{"title":"Impressionist Portraits","description":"\u003ch2\u003eImpressionist Portraits\u003c\/h2\u003e\u003cp\u003eImpressionist portraits bring the movement's attention to atmosphere and immediacy into direct conversation with the human figure. The best examples preserve individuality while softening rigid finish in favor of light, color and a more living surface.\u003c\/p\u003e\u003ch2\u003eThe Appeal Of The Category\u003c\/h2\u003e\u003cp\u003eCollectors are often drawn to Impressionist portraits because they feel both intimate and distinctly modern. They can reveal a sitter through gesture, palette and touch rather than depending only on exacting detail.\u003c\/p\u003e\u003ch2\u003eWhat Sets Strong Examples Apart\u003c\/h2\u003e\u003cp\u003eLook for portraits that hold together likeness, structure and painterly freshness. A compelling Impressionist portrait usually rewards attention through nuanced color, controlled looseness and a convincing sense of presence.\u003c\/p\u003e\u003ch2\u003eM.S. Rau\u003c\/h2\u003e\u003cp\u003eM.S. Rau offers Impressionist portraits with a focus on artistry, condition and collecting relevance, helping clients explore portraiture shaped by one of art history's most influential movements.\u003c\/p\u003e","products":[{"product_id":"girl-with-a-banjo-by-mary-cassatt","title":"Girl with a Banjo by Mary Cassatt","description":"Mary Cassatt\u003cbr\u003e 1844–1926 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGirl with a Banjo\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed (lower right)\u003cbr\u003e Pastel on paper mounted on canvas \u003cbr\u003e\u003cbr\u003e This important pastel entitled \u003cem\u003eGirl with a Banjo\u003c\/em\u003e by Mary Cassatt is a true masterwork from one of the most significant figures in the Impressionist movement. In the late 19th century, American artists in France faced marginalization, with women encountering even greater obstacles. Yet Cassatt overcame these challenges, not through talent alone, but with extraordinary vision and unwavering perseverance. Created at the peak of her career, this exquisite composition coincided with her monumental mural commission for the 1893 World’s Columbian Exposition, underscoring her pivotal role in both American and European art history. \u003cbr\u003e\u003cbr\u003e Encouraged by her close friend and mentor Edgar Degas, Cassatt began experimenting with the medium of pastel in the early 1880s. Her mastery of the medium became one of the defining elements of her artistic legacy. \u003cem\u003eGirl with a Banjo\u003c\/em\u003e exemplifies her technical virtuosity in pastel, with its vibrant, explosive use of color and dynamic brushwork, enhancing the delicate rendering of the young musician’s pale skin and soft hair. The composition is alive with texture and movement, bringing the figure to life with remarkable immediacy. \u003cbr\u003e\u003cbr\u003e By the early 1890s, Mary Cassatt had firmly established herself as the foremost American female artist, reshaping the role of women in art and society alongside fellow Impressionist Berthe Morisot. While earlier female artists often followed the stylistic conventions of their male peers, Cassatt and Morisot distinguished themselves by focusing on the lives of women, depicting them as active participants in their domestic and personal spheres. In 1891, Cassatt was commissioned to create a large mural for the Woman’s Building at the 1893 Chicago World’s Fair. Her monumental work, Modern Woman, spanned 54 feet by 14 feet and explored the expanding roles of women in modern society. A central figure in the mural depicted a woman playing the banjo—an instrument associated with African American culture and considered unconventional for women—highlighting Cassatt’s bold statement on women’s growing autonomy and their evolving place in the world. \u003cbr\u003e\u003cbr\u003e During this period, Cassatt produced several works of women playing the banjo, many of which were preparatory studies for her mural. \u003cem\u003eGirl with a Banjo\u003c\/em\u003e stands as one of only two complete works on this subject, with the other belonging to the collection of the Virginia Museum of Fine Arts. This particular pastel is widely regarded as the finest of her surviving banjo-themed works. Unfortunately, Cassatt's mural for the World’s Columbian Exposition was lost after the fair, likely destroyed in a warehouse fire, leaving works like \u003cem\u003eGirl with a Banjo\u003c\/em\u003e as rare surviving testaments to this significant phase of her career. Cassatt’s legacy as a groundbreaking artist endures, with her pastels highly prized by collectors and prestigious institutions worldwide. \u003cbr\u003e\u003cbr\u003e Circa 1894 \u003cbr\u003e\u003cbr\u003e Paper: 23\" high x 28\" wide (58.42 x 71.12 cm)\u003cbr\u003e Frame: 37 1\/2\" high x 42 1\/4\" wide x 2 3\/4\" deep (95.25 x 107.32 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0025.