbr\u003e Painted 1957 \u003cbr\u003e\u003cbr\u003e Canvas: 17 1\/2\" high x 17 1\/2\" wide (44.45 x 44.45 cm)\u003cbr\u003e Frame: 26 1\/8\" high x 26 1\/8\" wide (66.36 x 66.36 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Judy Goffman Fine Art, New York\u003cbr\u003e Illustration House, New York\u003cbr\u003e Private collection, Florida\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, vol. I, Stockbridge, 1986, no. A151, p. 353, illustrated in color","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43784303313031,"sku":"32-1342","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1342_1_d51df768-101f-4f92-a75a-a7565199a619.png?v=1769784682"},{"product_id":"femme-au-corsage-blanc-jeanne-samary-by-pierre-auguste-renoir","title":"Femme au corsage blanc, Jeanne Samary by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFemme au corsage blanc, Jeanne Samary\u003cbr\u003e (Woman in a white blouse, Jeanne Samary\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Initialed \"AR\" (lower right)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e Among Renoir's most famous works are those that capture the ladies of his inner circle in his signature style. This vibrant pastel from 1879 depicts the young Jeanne Samary, Renoir’s favorite subject and most important muse at the height of his career. Compared to his 4,000 paintings, the artist made exceptionally few pastels—only about 150 total—making this luminous work an extraordinary Renoir rarity. \u003cbr\u003e\u003cbr\u003e Samary was one of the most captivating figures of late 19th-century Paris. An iconic actress at the Comédie-Française, her fame rivaled that of the great Sarah Bernhardt. Beginning in 1876, Renoir created dozens of portraits of Samary, and she also appeared in all three of the artist’s most important paintings from this pivotal period—\u003cem\u003eBal du moulin de la Galette\u003c\/em\u003e (1876), \u003cem\u003eLa balançoire\u003c\/em\u003e (1876) and \u003cem\u003eThe Luncheon of the Boating Party\u003c\/em\u003e (1880–81). Renoir’s close friend and biographer, Georges Rivière, noted that “no portrait ever gave Renoir greater satisfaction than the ones he made of Samary.” \u003cbr\u003e\u003cbr\u003e This magnificent pastel perfectly embodies this bond between Renoir and Samary. Vivid and spontaneous, the work captures an intimate moment, with Samary’s blouse delicately falling over her shoulder. Renoir typically reserved pastel for his portraits of friends and family, as it allowed him to capture their true essence with speed and ease. \u003cbr\u003e\u003cbr\u003e The year this pastel was created, 1879, was also one of the most important years of Renoir’s career. He entered the prestigious Salon of 1879, where four of his portraits were accepted, including a full-length masterpiece of Jeanne Samary. This pastel stands as a testament to this pivotal chapter for Renoir, portraying the muse who shaped his groundbreaking vision.  \u003cbr\u003e\u003cbr\u003e Renoir’s portraits of Jeanne Samary are exceptionally scarce, with most already held in prestigious museum collections, including the State Hermitage Museum in St. Petersburg and the National Gallery of Art in Washington, D.C. Similar pastels of Samary have commanded millions at auction—among some of the highest prices for Renoir’s works on paper. Importantly, the artist’s pastels are getting recent museum attention, with the major 2025-2026 exhibition organized by the Musée d’Orsay and the Morgan Library, \u003cem\u003eRenoir Drawings\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Wildenstein Plattner Institute, and it will be included in their forthcoming digital catalogue raisonné. \u003cbr\u003e\u003cbr\u003e Drawn 1879 \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1821.