{"title":"Fine Art Collection: $50,000 - $500,000","description":"","products":[{"product_id":"red-rose-in-a-standing-vase-by-martin-johnson-heade","title":"Red Rose in a Standing Vase by Martin Johnson Heade","description":"Martin Johnson Heade\u003cbr\u003e 1819-1904 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eRed Rose in a Standing Vase\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"M J Heade 1883\" (lower left)\u003cbr\u003e Oil on board \u003cbr\u003e\u003cbr\u003e This stunning oil on canvas represents the great Martin Johnson Heade's lifelong fascination with the natural world of flora and fauna. The celebrated landscape and still life painter devoted his career to capturing the beauty of nature on canvas, and his greatest achievements are his depictions of flowers such as this. Exactingly rendered with the precision of a naturalist, this still life of a rose with its crimson petals shows his mastery over texture and color. \u003cbr\u003e\u003cbr\u003e By the time this work was completed in 1883, Heade was well established as a painter of both landscapes and still lifes. It was also the year he married and moved to St. Augustine, Florida, where he experienced a period of renewed creativity and well being in his new tropical setting. The rose, with its illusions to romance, its intoxicating fragrance and its dramatic red hue, was the perfect subject for this stage in his life. Not only does he capture the bloom with a lush and sensuous beauty, but he also imbues the work a sense of mystery that is enhanced by the darkened setting. In its seeming simplicity, the still life reveals the subtle complexity of Heade's best works. \u003cbr\u003e\u003cbr\u003e Born in Pennsylvania in 1819, Heade received his earliest artistic training from the painter Edward Hicks. At the age of 19, he took his first trip abroad to live in Rome for two years. Upon his return in 1841, he exhibited for the first time at the Pennsylvania Academy of the Fine Arts in Philadelphia, and just two years later showed a portrait at New York's National Academy of Design. By the mid-1850s, Heade turned away from the portrait painting that dominated his early career, instead experimenting with landscape under the tutelage of Frederic Edwin Church. \u003cbr\u003e\u003cbr\u003e Not soon after, Heade also began his pursuit of still life painting, becoming the only artist of his generation to be proficient in both genres. By the 1880s, he was well established and had earned the patronage of Henry Morrison Flagler, a wealthy oil and railroad magnate who would purchase several dozen of his works over the next decades. Today, Heade's paintings can be found in important museum collections, including the Museum of Fine Arts (Boston), the Metropolitan Museum of Art (New York), the National Gallery of Art (Washington D.C.), the North Carolina Museum of Art, and many others. \u003cbr\u003e\u003cbr\u003e Dated 1883 \u003cbr\u003e\u003cbr\u003e Board: 16\" high x 8\" wide\u003cbr\u003e Frame: 27 3\/4\" high x 19 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Berry-Hill Galleries, Inc., New York\u003cbr\u003e Acquired in 1977 from the above by Jay P. Altmayer, Palmetto Hall, Alabama\u003cbr\u003e Richard Greene Fine Paintings, London\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eThe Life and Works of Martin Johnson Heade\u003c\/em\u003e, New Haven, 1975, by T.E. Stebbins, p. 258, no. 234 (illustrated)\u003cbr\u003e \u003cem\u003eThe Life and Works of Martin Johnson Heade: A Critical Analysis and a Catalogue Raisonné\u003c\/em\u003e, New Haven and London, 2000, by T.E. Stebbins, pp. 155, 327, no. 511 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44528169910407,"sku":"30-9149","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9149_1_516effe2-88bd-44a0-b2d8-13c90d639e2c.png?v=1777556602"},{"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":"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":"dancer-fastening-the-string-of-her-tights-by-edgar-degas","title":"Dancer Fastening the String of Her Tights by Edgar Degas","description":"Edgar Degas\u003cbr\u003e\n1834-1917 | French\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eDancer Fastening the String of Her Tights\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nSigned, numbered, dated, and stamped with foundry mark “Degas \/ 33|G \/ 1998 \/ CIRE C.VALSUANI PERDUE”\u003cbr\u003e\nBronze\n\u003cbr\u003e\u003cbr\u003e\nThis graceful little dancer is a superb example of the sculptural works created by the great Impressionist Edgar Degas. Degas had an extraordinary talent for capturing the natural movements and grace of his figures, particularly in his paintings and sculptures of ballet dancers for which he is best known. In the present bronze, he uses a dramatic, twisting contrapposto pose in order to depict his dancer in motion as she contorts backwards to tighten the string of her tights. His works such as this reveal the mechanics of the ballet that happen beyond the beauty on stage, lending his works a remarkable sense of life and intimacy.\n\u003cbr\u003e\u003cbr\u003e\nThroughout his career, Degas became obsessed with capturing the dancer in motion, both on stage and in the dressing room. Of the seventy-four wax sculptures created by Degas during his lifetime, forty of them depicted dancers. The present work boasts one of the more original poses from among these - rather than an arabesque, Degas captures his dancer undertaking a far more private and intimate task. Unlike some of his works that depict women doing their toilette, the bronze is elegant rather than awkward, as Degas transforms the simple act of tying a string into a pleasing and fluid pose.\n\u003cbr\u003e\u003cbr\u003e\nThe work is a sought-after rarity in terms of Degas’ sculptures. Not only are his dancers the most desirable of his work, but this bronze is also distinguished by the fact that it is a Valsuani bronze, meaning it faithfully records Degas’ wax version’s pose as it appeared at the time of its creation. Most Degas' bronzes that are found on the market were cast by Hébrard – these serialized bronzes are surmoulages, or “aftercasts,” that were cast from the modèle bronzes currently in the Norton Simon Museum (Pasadena). Because these bronzes are second generation, they are smaller and far less detailed that the current bronze.\n\u003cbr\u003e\u003cbr\u003e\nThis example, however, was cast by Valsuani from a plaster that was taken directly from Degas’ waxes, according to scholarship by the art historian Dr. Gregory Hedberg. These plasters were created by Degas’ sculptor friend Albert Bartholomé shortly after Degas completed his wax figurines. Thus, they record the earliest versions of Degas’ wax sculptures, before they were damaged by time or handling, and before Degas himself altered the works. The Hébrard bronzes, on the other hand, actually represent Degas’ reworking of the original sculptures.\n\u003cbr\u003e\u003cbr\u003e\nBecause they are cast directly from the plaster, the Valsuani bronzes are also larger, crisper, and more highly defined than the Hébrard bronzes. Since the original plasters were discovered in the 1990s, similar Valsuani bronzes have been exhibited around the world, including The Hermitage (St. Petersburg) and the Minneapolis Institute of Art.