{"title":"Impressionist","description":"\u003ch2\u003e\u003cstrong\u003eOriginal Impressionist Paintings and More\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOriginating in France in the 1860s, the Impressionist art movement is known for its use of vibrant colors, shadowing, and loose brush strokes that depicts the “impression” and emotional impact of everyday moments and subjects. Rather than focusing on the accuracy and precision of the images, Impressionist artists placed emphasis on the spontaneity of the moment and longer paint strokes to show shadows and the changing colors of nature. French Impressionists opposed classical subject matter and instead, embraced subjects and scenes from everyday life. From \u003ca href=\"https:\/\/rauantiques.com\/collections\/landscape\"\u003eoriginal landscape oil paintings\u003c\/a\u003e, to still life, or even portraits, Impressionist painters preferred working on their canvases outside in fresh air. Impressionism art is considered the first Modern Art movement, and the original Impressionist paintings are now some of the most popular works amongst art collectors. The French Impressionist movement expanded to other parts of the world, including the rest of Europe, Russia and America. More notably, the famous American Artist \u003ca href=\"https:\/\/rauantiques.com\/collections\/childe-hassam\"\u003eChilde Hassam\u003c\/a\u003e was highly inspired by the growing amount of French Impressionist paintings he had seen in museums and curated collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAt M.S. Rau, we have a vast selection of rare original Impressionist art for sale by famous artists such as Claude Monet, \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eEdgar \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eDegas\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e Pierre\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e-\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAuguste Renoir, and \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eCamille\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e Pissarro\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e. Whether you already have an Impressionist artist in mind, or you are looking for a new Post-Impressionist painting, find a collection of \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eoriginal Impressionist \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003epaintings\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e for sale\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e whose bright and luminous color palette captures the vibrance of a lush garden or a beautiful portrait that captures the light-hearted emotion of the moment. As always, all \u003c\/span\u003e\u003ca href=\"https:\/\/rauantiques.com\/collections\/fine-art\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eoriginal fine art paintings\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e at M.S. Rau are curated by our team of fine art experts who select only the most exceptional \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ecompositions\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e to offer for sale. \u003cmeta charset=\"utf-8\"\u003eOur collection highlights not only the group of artists who defined late 19th century Impressionism, but also contemporary artists whose work continues to influence the art world, blending elements of expressionism and bold oil painting techniques.\u003cb id=\"docs-internal-guid-5875f0d3-7fff-0a93-6163-d60054e70167\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003eFor those who have an appreciation for Impressionist paintings and Post-Impressionist art, browse our online art gallery knowing that each original painting is backed by our \u003c\/span\u003e\u003ca href=\"https:\/\/rauantiques.com\/pages\/buy-with-confidence\"\u003e\u003cspan style=\"font-weight: 400;\"\u003e125% guarantee\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e so you can buy with confidence.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"at-the-mirror-by-frederick-carl-frieseke","title":"At the Mirror by Frederick Carl Frieseke","description":"Frederick Carl Frieseke\u003cbr\u003e 1874-1939 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAt the Mirror\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F.C. Frieseke\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Part of the second generation of modern American painters to study in Giverny, Frederick Carl Frieseke is among the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. \u003cem\u003eAt the Mirror\u003c\/em\u003e is a charming example of the latter, and it is masterfully executed with the artist's deft handling of color. \u003cbr\u003e\u003cbr\u003e The work demonstrates the artist's remarkable eye for composition; the mirror (with its reflection) divides the canvas horizontally, offering a view of the front and back of the artist's model as she removes her robe. The result is a work that feels both intimate and voyeuristic, allowing the viewer a glimpse into this private space. The soft familiarity of the work is enhanced by the painter’s characteristic limitation of palette, which has been pared down to a series of pale greens, blues and violets that are only occasionally offset by hints of orange, yellow and red in the wallpaper and flowers. All of his distinctive artistic devices come together in \u003cem\u003eAt the Mirror\u003c\/em\u003e, resulting in a highly successful and balanced composition.  \u003cbr\u003e\u003cbr\u003e Executed in 1922, the work embodies Frieseke's mature impressionist style. After spending nearly two decades in the artist's colony at Giverny, Frieseke moved to a farm in Normandy in 1920, and his art of this period concentrated almost solely on the female figure. \u003cem\u003eAt the Mirror\u003c\/em\u003e exemplifies his output of this age. The quietude of the room and the tranquility of the model are poignantly recorded by Frieseke, resulting in an idyllic image that approaches its subject in its most picturesque form. As a whole, the work demonstrates Frieseke's skillful use of impressionistic brushwork and diffuse light.  \u003cbr\u003e\u003cbr\u003e Born in Michigan in 1874, Frieseke studied his craft at the School of the Art Institute of Chicago. After briefly studying in New York, he moved to Paris in 1897 like many artists of his generation. There, he studied at the Académie Julian, where he worked under Benjamin Constant and Jean-Paul Laurens. In the ensuing years, he began to paint the intimate views of women in their boudoirs that would come to dominate his output throughout his career. \u003cbr\u003e\u003cbr\u003e Frieseke first visited the artist colony in Giverny in 1900, and just five years later, he would settle there. The work he created while in Giverny was among the most significant of his career. He and his wife frequently visited Claude Monet, who was a close neighbor, though they more commonly discussed gardens than their artwork. In 1920, Frieseke was appointed a Chevalier of the Legion of Honor, a remarkable achievement for an American painter. Today, his works can be found in museums around the world, including the Detroit Institute of the Arts, the Minneapolis Institute of Arts, the Museum of Fine Arts (Houston) and the Thyssen-Bornemisza Museum (Madrid). \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming catalogue raisonné of Frieseke's work being compiled by Nicholas Kilmer, the artist's grandson. \u003cbr\u003e\u003cbr\u003e Circa 1922 \u003cbr\u003e\u003cbr\u003e Canvas: 32 3\/4\" high x 32 1\/4\" wide\u003cbr\u003e Frame: 43\" high x 42 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Macbeth Gallery, New York\u003cbr\u003e Sotheby's New York, May 25, 1988, Lot 194\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44335886205063,"sku":"31-2880","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2880_1_a73f8f71-5a37-40f7-89f6-17f5e38702a5.png?v=1775143357"},{"product_id":"taroudant-by-raphael-pinatel","title":"Taroudant by Raphaël Pinatel","description":"Raphaël (René) Pinatel\u003cbr\u003e 1875 - 1933 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTaroudant\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, inscribed and dated \"R. Pinatel \/ Taroudant \/ 1926\" (lower right)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e A stunning ode to the Moroccan landscape, this oil on panel was composed by the French Orientalist painter Raphaël Pinatel, whose lively works adeptly translated the romanticism of the East for a Western audience. The present work, which captures a market in Taroudant, a city in southeastern Morocco, exemplifies the artist’s distinctive approach as he brilliantly translates the energy and atmosphere of the desert city. Pinatel’s style is impressionistic in his brushwork and handling of light and atmosphere. In the present work, he brilliantly captures the effects of the direct desert sun as it shines through the thatched roofs of the merchant’s booths onto the sand. Rendered in earth tones punctuated by jewel-like reds and blues, the palette itself has an exotic feel, as Pinatel perfectly renders the colors of the desert oasis.  \u003cbr\u003e\u003cbr\u003e While little is known of Pinatel, he did travel often to northern Africa, and his time in Morocco would have a lasting impact on his oeuvre. European public demand for Orientalist pictures was high in the late 19th and early 20th centuries, and Pinatel was a founding member of an artistic society called the Association of French Painters and Sculptors of Morocco created in 1922 in response to the recent successes of Orientalist exhibitions. The group, consisting of twelve artists, exhibited together frequently and enjoyed much popular and critical acclaim, satisfying the contemporary fervor for all things exotic. \u003cbr\u003e\u003cbr\u003e Painted 1926 \u003cbr\u003e\u003cbr\u003e Panel: 18\" high x 21 1\/2\" wide\u003cbr\u003e Frame: 22\" high x 25 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42578021122183,"sku":"31-3804","price":32500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3804_1.png?v=1746450319"},{"product_id":"apres-le-bain-by-pierre-auguste-renoir","title":"Après le bain by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAprès le bain\u003cbr\u003e (After the bath)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Renoir” (lower left)\u003cbr\u003e Sanguine and white chalk on Western wove paper stretched over canvas \u003cbr\u003e\u003cbr\u003e For Pierre-Auguste Renoir, Impressionism's preeminent figure painter, depicting the nude was an exercise in bringing the canvas to life. He once said, “I look at a nude, I see myriads of minuscule shades. I have to find those which will make the flesh on my canvas come to life and resonate.” This compelling portrait by Renoir entitled \u003cem\u003eAprès le bain\u003c\/em\u003e presents the nude figure of a woman in a serene, private moment, absorbed in the task of drying herself after a bath. The artist’s mastery of light and shading is incredible, achieving a sense of vitality in this otherwise ordinary scene. \u003cbr\u003e\u003cbr\u003e Renoir is celebrated for his figural work, especially his Rubenesque female nudes, however, it was not until the artist was in his forties that he depicted the nude with any frequency. In 1881, Renoir traveled to Italy, where he studied the works of the Renaissance masters and the ancient art of Pompeii and Rome. Upon his return to France, the nude became his favored subject, and he used the motif to combine the spontaneity of Impressionism with the solid modeling of classical painting. Renoir’s medium here, sanguine, a reddish-brown chalk, was used extensively in the Renaissance by Leonardo (who employed it in his sketches for the Last Supper), Michelangelo and Raphael. Its warm hue lends itself well to depicting flesh, and the chalk drawing allows for a greater focus on line, form and texture in a departure from the aspects of color and light that so often preoccupied the Impressionists. \u003cem\u003eAprès le bain\u003c\/em\u003e conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. \u003cbr\u003e\u003cbr\u003e The sitter is almost certainly Gabrielle Renard, the nanny to Renoir’s children and a frequent model for the artist. Gabrielle was the cousin of Renoir’s wife, Aline, and came to Montmartre to work for the family at the age of 16. She developed a strong bond with the family and became a favorite subject for Renoir, appearing in several of his most important works, including his 1911 \u003cem\u003eGabrielle with a Rose\u003c\/em\u003e (Musée d'Orsay). When Renoir began to suffer from severe rheumatoid arthritis that would eventually leave him unable to walk and scarcely able to grasp a paintbrush, it was Gabrielle that would assist the artist by positioning the paintbrush between his crippled fingers.  \u003cbr\u003e\u003cbr\u003e Born in Limoges, France in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also when he met Claude Monet and several other classmates, with whom he would later form the Impressionists. \u003cbr\u003e\u003cbr\u003e Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused on composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with acute attention to his subject, have placed him among the finest painters in history. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a certificate of authenticity and will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir from the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1898 \u003cbr\u003e\u003cbr\u003e Canvas: 43 1\/2\" high x 35 1\/2\" wide (110.49 x 90.17 cm)\u003cbr\u003e Frame: 57 3\/4\" high x 49 1\/4\" wide (146.69 x 125.10 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-3793.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899)\u003cbr\u003e J. Pereire Collection, France (1966)\u003cbr\u003e Sam Salz, New York (before 1981)\u003cbr\u003e Claus Virch, Paris\u003cbr\u003e French Compagny, Inc., New York\u003cbr\u003e Larry Silverstein, New York (circa January 1987)\u003cbr\u003e Le Clos de Sierne Gallery, Geneva\u003cbr\u003e Galerie Heyram, Paris (October 1987)\u003cbr\u003e Francis Gross\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e B. Schneider, \u003cem\u003eRenoir\u003c\/em\u003e, Berlin, 1957, p. 95 (illustrated in color, p. 83)\u003cbr\u003e M. Gauthier, \u003cem\u003eRenoir\u003c\/em\u003e, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet')\u003cbr\u003e F. Fosca, \u003cem\u003eRenoir, L'homme et son obra\u003c\/em\u003e, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath')\u003cbr\u003e G.-P. and M. Dauberville, \u003cem\u003eRenoir, Catalog raisonné des tableaux, pastels, dessins et aquarelles\u003c\/em\u003e, Paris, 2010, vol. III, p. 515-516, no. 2597 (illustrated, p. 515) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Galerie Durand-Ruel, Paris, Watercolors, Pastels and Drawings by Renoir, April 1921, p. 3, no. 53 (erroneously dated '1906' and titled 'Baigneuse s'essuie').\u003cbr\u003e Kunsthalle, Basel, Meisterzeichnungen französischer Künstler von Ingres bis Cézanne , June-August 1935, p. 30, no. 223.\u003cbr\u003e Galerie des Beaux-Arts, Paris, Exhibition of “La Gazette des Beaux-Arts”, Renoir, The sculpted work, the engraved work, watercolors and drawings, October-November 1935, p. 30, no. 22.\u003cbr\u003e Musée national d'art moderne, Paris, From Impressionism to the present day , June 1958, no. 175 (illustrated, pl. 9).\u003cbr\u003e The Metropolitan Museum of Art, New York, 1966-1973.\u003cbr\u003e The Musée d'Orsay and the Morgan Library, \u003cem\u003eRenoir Drawings\u003c\/em\u003e, Oct 17 2025-Feb 8 2026, no. 179, p. 207; will travel to Musée d'Orsay, Mar 17-Jul 5, 2026","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050780487815,"sku":"31-3793","price":2450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3793_1_ce85eb12-2496-439f-88b3-c8ab4bf2e8a3.png?v=1774967208"},{"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":"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":"les-aloes-cimiez-by-berthe-morisot","title":"Les Aloès, Cimiez by Berthe Morisot","description":"Berthe Morisot\u003cbr\u003e 1841-1895 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLes Aloès, Cimiez\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This masterpiece was painted by the renowned Impressionist artist Berthe Morisot. Entitled \u003cem\u003eLes Aloès, Cimiez\u003c\/em\u003e, the captivating painting serves as an ode to the enchanting landscapes of the Mediterranean and tells a timeless tale of familial warmth. Celebrated for her ability to capture the essence of a moment, Morisot takes the viewer to the sun-kissed hills of Cimiez, the upscale hilltop neighborhood overlooking the azure beauty of Nice. In the aftermath of the disbanding of the Impressionists following their last exhibition in 1886, Morisot, accompanied by her husband Eugène Manet and their daughter Julie, sought refuge in the picturesque villa Ratti. The sojourn to the South of France offered the artist a bounty of beauty and countryside quietude to continue her painting. \u003cbr\u003e\u003cbr\u003e Under Morisot's delicate brush, the aloes of the garden come alive, seemingly dancing in a gentle breeze. Her palette of pastel blues, yellows and greens belies the tranquility of the setting. Beyond the swirling leaves in the foreground, a slender, feminine figure graces the threshold of the villa—perhaps the artist's daughter, Julie Manet. Morisot's affection for the balmy Mediterranean climate is clear, further illustrated by an 1889 letter to her sister, Edma: “The country is delicious; I work, I make aloes, orange trees, olive trees; finally, a whole exotic vegetation very difficult to draw.” \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. \u003cbr\u003e\u003cbr\u003e Morisot exhibited regularly at the Paris Salon from 1864 to 1873 until, in 1874, she joined the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs—the group that would become known as the Impressionists. They held their first exhibition that same year, and Morisot would go on to exhibit in all but one of the Impressionist shows. Today, Morisot’s drawings, watercolors and oils are in major museums worldwide, including the Metropolitan Museum of Art (New York), the National Gallery of Art (Washington D.C.), the Tate Modern (London), the Louvre (Paris) and the Musée d’Orsay (Paris). Because Morisot was wealthy, painting was a passion and not a necessity; thus, her oeuvre is selective and her works extremely difficult to acquire. \u003cbr\u003e\u003cbr\u003e Further distinguished by its prestigious provenance, \u003cem\u003eLes Aloès, Cimiez\u003c\/em\u003e was held in the private collection of the artist’s daughter, Julie Manet, before passing to Ernest Rouart and Julien Rouart. Exhibited widely, it was shown at the famed Galerie Durand-Ruel twice and the important 1907 Salon d’Automne. The painting is reproduced in Marie-Louise Bataille and Georges Wildestein’s catalogue raisonné of the artist’s works, as well as that of Alain Clairet. The study for \u003cem\u003eLes Aloès, Cimiez\u003c\/em\u003e is held in the permanent collection of the Musée Marmottan in Paris. \u003cbr\u003e\u003cbr\u003e Painted in 1889 \u003cbr\u003e\u003cbr\u003e Canvas: 26 1\/5\" high x 19 1\/4\" wide (66.68 x 48.90 cm)\u003cbr\u003e Frame: 34 3\/4\" high x 27 3\/4\" wide x 2 1\/2\" deep (88.27 x 70.49 x 6.35 cm)  \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2859.