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Paper: 22 1\/4\" high x 14 1\/4\" wide (56.5 x 36.2 cm)\u003cbr\u003e Frame: 36 3\/4\" high x 28 1\/4\" wide x 3\" deep (93.4 x 71.8 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Ambroise Vollard, Paris, acquired from the artist (as of 1907)\u003cbr\u003e Étienne Bignou, Paris (as “Jeanne Samary”)\u003cbr\u003e Lafarge, Paris\u003cbr\u003e Victor Hélin, Paris\u003cbr\u003e Succession Victor Hélin, c. 1945\u003cbr\u003e M. and Mme Schmit, acquired from the above, 2009\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44489087746183,"sku":"32-1821","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1821_1.png?v=1777552664"},{"product_id":"couple-devant-buisson-by-marc-chagall","title":"Couple devant buisson by Marc Chagall","description":"Marc Chagall\u003cbr\u003e 1887-1985 | Russian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCouple devant buisson\u003cbr\u003e (Couple in front of a bush)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Chagall Marc\" (lower right)\u003cbr\u003e Gouache, India ink and graphite on paper \u003cbr\u003e\u003cbr\u003e An extraordinarily vibrant gouache from the great Marc Chagall, \u003cem\u003eCouple devant buisson\u003c\/em\u003e captures the artist's most iconic and coveted motif: his lovers. Painted circa 1950, this stunning work embodies why Chagall is widely regarded as one of the greatest colorists of all time. \u003cbr\u003e\u003cbr\u003e Chagall’s iconic embracing couple floats against the dark night sky, enveloped in a radiant burst of florals—another of his most famous subjects. The artist’s electric palette evokes the great power of love, a theme that occupied Chagall throughout his entire career. His most important compositions blend dynamic color with his recognizable repertoire of characters, and \u003cem\u003eCouple devant buisson\u003c\/em\u003e is an exceptionally vivid example of this. \u003cbr\u003e\u003cbr\u003e Famously, Chagall’s lovers were connected to the artist’s personal life. These amorous figures mirrored his affection for his first wife, Bella Rosenfeld, who tragically died the same year his beloved hometown was pillaged during WWII in 1944. Instead of dwelling on his grief following her passing, Chagall embraced vivid, emotive colors and surreal settings to express the complexities of his experiences. Painted just a few years after Bella’s death, \u003cem\u003eCouple devant buisson\u003c\/em\u003e embodies Chagall’s profound ability to capture the joyous memory of his first love. \u003cbr\u003e\u003cbr\u003e Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life. \u003cbr\u003e\u003cbr\u003e Chagall died at the age of 97 in Saint-Paul de Vence, France, in 1985, leaving behind an incredible body of work, as well as an entire museum dedicated to his legacy, the Musée National Marc Chagall in Nice, France. His works also belong to the collections of prestigious museums around the world, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, Tate Modern in London and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity issued by the Comité Marc Chagall. \u003cbr\u003e\u003cbr\u003e Circa 1949-50 \u003cbr\u003e\u003cbr\u003e Paper: 12 1\/2\" high x 8 3\/4\" wide (31.75 x 22.23 cm)\u003cbr\u003e Frame: 27 1\/4\" high x 23 1\/2\" wide x 3\" deep (69.22 x 59.69 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43996878340231,"sku":"32-2046","price":685000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2046_1.png?v=1782163373"},{"product_id":"a-flower-seller-by-john-william-godward","title":"A Flower Seller by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Flower Seller\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated lower right \"J.W. Godward 96\"\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This stunning painting by John William Godward is a monumental masterpiece of the artist's oeuvre. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e A large-scale masterwork, \u003cem\u003eA Flower Seller\u003c\/em\u003e was exhibited at the prestigious Royal Academy in 1896, the most important venue for artists of the 19th century, where only the best works were shown. Here, the flower seller boldly engages the viewer with her mesmerizing gaze, and her rosy cheeks and glowing skin exude an ethereal beauty. Godward displays his extraordinary talent for rendering every surface with incredible realism, immersing his viewers in the allure of this bygone era. Of Godward's compelling oeuvre, esteemed art historian Vern Grosvenor Swanson wrote, “He sought to portray peace, feminine charm and ideal perfection by marvelously painted and composed classical pictures of beautiful women in halcyon marble environments.”  \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Dated 1896 \u003cbr\u003e\u003cbr\u003e Canvas: 47 1\/2” high x 35 1\/2” wide (120.65 x 90.17 cm)\u003cbr\u003e Frame: 55 1\/2” high x 43 1\/2” wide x 7 3\/4” deep (140.97 x 110.49 x 12.07 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Messrs. Thomas McClean, London, May 2, 1896\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e H.G. Blackburn, Academy Notes, 1896\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1998, p. 194, no. 5, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Royal Academy of Art, Summer Exhibition, London, 1896, no. 597","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43803065876615,"sku":"32-2119","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2119_1_0aaae865-66ad-490b-ae67-d6aea1dd0f69.png?v=1770139471"},{"product_id":"a-pompeian-lady-in-blue-by-john-william-godward","title":"A Pompeian Lady in Blue by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Pompeian Lady in Blue\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated lower right \"J.W. Godward 1916\"\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This masterwork by John William Godward, \u003cem\u003eA Pompeian Lady in Blue\u003c\/em\u003e, evokes the romantic splendor of the Classical world. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a style of Classicism known as the \"Marble School,\" which rendered Greco-Roman beauties in their exquisite architectural settings. \u003cbr\u003e\u003cbr\u003e Draped in a brilliant tunic of gold and blue, Godward's signature beauty gazes boldly out at the viewer, inviting them in by pulling back a luxurious curtain. His exceptional talent for jewel-like color and texture is on full display, with each element of the composition rendered with a supreme, naturalistic finish. Godward renders an extraordinary array of marbles and hardstones throughout, with the delightful detail of an agate oculus window shining above the figure's head. Embodying the essence of \"peace, feminine charm and ideal perfection\" that art historian Vern Grosvenor Swanson identified in Godward's best works, this painting is a captivating treasure. \u003cbr\u003e\u003cbr\u003e Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter, Godward quickly rivaled their style. The sensuality and mystery of Godward’s maidens, combined with his impressive backdrops, attracted fans across Europe and sent Godward on a rapid ascent to artistic stardom. \u003cbr\u003e\u003cbr\u003e In 1889, he was elected to the Royal Society of British Artists. Ten years later, Godward debuted at the Parisian Salon of 1899, where again he was heaped with praise. He moved to Rome in 1912 to surround himself with the physical remnants of the classical world, and there he stayed for the major part of his remaining career. Today, his works belong to prestigious collections worldwide, including the Getty Museum and the Manchester Art Gallery. \u003cbr\u003e\u003cbr\u003e Dated 1916 \u003cbr\u003e\u003cbr\u003e Canvas: 35 3\/8” high x 17 1\/4” wide (89.7 x 43.8 cm)\u003cbr\u003e Framed: 42 5\/8” high x 24 1\/2” wide x 2 3\/8” deep (108.3 x 62.2 x 5.9 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, New Jersey\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Vern Grosvenor Swanson, \u003cem\u003eJohn William Godward: The Eclipse of Classicism\u003c\/em\u003e, London, 1998, p. 151, plate 147, illustrated. Titled:\u003cem\u003eA Pompeian Lady\u003c\/em\u003e.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44417983152263,"sku":"32-2121","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2121_1_9e88f4bc-d1e8-433d-9f99-b00b5e020412.png?v=1775503340"},{"product_id":"la-baie-de-lampaul-ile-d-ouessant-by-henry-moret","title":"La baie de Lampaul, île d’Ouessant by Henry Moret","description":"Henry Moret\u003cbr\u003e 1856–1913 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa baie de Lampaul, île d'Ouessant\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Henry Moret 97\" (lower right)\u003cbr\u003e Inscribed \"La baie de Lampaul Ouessant\" (on stretcher)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Painted at the height of his career, Henry Moret's \u003cem\u003eLa baie de Lampaul, île d'Ouessant\u003c\/em\u003e stands as a supreme achievement among his celebrated Brittany seascapes. The shimmering azure waters, sun-warmed rock formations and luminous coastal light of the île d'Ouessant—one of Moret's most beloved and frequently revisited motifs—are rendered with a vibrancy and technical mastery that place this canvas among the finest examples of Post-Impressionist landscape painting available outside a museum collection. \u003cbr\u003e\u003cbr\u003e The composition pulses with chromatic energy. The surface of the Bay of Lampaul is animated by hundreds of carefully layered brushstrokes, each contributing to the water's luminous, shifting character. Warm, orange-red rock formations emerge from the sea with geological weight, their earthen tones providing a vivid counterpoint to the brilliant blues and greens that dominate the scene. Fresh grass blankets the hillsides in rich, varied greens, while Moret weaves additional tonal accents throughout with a painter's instinct for harmony and contrast.  \u003cbr\u003e\u003cbr\u003e Henry Moret occupies a distinguished place in the Post-Impressionist tradition as one of the most accomplished painters to emerge from the celebrated Pont-Aven circle. His attachment to Brittany began during his military service and deepened through his close association with Paul Gauguin and the Nabis, whose bold approach to color permanently transformed his palette. The île d'Ouessant, perched at the western extreme of the Breton coast, became a defining subject in Moret's oeuvre — its ever-changing seas and skies offering an inexhaustible source of painterly inspiration. By 1897, when this work was executed, Moret had secured a pivotal relationship with the influential dealer Paul Durand-Ruel, who championed his work across Europe and the United States and presented him with a coveted solo exhibition in 1898. As fellow artist Maxime Mofra observed, \"Coasts, forests, valleys, in every season Moret observed them with all his senses, reproducing them with all his spirit and sincerity.\" Today, Moret's Brittany paintings are held by world-famous institutions, among them the Musée d'Orsay, the Museum of Fine Arts in Boston and the National Gallery of Art in Washington, D.C. \u003cbr\u003e\u003cbr\u003e This work is listed in Jean-Yves Rolland’s archives and will be included in the catalogue raisonné currently in preparation. \u003cbr\u003e\u003cbr\u003e Painted 1897 \u003cbr\u003e\u003cbr\u003e Canvas: 21\" high x 25\" wide (53.3 x 63.5 cm)\u003cbr\u003e Frame: 29 3\/8\" high x 33 1\/2\" wide x 3\" deep (74.6 x 85.1 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2137.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Abels, Cologne:\u003cbr\u003e Private Collection, Germany:\u003cbr\u003e Private Collection, France:\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44003911794823,"sku":"32-2137","price":498500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2137_1.png?v=1785864039"},{"product_id":"la-table-sur-la-terrasse-au-clair-de-lune-by-henri-le-sidaner","title":"La table sur la terrasse au clair de lune by Henri Le Sidaner","description":"Henri Le Sidaner\u003cbr\u003e 1862-1939 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa table sur la terrasse au clair de lune, Villefranche-sur-Mer\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Table on the Terrace in the Moonlight, Villefranche-sur-Mer\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed \"Le Sidaner\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A master of Post-Impressionism, Henri Le Sidaner found acclaim for his dreamlike domestic scenes, particularly those bathed in the soft glow of twilight. Capturing the artist's signature subject of a mysterious table scape, this exceptional painting from 1927, entitled \u003cem\u003eLa table sur la terrasse au clair de lune\u003c\/em\u003e, embodies what the artist's biographer called the magic of \"the hour of Le Sidaner.\" \u003cbr\u003e\u003cbr\u003e A leading figure in Intimism—a movement focused on the intense exploration of interiors and domesticity—Le Sidaner perfectly captures the essence of this style in this work. The central table is set for a meal on a balcony, overlooking a peaceful countryside vista. The empty chairs pulled back beckon the viewer to join this luminous scene, inviting them into a world of color and harmony. Unlike Impressionists and Post-Impressionists who focused on capturing fleeting moments through observation, Le Sidaner worked from memory. This allowed him to render the essence and emotional experience of a place, imbuing his mesmerizing works with a mystical quality. \u003cbr\u003e\u003cbr\u003e When the artist discovered the town of Villefranche-sur-Mer, where this work was painted, he was immediately taken with its steep streets, the citadel of Saint‑Elme and the shimmering harbor. He stayed there intermittently