\n\u003cbr\u003e\u003cbr\u003e\nOriginal wax model executed circa 1885-1890\u003cbr\u003e\nBronze cast 1998\n\u003cbr\u003e\u003cbr\u003e\n16 5\/8\" high x 8 1\/2\" wide x 7 1\/2\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43316796489863,"sku":"30-9143","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9143_1_36fec41c-c760-40af-84ce-7dd2f90299a3.png?v=1760369097"},{"product_id":"boy-fishing-statue-by-goldscheider","title":"Boy Fishing Statue by Goldscheider","description":"This exceptional and monumental terracotta sculpture was crafted at Vienna’s renowned Goldscheider manufactory. This enchanting sculpture, model #1225, depicts a charming genre scene of a young boy fishing. Originally part of a series of children designed by Haniroff, one of Goldscheider’s renowned artisans, this endearing piece is quintessential Goldscheider, representing the avant-garde design of the Art Nouveau period. Goldscheider was among the most dominant ceramic manufactories of the late 19th and early 20th centuries, employing some of the most gifted artists working in the Art Nouveau and Art Deco styles. The quality and condition of this sculpture are exemplary of Goldscheider at its best.  \u003cbr\u003e\u003cbr\u003e Circa 1893 \u003cbr\u003e\u003cbr\u003e 48\" high x 14\" wide x 30\" deep \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eGoldscheider\u003c\/em\u003e, Ora Pinhas, 2006, page 32\u003cbr\u003e \u003cem\u003eTerres cuites orientalistes et africanistes 1860-1940,\u003c\/em\u003e Stéphane Richemond, 1999, page 101, figure 53","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42865486561415,"sku":"30-3338","price":64500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-3338_1.png?v=1751462686"},{"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":"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":"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":"mutine-by-guillaume-seignac","title":"Mutine by Guillaume Seignac","description":"Guillaume Seignac \u003cbr\u003e 1870-1924 | French  \u003cbr\u003e\u003cbr\u003e Mutine \u003cbr\u003e\u003cbr\u003e Signed “G. Seignac” (lower right)\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e A mischievous maiden dominates this garden scene by French Academic artist Guillaume Seignac. Heavily based in the classical, his works bring to life nymphs, muses and Greco-Roman gods and goddesses in ethereal settings based on antiquity. The present work is imbued with the exquisite luminosity of his best works, capturing an idealized female nude within a lush landscape complete with a classical fountain and Grecian urn. Masterfully rendered in the Academic style, \u003cem\u003eMutine\u003c\/em\u003e exemplifies the artist’s skill in capturing the inherent sensuality and beauty of his classically-inspired subjects. \u003cbr\u003e\u003cbr\u003e Born in Rennes in 1870, Guillaume Seignac began his training in Paris in 1889 at the Academie Julian. He worked primarily as a student of William 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 a 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: 24” high x 14 1\/4” wide\u003cbr\u003e Frame: 35 1\/4” high x 25 5\/8” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44245969698951,"sku":"30-1674","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-1674_1.png?v=1774967456"},{"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":"femme-aux-souliers-noir-by-jules-pascin","title":"Femme aux souliers noir by Jules Pascin","description":"Jules Pascin\u003cbr\u003e 1885-1930 | Bulgarian-French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFemme aux souliers noir\u003cbr\u003e (Woman in Black Shoes)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Pascin\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This intimate portrait was composed by the Bulgarian-born French Expressionist painter Jules Pascin. Known as the \"Prince of Montparnasse,\" Pascin made a name for himself throughout both Europe and the United States as a painter of woman, often while nude or in various stages of undress. Undoubtedly influenced by the French Impressionists, particularly Pierre-Auguste Renoir, Pascin developed a highly gestural style that is uniquely his own. \u003cem\u003eFemme aux souliers noir\u003c\/em\u003e displays the unique qualities that made his work so groundbreaking during his lifetime. \u003cbr\u003e\u003cbr\u003e Though he was born in Bulgaria and became a United States citizen in 1920, Pascin spent most of his career is Paris, and he is regarded today as a French painter. It was on his return to France from the United States in 1923 when his so-called \u003cem\u003enacrée\u003c\/em\u003e, or \"pearly,\" style began to emerge in his work; the present painting dates to this same period. In it, one can see how Pascin adopted a more fluid touch in his paint application, working with almost dry brushes. The technique allowed him to make his tones more transparent, lending a ghostly, immaterial quality to his figures. This portrait perfectly embodies the atmospheric qualities of his \u003cem\u003enacrée\u003c\/em\u003e period. Less sensual than his nudes, \u003cem\u003eFemme aux souliers noir\u003c\/em\u003e nevertheless displays the earthy softness and intimate charm that made the artist so successful. \u003cbr\u003e\u003cbr\u003e Born in Vidin, Bulgaria in 1885, Pascin grew up part of an affluent Sephardic Jewish family. He attended university in Austria and Germany, though he eventually moved to Paris in 1905. Encountering the Parisian Modernist movement changed the trajectory of his career, and he soon began exhibiting his prints and drawings at the Salon des Indépendants. He achieved a great deal of success and fame early in his career, particularly in North America, so much so that he chose to become a United States citizen in 1920. Tragically, however, he fell prey to depression and alcoholism, and committed suicide in 1930 at the age of 45. Today, his work can be found in the collections of the Metropolitan Museum of Art (New York), the Museum of Modern Art (New York), the Louvre (Paris), the Art Institute of Chicago and others. \u003cbr\u003e\u003cbr\u003e Circa 1923 \u003cbr\u003e\u003cbr\u003e Canvas: 24\" high x 18\" wide\u003cbr\u003e Frame: 33 1\/4\" high x 27\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42967690182791,"sku":"31-1161","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1161_1.png?v=1753982692"},{"product_id":"saint-mary-magdalene-on-alabaster-with-pietre-dure-frame","title":"Saint Mary Magdalene on Alabaster with Pietre Dure Frame","description":"This incredibly rare 17th-century oil on alabaster depicts the Saint Mary Magdalene, rendered after Italian Baroque painter Guido Reni’s masterpiece of the same name. Saint Mary Magdalene gazes upward towards the heavens in a penitent pose, as two putti-like cherubs float above. Depicted with luxurious, long hair draped over her body — symbolizing the saint’s inherent sensuality — her outstretched hand rests on the iconic skull that faithfully accompanies her likeness in religious art. Surrounding this magnificent painting are superb pietre dure hardstone inlays of jasper, agate and lapis lazuli, mingled with Roman silver on an ebonized