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection of Julie Manet \u0026amp; Ernest Rouart\u003cbr\u003e Private collection of Julien Rouart\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, United States \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Galerie Boussod et Valadon, 1892, Tableaux, pastels et dessins par Berthe Morisot, n° 15\u003cbr\u003e Galerie Durand-Ruel, 1896, Berthe Morisot, n° 118\u003cbr\u003e Galerie Durand-Ruel, 1902, Berthe Morisot, n° 18\u003cbr\u003e Salon d’Automne, Paris, 1907, n° 44\u003cbr\u003e Galerie Bernheim-Jeune, 1919, Cent oeuvres de Berthe Morisot, n° 31\u003cbr\u003e Galleria Civica d'Arte Moderna e Contemporanea di Torino, \u003cem\u003eBerthe Morisot: Pittrice Impressionista\u003c\/em\u003e, October 2024-March 2025, no. 28 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Marie-Louis Bataille et Georges Wildenstein, \u003cem\u003eBerthe Morisot – Catalogue des peintures, pastels et aquarelles\u003c\/em\u003e, Paris, éd. Les Beaux-Arts, 1961, n° 233, p. 38 ; ill. fig. 252 (cf. Annexe 1)\u003cbr\u003e \u003cem\u003eImportants dessins et tableaux impressionnistes, provenant de la Succession de Madame Julien Rouart\u003c\/em\u003e, catalogue de la vente Ferri et Beaussant-Lefèvre, Paris, Drouot-Montaigne, 27 November 1997, lot 11, ill. (cf. Annexe 2)\u003cbr\u003e Alain Clairet et al., \u003cem\u003eBerthe Morisot, 1841-1895 : catalogue raisonné de l’oeuvre peint\u003c\/em\u003e, Montolivet, CERA-nrs éd., 1997, n° 237, ill. p. 230\u003cbr\u003e \u003cem\u003eBerthe Morisot et l’art du XVIII siècle\u003c\/em\u003e, Musée Marmottan Monet, Paris, 2023, fig. 11, p. 144","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41790357864583,"sku":"32-2859","price":1750000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2859_1_7272540a-0e59-4ef3-868b-085e184b5d0a.png?v=1781803299"},{"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"},{"product_id":"fleurs-dans-un-vase-avec-partition-musicale-by-paul-gauguin","title":"Fleurs dans un vase avec partition musicale by Paul Gauguin","description":"Paul Gauguin \u003cbr\u003e 1848-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase avec partition musicale\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Flowers in vase with musical score)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “P. Gauguin 74\/76” (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Works by the legendary Paul Gauguin, particularly those comprising his still lifes, are rare treasures. This remarkable composition, entitled \u003cem\u003eFleurs dans un vase avec partition musicale (Flowers in a Vase with Musical Score)\u003c\/em\u003e, stands as an important glimpse of the master’s unparalleled eye for color, composition and expressive brushwork. \u003cbr\u003e\u003cbr\u003e Using an extraordinary palette of soft pastels and rich jewel tones, Gauguin renders the central bouquet in luminous splendor that emerges in three dimensions against the neutral background. The wrinkled edges of the musical score are almost palpable, painted with the same thick impasto that gives the lush blooms their lifelike energy. \u003cbr\u003e\u003cbr\u003e When viewing this composition, it is easy to see the technical proficiency that garnered the attention and admiration of fellow artists, including Camille Pissarro, Vincent van Gogh and Edgar Degas. It was Pissarro who persuaded Gauguin to submit a painting to the Salon of 1876. Both Pissarro and Degas were so impressed by his work that they extended an invitation to Gauguin to exhibit at the Impressionist Exhibition of 1879 and subsequent exhibitions thereafter. Even after the Impressionists held their final official exhibition in 1886, Gauguin maintained his association with Pissarro as the movement transitioned into Post-Impressionism. \u003cbr\u003e\u003cbr\u003e Endowed with an exceptional sense of color and a fervent appreciation for life, he initially engaged in painting merely as a leisure activity. This hobby became his life’s calling in 1882, following the financial setback he experienced due to the Paris stock market crash, which resulted in the loss of his position as a stockbroker. Gauguin’s work, distinguished by its vibrant individuality, would go on to change the course of art history, and his instantly recognizable paintings are held in the world’s most esteemed museums and private collections. Still lifes similar to this one are owned by the National Gallery of Art, the Philadelphia Museum of Art and the Museo National Thyssen-Bornemisza, Madrid. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase avec partition musicale\u003c\/em\u003e is accompanied by a certification from The Art Loss Register and is featured in the 1964 and 2002 Wildenstein catalogues raisonnés on the artist.  \u003cbr\u003e\u003cbr\u003e Circa 1874-76  \u003cbr\u003e\u003cbr\u003e Canvas: 16” high x 10 3\/8” wide (40.64 x 27.31 cm)\u003cbr\u003e Frame: 22 1\/4” high x 16 7\/8” wide (56.52 x 42.86 cm) \u003cbr\u003e\u003cbr\u003e View the dossier: \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8610.pdf\" target=\"_blank\"\u003eFleurs dans un vase avec partition musicale by Paul Gauguin\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Armand Parent, Paris, circa 1921\u003cbr\u003e Otto Nierenstein, Vienna, circa 1928\u003cbr\u003e Kunstsalon Abels, after 1950\u003cbr\u003e Römer, Germany, circa 1950\u003cbr\u003e  Private collection, Düsseldorf, circa 1988\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, Virginia \u003cbr\u003e\u003cbr\u003e Literature: \u003cbr\u003e Charles Chassé, \u003cem\u003eGauguin et le groupe de Pont-Aven\u003c\/em\u003e, Paris, 1921, p. 64\u003cbr\u003e Wilhelm Barth, \u003cem\u003ePaul Gauguin\u003c\/em\u003e, 1929, p. 41\u003cbr\u003e Lee van Dovski, \u003cem\u003eGauguin\u003c\/em\u003e, 1950, no. 1, p. 338\u003cbr\u003e Georges Wildenstein, \u003cem\u003eGauguin\u003c\/em\u003e, vol. 1, Paris, 1964, no. 9, p. 5, illustrated\u003cbr\u003e Merete Bodelsen, \"The Dating of Gauguin’s Early Paintings,\" \u003cem\u003eThe Burlington Magazine,\u003c\/em\u003e June 1965, p. 309\u003cbr\u003e Daniel Wildenstein, \u003cem\u003eGauguin: A Savage in the Making. Catalogue Raisonné of the Paintings (1873-1888)\u003c\/em\u003e, vol. 1, 2002, Paris and Milan, no. 36, p. 37, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited: \u003cbr\u003e Basel, Kunsthalle, 1928, no. 1 (as \u003cem\u003eBunch of Flowers in Blue Vase\u003c\/em\u003e, 1874)\u003cbr\u003e Berlin, Thannhauser, 1928, no. 2","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44553379676295,"sku":"31-8610","price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8610_1.png?v=1781536903"},{"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":"smiling-sara-in-a-big-hat-holding-her-dog-by-mary-cassatt","title":"Smiling Sara in a Big Hat Holding Her Dog by Mary Cassatt","description":"Mary Cassatt\u003cbr\u003e 1844–1926 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSmiling Sara in a Big Hat Holding Her Dog\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Mary Cassatt\" (lower right)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“I love to paint children. They are so natural and truthful. They have no arrière-pensée [ulterior motive].”\u003c\/em\u003e – Mary Cassatt \u003cbr\u003e\u003cbr\u003e Mary Cassatt is distinguished as one of the most important female painters in art history, as one of the few women and the only American to exhibit with the Impressionists. More than any of her contemporaries, she elevated the world of women into subjects of profound significance. This magnificent pastel, \u003cem\u003eSmiling Sara in a Big Hat Holding Her Dog\u003c\/em\u003e, showcases Cassatt's signature subject and her exceptional mastery of the medium. \u003cbr\u003e\u003cbr\u003e By 1906, at the peak of her fame, Mary Cassatt began frequently employing Sara, a young golden-haired girl who was quite likely the granddaughter of former French president Emile Loubet. Sara's sweet face and good-natured demeanor made her a favored model who appeared in many of Cassatt's works, including \u003cem\u003eSara in a Green Bonnet\u003c\/em\u003e at the Smithsonian of American Art Museum and a drawing titled \u003cem\u003eSara Wearing Her Bonnet and Coat\u003c\/em\u003e at the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e In this work, Sara and her loyal companion are rendered in a lovely range of rosy pinks, warm yellows and brilliant blues. Cassatt's virtuosic linework adds dynamic energy to certain parts of the composition and lush softness to others, especially Sara's face and hair. Radiating a charming vivacity and intimate warmth, this work embodies Cassatt's understanding of childhood innocence and her belief in the compelling individualism of women and girls. \u003cbr\u003e\u003cbr\u003e Cassatt’s pastel work, inspired by her friend Edgar Degas, allowed her to layer color rapidly while capturing the fleeting nuances of expression. “I saw art then as I wanted to see it,” she once recalled after encountering Degas’s pastels in a Paris shop window. From the 1890s onward, pastel became her dominant medium, and by the early 20th century, she had fully harnessed its potential for expressiveness