between 1924 and 1928, creating colorful canvases such as this one, devoted to the town's street, windows and views over the bay. \u003cbr\u003e\u003cbr\u003e Le Sidaner was born in 1862 in Port Louis, Mauritius, and his artistic career began at the École des Beaux-Arts under Alexandre Cabanel, but found himself disenchanted with the academy. Le Sidaner relocated to the Étaples artist colony in 1885, where he discovered Impressionism and the \u003cem\u003eplein air\u003c\/em\u003e paintings of Monet. Eventually, he would go on to incorporate influences from Post-Impressionism, Pointillism and Symbolism into his masterful works and exhibit alongside important artists including Paul Signac and Henri Martin. \u003cbr\u003e\u003cbr\u003e In 1930, Le Sidaner was honored with a Professorship at the Académie des Beaux-Arts, and in 1937 he was named its President. He died in 1939 in Versailles, France, at the age of 76. His works are held in the permanent collections of prestigious museums around the world, such as the Tate Modern, the Phillips Collection and the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e Painted 1927 \u003cbr\u003e\u003cbr\u003e Canvas: 28” high x 35” wide (71.1 x 88.9 cm)\u003cbr\u003e Frame: 41 1\/2” high x 48 3\/4” wide x 3” deep (106.1 x 123.8 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2242.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist through Georges Petit, Paris\u003cbr\u003e The private collection of Andre Schoeller, Paris\u003cbr\u003e Private Collection, Europe\u003cbr\u003e Daphne Alzraki art gallery, 2007\u003cbr\u003e Private collection, United States since 2008 until 2019\u003cbr\u003e Private collection, United States \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Le Gaulois Artistique, 13 November, 1927\u003cbr\u003e Le Nord Artistique et Littéraire, 15 November, 1927\u003cbr\u003e Camille Mauclair, Le Sidaner, 1928, p. 209\u003cbr\u003e Y. Farinaux-Le Sidaner, Le Sidaner, L'oeuvre peint et gravé, Milan, 1989, no. 614 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e November 1927, Exposition Le Sidaner, Galeries Georges Petit, Paris, no. 22","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44256930037895,"sku":"32-2242","price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2242_1_a5566762-6f98-4f05-abcc-1286df532db3.png?v=1789673085"},{"product_id":"une-tulipe-et-trois-jacinthes-by-bernard-buffet","title":"Une tulipe et trois jacinthes by Bernard Buffet","description":"Bernard Buffet\u003cbr\u003e 1928-1999 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eUne tulipe et trois jacinthes\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(A Tulip and Three Hyacinths)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Bernard Buffet 1986\" (upper and lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This vibrant masterwork embodies the celebrated French artist Bernard Buffet at his best. He was one of France's most innovative 20th-century painters, perfectly capturing the existential spirit of the Post-War era with his dramatic, angular style. This extraordinarily large-scale floral still life exemplifies why Buffet was the most coveted and collected artist in France in his day. \u003cbr\u003e\u003cbr\u003e Buffet, a prominent member of the artistic movement \u003cem\u003eL'Homme Témoin\u003c\/em\u003e (The Witness-Man), rejected the ideals of abstraction, favoring the expression of reality and raw emotion. While the group was known for its generally pessimistic outlook, Buffet’s embrace of vivid colors and moments of lightness was uniquely his own. In this work, his unmistakable style brings a pair of potted plants to life with exceptional brilliance. The interplay of electrifying complementary colors and his signature black lines results in a mesmerizing masterwork by this renowned artist. \u003cbr\u003e\u003cbr\u003e Born in Paris, Buffet began his art studies at the École Nationale Supérieure des Beaux-Arts in December 1943, training in the studio of painter Eugène Narbonne. After just two years, Buffet set out on his own, launching a successful career that began with the exhibition of a self-portrait at the Salon des Moins de Trente Ans at Galerie Beaux-Arts in 1946. His striking compositions brought him global fame and fortune at a remarkably young age. Buffet’s works are now held in prestigious institutions worldwide, such as the Museum of Modern Art, the Tate Gallery and the Metropolitan Museum of Art, among many others. His legacy is further celebrated by museums in Japan dedicated exclusively to his oeuvre. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity issued by Danielle Buffet. \u003cbr\u003e\u003cbr\u003e Dated 1986 \u003cbr\u003e\u003cbr\u003e Canvas: 28 3\/8” high x 39” wide (72 x 99.1 cm)\u003cbr\u003e Frame: 38 1\/4” high x 48 1\/2” wide x 1 1\/4” deep (97.2 x 123.2 x 3.2 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Estate of the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050645778567,"sku":"32-2199","price":495000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2199_1.png?v=1774962111"},{"product_id":"merab-and-michal-by-edwin-longsden-long","title":"Merab and Michal by Edwin Longsden Long","description":"Edwin Longsden Long\u003cbr\u003e 1829–1891 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMerab\u003c\/em\u003e and \u003cem\u003eMichal\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Both signed with monogram (lower left and right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The paintings of Edwin Longsden Long stand among the most celebrated achievements of Victorian historical painting, distinguished by their meticulous detail, archaeological rigor and dramatic narrative force. Exhibited as a pair at the Royal Academy of Arts in 1883, \u003cem\u003eMerab\u003c\/em\u003e and \u003cem\u003eMichal\u003c\/em\u003e were immediately recognized as exceptional works within the artist’s oeuvre. Contemporary critics were unequivocal in their praise, with Lady’s Pictorial declaring the figures “perhaps the finest single figures Mr. Long has painted.” Preserved together for over 140 years, these paintings represent a rare survival of Long’s most ambitious and critically acclaimed masterworks. \u003cbr\u003e\u003cbr\u003e Depicting the daughters of King Saul, the compositions explore contrasting expressions of feminine character. Rather than relying solely on the biblical text, Long drew on the dramatic interpretations in the oratorio \u003cem\u003eSaul\u003c\/em\u003e by George Frideric Handel, enriching each figure with psychological nuance. Merab, the elder daughter, is rendered with commanding presence, her upright stance and proximity to arms and armor underscoring her pride and royal authority. Michal, by contrast, is imbued with quiet introspection, her softened gaze and delicately clasped hands framed by sumptuous textiles. Together, the paintings form a carefully balanced dialogue between strength and tenderness, authority and devotion—an intellectual and aesthetic pairing characteristic of Long’s most sophisticated works. \u003cbr\u003e\u003cbr\u003e When exhibited at the Royal Academy, the paintings were singled out for their beauty and commanding presence. The Globe praised their “great beauty of an Oriental type,” while noting that neighboring works paled in comparison. Their impact was such that they were later exhibited across Britain alongside Long’s monumental biblical canvas \u003cem\u003eAnno Domini,\u003c\/em\u003e further cementing their status within his most important productions. \u003cbr\u003e\u003cbr\u003e Long’s reputation during his lifetime was extraordinary. In 1882, just one year before these works were completed, his \u003cem\u003eBabylonian Marriage Market\u003c\/em\u003e achieved £6,615 at auction—the highest price ever paid for a work by a living artist at that time. Many of his most significant paintings are held in important collections, including the Yale Center for British Art, the National Gallery of Victoria and the Russell-Cotes Art Gallery \u0026amp; Museum. \u003cbr\u003e\u003cbr\u003e Both dated 1883 \u003cbr\u003e\u003cbr\u003e Canvas (each): 47 3\/4\" high x 29 3\/8\" wide (121.3 x 74.6 cm)\u003cbr\u003e Frame (each): 60\" high x 44 1\/4\" wide x 4 1\/4\" deep (152.4 x 112.4 x 10.8 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2447.