wood frame. \u003cbr\u003e\u003cbr\u003e One of his most popular subjects in the 1620s and 1630s, Mary Magdalene was something of an iconographic specialty for Reni, who executed various versions to please a public that prized them and continually requested them. Reni’s original 1633 Saint Mary Magdalene canvas on which this oil on alabaster is based was painted for Cardinal Antonio Santacroce and now resides in the Galleria Nazionale d'Arte Antica in Rome. A similar, smaller oil on canvas depicting Mary Magdalene predates this original to 1627 and was formerly housed in the Barberini collection in Rome. \u003cbr\u003e\u003cbr\u003e Guido Reni was born in Bologna in 1575 and rose to be the most famous Italian painter of his generation. Though considered a master of the Baroque, Reni’s work showcases a singular classical style that made an indelible mark on the course of art. Active in Rome, Naples and his native Bologna, he became the dominant figure in the Bolognese School that emerged under the influence of early-Baroque master painter and printmaker Carracci. Through his career, Reni collected a robust roster of patrons who were Cardinals and other wealthy clergy of the Vatican papacy. Thus, the Baroque artist is best known for his prolific oeuvre of religious works, though he also had an affinity for mythological and allegorical subjects. His oils and frescoes can be found in the basilicas, churches and palaces of Rome, Naples and Bologna, including the Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. \u003cbr\u003e\u003cbr\u003e Italian, 17th Century \u003cbr\u003e\u003cbr\u003e Frame: 13 3\/4” high x 12 3\/4” wide \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eGuido Reni: L'Opera Completa\u003c\/em\u003e, Novara 1988, by S. Pepper, pp. 335-36, cat. no. 28 (illustrated) \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43873689305223,"sku":"31-0484","price":74500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0484_1.png?v=1770664772"},{"product_id":"escher-inspired-sculpture-cubic-space-division-by-zadora-gerlof","title":"Escher-Inspired Sculpture \"Cubic Space Division\" by Zadora-Gerlof","description":"Famed sculptor Andreas von Zadora-Gerlof takes inspiration from the great M.C. Escher in this monumental sculptural work. One of the world's most famous graphic artists, Escher was celebrated for his mathematically-inspired etchings, woodcuts and drawings. The present work, which is based on his 1952 lithograph entitled \u003cem\u003eCubic Space Division\u003c\/em\u003e, embodies the mind-boggling appeal of Escher's designs. Zadora imparts a remarkable level of detail into the execution of the piece, bringing to life the genius of these two artistic greats, Escher and Zadora. \u003cbr\u003e\u003cbr\u003e The concept of infinite space was a common motif for Escher, who often used geometric forms fading into the distance in some of his most famous works. \u003cem\u003eCubic Space Division\u003c\/em\u003e, like so many of his creations, presents a challenge to one's visual perception. The 3-dimensional space is divided by a cubic lattice of uniform cubes connected by rectangular bars in a pattern repeated over and over again. \u003cbr\u003e\u003cbr\u003e Escher's creation in \u003cem\u003eCubic Space Division\u003c\/em\u003e evokes a sense of boundlessness in a finite space, and his mathematical approach makes it visually credible. Zadora imparts the same level of mathematical precision in his large-scale version of the work. This monumental steel sculpture has been intricately assembled and powder coated in a dark hue to suggest the drama of the original lithograph. The result is an impressive work of depth and subtly that appropriately pays homage to 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 60\" wide x 64\" deep x 80\" 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":41238258352263,"sku":"30-8672","price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8672_1.png?v=1717921669"},{"product_id":"dance-of-the-nymphs-by-paul-desire-trouillebert","title":"Dance of the Nymphs by Paul Désiré Trouillebert","description":"Paul Désiré Trouillebert\u003cbr\u003e 1829-1900 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDance of the Nymphs\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Trouillebert\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This lyrical landscape entitled \u003cem\u003eDance of the Nymphs\u003c\/em\u003e was composed by the French Barbizon painter Paul Désiré Trouillebert. A joyful scene of nymphs dancing the morning fog, the work closely resembles an important work by the great Camille Corot, which is now housed at the Musée d'Orsay (Paris). Renowned for his unique individuality that toed the line between the traditional and modern, Corot and his landscapes helped pave the way for an entire generation of Impressionists who followed him. Trouillebert perfectly captures the poetic atmosphere of Corot’s groundbreaking works, while also imbuing this scene with a freshness and character that is all his own. \u003cbr\u003e\u003cbr\u003e Trouillebert's oil on canvas is exemplary of the tradition of historical painting. The work perfectly combines a realistic depiction of the natural world with a spirited romanticism as his idealized nymph figures frolic playfully beneath a crisp morning sky. As a whole, it is a lovely composition executed with a level of skill and artistry that proves Trouillebert's exceptional talent in the arts. \u003cbr\u003e\u003cbr\u003e Born in Paris in 1829, Paul Désiré Trouillebert was a student of the academic painters Ernest Hébert and Charles Jalabert. Early in his career, he primarily produced portraits and genre scenes, exhibiting his first portrait at the Paris Salon in 1865. By the end of the decade, however, his interest in landscape painting blossomed, and in 1869, he exhibited his first landscape at the Salon to great acclaim. He went on to execute a number of landscapes that recall the mature style of Corot, including the present work, though they remain distinctly Trouillbert in their execution. Today, his paintings can be found in several important private collections, as well as the Lightner Museum (St. Augustine, Florida). \u003cbr\u003e\u003cbr\u003e Canvas: 38 3\/4\" high x 51 1\/2\" wide\u003cbr\u003e Frame: 50\" high x 62 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41913597657223,"sku":"31-1655","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1655_1.png?v=1730881855"},{"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":"the-letter-by-andrea-landini","title":"The Letter by Andrea Landini","description":"Andrea Landini\u003cbr\u003e 1847-1935 | Italian  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Letter\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “A. Landini” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A red-robed cardinal chuckles at the letter in his hand in this oil on canvas by the Italian painter Andrea Landini. The vibrantly hued piece illustrates the artist’s genius at rendering charming narratives in remarkable detail. Entitled \u003cem\u003eThe Letter\u003c\/em\u003e, the work is a superb example of Landini's technical virtuosity — from the finely carved and upholstered chair to the neoclassical painting in the background, every detail is meticulously depicted.  \u003cbr\u003e\u003cbr\u003e Such works satirizing the clergy would have been severely censured just a generation earlier. Yet, by the time Landini picked up the brush, the European public had grown discontent with the hypocrisy of the clergy, many of whom enjoyed lavish lifestyles. Cardinal paintings such as this became highly popular during the period, and Landini emerged alongside Georges Croegaert, Marcel Brunery and Jehan Georges Vibert as the leading painters of the genre. \u003cbr\u003e\u003cbr\u003e Born in Florence in 1847, Andrea Landini trained at the Academy of Fine Arts in Florence, first under the animal painter Riccardo Pasquini and later with religious painter Antonio Ciseri. Landini quickly made a name for himself as a painter of portraits, attracting clients such as the Signora Guerrazzi of Livorno, the contessa Lavinia Bocca, the writer signora Elena Landini Ruffino and the Princess of Wales. While his portraits made him a success during his lifetime, today he is best remembered for his highly detailed genre scenes, and particularly his Cardinal paintings such as this. \u003cbr\u003e\u003cbr\u003e Canvas: 18 1\/4\" high x 15\" wide\u003cbr\u003e Frame: 23 1\/4\" high x 20 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238364487815,"sku":"31-2429","price":74500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2429_1_93a457da-a454-422d-8fc6-db4a762246a1.png?v=1720512721"},{"product_id":"masquerade-by-fortunato-galli","title":"Masquerade by Fortunato Galli","description":"Fortunato Galli\u003cbr\u003e 1835-1918 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMasquerade\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F. Galli FIRENZE\"\u003cbr\u003e White Carrara marble \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMasquerade\u003c\/em\u003e, a traditional yet playful composition by Fortunato Galli, reflects the realism and intricacy that defined Italian sculpture at the end of the 19th century. Magnificently carved, the monumental work captures a beautiful woman at a masquerade as she peels her mask from her face, revealing her secret identity. The virtuosity of the sculpture is breathtaking, from her delicate lace bodice to the hint of stockings that encase her shapely legs. Masterfully rendered, she represents the perfect marriage of classical beauty and a romantic sentiment that has come to define the work of this Italian master.  \u003cbr\u003e\u003cbr\u003e Born in Livorno on the west coast of Tuscany, Fortunato Galli spent most of his life in Florence, where he enjoyed a faithful following. The majority of his sculptures were religious subjects, which he crafted for the major Tuscan churches, including his principal work, his famed statue of Pope Gregory VII that resides in the Duomo in Florence. His decorative sculptures such as this were far more playful in style, capturing gypsies and beautiful women in charming narratives. \u003cbr\u003e\u003cbr\u003e Circa 1883 \u003cbr\u003e\u003cbr\u003e 18 1\/2\" wide x 20\" deep x 52 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238362259591,"sku":"31-2390","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2390_1_105d9000-d556-46ca-b081-90aead2fdd02.png?v=1717921786"},{"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":"the-buttonhole-by-charles-spencelayh","title":"The Buttonhole by Charles Spencelayh","description":"Charles Spencelayh\u003cbr\u003e 1865-1958 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Buttonhole\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “C.SPENCELAYH” (lower left) and inscribed “This Drawing was accepted into the Royal Academy but crowded out for want of space” (en verso)\u003cbr\u003e  Watercolor and pencil with gum arabic on paper \u003cbr\u003e\u003cbr\u003e One of the most important English genre painters in the Academic style, Charles Spencelayh's anecdotal scenes are among the best of his age. This work, entitled \u003cem\u003eThe Buttonhole\u003c\/em\u003e, captures the celebrated painter’s preferred subject – an elderly gentleman performing an ordinary task. Spencelayh’s talent for portraying the common man with an engaging sentimentality remains unsurpassed, and his everyday narratives imbue his work with an undeniable timelessness. \u003cbr\u003e\u003cbr\u003e He trained at the National Art Training School (later renamed the Royal College of Art), where he flourished in his figural drawings. Spencelayh continued his education in Paris, where he exhibited at the Salon with much success. His primary exhibition venue throughout his career was the Royal Academy, where he showcased 30 paintings from 1912 to 1958. His incredible canvases were hung in the leading art venues of the day and gained him membership into the most prestigious art societies. \u003cbr\u003e\u003cbr\u003e During his lifetime, Spencelayh was greatly admired by many influential collectors, including Queen Mary, who provided the artist and his family a residence in Manchester. Spencelayh painted a postage-size portrait of King George V for the Queen’s dollhouse that currently resides in Windsor Castle. Today, his work is highly sought after, though examples rarely become available on the market. \u003cbr\u003e\u003cbr\u003e Circa 1940 \u003cbr\u003e\u003cbr\u003e Paper: 15 1\/2\" high x 11 3\/4\"\u003cbr\u003e Frame: 26 1\/2\" high x 22 5\/8\" wide  \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Charles Nicholls \u0026amp; Son, Manchester\u003cbr\u003e Sotheby’s, Chester, 27th April 1989\u003cbr\u003e Private collection, United Kingdom\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41239066378375,"sku":"29-4020","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-4020_1_247ff50d-a708-406a-aa10-1f0a9eb0f643.png?v=1712738977"},{"product_id":"boarding-the-ship-for-new-york-by-auguste-loustaunau","title":"Boarding the Ship for New York by Auguste Loustaunau","description":"Louis Auguste Georges Loustaunau\u003cbr\u003e 1846-1898 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBoarding the Ship for New York\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"ALoustaunau\" (lower right)\u003cbr\u003e Watercolor on paper \u003cbr\u003e\u003cbr\u003e This watercolor by the French artist Louis Auguste Georges Loustaunau offers a compelling glimpse into late 19th-century travel. Depicting a couple boarding a ship to New York City, the work brings to life the hustle and bustle of the shipyard while celebrating the majesty of the ocean liner. Loustaunau's skills as an observer are clearly on display, as he captures with a keen eye the movements of the ship's crew, as well as the details of the ship and luggage. In an era when global travel was just becoming accessible to the masses, such works would have resonated with a wide audience. \u003cbr\u003e\u003cbr\u003e Born in 1846, Louis Auguste Georges Loustaunau studied at the École des Beaux-Arts under the tutelage of the greats Jean-Léon Gérôme and Eugène Barrias. He exhibited his first work at the Paris Salon in 1869; it was a landscape of Brittany that was typical of his output from that period. It wasn't until around 1875 when he abandoned landscapes and country scenes in favor of the genre subjects for which he would become best known. He joined the Société d'Aquarellistes Français in 1891; he died just a few short years later in Versailles in 1898.  \u003cbr\u003e\u003cbr\u003e Paper: 45\" high x 37\" wide\u003cbr\u003e Frame: 51 1\/2\" high x 54\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672849055879,"sku":"31-1153","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1153_1_2fd3ec66-e047-4f30-a259-c044767d7ad9.png?v=1766567054"},{"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":"temple-of-vespasian-and-titus-roman-micromosaic","title":"Temple of Vespasian and Titus Roman Micromosaic","description":"The ruins of the ancient Roman Temple of Vespasian and Titus are the subject of this Italian micromosaic. Crafted in intricate detail, the scene is composed of thousands of tiny glass tiles that have been painstakingly chosen and placed to create a painting-like effect. A bucolic landscape surrounds the ruins, lending a sense of romance to the scene that is further enhanced by the presence of a mother and child seated near the temple's columns. It is an extraordinary example of this ancient art form that experienced a surge in popularity in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Vespasian was the Roman Emperor from 69 AD to 79 AD and the founder of the Flavian dynasty, which ruled the empire for 25 years. This temple was constructed to honor Vespasian and his older son and successor Titus (ruled 79-81 AD); it was completed by Titus’ brother, Domitian, around 87 AD. Titus and Vespasian were each deified through the ceremony of apotheosis. Thus, tradition dictated that they be honored by Roman citizens and subjects as Roman deities. This imperial worship was as much a sign of allegiance to the emperor of Rome as it was a formal religion. \u003cbr\u003e\u003cbr\u003e The temple suffered significant damage during medieval times, particularly circa 1300 under Pope Boniface VIII and in Pope Nicholas V's remodeling of the Forum. All that survives today is the podium's core, parts of the inner chamber, and the three Corinthian columns depicted in this classic micromosaic. The architrave surmounting the capitals displays the last few letters of an inscription, [R]ESTITVER[UNT] (meaning \"they restored\"), commemorating the restoration of the temple by Septimius Severus and his son, Caracalla, around 200 AD.  \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Micromosaic: 10 1\/2\" high x 12 5\/8\" wide\u003cbr\u003e Frame: 12 1\/2\" high x 14 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43873807597703,"sku":"31-3659","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3659_1.png?v=1770672650"},{"product_id":"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.png?v=1717923109"},{"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":"santa-by-leslie-thrasher","title":"Santa by Leslie Thrasher","description":"Leslie Thrasher\u003cbr\u003e 1889-1936 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSanta\u003c\/em\u003e\u003cbr\u003e \u003cem\u003eLiberty Magazine\u003c\/em\u003e cover, December 20, 1930 \u003cbr\u003e\u003cbr\u003e Signed “Leslie Thrasher” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A Salvation Army Santa looks on with a mixture of fatigue and disinterest as a group of children tell him their Christmas gift wish lists in this lighthearted composition by leading American illustrator Leslie Thrasher. This painting was created for the December 20, 1930 issue of \u003cem\u003eLiberty Magazine\u003c\/em\u003e, for which the artist illustrated covers on a weekly basis for six consecutive years. Thrasher is known for his scenes of everyday American life imbued with a sense of humor, qualities represented to great effect in this charming painting. \u003cbr\u003e\u003cbr\u003e Born in 1889 in Piedmont, West Virginia, Thrasher studied at the Pennsylvania Academy of Fine Arts as a teenager and received a scholarship to study art abroad in Paris. Upon his return, he began studying under Howard Pyle, known as the “father of American illustration.” Thrasher sold his first cover illustration to the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e in 1912, four years before Norman Rockwell’s first \u003cem\u003ePost\u003c\/em\u003e cover, and he would go on to produce over 360 magazine covers throughout his career. He painted humorous, relatable scenes of everyday life in America with colorful characters set against white backgrounds. He was also a successful commercial artist, painting advertisements for Cream of Wheat, Chesterfield Cigarettes and Fisk Tire. \u003cbr\u003e\u003cbr\u003e Circa 1930 \u003cbr\u003e\u003cbr\u003e Canvas: 20 1\/8\" high x 17\" wide\u003cbr\u003e Frame: 24 1\/2\" high x 21 3\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41913598640263,"sku":"31-4493","price":54500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4493_1.png?v=1726240625"},{"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","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_1b29d963-2265-4e74-992e-c3a068e88979.png?v=1774967043"},{"product_id":"a-study-of-two-models-by-sir-william-russell-flint","title":"A Study of Two Models by Sir William Russell Flint","description":"Sir William Russell Flint, R.A., P.R.W.S. 1880-1969 | Scottish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Study of Two Models\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"WRussell Flint\" (bottom right)\u003cbr colored chalks on buff paper\u003e\u003cbr\u003e Ethereal and sensual, Sir William Russell Flint's \u003cem\u003eStudy of Two Models\u003c\/em\u003e highlights the artist's skillful mastery in capturing the female form. One of the most celebrated watercolorists of the 20th century, Flint enjoyed considerable success during his lifetime, and today his lasting reputation is tied to his remarkable talent for portraying women, like the two models featured here. This study gives an alluring view of the artist's process in rendering his famous nude watercolors. \u003cbr\u003e\u003cbr\u003e Though six figures are visible in this study, Flint was working with only two models, each of which has been rendered in a different color: red or black chalk. The artist captured both women in a variety of poses and angles, paying meticulous attention to their facial expressions and the drapery of their clothing. A semi-nude woman lays across the foreground with her hair flowing above her head, and Flint has masterfully captured her wistful expression with a few deft strokes of chalk. \u003cbr\u003e\u003cbr\u003e Born in Edinburgh, Flint began his artistic training at the age of 14 when he embarked upon a six-year apprenticeship as a lithographic draughtsman. In 1903 he joined The Illustrated London News, earning him a reputation as a gifted illustrator. After serving in World War I, Flint devoted his time to painting, and soon became an Associate Member of the Royal Academy in 1924. In a career spanning 70 years, it would be his treatment of the female figure that was considered most masterful. He was honored in 1962 by the Royal Academy with a retrospective exhibition of his works - the highest such recognition an artist can achieve during his lifetime. \u003cbr\u003e\u003cbr\u003e 20th century \u003cbr\u003e\u003cbr\u003e Unframed: 17\" high x 