and luminosity. Pastel would ultimately emerge as the medium for which she achieved her greatest fame. \u003cbr\u003e\u003cbr\u003e Born in 1844 near Pittsburgh, Mary Cassatt spent most of her life in France. She is likely the most important person in exposing the Impressionist movement to the Americas. Cassatt exhibited at the Salon and was invited by Edgar Degas in 1877 to join the Impressionist exhibitions, participating in 1879–81 and 1886 as the lone American in the group. Today, Cassatt remains one of the most towering female figures in art history, and her works are highly coveted by prestigious institutions and collectors. Major retrospective exhibitions of her work, both oil paintings and works on paper alike, have been held at the Musée d’Orsay, and the major 2024-25 exhibition organized by the Philadelphia Museum of Art and the Fine Arts Museums of San Francisco, \u003cem\u003eMary Cassatt at Work\u003c\/em\u003e. Importantly, a counter-proof of our pastel is part of the collection of the Pennsylvania Academy of the Fine Arts. \u003cbr\u003e\u003cbr\u003e This work is included as no. 447 in the Cassatt Committee's revision of Adelyn Dohme Breeskin's catalogue raisonné of the works of Mary Cassatt. \u003cbr\u003e\u003cbr\u003e Circa 1906-07 \u003cbr\u003e\u003cbr\u003e Paper: 21 1\/4\" high x 16\" wide (56.52 x 40.64 cm)\u003cbr\u003e Frame: 34 5\/8\" high x 26 3\/8\" wide x 2 3\/4\" deep (87.95 x 66.99 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e (probably) Ambrose Vollard, Paris\u003cbr\u003e Raoul Bouchara, Paris (acquired circa 1935)\u003cbr\u003e Acquired by descent from the above\u003cbr\u003e Private collection, United States \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Daniel Catton Rich, \u003cem\u003eCatalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture and Drawing\u003c\/em\u003e, Chicago, 1938, p. 56\u003cbr\u003e Adelyn Dohme Breeskin, \u003cem\u003eMary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings\u003c\/em\u003e, Washington, D.C., 1970, no. 373, p. 156, illustrated\u003cbr\u003e Exhibition catalog, \u003cem\u003eMary Cassatt: Modern Woman\u003c\/em\u003e, 1998, p. 226","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44493792870535,"sku":"32-1343","price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1343_1.png?v=1781479287"},{"product_id":"leternel-printemps-by-auguste-rodin","title":"L'Éternel Printemps by Auguste Rodin","description":"Auguste Rodin\u003cbr\u003e 1840-1917 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eL'Éternel Printemps\u003cbr\u003e (The Eternal Spring)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Bronze with brown patina\u003cbr\u003e Signed \"Rodin\" (on base), with Barbedienne foundry mark \u003cbr\u003e\u003cbr\u003e Perhaps one of the most well-known and celebrated sculptures of his oeuvre, Auguste Rodin's passionate bronze \u003cem\u003eL'Éternel Printemps\u003c\/em\u003e is the embodiment of this artist's rare genius. Conceived in 1884, the bronze is regarded as one of the masterpieces of his mature output, conveying a sensuality and aura of passionate love from every angle. \u003cbr\u003e\u003cbr\u003e This work was conceived at the height of Rodin's career in 1884, during an intense period of work on his pivotal \u003cem\u003eGates of Hell\u003c\/em\u003e commission. It tells the age-old narrative of forbidden love, depicting the affair of Francesca da Rimini and Paolo Malatesta, who famously appear in Dante's \u003cem\u003eInferno\u003c\/em\u003e for their transgression. Highlighting the lovers' bliss rather than their ultimate punishment, Rodin felt the bronze was too joyful and removed it from his \u003cem\u003eGates of Hell\u003c\/em\u003e. Instead, he executed it as a stand-alone sculpture that would become one of his most acclaimed and beloved works. \u003cem\u003eThe Kiss\u003c\/em\u003e, another masterpiece by the sculptor, shares a similar origin and subject, though \u003cem\u003eL'Éternel Printemps\u003c\/em\u003e is more dynamic in its pose. \u003cbr\u003e\u003cbr\u003e Rodin's technical mastery was unmatched in his day, and by the turn of the century, he was regarded as the best sculptor since Michelangelo. His composition is dynamic from every angle, utilizing negative space in the arch of the woman's back and her lover's outstretched arm to create movement and feeling. Like many of his major works, Rodin looked back to one of his previous models in order to develop his amorous lovers. The female figure is based on his sensuous \u003cem\u003eTorso of Adèle\u003c\/em\u003e (Musée Rodin, Paris), which appears in the upper left-hand corner of the tympanum of his \u003cem\u003eGates of Hell\u003c\/em\u003e. \u003cem\u003eL'Éternel Printemps\u003c\/em\u003e is also believed to resemble Camille Claudel, a sculptor with whom Rodin began a passionate affair after she joined his studio in 1882. The autobiographical element of Rodin's own forbidden love perhaps accounts for the work's intimacy and intensity. \u003cbr\u003e\u003cbr\u003e After its successful showing at the \u003cem\u003eSalon\u003c\/em\u003e of 1897, Rodin awarded the casting of this bronze to the Barbedienne foundry in 1898. This sculpture is from the founder's second reduction, meaning it is the second largest of four versions they produced. It was also importantly cast during Rodin's lifetime and thus under his supervision, between 1905-1910. Other versions of this bronze can be found in museums worldwide, including the Musée Rodin (Paris), the Metropolitan Museum of Art (New York), the Museum of Fine Arts (Boston) and others. \u003cbr\u003e\u003cbr\u003e Auguste Rodin is counted among the greatest artists of the late 19th and early 20th centuries, along with names such as van Gogh, Monet and Renoir. In the history of sculpture, he occupies a place even more important than his painterly contemporaries, for he alone revived the art of sculpture, returning it to prominence among mainstream art. During the mid-1870s, after two decades of struggling as an artist, Rodin visited Italy and studied the works of Michelangelo, who inspired his first major work, \u003cem\u003eThe Bronze Age\u003c\/em\u003e. Exhibited in Brussels in 1877, it was so well received that the State purchased the work in 1880, which led to the commission of Rodin's \u003cem\u003eThe Gates of Hell\u003c\/em\u003e. His works, so naturalistic and expressive in detail, were far removed from conventional, decorative sculpture and ultimately transformed the history of art. Today, he is widely regarded as the father of modern sculpture. \u003cbr\u003e\u003cbr\u003e This important work is accompanied by a letter from the Comité Auguste Rodin confirming it will be included in the forthcoming \u003cem\u003eCatalogue Critique de l’Oeuvre Sculpté d’Auguste Rodin\u003c\/em\u003e by Jérôme Le Blay. \u003cbr\u003e\u003cbr\u003e Conceived in 1884; cast between 1905-1910  \u003cbr\u003e\u003cbr\u003e 20 1\/4\" high x 26\" wide x 13\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Argentina, acquired in the 1910s\u003cbr\u003e Private Collection, France\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, Texas\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44218370883719,"sku":"32-1428","price":1285000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1428_1_71ef979d-528b-4ae6-b255-cfbf2912b420.png?v=1774963983"},{"product_id":"falaises-temps-gris-by-claude-monet","title":"Falaises, temps gris by Claude Monet","description":"Claude Monet\u003cbr\u003e 1840–1926 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFalaises, temps gris\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Claude Monet” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Painted along the dramatic Normandy coastline, \u003cem\u003eFalaises, temps gris (Cliffs, Stormy Weather)\u003c\/em\u003e captures Claude Monet at a moment of creative daring and technical brilliance. Executed circa 1882, the work embodies the artist’s mastery of atmosphere and motion, as shifting light and sea spray dissolve the boundary between sky and shore. Monumental in conception yet intimate in tone, the painting reflects Monet’s relentless pursuit of the ever-changing effects of nature—a hallmark that would define the Impressionist revolution. \u003cbr\u003e\u003cbr\u003e This seascape was painted during Monet’s extended stay at Pourville-sur-Mer near Dieppe, a period he described as intoxicating in its beauty and energy. Facing the blustery Channel coast, Monet positioned himself perilously close to the surf, painting en plein air amid the wind and salt air. In \u003cem\u003eFalaises, temps gris\u003c\/em\u003e, the composition balances the solidity of the ochre and violet cliffs with the rhythmic movement of the turquoise and jade waves. The color harmonies shift subtly across the surface, dissolving forms into pure sensation and evoking both the strength and transience of the sea. \u003cbr\u003e\u003cbr\u003e Monet’s Normandy period was crucial to his artistic development. Having grown up near Le Havre, he returned to these northern shores throughout the 1880s to explore the relationship between weather, light and reflection. Works from this series—including \u003cem\u003eFalaises à Pourville\u003c\/em\u003e and \u003cem\u003eMarine, Pourville\u003c\/em\u003e—reveal the artist’s increasing focus on serial observation, anticipating his later explorations of Rouen Cathedral and the water lilies of Giverny. The period’s importance has been affirmed by scholars and institutions alike, including the 2024–25 exhibition Monet on the Normandy Coast, organized by the Musée d’Orsay and the Städel Museum. \u003cbr\u003e\u003cbr\u003e Acquired directly from Monet by his dealer Paul Durand-Ruel, \u003cem\u003eFalaises, temps gris\u003c\/em\u003e later entered several distinguished American collections and was exhibited in some of the earliest U.S. Impressionist exhibitions. Its enduring provenance and inclusion in major scholarly catalogues by Daniel Wildenstein attest to its rarity and significance within Monet’s oeuvre. \u003cbr\u003e\u003cbr\u003e Dated 1882 \u003cbr\u003e\u003cbr\u003e Canvas: 20 5\/8\" high x 27 7\/8\" wide (52.39 x 70.80 cm)\u003cbr\u003e Frame: 30 1\/4\" high x 37 3\/8\" wide x 3 1\/2\" deep (76.84 x 94.93 x 8.89 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1374.