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Fairless \u0026amp; Beeforth, London\u003cbr\u003e Sir John Holder, Bart., by 1906\u003cbr\u003e Anonymous sale, Sotheby’s, London, 21 March 1990, lot 221\u003cbr\u003e With Zangrilli \u0026amp; Co., London\u003cbr\u003e Private collection, United Kingdom\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e The Echo, 11 April 1883, p. 2\u003cbr\u003e The Times, 5 May 1883, p. 12\u003cbr\u003e The Globe, 5 May 1883, p. 6\u003cbr\u003e Saturday Review, 5 May 1883, p. 566; 26 May 1883, p. 665; 16 February 1884, p. 216\u003cbr\u003e Evening Irish Times, 7 May 1883, p. 6\u003cbr\u003e Punch, 12 May 1883, p. 220\u003cbr\u003e Athenaeum, 12 May 1883, p. 607\u003cbr\u003e Building News, 18 May 1883, p. 656\u003cbr\u003e Lady's Pictorial, 26 May 1883, p. 359; 5 September 1885, p. 210\u003cbr\u003e Art Journal, 1883, p. 202\u003cbr\u003e Academy Notes, 1883, p. 13\u003cbr\u003e Birmingham Daily Gazette, 29 March 1906, p. 6\u003cbr\u003e Austin Chester, “The Art of Edwin Long RA,” Windsor Magazine, February 1908, p. 548\u003cbr\u003e Richard Quick, The Life and Works of Edwin Long, R.A., Bournemouth, 1931, p. 44\u003cbr\u003e Mark Bills, Edwin Longsden Long RA, London, 1998, no. 194 (Merab), pp. 137–138, illustrated; no. 195 (Michal), pp. 138–139, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1883, no. 91 (Merab) and no. 97 (Michal)\u003cbr\u003e Fairless and Beeforth, 168 Bond Street, London, 1884–85\u003cbr\u003e Toured with Anno Domini, 1889: T. Cranfield Galleries, Dublin (April–May); Rodman’s Gallery, Belfast (June); Frost and Reed, Bristol (September–October)\u003cbr\u003e Birmingham Art Gallery, Royal Society of Artists, 1906","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44540348661895,"sku":"32-2447","price":498500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2447_1_09d87d93-0a47-46f4-80e3-0de25f3c73d7.png?v=1777555295"},{"product_id":"peintre-a-la-veste-rouge-et-le-nu-vert-by-marc-chagall","title":"Peintre à la veste rouge et le nu vert by Marc Chagall","description":"Marc Chagall\u003cbr\u003e 1887-1985 | Russian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePeintre à la veste rouge et le nu vert\u003cbr\u003e (Painter with the Red Jacket and the Green Nude)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped with signature \"Chagall\" (lower left)\u003cbr\u003e Pastel, India ink and graphite on paper \u003cbr\u003e\u003cbr\u003e This masterful self-portrait vividly captures some of Marc Chagall's most iconic motifs in his signature dreamlike style. Painted circa 1960, this work embodies the extraordinary significance of Chagall’s final decades, often referred to as his “Mediterranean Renaissance.” \u003cbr\u003e\u003cbr\u003e Much like Rembrandt, whom Chagall greatly admired, the artist returned frequently to his own image as a means of exploring identity, memory and the very nature of artistic creation. In this vibrant work, Chagall depicts himself as the painter in a vivid red jacket, surrounded by the signature symbols of his unique visual language: a lush bouquet of florals, a floating nude, the yellow-headed goat and the rooftops of his beloved birthplace of Vitebsk. The result is a profoundly autobiographical composition in which the artist places himself at the center of his own dreamlike world. \u003cbr\u003e\u003cbr\u003e This painting dates to one of the most consequential periods of Chagall's career. He had recently completed his revolutionary stained-glass windows for the Hadassah synagogue in Jerusalem and the Metz Cathedral. In 1960, France's Minister of Cultural Affairs commissioned Chagall to paint the iconic ceiling of the Paris Opera—a monumental undertaking that cemented his status as one of the most important living artists in the world. Despite being in his seventies, this extraordinary era of Chagall's output would ultimately prove to be one of his most ambitious and internationally acclaimed. \u003cbr\u003e\u003cbr\u003e Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life. \u003cbr\u003e\u003cbr\u003e Chagall died at the age of 97 in Saint-Paul de Vence, France, in 1985, leaving behind an incredible body of work that remains among the most coveted in the art world, especially his profound self-portraits such as this one. His works belong to the collections of prestigious museums across the world, including the Museum of Modern Art, the Centre Pompidou, Tate Modern and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity issued by the Comité Marc Chagall. \u003cbr\u003e\u003cbr\u003e Circa 1960 \u003cbr\u003e\u003cbr\u003e Paper: 16 1\/2” high x 11 1\/2” wide (41.9 x 29.2 cm)\u003cbr\u003e Frame: 33” high x 28” wide x 1 1\/2” deep (83.8 x 71.1 x 3.8 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44556564791431,"sku":"32-2450","price":598500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2450_1.png?v=1784308897"},{"product_id":"mother-and-child-by-diego-rivera","title":"Mother