34½\" wide Framed: 24\" high x 39¾\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The Fine Art Society, London, by May 1958\u003cbr\u003e Sale: Sotheby's, London, 10 November 1981, lot 123\u003cbr\u003e Richard Green, London\u003cbr\u003e Private Collection, Germany\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42215088750727,"sku":"31-5745","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5745_1_ef82deb7-2181-48ce-b098-4821270705fe.png?v=1736115887"},{"product_id":"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.png?v=1758655985"},{"product_id":"bronze-of-amphitrite-after-michel-anguier","title":"Bronze of Amphitrite after Michel Anguier","description":"After Michel Anguier \u003cbr\u003e French | 1612-1686 \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAmphitrite\u003c\/em\u003e \u003cbr\u003e Bronze \u003cbr\u003e\u003cbr\u003e This remarkable bronze masterpiece was cast after a High Baroque masterwork by French sculptor Michel Anguier. After training under the famed masters Gian Lorenzo Bernini and Alessandro Algardi, Anguier developed a unique style that incorporated the theatricality of Bernini’s period-defining sculpture, balanced by Algardi’s somber realism. This bronze of Amphitrite, wife of Poseidon, comes from the sculptor's celebrated series depicting six gods and goddesses. \u003cbr\u003e\u003cbr\u003e Anguier's sculptures brought heightened emotion to the legendary myths of ancient Greece. The sculptor imbued his representation of Amphitrite with tranquility — a perfect fit for the goddess of the sea. Her pose and delicately draped fabrics emphasize her feminine form. A lobster perches on her arm, and she is accompanied by a dolphin at her feet, Poseidon’s favored creature and an important figure in her myth. \u003cbr\u003e\u003cbr\u003e The present work is cast in the same scale as the original mythological set conceived in 1652 by Anguier at a sizeable 26“ tall. The first recorded casting of this work is held in the Louvre in Paris, and a similar cast can be found at the Metropolitan Museum of Art in New York. \u003cbr\u003e\u003cbr\u003e 17th century \u003cbr\u003e\u003cbr\u003e 26\" high by 7 1\/8\" wide by 7 1\/8\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238992027783,"sku":"31-6065","price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6065_1.png?v=1712741663"},{"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":"concours-de-chiens-au-promenade-by-otto-eerelman","title":"Concours de Chiens au Promenade by Otto Eerelman","description":"Otto Eerelman\u003cbr\u003e 1839-1926 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eConcours de Chiens au Promenade\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Watercolor on paper\u003cbr\u003e Signed “O. Eerelman 1904” (lower left) \u003cbr\u003e\u003cbr\u003e A tour de force watercolor by celebrated Dutch artist Otto Eerelman, one of 19th-century Europe's most popular and important animal portraitists, this charming composition captures a bustling cross-section of fashionable elites walking their equally fashionable canine companions. Eerleman takes care to render the detailed attire of his subjects, complete with plumed hats and layers of lace trim. The artist paints the plethora of pets in equally painstaking detail, capturing the nuances of each different breed represented. \u003cbr\u003e\u003cbr\u003e 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. This energetic watercolor, with its profusion of color and texture, harnesses the affluence of its subjects and the leisurely whimsy of their luxurious lives. \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 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 (Amsterdam), and in 2015, a major retrospective of his work was held at the Museum Nienoord in Leek, Netherlands.  \u003cbr\u003e\u003cbr\u003e Dated 1904 \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/2\" high x 26 1\/2\" wide\u003cbr\u003e Frame: 28 3\/4\" high x 35 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Harry J. Kraaij, 'Otto Eerelman 1839-1926, Groninger kunstenaar', Schiedam 2012, ill. p. 107, no. 135.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43371044864135,"sku":"31-6432","price":52500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6432_1_3c8414ba-9217-46c5-8180-c9fbd0522415.png?v=1762003298"},{"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":"married-love-by-oscar-nemon","title":"Married Love by Oscar Nemon","description":"Oscar Nemon\u003cbr\u003e 1906 - 1985 | Croatian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMarried Love\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Nemon” (on reverse)\u003cbr\u003e Bronze resin with green patina \u003cbr\u003e\u003cbr\u003e This rousing and sentimental sculpture, commissioned by Lady Churchill herself, was created by revered Croatian sculptor Oscar Nemon. It stands as a testament to the lasting love between the steadfast British leader, Sir Winston Churchill, and his wife, Lady Clementine Spencer Churchill. Lady Clementine sits smiling, legs crossed with her arms outstretched towards her husband. Sir Winston leans back in a casual, relaxed pose, with a serious yet calm expression. Entitled \u003cem\u003eMarried Love\u003c\/em\u003e, the bronze resin composition is a reflection of the humanity and devotion between two of Great Britain’s finest politicians. \u003cbr\u003e\u003cbr\u003e Nemon first met the great Sir Winston Churchill in 1951 in Marrakech, Morocco, where the pair formed a friendship. The artist was already a great admirer of the statesman. As a Croatian before emigrating to Britain in 1938, Nemon lost the great majority of his family in the Holocaust, and Churchill's efforts to defeat the Nazis deeply resonated with Nemon. When he and the Prime Minister finally met, the artist sculpted Churchill in his hotel room at La Mamounia, aided by preliminary sketches that survive today. Perhaps moved by the occasion of sculpting one of his heroes, Nemon’s rendition exudes an intensity and lifelike dynamism that greatly impressed the Churchills. As a result of the artist's success in rendering the leader, he was selected by Queen Elizabeth II the following year to create another bust of Churchill for Windsor Castle. \u003cbr\u003e\u003cbr\u003e Lady Churchill long admired Oscar Nemon’s 1951 bust of her husband, later saying of the sculpture: “That is how I see him and that is how I love him.” Over twenty years after their first meeting, following the statesman’s death, Lady Churchill requested that Nemon create a sculpture of the couple together. Nemon joined the widow at her home in Princes Gate, London, where she sat for her portrait. The artist then used his previous experience sculpting the Prime Minister to create \u003cem\u003eMarried Love\u003c\/em\u003e, masterfully capturing the love shared between the powerful duo.  \u003cbr\u003e\u003cbr\u003e Oscar Nemon was born to a close Jewish family in Osijek, a bustling city in eastern Croatia. Already a burgeoning artist by the time he arrived in Vienna in the mid-1920s, he met Sigmund Freud and made several sculptures of the psychologist and his dog, Topsy. Nemon enrolled at the Académie Royale des Beaux-Arts in Brussels in 1925, where he won a gold medal for his sculpture. He remained in Brussels, sharing a home with René Magritte, until the outset of World War II in 1939 when he fled to England. His achievements in his first Churchill sculpture launched the artist to greater acclaim, and he would go on to make a number of busts of high-profile figures, including Queen Elizabeth II, Prince Phillip, Harry S Truman, Margaret Thatcher and more. Many of his sculptures are recognizable for their use of bronze resin, often called \"cold cast bronze,\" which is created with a mixture of bronze powder and epoxy or other resin. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMarried Love\u003c\/em\u003e is further distinguished by unbroken provenance, with its previous owners acquiring it directly from Nemon’s studio. The original large-scale bronze stands on the grounds of Chartwell, and another version of this sculpture resides in \u003ca href=\"https:\/\/msrauantiques2022.my.salesforce.com\/sfc\/p\/8c000000eEg1\/a\/Vb000000cOao\/CASGdIPcNcKWkfLmXQBf7TzlumVWw2U1V1aW4ymxgt0\"\u003eBlenheim Palace,\u003c\/a\u003e the birthplace of Winston Churchill and the only non-royal house in the United Kingdom to hold the title of “Palace.” \u003cbr\u003e\u003cbr\u003e Conceived circa 1978 \u003cbr\u003e\u003cbr\u003e 19“ high x 29 5\/8” wide x 19“ deep \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e The Sunday Telegraph, 12 March 1978 (ill.b\u0026amp;w) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The Artist, from whom acquired directly by the family of the previous owner in 1978\u003cbr\u003e Private Collection, Canada","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42603713691783,"sku":"31-6571","price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6571_1.png?v=1746450586"},{"product_id":"limestone-buddha-head-6th-century-qi-dynasty","title":"Limestone Buddha Head, 6th-Century Qi Dynasty","description":"This limestone bust of the Buddha presents a picture of serenity and grace. A rare and striking image, it was sculpted in 6th-century Northern China during the Qi dynasty, one of the most innovative and distinctive periods for the art of stone carving in China. Thoughtfully rendered, this Buddha is adorned with round curls lying flat, creating a graceful pattern from which his long ears, a sign of wisdom, stand out. His features are smooth and unadorned, conveying the simplicity and detachment of his teachings, while the subtle fleshiness of the cheek and chin and curvature of the eyebrows are typical of Northern Qi art. \u003cbr\u003e\u003cbr\u003e The Qi dynasty (550-577) was a fascinating time in Chinese history. The era sizzled with exciting changes that resulted in elevating China’s art and overall culture. Works from this period are extremely hard to find and are ardently admired, as historians agree that the period stands out as a time of innovation and mastery, a magnificent artistic Golden Age for the region. A similar Buddha head from the same period is in the prestigious Guimet Museum in Paris, one of the largest collections of Asian art outside Asia. Another is in the permanent collection of the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/#A0000000JY02\/a\/8X000000MpiV\/EZ7F96I63RWeC8EsmLAanhieNklpQCMxTR8FXgaUOh8\" target=\"_blank\"\u003eMetropolitan Museum of Art in New York\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e 6th century \u003cbr\u003e\u003cbr\u003e 7 1\/4\" diameter x 13 1\/2\" high\u003cbr\u003e With stand: 19 1\/2\" high \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Alan Hartman New York (before 1980)\u003cbr\u003e Buddhist Art, Berlin, Germany, 2009\u003cbr\u003e Private collection, New York, 2011\u003cbr\u003e M.S. Rau, New Orleans, 2022","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672934187143,"sku":"31-5655","price":168500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5655_1.png?v=1767197835"},{"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=1777663316"},{"product_id":"piccadilly-circus-by-fortunino-matania","title":"Piccadilly Circus by Fortunino Matania","description":"Fortunino Matania\u003cbr\u003e 1881-1963 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePiccadilly Circus\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Matania” (center, on bus)\u003cbr\u003e Watercolor and gouache on paper \u003cbr\u003e\u003cbr\u003e This exceptional watercolor and gouache composition by famed Italian artist Fortunino Matania exudes the energy and dynamism for which the artist is revered. Entitled \u003cem\u003ePiccadilly Circus\u003c\/em\u003e, Matania’s canvas captures the very essence of London in the early 20th century, when fashion, art and culture flourished with boundless energy. Matania depicts the historic thoroughfare in the evening, as vehicles and pedestrians alike traverse the square.  \u003cbr\u003e\u003cbr\u003e With splashes of color and a keen eye for detail and fashion, Matania crafts a nostalgic narrative, documenting an evening in the busy Piccadilly Circus in downtown London. The streets are aglow with the golden light of lanterns and storefronts, contributing to the romance of the setting in the bustling city center. In a whimsical twist, the artist has rendered a number of iconic and important historical figures into the painting, including King George V, well-dressed and smoking a cigar near the center of the painting. \u003cbr\u003e\u003cbr\u003e Born to a family of painters in Naples in 1881, Fortunino Matania is renowned today as a colorist and illustrator that produced countless iconic Also known for his paintings of World War I and trench warfare, his luminous palette and creative range garnered the young artist. At the age of 20, he began working in Paris for \u003cem\u003eL’Illustration Française\u003c\/em\u003e, and beginning in 1908 he regularly exhibited at the Royal Academy. He was elected a member of the Royal Institute of Painters in Water Colours in 1917, and his illustrations and paintings were published widely including \u003cem\u003eIllustrated London News, London Magazine, Nash’s, Printer’s Pie\u003c\/em\u003e among others. His works are recognized for their narrative depth and documentarian quality and remain widely prized by collectors today. \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e Paper: 13 3\/8\" high x 20 3\/4\" wide\u003cbr\u003e Frame: 22 3\/4\" high x 29 3\/4\" wide x 1 5\/8\" deep \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e P. \u0026amp; V. Berko, \u003cem\u003e19th Century European Virtuoso Painters\u003c\/em\u003e, Knokke 2011, p. 509, illustration p. 228.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41913601130631,"sku":"31-6871","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-6871_1_760b5219-53f5-485f-b7f6-882ccd019eb1.png?v=1726266495"},{"product_id":"across-the-river-by-sir-david-murray","title":"Across the River by Sir David Murray","description":"Sir David Murray, R.A., H.R.S.A., R.S.W., R.I. \u003cbr\u003e 1849-1933 • Scottish  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAcross the River \u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated D. Murray 1907 (lower left)\u003cbr\u003e Signed and inscribed “Across the River\/by David Murray ARA\/t Langham Chambers\/London” en verso\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e Renowned Scottish painter Sir David Murray is recalled fondly for his talent as a keen landscapist, as illustrated in the current work entitled \u003cem\u003eAcross the River\u003c\/em\u003e. Whether rendering his Scottish homeland, or his other favorite locales of southern England and northern France, Murray's oeuvre showcases a bounty of artistic talent, distinguished by his remarkable palette and deep love of nature.  \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eAcross the River\u003c\/em\u003e, Murray captures a steep embankment overlooking a waterway. Diminutive horses and laborers dot the foreground, hauling logs and highlighting the interplay between man and nature. The earthy tones employed offer a quiet, contemplative quality to the composition, while the tree's fall leaves direct the eye up the cliff face. Murray's measured yet breathy brushstrokes imbue the image with a sense of animism, immersing the viewer in the tranquil landscape. \u003cbr\u003e\u003cbr\u003e Sir David Murray began to study art at the Glasgow School of Art in the evenings while working days in the mercantile business. He gained the confidence to pursue art as a full-time career in 1875. Though he had not pursued painting professionally until his late 20s, Murray's risk paid off, and in 1881, he became an Associate of the Royal Scottish Academy. He quickly gained critical acclaim when he moved to London the following year, selling his works to important patrons including the famed Tate Gallery in 1884. Murray became a high-ranking member of both the British Royal Academy and the Royal Institute of Painters in Water Colours.  \u003cbr\u003e\u003cbr\u003e Dated 1907 \u003cbr\u003e\u003cbr\u003e Canvas: 48 1\/4” high x 72” wide\u003cbr\u003e Frame: 63” high x 87” wide  \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Sale, Christie's, Hopetoun, October 15, 1969, no. 149\u003cbr\u003e Private Collection\u003cbr\u003e Sale, Christie's, South Kensington, November 17, 2010, no. 15\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, Chicago\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1907. no. 89","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41239142891655,"sku":"31-7461","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7461_1_f9d8e29e-244b-43a9-9a6c-27eabbabb634.png?v=1712737737"},{"product_id":"portrait-of-dr-frederick-a-cook-by-albert-operti-1","title":"Portrait of Dr. Frederick A. Cook by Albert Operti","description":"Albert Ludwig Operti\u003cbr\u003e 1852-1927 | Italian-American \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Dr. Frederick Albert Cook\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This highly rare portrait of the important Polar explorer, Dr. Frederick Albert Cook, is the work of American artist Albert Ludwig Operti. Renowned in the late 19th and early 20th centuries for his paintings of exploration, namely Arctic scenes, Operti was the only artist to accompany Robert Peary on his historic 1896 expedition to the North Pole. His works seldom find their way out of private collections, the largest of which can be found at the Explorers Club in New York, which was founded by Cook. \u003cbr\u003e\u003cbr\u003e In this contemplative oil painting, Operti captures Dr. Frederick A. Cook studying and dissecting a native bird during Robert Peary’s famed 1891-92 expedition of the Arctic in search of the North Pole. Depicted here in a fur hat and coat to protect against the frigid polar air, Cook served as the surgeon on several of Peary’s explorations. He befriended famed explorer Roald Amundsen and was a seasoned explorer in his own right. Both Cook and Peary claimed to have reached the North Pole first, and the debate about their divergent claims is still waged today. \u003cbr\u003e\u003cbr\u003e Albert Operti was born in Italy and educated in Britain. While part of Peary's expedition through Greenland in 1896, the artist executed hundreds of sketches and studies that would serve as the basis for many of his future works. He painted several special commissions for the New York Explorers Club, which was a primary patron of Operti until his death in 1927. Operti’s works are not often seen or exhibited, making this a rare opportunity to acquire both a stirring painting and an important piece of history. \u003cbr\u003e\u003cbr\u003e The painting was featured on the cover and discussed in \u003cem\u003ePolar Priorities\u003c\/em\u003e, the annual journal of the Frederick A. Cook Society, in the December 2006 edition, Volume 26. \u003cbr\u003e\u003cbr\u003e Circa 1900 \u003cbr\u003e\u003cbr\u003e Canvas: 43 1\/2” high x 34 1\/8” wide\u003cbr\u003e Frame: 51 1\/2” high x 42” wide ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41913655558279,"sku":"31-7460","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-7460_1.png?v=1726259673"},{"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_f8f09389-bacc-49f5-aea3-1f7742dbfb0c.png?v=1774966076"},{"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":"danseuse-by-pierre-carrier-belleuse","title":"Danseuse by Pierre Carrier-Belleuse","description":"Pierre Carrier-Belleuse\u003cbr\u003e 1851-1932 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDanseuse\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Pierre Carrier-Belleuse” (lower right)\u003cbr\u003e Pastel on canvas \u003cbr\u003e\u003cbr\u003e Strikingly elegant, this extraordinary pastel by French impressionist Pierre Carrier-Belleuse displays the artist’s mastery of his medium and his fascination with the intimate and graceful world of the modern ballerina. Carrier-Belleuse captures this classic beauty posed in the fourth position and the playful puff of her tutu shimmers with an incandescent glow filling the center of the composition. This dancer is simultaneously graceful and accessible, as her soft features and alluring eyes draw in the viewer. Much like the work of Degas, Carrier-Belleuse’s dancers are depicted with a common beauty that is at once poetic and attainable. A master of the art of pastel, his works are highly collectible as stunning examples of the art of impressionism. \u003cbr\u003e\u003cbr\u003e Born in 1851, Carrier-Belleuse was the son of the celebrated sculptor Albert Carrier-Belleuse, from whom he learned his artistic trade at a young age. He also studied under Alexandre Cabanel and Galland at the École des Beaux-Arts, and became a regular exhibitor at the Paris Salon beginning in 1875. Successful during his lifetime, he received an honorable mention at the Salon in 1887 and earned a silver medal at the Exposition Universelle in 1889. He mastered the art of working with pastels and was best known for his scenes of ballet dancers, in addition to his popular landscapes, and historical and genre works. \u003cbr\u003e\u003cbr\u003e Circa 1898 \u003cbr\u003e\u003cbr\u003e Frame: 52” high x 26 1\/4” wide\u003cbr\u003e Canvas: 45” high x 20” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44436028457095,"sku":"31-8314","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8314_1_75573afb-f185-4c59-81b2-c20eed3ea5cf.png?v=1775834533"}],"url":"https:\/\/rauantiques.com\/collections\/fine-art-collection-50-000-500-000.oembed?page=13","provider":"M.S. Rau","version":"1.0","type":"link"}