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Paul Durand-Ruel, Paris and New York, acquired c. 1888\u003cbr\u003e Alden W. Kingman, New York, acquired c. 1891\u003cbr\u003e Paul Durand-Ruel, New York, acquired in 1896\u003cbr\u003e Cyrus J. Lawrence, New York, acquired in 1898\u003cbr\u003e Sale of the above; The American Art Association, 21–22 Jan. 1910, lot 72\u003cbr\u003e Paul Durand-Ruel, acquired at the above sale\u003cbr\u003e Mrs. Albert L. Webster, New York, acquired from the above in 1910\u003cbr\u003e Sale of the above; The American Art Association, 28–29 Jan. 1926, lot 175\u003cbr\u003e Paul Durand-Ruel, acquired at the above sale\u003cbr\u003e Sale of the above; Galerie Charpentier, Paris, 7–8 Dec. 1954, lot 37\u003cbr\u003e Philippe Tiranty, Nice, acquired at the above sale\u003cbr\u003e Private Collection, Switzerland, by 1971\u003cbr\u003e Private Collection, London\u003cbr\u003e Private Collection, Hong Kong\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e New York, Union League Club, Monet, 12–15 Feb. 1891, no. 49 (loaned by A.W. Kingman, as The Cove)\u003cbr\u003e New York, The Lotos Club, Monet, Jan. 1899, no. 12 (loaned by Cyrus J. Lawrence, as Falaises à Dieppe)\u003cbr\u003e Lausanne, Fondation Pierre Gianadda, Monet, 17 June–20 Nov. 2011, no. 25, pp. 82–83 (dated c. 1882–86, illustrated) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Daniel Wildenstein, \u003cem\u003eMonet: Biographie et catalogue raisonné\u003c\/em\u003e, vol. II, Paris, 1979, no. 720, pp. 64–65 (illustrated)\u003cbr\u003e Daniel Wildenstein, \u003cem\u003eMonet: Catalogue raisonné\u003c\/em\u003e, vol. II, Cologne, 1996, no. 720, pp. 264, 268–269 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44572794290311,"sku":"32-1374","price":6985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1374_1_99341270-e136-4dac-87f7-f7964692d291.png?v=1781796111"},{"product_id":"grainstacks-in-the-plains-of-ajoux-giverny-by-theodore-earl-butler","title":"Grainstacks in the Plains of Ajoux, Giverny by Theodore Earl Butler","description":"Theodore Earl Butler\u003cbr\u003e 1861-1936 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGrainstacks in the Plains of Ajoux, Giverny\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Theodore Earl Butler was one of the leading American Impressionists, known for his vibrant landscapes that displayed his virtuosity with color, light and texture. This stunning canvas, entitled \u003cem\u003eGrainstacks in the Plains of Ajoux, Giverny\u003c\/em\u003e, is quintessential Butler, and it also pays homage to his most important mentor, Claude Monet. \u003cbr\u003e\u003cbr\u003e Butler was one of the only Americans that Monet allowed into his inner circle in Giverny, and the two artists frequently painted alongside each other. This work embodies Butler's profound admiration for Monet, both in its extraordinary atmospheric effects and in its subject of the haystack—one of Monet's most iconic motifs. An explosion of electric color and light, the painting perfectly blends Butler's Impressionist roots with a brilliant palette that is distinctly his own. \u003cbr\u003e\u003cbr\u003e Born in Columbus, Ohio, in 1861, Butler moved to New York in 1882 to study at the Art Students League under several major American artists, including William Merritt Chase. Within three years, the young artist had moved to Paris, receiving an honorable mention at the Salon of 1888. This would prove to be a fateful year for Butler, when he also met and befriended Claude Monet and moved to Giverny to join the thriving artist community there. He eventually became Monet's son-in-law, marrying his stepdaughter, Suzanne Hoschedé in 1892. Butler would briefly return to the United States between 1913 and 1921, creating important murals and participating in major exhibitions such as the Armory Show, and then return to Giverny until his death in 1936. \u003cbr\u003e\u003cbr\u003e This work will be included in Patrick Bertrand's forthcoming catalogue raisonné on the artist. \u003cbr\u003e\u003cbr\u003e Circa 1897 \u003cbr\u003e\u003cbr\u003e Canvas: 20 5\/8\" high x 28 1\/8\" wide (52.39 x 71.44 cm)\u003cbr\u003e Frame: 29\" high x 36 1\/2\" wide x 2 3\/4\" deep (73.66 x 92.71 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Estate of the above\u003cbr\u003e By descent through the artist's family\u003cbr\u003e Patrick Bertrand, Oakland, California, acquired from the above, 1997\u003cbr\u003e Private Collection, 1999\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44024810537095,"sku":"32-1959","price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1959_1.png?v=1774964600"},{"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":"femme-au-corsage-blanc-jeanne-samary-by-pierre-auguste-renoir","title":"Femme au corsage blanc, Jeanne Samary by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFemme au corsage blanc, Jeanne Samary\u003cbr\u003e (Woman in a white blouse, Jeanne Samary\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Initialed \"AR\" (lower right)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e Among Renoir's most famous works are those that capture the ladies of his inner circle in his signature style. This vibrant pastel from 1879 depicts the young Jeanne Samary, Renoir’s favorite subject and most important muse at the height of his career. Compared to his 4,000 paintings, the artist made exceptionally few pastels—only about 150 total—making this luminous work an extraordinary Renoir rarity. \u003cbr\u003e\u003cbr\u003e Samary was one of the most captivating figures of late 19th-century Paris. An iconic actress at the Comédie-Française, her fame rivaled that of the great Sarah Bernhardt. Beginning in 1876, Renoir created dozens of portraits of Samary, and she also appeared in all three of the artist’s most important paintings from this pivotal period—\u003cem\u003eBal du moulin de la Galette\u003c\/em\u003e (1876), \u003cem\u003eLa balançoire\u003c\/em\u003e (1876) and \u003cem\u003eThe Luncheon of the Boating Party\u003c\/em\u003e (1880–81). Renoir’s close friend and biographer, Georges Rivière, noted that “no portrait ever gave Renoir greater satisfaction than the ones he made of Samary.” \u003cbr\u003e\u003cbr\u003e This magnificent pastel perfectly embodies this bond between Renoir and Samary. Vivid and spontaneous, the work captures an intimate moment, with Samary’s blouse delicately falling over her shoulder. Renoir typically reserved pastel for his portraits of friends and family, as it allowed him to capture their true essence with speed and ease. \u003cbr\u003e\u003cbr\u003e The year this pastel was created, 1879, was also one of the most important years of Renoir’s career. He entered the prestigious Salon of 1879, where four of his portraits were accepted, including a full-length masterpiece of Jeanne Samary. This pastel stands as a testament to this pivotal chapter for Renoir, portraying the muse who shaped his groundbreaking vision.  \u003cbr\u003e\u003cbr\u003e Renoir’s portraits of Jeanne Samary are exceptionally scarce, with most already held in prestigious museum collections, including the State Hermitage Museum in St. Petersburg and the National Gallery of Art in Washington, D.C. Similar pastels of Samary have commanded millions at auction—among some of the highest prices for Renoir’s works on paper. Importantly, the artist’s pastels are getting recent museum attention, with the major 2025-2026 exhibition organized by the Musée d’Orsay and the Morgan Library, \u003cem\u003eRenoir Drawings\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Wildenstein Plattner Institute, and it will be included in their forthcoming digital catalogue raisonné. \u003cbr\u003e\u003cbr\u003e Drawn 1879 \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1821.