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 Roger Marx, Paris\u003cbr\u003e Private collection, Tokyo, acquired from above\u003cbr\u003e Sale, Sotheby’s London, 26 June 1990, lot 13, sold by above\u003cbr\u003e Private collection, Texas\u003cbr\u003e Private collection, Los Angeles, by 1998\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e The Art Institute of Chicago, Mary Cassatt: Modern Woman, 10 October 1998-10 January 1999, no. 74, p. 218, 296, 325, illustrated in color; exhibition traveled to Museum of Fine Arts, Boston, 6 February-10 May 1999 and National Gallery of Art, Washington, D.C., 5 June-6 September 1999","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44424774942855,"sku":"32-0025","price":4950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0025_1_06b5b680-9f81-407b-ad4e-2728c38d15f1.png?v=1775661735"},{"product_id":"young-woman-in-interior-by-richard-e-miller","title":"Young Woman in Interior by Richard E. Miller","description":"Richard E. Miller\u003cbr\u003e 1875-1943 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eYoung Woman in Interior\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Miller\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Richard E. Miller's \u003cem\u003eYoung Woman in Interior\u003c\/em\u003e exemplifies the artist's exceptional mastery of light, color and feminine beauty that established him as one of the most significant American artists of the early 20th century. This captivating work transports viewers to an intimate domestic scene where a young woman, seated at a window overlooking her garden, delicately stirs her tea in a moment of quiet contemplation. \u003cbr\u003e\u003cbr\u003e This colorful composition demonstrates Miller's sophisticated technique through its masterful contrasts—the sweeping folds of the subject's dark skirt juxtaposed against the sunlit foliage beyond the window, the luminous rendering of her smooth hands and bare shoulders against the energetic brushwork of her garments. These elements create a visual symphony that captures the fleeting quality of light and atmosphere so prized by the Impressionists. \u003cbr\u003e\u003cbr\u003e Miller developed his distinctive artistic voice during his time in Paris at the end of the 19th century, where he was immersed in the vibrant artistic circles of the period. Unlike many American artists who merely adopted European styles, Miller cultivated a personal approach to Impressionism that would define his oeuvre. This evolution reached its peak when he settled in Giverny, France—the legendary artist colony where Claude Monet and numerous other luminaries lived and worked. It was amid this creative community of the \"Giverny Luminists\" where Miller refined his signature subject: young beauties in light-filled domestic settings, like this work. \u003cbr\u003e\u003cbr\u003e Born in St. Louis, Missouri, Richard Edward Miller emerged as one of America's most significant Impressionist painters through his extraordinary sensitivity to light and feminine beauty. After training at Washington University's School of Fine Arts, Miller moved to Paris for nearly fifteen years, where his technical virtuosity earned him acceptance at the prestigious Paris Salon by 1901, and eventually to Giverny where his mature style fully flourished. Following his return to America during World War I, he taught at the Pennsylvania Academy of Fine Arts before settling in Provincetown, Massachusetts, garnering numerous accolades including gold medals at the St. Louis Universal Exposition (1904) and Panama-Pacific International Exposition (1915). Today, his works grace the permanent collections of prestigious institutions, including the Metropolitan Museum of Art, the Art Institute of Chicago and the Smithsonian American Art Museum. \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/landing.rauantiques.com\/miller-insights\/\"\u003e\u003cb\u003eSee auction comparables and market data\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Circa 1910-11 \u003cbr\u003e\u003cbr\u003e Canvas: 35 5\/8\" high x 28 1\/4\" wide (90.49 x 71.76 cm)\u003cbr\u003e Frame: 45 5\/8\" high x 38 1\/4\" wide x 2 3\/4\" deep (115.89 x 97.16 