and Child by Diego Rivera","description":"Diego Rivera\u003cbr\u003e 1886-1957 | Mexican \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMother and Child\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Diego Rivera 1934\" (lower right)\u003cbr\u003e Tempera on plaster \u003cbr\u003e\u003cbr\u003e In this intimate masterwork, \u003cem\u003eMother and Child\u003c\/em\u003e, the great Diego Rivera illustrates all of his genius in a depiction of profound tenderness. Created after Rivera's return from the United States, this work reveals the artist at the peak of his powers. The luminous palette reflects Mexico's brilliant light and cultural vibrancy, while his masterful composition draws us into the sacred space between mother and child. \u003cbr\u003e\u003cbr\u003e Though best known for his monumental public art, Rivera uses his innovative \"portable mural\" technique here, applying it to plaster for exceptional color stability and vibrancy reminiscent of traditional fresco methods. Measuring nearly three feet high, the composition's emotional force is profound, allowing the bond between mother and child—one of Rivera's most significant motifs—to become the painting's singular focus. \u003cbr\u003e\u003cbr\u003e Most works by Rivera of this caliber already reside in prestigious institutional collections around the world, including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the San Francisco Museum of Modern Art and the Art Institute of Chicago. Additionally, Rivera’s masterpieces have been declared national artistic monuments of Mexico since 1959, making it illegal to export them from the country. It is thus exceedingly rare to find such a monumental masterwork as this one, which has been well documented as having left Mexico in 1934 and remaining in important American and Canadian private collections ever since. \u003cbr\u003e\u003cbr\u003e Diego Rivera, born in Guanajuato City, Mexico in 1886, demonstrated an extraordinary aptitude for drawing at a young age. He embarked upon his formal art education at the Academy of San Carlos in Mexico, before relocating to Paris in 1907 to immerse himself in the rich artistic milieu of Montparnasse. It was there that he was steeped in the burgeoning movement of Cubism, and his oeuvre fully embraced the revolutionary artistic movement. His works attracted the attention of the world’s most prestigious art patrons, including Nelson Rockefeller, for whom he painted a controversial mural in 1934. Rivera frequently selected children as the primary subjects of his portraiture, casting them as symbols of hope for Mexico's bright future. The young sitters, like this mother and child, embodied the hope of the improved social climate that emerged in the aftermath of the Mexican Revolution of 1910. Through the perceptive gazes of his subjects, Rivera explores the tension between the purity of youth and the austere realities of life in rural Mexico. \u003cbr\u003e\u003cbr\u003e Dated 1934 \u003cbr\u003e\u003cbr\u003e Plaster: 30 3\/4” high x 23” wide (78.1 x 58.4 cm)\u003cbr\u003e Frame: 39 1\/8” high x 31 1\/8” wide x 3 3\/8” deep (99.4 x 79.1 x 8.5 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of Aline Rhonie Hofheimer Brooks (1909 - 1963), New York, acquired from the artist\u003cbr\u003e Sale: New York, Parke-Bernet Galleries, Inc., Modern Paintings, Drawings, and Sculptures, Sale 2214, October 17, 1963, lot 130, p. 35, illustrated\u003cbr\u003e Collection of Abraham David Braun, Milwaukee, Wisconsin\u003cbr\u003e Sale: Palm Beach, Florida, Trosby Galleries, Inc., February 6, 1968, lot 31\u003cbr\u003e Collection of Maxwell Cummings, Canada\u003cbr\u003e By descent from the above\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Instituto Nacional de Bellas Artes, \u003cem\u003eDiego Rivera Catálogo General de Obra de Caballete\u003c\/em\u003e, Mexico, 1989, no. 1080, p. 143\u003cbr\u003e Diego Rivera and Bertram D. Wolfe, Portrait of Mexico (New York: Covici-Friede Publishers, 1937), plate 38.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44850425168007,"sku":"32-2631","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2631_1.png?v=1790176828"}],"url":"https:\/\/rauantiques.com\/collections\/fine-art-collection-400-000-999-999.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}