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist\u003cbr\u003e Alexander M. Hudnut, acquired from the above\u003cbr\u003e Walter P. Chrysler Jr., New York, Chrysler Museum of Art, Provincetown, MA, 1966\u003cbr\u003e Hirschl \u0026amp; Adler Galleries, New York, 1980\u003cbr\u003e Brand Galleries, San Francisco\u003cbr\u003e Private Collection, acquired from the above, 1982\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e (Possibly) New York, Macbeth Gallery, \u003cem\u003eExhibition of Paintings by Richard E. Miller\u003c\/em\u003e, April 1-20, 1912, no. 4 (as \u003cem\u003eA Dish of Tea\u003c\/em\u003e)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43673056673927,"sku":"32-0773","price":685000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0773_1_ca32cd0d-bd31-4d30-9718-dc84aa5255dd.png?v=1767189847"},{"product_id":"jeune-fille-au-chien-by-berthe-morisot","title":"Jeune fille au chien by Berthe Morisot","description":"Berthe Morisot\u003cbr\u003e 1841-1895 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJeune fille au chien\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eYoung girl with dog\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped with signature \"Berthe Morisot\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A pioneering figure of Impressionism, Berthe Morisot stands out not only as a leader of this revolutionary movement but also as one of the most groundbreaking women artists in history. This extraordinarily rare masterpiece, \u003cem\u003eJeune fille au chien\u003c\/em\u003e, is among her largest and most beautiful works available today. \u003cbr\u003e\u003cbr\u003e Glowing with a luminous palette and an ethereal softness, \u003cem\u003eJeune fille au chien\u003c\/em\u003e was painted in one of the most important years of Morisot’s life. In the spring of 1892, Morisot achieved a monumental milestone with her first solo retrospective at Paris's prestigious Boussod, Valadon et Cie gallery—a first for a woman Impressionist. Just one month before the exhibition opened, her husband of nearly two decades, Eugène Manet, died. Grief-stricken, Morisot entered the most innovative year of her career, seeking solace in her art and reinventing herself as an artist. \u003cbr\u003e\u003cbr\u003e Set in Morisot's garden at 40 Rue de Villejust, this captivating composition centers the stunning Jeanne Fourmanoir, the famous model who posed for both Morisot and Renoir during this period. Fourmanoir's distinctive cap and hair harmonize with the lush foliage, exemplifying the stylistic dialogue between Morisot and Renoir. This work reveals Morisot's evolution toward her softer, richer textures compared to her earlier energetic brushwork, creating a hazy, dreamlike quality that mirrors the emotional world of the artist in the final years of her life. \u003cbr\u003e\u003cbr\u003e Fourmanoir was one of Morisot’s favorite subjects, frequently appearing in Morisot's iconic masterpieces, most notably as a cherry picker in \u003cem\u003eLe Cerisier\u003c\/em\u003e of 1891, now at the Musée Marmottan Monet. Our painting depicting this famed model also has distinguished provenance, once belonging to the major American collectors Ralph Coe of Cleveland and Harry and Doris Rubin of New York. Its remarkable exhibition history includes the important 1896 Durand-Ruel exhibition, organized shortly after Morisot's death by her distinguished peers: Edgar Degas, Claude Monet, Pierre-Auguste Renoir and Stephane Mallarmé. An incredible tribute to one of Impressionism's most visionary talents, this show was a grand event in the Parisian art scene. \u003cbr\u003e\u003cbr\u003e Born in Bourges, France, in 1841, Berthe Morisot came from a wealthy family. Like many young girls of her social class, she received private art lessons beginning at the age of 11. Her teacher, the painter Joseph Guichard, helped to introduce her to the Parisian art scene. Through him, Morisot made the acquaintance of Jean-Baptiste-Camille Corot and Édouard Manet, both of whom would have a profound impact on her career and artistic style. Morisot exhibited regularly at the Paris Salon from 1864 to 1873 until, in 1874, she officially joined and became a vital leader of the Impressionists, exhibiting in all but one of the eight Impressionist shows. \u003cbr\u003e\u003cbr\u003e Today, Morisot's paintings remain some of the rarest Impressionist works on the market—she produced just 416 oil paintings, significantly less than Monet, Degas and Renoir. The majority of Morisot’s works are held in prestigious museum collections worldwide, including the Metropolitan Museum of Art in New York, the Tate Modern in London, the Musée du Louvre and the Musée d’Orsay in Paris. She has also been the focus of endless scholarship and landmark exhibitions, including a major retrospective at The Barnes Foundation in 2019 that traveled to the Musée National des Beaux-Arts du Québec, the Dallas Museum of Art and the Musée d’Orsay. \u003cbr\u003e\u003cbr\u003e Painted 1892 \u003cbr\u003e\u003cbr\u003e Canvas: 25 1\/4\" high x 31 1\/2\" wide (64.14 x 80.01 cm)\u003cbr\u003e Framed: 35\" high x 41\" wide x 2 3\/8\" deep (88.90 x 104.14 x 5.91 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0999.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e C.W. Kraushaar Galleries, New York\u003cbr\u003e Ralph M. Coe, Cleveland (acquired from the above, 1926)\u003cbr\u003e Sale, Sotheby's New York, January 14, 1959, lot 70 (sold by the above)\u003cbr\u003e Milch Gallery, New York (acquired at the above sale)\u003cbr\u003e Harry and Doris Rubin, New York (acquired from the above in 1959)\u003cbr\u003e Sale, Sotheby’s New York, May 7, 2008, lot 10 (sold by the above)\u003cbr\u003e Private collection (acquired at the above sale)\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J. Rewald, \u003cem\u003eThe History of Impressionism\u003c\/em\u003e, New York, 1961, p. 573 (illustrated in color)\u003cbr\u003e M.-L. Bataille and G. Wildenstein, \u003cem\u003eBerthe Morisot, Catalogue des peintures, pastels et aquarelles\u003c\/em\u003e, Paris, 1961, p. 44, no. 311 (illustrated fig. 318)\u003cbr\u003e A. Clairet, D. Montalant and Y. Rouart, \u003cem\u003eBerthe Morisot, Catalogue Raisonné de l’oeuvre Peint\u003c\/em\u003e, Paris, 1997, p. 267, no. 315 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Durand-Ruel et Cie., \u003cem\u003eBerthe Morisot (Madame Eugène Manet), Exposition de son oeuvre\u003c\/em\u003e, March 1896, p. 19, no. 29 (dated 1887)\u003cbr\u003e Paris, Galerie Bernheim, \u003cem\u003eRetrospective de Berthe Morisot\u003c\/em\u003e, June – July 1922\u003cbr\u003e Chicago, The Arts Club, \u003cem\u003eBerthe Morisot\u003c\/em\u003e, March-April 1943, no. 26 (titled \u003cem\u003eGirl with a Dog in a Garden\u003c\/em\u003e)\u003cbr\u003e New Haven, Yale University Art Gallery, \u003cem\u003ePictures Collected by Yale Alumni\u003c\/em\u003e, May-June 1956, no. 87 (illustrated; titled \u003cem\u003eJeanne Foumanoir in Madame Morsiot’s Garden, with the Little Dog\u003c\/em\u003e)\u003cbr\u003e New York, Wildenstein \u0026amp; Co., \u003cem\u003eBerthe Morisot\u003c\/em\u003e, November-December 1960, no. 58 (illustrated; titled \u003cem\u003eJeanne Fourmanoir et son Petit Chien Colas\u003c\/em\u003e)\u003cbr\u003e Turin, Galleria Civica d’arte Moderna e Contemporanea, \u003cem\u003eBerthe Morisot, Impressionist painter\u003c\/em\u003e, 16 October 2024 – 9 March 2025, no. 38","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44024810176647,"sku":"32-0999","price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-0999_1_2b7d756b-c561-4397-91ea-a096d7affdc8.png?v=1780145876"},{"product_id":"venetian-glass-portrait-of-kitty-hughes-by-childe-hassam","title":"Venetian Glass (Portrait of Kitty Hughes) by Childe Hassam","description":"Childe Hassam\u003cbr\u003e 1859-1935 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eVenetian Glass (Portrait of Kitty Hughes)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Childe Hassam 1916” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Widely considered America's most important Impressionist painter, Childe Hassam's radiant portraits of women are among the rarest and most coveted in all of his oeuvre. This magnificent masterwork, entitled \u003cem\u003eVenetian Glass (Portrait of Kitty Hughes)\u003c\/em\u003e, is coming to the market for the very first time, having remained in a museum collection for almost 100 years. \u003cbr\u003e\u003cbr\u003e Hassam famously called himself “a painter of light and air,” rejecting the label of “Impressionist” his entire career. At the height of his fame in the early 1910s, Hassam turned his attention to intimate, light-filled interior scenes featuring women in quiet contemplation—a subject that would become his signature. Here, one of the artist's iconic beauties delicately grasps a long-stemmed Murano glass, and she can be identified as one of Hassam's favorite models, Kitty Hughes. Very little is known about her life, yet contemporary newspapers often wrote of her beauty: “One wonders if when she left the studios, if she knew how her beauty would live as long as canvas lasts—always Sweet Kitty Hughes.” \u003cbr\u003e\u003cbr\u003e Hassam's trademark techniques are on full display. The palette of warm golds and cool aquamarines is perfectly balanced and absolutely radiant, allowing the luminous figure to emerge from a shimmering atmosphere of pure color. He also masterfully renders an array of difficult textures with precision, from the sheen of her silk kimono and the curl of her auburn hair to the near-invisible translucence of the glass. \u003cbr\u003e\u003cbr\u003e Hassam debuted this exceptional masterpiece at the 18th Annual Exhibition of the Carnegie Institute in Pittsburgh in the spring of 1914, and in the months and years that followed, it was exhibited in some of the nation’s most prestigious museums—the St. Louis Art Museum, the Art Institute of Chicago, the Detroit Arts Institute and the Pennsylvania Academy of Fine Arts. It was clearly a personal favorite of Hassam’s, as it remained in the artist’s own collection for the rest of his life. Upon his death in 1935, Hassam bequeathed this painting and several other special works to the American Academy of Arts and Letters in New York, where it has remained until now. \u003cbr\u003e\u003cbr\u003e As one of the most important artists in American history, most of Hassam's masterworks of this caliber already reside in important institutions, including the National Gallery of Art, the Smithsonian American Art Museum, the Carnegie Museum of Art and many more. \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming catalogue raisonné of Hassam’s work in preparation by Stuart P. Feld and Kathleen M. Burnside. \u003cbr\u003e\u003cbr\u003e Painted 1913-16 \u003cbr\u003e\u003cbr\u003e Canvas: 32 3\/8” high x 22 3\/8” wide (82.1 x 56.7 cm)\u003cbr\u003e Frame: 49” high x 38 3\/4” wide x 1 1\/4” deep (124.5 x 98.4 x 3.2 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2711.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist, 1913–35\u003cbr\u003e Bequest of the above to The American Academy of Arts and Letters, New York, 1935\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e “List 344 Paintings at Pittsburgh Show. Eighteenth International Exhibition to Open at Carnegie Institute on April 30,” \u003cem\u003eNew York Times\u003c\/em\u003e, April 20, 1914, p. 11\u003cbr\u003e Moore S. Achenbach, “Art Galleries Are Open For Private View,” \u003cem\u003ePittsburgh Daily Post\u003c\/em\u003e, April 30, 1914, p. 7\u003cbr\u003e Glendinning Keeble, “Paintings Seen at Private View,” \u003cem\u003ePittsburgh Post-Gazette\u003c\/em\u003e, April 30, 1914, p. 16\u003cbr\u003e “Many Artists Will Exhibit,” \u003cem\u003ePittsburgh Daily Post\u003c\/em\u003e, April 20, 1914, p. 5\u003cbr\u003e John Lane, “Thumb-Nail Notes on the Annual Exhibition of the Chicago Art Institute,” \u003cem\u003eInternational Studio\u003c\/em\u003e 54 (November 1914), p. LV\u003cbr\u003e “Random Impressions in Current Exhibitions,” \u003cem\u003eNew-York Tribune\u003c\/em\u003e, February 25, 1917, p. 21\u003cbr\u003e Adeline Adams, \u003cem\u003eChilde Hassam\u003c\/em\u003e (New York: American Academy of Arts and Letters, 1938), illus. opposite p. 92 as “Kitty Hughes, 1916” \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Department of Fine Arts, Carnegie Institute, Pittsburgh, April 30–June 30, 1914, \u003cem\u003eEighteenth Annual Exhibition\u003c\/em\u003e, no. 149\u003cbr\u003e City Art Museum of St. Louis, St. Louis, Missouri, from September 6, 1914, \u003cem\u003eNinth Annual Exhibition of Selected Paintings by American Artists\u003c\/em\u003e, no. 88\u003cbr\u003e Art Institute of Chicago, Chicago, Illinois, November 3–December 6, 1914, \u003cem\u003eTwenty-seventh Annual Exhibition of American Oil Paintings and Sculpture\u003c\/em\u003e, no. 145\u003cbr\u003e M. Knoedler \u0026amp; Co., New York, February 15–March 3, 1917, \u003cem\u003eExhibition of American Painters\u003c\/em\u003e, no. 19\u003cbr\u003e Detroit Museum of Art, Detroit, Michigan, April 9–May 30, 1918, \u003cem\u003eFourth Annual Exhibition of Selected Paintings by American Artists\u003c\/em\u003e, no. 123\u003cbr\u003e The American Academy of Arts and Letters, New York, November 19, 1966–February 11, 1967, \u003cem\u003eChilde Hassam Exhibition\u003c\/em\u003e, no. 1, as “Kitty Hughes” ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44797733273735,"sku":"32-2711","price":1285000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2711_1_f6a7d6b1-87c2-4607-bb07-375b847a2998.png?v=1781126540"}],"url":"https:\/\/rauantiques.com\/collections\/impressionist-portraits.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}