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Paper: 22 1\/4\" high x 14 1\/4\" wide (56.5 x 36.2 cm)\u003cbr\u003e Frame: 36 3\/4\" high x 28 1\/4\" wide x 3\" deep (93.4 x 71.8 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Ambroise Vollard, Paris, acquired from the artist (as of 1907)\u003cbr\u003e Étienne Bignou, Paris (as “Jeanne Samary”)\u003cbr\u003e Lafarge, Paris\u003cbr\u003e Victor Hélin, Paris\u003cbr\u003e Succession Victor Hélin, c. 1945\u003cbr\u003e M. and Mme Schmit, acquired from the above, 2009\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44489087746183,"sku":"32-1821","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1821_1.png?v=1777552664"},{"product_id":"trinite-des-monts-paris-by-jean-francois-raffaelli","title":"Trinité des Monts, Paris by Jean-François Raffaëlli","description":"Jean-François Raffaëlli\u003cbr\u003e 1850-1924 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTrinité des Monts, Paris\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"JF Raffaëlli\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Alive with movement and modern elegance, \u003cem\u003eTrinité des Monts, Paris\u003c\/em\u003e captures the vitality of Belle Époque Paris at its height. In this bustling view of the Place de la Trinité, Jean-François Raffaëlli renders horse-drawn carriages, fashionable pedestrians and the grand Église de la Sainte-Trinité with remarkable beauty. The composition embodies the optimism and sophistication of bourgeois Paris during a period of profound urban and cultural transformation. \u003cbr\u003e\u003cbr\u003e Raffaëlli orchestrates the scene with confident, animated brushstrokes. A rich palette of greens, blues and warm ochres enlivens the boulevard, while intricate details, such as a wandering dog, soaring birds overhead and figures mid-stride, infuse the canvas with spontaneity. Architectural grandeur rises behind the animated street, balancing monumentality with the intimacy of everyday life. \u003cbr\u003e\u003cbr\u003e Though never an official member of the Impressionist circle, Raffaëlli exhibited alongside them at the urging of his friend Edgar Degas in 1880 and 1881. Trained briefly under Jean-Léon Gérôme yet largely self-directed, he forged a distinctive style bridging Realism, Naturalism and Impressionism. Celebrated in his lifetime and awarded the Légion d’Honneur in 1889, Raffaëlli became renowned for his evocative depictions of modern Paris. Today, his works reside in major institutions including the Musée d’Orsay, the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Art Institute of Chicago and the National Gallery of Art in Washington, D.C. \u003cbr\u003e\u003cbr\u003e The authenticity of the work has been confirmed by Galerie Brame \u0026amp; Lorenceau and will be included in their forthcoming digital catalogue raisonné of the artist. \u003cbr\u003e\u003cbr\u003e Circa 1885-90 \u003cbr\u003e\u003cbr\u003e Canvas: 22 3\/4\" high x 31 3\/8\" wide (57.79 x 79.57 cm)\u003cbr\u003e Frame: 31\" high x 39 1\/2\" wide x 2 1\/2\" deep (78.74 x 100.33 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, New York\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43981814923399,"sku":"32-1918","price":188500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1918_1.png?v=1780145789"},{"product_id":"falaise-en-normandie-by-gustave-caillebotte","title":"Falaise en Normandie by Gustave Caillebotte","description":"Gustave Caillebotte\u003cbr\u003e 1848-1894 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFalaise en Normandie\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped “G. Caillebotte” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Gustave Caillebotte was among the most visionary and influential artists of the 19th century. This extraordinary Normandy landscape embodies the artist at his most adventurous and expressive, brimming with rich color and energetic brushwork. Painted circa 1880 during the height of his career, \u003cem\u003eFalaise en Normandie\u003c\/em\u003e beautifully captures the iconic towering cliffs with the artist's signature brilliance. \u003cbr\u003e\u003cbr\u003e Even among his trailblazing Impressionist contemporaries, Caillebotte stood out for his distinctive vision marked by dynamic perspectives and precise details. Here, he perfectly composes the scene to emphasize the pure drama of the Normandy cliffs, with the swirl of rocks in the foreground making the colorful cascade of the cliffs even more towering in the background. Caillebotte also pushes his brushwork to new heights, beautifully layering the thickness of his paint to create the illusion of depth and movement. \u003cbr\u003e\u003cbr\u003e By 1880, when \u003cem\u003eFalaise en Normandie\u003c\/em\u003e was painted, Caillebotte was looking for inspiration beyond the streets of Paris. This masterwork belongs to an important series of works painted during Caillebotte’s transformative summers along the windswept cliffs of Normandy, where he explored landscape painting with exceptional vigor. \u003cbr\u003e\u003cbr\u003e More than an artist, Caillebotte was also among the earliest and most important collectors of his fellow Impressionists, acquiring nearly 70 masterpieces by Monet, Renoir, Degas and many others. Upon his death, he bequeathed these works to the French state, and they would later serve as the cornerstone of the great Musée d’Orsay’s founding, securing Impressionism’s lasting fame. \u003cbr\u003e\u003cbr\u003e Caillebotte's life was tragically short, and the artist created only around 450 paintings in total, with the majority of these in renowned museums and important private collections worldwide, including the Musée d'Orsay, the National Gallery of Art, the Metropolitan Museum of Art and many others. There has also been renewed scholarly and collecting interest in his works in recent years, with several critically acclaimed exhibitions such as the Musée d'Orsay's \u003cem\u003eCaillebotte: Painting Men\u003c\/em\u003e (2024-25), which traveled to the J. Paul Getty Museum and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Canvas: 32\" high x 25 5\/8\" wide (81.2 x 65.2 cm)\u003cbr\u003e Frame: 39 1\/4\" high x 32 1\/2\" wide x 2 1\/4\" deep (99.7 x 82.6 x 5.7 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2326.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e Private collection, France, by descent from the above\u003cbr\u003e Private collection, acquired from the above \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Marie Berhaut, \u003cem\u003eLa Vie et l’oeuvre de Gustave Caillebotte\u003c\/em\u003e, Paris, 1951, no. 115, illustrated n.p.\u003cbr\u003e Marie Berhaut, \u003cem\u003eCaillebotte, Sa vie et son oeuvre: Catalogue raisonné des peintures et pastels\u003c\/em\u003e, Paris, 1978, no. 163, illustrated p. 137 (titled Falaise à Villiers-sur-mer and with incorrect dimensions)\u003cbr\u003e Marie Berhaut, \u003cem\u003eGustave Caillebotte: Catalogue raisonné des peintures et pastels\u003c\/em\u003e, Paris, 1994, no. 177, illustrated p. 142 (with incorrect dimensions) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Lausanne, Fondation de l'Hermitage, \u003cem\u003eCaillebotte au cœur de l'impressionnisme\u003c\/em\u003e, 2005, no. 51, illustrated in color in the catalogue\u003cbr\u003e Bremen, Kunsthalle Bremen; Copenhagen, Ordrupgaard \u0026amp; Madrid, Museo Nacional Thyssen-Bornemisza, \u003cem\u003eGustave Caillebotte\u003c\/em\u003e, 2008-09, no. 31, illustrated in color in the catalogue (with incorrect dimensions)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44256932233351,"sku":"32-2326","price":1950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2326_1_ae69702c-3ac7-418c-b995-1c5c18a59263.png?v=1781824903"},{"product_id":"danseuse-en-rose-by-edgar-degas","title":"Danseuse en Rose by Edgar Degas","description":"Edgar Degas\u003cbr\u003e 1834-1917 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDanseuse en rose\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamp signed \"Degas\" (lower left)\u003cbr\u003e Pastel on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e\"When you see his pastels…! When you think that he managed to achieve the tone of frescoes with a material so unpleasant to handle!\" —Pierre-Auguste Renoir on Degas\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Edgar Degas’ dancers require little by way of introduction—no artist better captured the fluid grace and ephemeral beauty of the ballet. This exceptionally rare pastel on canvas, titled \u003cem\u003eDanseuse en rose\u003c\/em\u003e, is among the most extraordinary the great artist ever painted—a masterpiece of grand scale, radiant beauty and iconic subject. \u003cbr\u003e\u003cbr\u003e This extraordinary pastel hails from the height of Degas’ career, circa 1877-80. The opening of the Palais Garnier in 1875 transformed Parisian cultural life and offered the artist easy access to the world of performers. Degas soon became widely acclaimed, hailed as the definitive “painter of dancers.” This pivotal period for Degas also coincided with the meteoric rise of Rosita Mauri, the celebrated prima ballerina who is at the center of this pastel.  \u003cbr\u003e\u003cbr\u003e Rosita Mauri was the great star of the Paris Opéra at this time, admired not only for her technical brilliance but for her commanding stage presence, which Degas captured perfectly in \u003cem\u003eDanseuse en rose\u003c\/em\u003e. It is quite difficult to identify most dancers in Degas’ oeuvre, but Mauri was among the most famous and beloved ballerinas of her day. Similar pastels of Mauri on stage belong to prestigious museums, including the Art Institute of Chicago and the Musée d’Orsay.  \u003cbr\u003e\u003cbr\u003e The monumental beauty of \u003cem\u003eDanseuse en rose\u003c\/em\u003e is breathtaking at every turn. Degas captured Mauri \u003cem\u003een pointe\u003c\/em\u003e, gracefully suspended between stillness and motion—a hallmark of the artist’s genius for rendering fluid motion. Her elaborate costume shimmers in harmony with the colorful stage scenery, creating a spontaneous symphony of energy and vibrancy. Her face is rendered with exceptionally delicate beauty—a rarity among Degas’ dancers, who he often portrayed under harsh, unflattering lights. \u003cbr\u003e\u003cbr\u003e This wonderful work of art also has great scale—over three feet high—and is unique for being on canvas. The canvas allowed him to work much larger than his typical paper works and to achieve extraordinarily vivid colors and textures, which are still remarkably luminous almost 150 years later. \u003cbr\u003e\u003cbr\u003e This work’s provenance further elevates its importance. Danseuse en rose remained with Degas and his family for almost 100 years, when it then entered one of the most storied private collections of the 20th century—that of the Maharani Sita Devi Gaekwar of Baroda. Known throughout international society for her extraordinary taste and connoisseurship, she was often referred to as the “Indian Wallis Simpson.” The Maharani assembled a remarkable group of Impressionist masterworks, of which this Degas was a clear highlight. \u003cbr\u003e\u003cbr\u003e Given its provenance, beauty and rarity, \u003cem\u003eDanseuse en rose\u003c\/em\u003e is an undeniable masterpiece of Impressionism. Similar, but smaller, examples have gone for large sums at auction. These iconic works, however, hardly ever come to auction, as most of Degas' masterpiece ballerinas already reside in the world’s most prestigious museums, including the Musée d’Orsay, the Art Institute of Chicago, the Metropolitan Museum of Art, the MFA, Boston and many more. \u003cbr\u003e\u003cbr\u003e Circa 1877-80 \u003cbr\u003e\u003cbr\u003e Canvas: 36 5\/8” high x 28 3\/4” wide (93 x 73 cm)\u003cbr\u003e Frame: 44 3\/4” high x 37 1\/2” wide x 2 1\/2” deep (113.7 x 95.3 x 6.4 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2603.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist\u003cbr\u003e Sale of the above, Atelier Edgar Degas, Galerie G. Petit, Paris, 2nd sale, December 11-13, 1918, lot 110\u003cbr\u003e Roland Nepveu-Degas (Degas’ nephew), 1918, purchased at the above sale\u003cbr\u003e S.A.R. the Maharani Seethadevi Gaekwar de Baroda\u003cbr\u003e Sale of the above, Palais Galliéra, Paris, November 30, 1961, lot 4\u003cbr\u003e Micheline Maus, Switzerland\u003cbr\u003e Private collection, Geneva, acquired from the above in 2008\u003cbr\u003e Private collection, Germany\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Sale catalog, Atelier Edgar Degas, Galerie G. Petit, Paris, 2nd sale, December 11-13, 1918, no. 110, p. 61 (illustrated)\u003cbr\u003e Paul-André Lemoisne, \u003cem\u003eDegas et son œuvre\u003c\/em\u003e, Paris, 1946, vol. II, no. 468, p. 256-57 (illustrated)\u003cbr\u003e Sale catalog, Palais Galliéra, Paris, November 30, 1961, no. 4 (illustrated)\u003cbr\u003e Jacques Lassaigne, Fiorella Minervino, \u003cem\u003eTout l'oeuvre peint de Degas\u003c\/em\u003e, Paris, 1988, no. 539, p. 111 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Charpentier, \u003cem\u003eDanse et Divertissement\u003c\/em\u003e, 1948-1949, no. 59 (as \u003cem\u003eDanseuse sur les pointes\u003c\/em\u003e)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44567224582279,"sku":"32-2603","price":12500000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2603_1.png?v=1781709710"},{"product_id":"winter-at-the-plaza-by-guy-wiggins","title":"Winter at the Plaza by Guy Wiggins","description":"Guy Carleton Wiggins\u003cbr\u003e 1883-1962 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eWinter at the Plaza\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Guy Wiggins N.A.\" (lower left) and entitled \"Winter at the Plaza\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The poetry of New York in winter found one of its greatest interpreters in Guy Wiggins, often regarded as the last great American Impressionist. With an intuitive command of light and color, he infused his canvases with a vivid sense of atmosphere and life. An elegant ode to the city’s wintry charm, \u003cem\u003eWinter at the Plaza\u003c\/em\u003e depicts a bustling Manhattan street softened by falling snow. Horse-drawn carriages with brightly colored wheels move through the slush-lined avenue as pedestrians with umbrellas navigate the scene beneath an overcast sky. An equestrian monument anchors the composition, framed by bare winter trees and familiar urban architecture, including a distinctive pink façade. Wiggins’s loose, textured brushwork captures the haze and movement of the snowfall, lending the scene both energy and understated elegance. \u003cbr\u003e\u003cbr\u003e Born in New York in 1883, Wiggins was the son of noted Barbizon artist Carleton Wiggins. Under his father's tutelage, Wiggins began painting at an early age and was a frequent visitor to the Old Lyme Art Colony, the first artists' group in the nation to adopt Impressionism. It was there that he began to develop his own unique vision of this movement, earning critical acclaim early in his career. By the age of twenty, Wiggins was the youngest artist to have a work in the permanent collection of the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e He earned numerous awards, including membership in the National Academy of Design and the prestigious Norman Wait Harris Bronze Medal from the Art Institute of Chicago. He became best known for his iconic wintertime cityscapes, exhibiting a perceptive sensitivity to shifting environmental elements. Today, his works remain just as popular and are represented in important collections worldwide. \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/4\" high x 29 1\/2\" wide (48.9 x 74.9 cm)\u003cbr\u003e Frame: 27 1\/2\" high x 37 1\/2\" wide x 2\" deep (69.9 x 95.3 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, New Orleans\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44580835033223,"sku":"32-2319","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2319_1.png?v=1778340153"},{"product_id":"little-ranch-colorado-by-ernest-lawson","title":"Little Ranch, Colorado by Ernest Lawson","description":"Ernest Lawson\u003cbr\u003e 1873-1939 | Canadian-American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLittle Ranch, Colorado\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"E. Lawson\" (lower right)\u003cbr\u003e Signed, titled and inscribed \"119 East 19th St \/ N.Y. City\" (en verso)\u003cbr\u003e Oil on canvas board \u003cbr\u003e\u003cbr\u003e This richly atmospheric landscape by Ernest Lawson captures a quiet ranching scene at the base of a Colorado mountain. Painted circa 1925–1930, the composition reflects Lawson’s mature Impressionist vision, where the scene dissolves into layered color and texture. Rustic buildings and grazing livestock anchor the foreground, while the sweeping hillside rises behind them in a tapestry of deep greens, blues and violets beneath a softly clouded sky. \u003cbr\u003e\u003cbr\u003e Lawson builds the surface with his characteristic impasto, applying paint in thick, expressive strokes that emphasize the physicality of the landscape. The work most likely depicts a ranch in the Colorado Springs foothills, probably in the Broadmoor or Cheyenne Mountain area, where Lawson painted while teaching at the Broadmoor Art Academy in the late 1920s. Here, light and color become the true subjects, as the rolling terrain and clustered ranch structures emerge from a dense, vibrating surface. The result balances natural description with a heightened sense of mood and rhythm. \u003cbr\u003e\u003cbr\u003e A key figure in early 20th-century American painting, Lawson was associated with The Eight and exhibited widely as part of the broader shift toward modern realism and Impressionism in the United States. Born in Nova Scotia in 1873, he later trained at the Art Students League in New York and in Paris at the Académie Julian, where exposure to Impressionist methods shaped his lifelong commitment to plein air landscape painting. His work occupies a distinctive position between Impressionism and realism, defined by its emphasis on structure, atmosphere and painterly surface rather than strict representation. \u003cbr\u003e\u003cbr\u003e In the late 1920s, Lawson taught at the Broadmoor Art Academy in Colorado Springs, where this work was almost certainly painted. The painting's setting matches the foothills of this region, perhaps depicting a small ranch near Cheyenne Mountain. Today Lawson is recognized as one of the leading American landscape painters of the early 20th century, and his works belong to major institutions, including the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Whitney Museum of American Art and more. \u003cbr\u003e\u003cbr\u003e Circa 1925–1930 \u003cbr\u003e\u003cbr\u003e Canvas: 11 3\/4\" high x 15\" wide (29.9 x 38.1 cm)\u003cbr\u003e Frame: 20\" high x 24\" wide x 2\" deep (50.8 x 61 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Colorado\u003cbr\u003e Private collection, Minnesota\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44719426863239,"sku":"32-2639","price":29850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2639_1.png?v=1781378488"},{"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"},{"product_id":"shepherd-and-shepherdess-at-the-gate-bazincourt-by-camille-pissarro","title":"Shepherd and Shepherdess at the Gate, Bazincourt by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBerger et bergère à la barrière, Bazincourt\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eShepherd and Shepherdess at the Gate, Bazincourt\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped \"C.P.\" (lower left)\u003cbr\u003e Gouache and wash on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes, this rare masterpiece offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard also explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the landscape in a panoramic arc. Figures gather along a rustic fence, drawing the viewer into the foreground while the countryside opens behind them. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1885 \u003cbr\u003e\u003cbr\u003e Paper: 15\" high x 25\" wide (38.10 x 63.50 cm)\u003cbr\u003e Frame: 17\" high x 27 1\/2\" wide x 1\" deep (43.18 x 69.85 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Jeanne \u0026amp; Alexandre Bonin Collection, Paris (the artist's daughter and son-in-law) by descent from the artist circa 1903\u003cbr\u003e Sale of the above, Hôtel Drouot, Paris, June 26, 1931, lot 22\u003cbr\u003e Madame Zimmerman Collection, Paris (acquired at the above sale)\u003cbr\u003e Private collection, Paris (by descent from the above)\u003cbr\u003e Sale of the above, Sotheby's, London, April 4, 1990, lot 107\u003cbr\u003e Private collection, acquired at the above sale through Legatt Brothers, London\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e L.-R. Pissarro \u0026amp; L. Venturi, Camille Pissarro, son art–son oeuvre, Vol. I, Paris, 1939, no. 1632 (illustrated Vol. II, pl. 309)\u003cbr\u003e M-J. Pellé, Les Éventails de Camille Pissarro, Paris, 1990, no. 22 (illustrated p. 24)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44797831053447,"sku":"32-2735","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2735_1_d2f114ac-edab-435f-b0ee-3dda785376f7.png?v=1781544091"},{"product_id":"the-harvesters-rest-by-camille-pissarro","title":"The Harvesters' Rest by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Repos des moissonneurs\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Harvesters' Rest\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped \"C.P.\" (lower left)\u003cbr\u003e Gouache, watercolor and charcoal on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes, this rare masterpiece, entitled \u003cem\u003eThe Harvesters' Rest\u003c\/em\u003e, offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard also explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the landscape in a panoramic arc. The harvesters lounge under the shade of a tree, drawing the viewer into the foreground while the farm fades into the distance. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1891 \u003cbr\u003e\u003cbr\u003e Paper: 12 3\/4” high x 23 3\/4” wide (32.4 x 60.3 cm)\u003cbr\u003e Frame: 14 3\/4” high x 25 3\/4” wide x 1” deep (37.5 x 65.4 x 2.5 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Julie Pissarro Collection, Étude-sur-Epte (the artist's wife; by descent from the artist circa 1903)\u003cbr\u003e Estate sale of the above, Hôtel Drouot, Paris, December 8, 1928, no. 262\u003cbr\u003e Dr. Georges Viau Collection, Paris (acquired at the above sale)\u003cbr\u003e Sale: Hôtel Drouot, Paris, May 8, 1936, lot 39\u003cbr\u003e Sale: Hôtel des ventes, Honfleur, July 15, 1989, lot 158\u003cbr\u003e Sale: Sotheby's, London, November 29, 1989, lot 404\u003cbr\u003e Private collection, acquired at the above sale through Leggatt Brothers, London\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J. Pissarro, \u003cem\u003eCamille Pissarro\u003c\/em\u003e, New York, 1993, no. 218 (illustrated p. 189; titled 'The Picnic') \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Musée de l'Orangerie, \u003cem\u003eCentenaire de la Naissance de Camille Pissarro\u003c\/em\u003e, February - March 1930, no. 49 (titled 'Les Moissonneurs; éventail')","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44819602538631,"sku":"32-2736","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2736_1.png?v=1780953859"},{"product_id":"le-bassin-dargenteuil-by-claude-monet","title":"Le bassin d'Argenteuil by Claude Monet","description":"Claude Monet\u003cbr\u003e 1840–1926 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe bassin d'Argenteuil\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Claude Monet 75” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Perhaps more than any other painter in history, Claude Monet perfectly captured light as living, fleeting and ever-changing—the foundation of the Impressionist movement that would change art history forever. In \u003cem\u003eLe bassin d’Argenteuil\u003c\/em\u003e, painted in 1875, Monet depicts the legendary riverside town where Impressionism was born. \u003cbr\u003e\u003cbr\u003e Created just one year after the first Impressionist exhibition stunned the Parisian art world, this painting belongs to one of the most important chapters of Monet’s career. In late 1871, the artist settled with his family in Argenteuil, a small town on the Seine just outside Paris. What began as a quiet retreat soon became the cradle of Impressionism itself, attracting Manet, Renoir, Sisley and Caillebotte to its riverbanks. With its sailboats, bridges, reflections and changing skies, Argenteuil offered Monet the perfect theater for modern painting. \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eLe bassin d’Argenteuil\u003c\/em\u003e, Monet makes light itself his subject, transforming a quiet harbor into something extraordinary. Sunlight filters through the clouds and glimmers brilliantly across the water, and swirls of vibrant hues bring the surrounding buildings and landscape to life. The scene is serene, yet every brushstroke feels alive, as if Monet has captured a single, fleeting moment in time. It is the quintessential Impressionist masterwork. \u003cbr\u003e\u003cbr\u003e Between 1872 and 1875, Monet painted more than 50 views of the river around Argenteuil, returning to the subject again and again as one of his favorites. During these years, he also adopted his floating studio boat, allowing him to paint directly from the water and pursue the reflections, movement and optical effects that became central to his art. Without Argenteuil, the world may never have seen the rest of Monet's celebrated oeuvre. \u003cbr\u003e\u003cbr\u003e Widely recognized as icons of Impressionism, most of Monet's Argenteuil scenes already reside in the world’s most prestigious museums, including the Metropolitan Museum of Art, the Musée d’Orsay, the National Gallery and the Art Institute of Chicago—making this an exceptionally rare treasure by one of history's greatest artists. \u003cbr\u003e\u003cbr\u003e Dated 1875 \u003cbr\u003e\u003cbr\u003e Canvas: 20” high x 27 1\/2” wide (50.8 x 69.9 cm)\u003cbr\u003e Framed: 29 1\/4” high x 37” wide x 2 3\/4” deep (74.3 x 94 x 7 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2623.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e With Galerie Bernheim-Jeune, Paris, no. 12161 (label verso)\u003cbr\u003e Collection of Oscar Schmitz, Dresden, 1904\u003cbr\u003e Kunsthaus Zürich, on loan from 1931 from the collection of Oscar Schmitz\u003cbr\u003e Kunstmuseum Basel, on loan from 1934 from the collection of Oscar Schmitz\u003cbr\u003e Wildenstein \u0026amp; Co., London, from 1936\u003cbr\u003e Mr. E.W. Fattorini, Great Britain, 1940\u003cbr\u003e Sotheby's, London, April 16, 1975, lot 25\u003cbr\u003e Private Collection, England\u003cbr\u003e Sotheby's, London, December 3, 1991, lot 22\u003cbr\u003e Private Collection, London, acquired at the above auction\u003cbr\u003e Private Collection, Europe\u003cbr\u003e Private Collection, London \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Daniel Wildenstein, Monet. Catalogue raisonné. Werkverzeichnis, Bonn, 1996, vol. II, p. 153, no. 371 (illustrated)\u003cbr\u003e Paul Fechter, “Die Sammlung Schmitz,” Kunst und Künstler: Illustrierte Monatsschrift für bildende Kunst und Kunstgewerbe, Berlin, October 1909, p. 21\u003cbr\u003e Karl Scheffler, “Die Sammlung Oskar Schmitz in Dresden,” Kunst und Künstler: Illustrierte Monatsschrift für bildende Kunst und Kunstgewerbe, Berlin, 1920\/21, p. 186\u003cbr\u003e Marie Dormoy, “La collection Schmitz à Dresde,” L’Amour de l’art, Paris, October 1926, p. 342\u003cbr\u003e Daniel Wildenstein, Monet, vie et œuvre, Lausanne\/Paris, 1974, vol. I, p. 273, 272 (illustrated)\u003cbr\u003e Joel Isaacson, Observation and Reflection. Claude Monet, Oxford, 1978, p. 95, 207 (illustrated)\u003cbr\u003e Paul Hayes Tucker, Monet at Argenteuil, New Haven\/London, 1982, p. 120 (illustrated no. XXI)\u003cbr\u003e Daniel Wildenstein, Monet, vie et œuvre, Lausanne\/Paris, 1991, vol. V, p. 30 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Zürich, Kunsthaus Zürich, Sammlung Oscar Schmitz, January 14-February 14, 1932, no. 35\/47\u003cbr\u003e Balingen, Stadthalle, Claude Monet, June 18-August 31, 1992, no. 6\u003cbr\u003e Washington, D.C., Phillips Collection, Impressionists on the Seine: A Celebration of Renoir's “Luncheon of the Boating Party,\" September 21, 1996-February 2, 1997, pl. 39","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44851270975623,"sku":"32-2623","price":6985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2623_1_145a9ebd-24a8-45dd-8e01-15607d0bb262.png?v=1781371274"},{"product_id":"the-effect-of-sun-on-the-banks-of-the-loing-by-francis-picabia","title":"The Effect of Sun on the Banks of the Loing by Francis Picabia","description":"Francis Picabia\u003cbr\u003e 1878-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eEffet de soleil (avril); Sur les bords du Loing\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(The Effect of Sun on the Banks of the Loing, April)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Picabia 1905\" (lower right); signed, titled and dated (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e An artist of remarkable range and originality, Francis Picabia spent his career moving boldly across styles, media and ideas. Though best remembered as one of the founders of Dada, Picabia’s artistic language was never confined to a single movement. Over the course of his life, he embraced abstraction, photorealism, Classicism and Impressionism, revealing an extraordinary capacity for reinvention. This vibrant oil on canvas stands as a brilliant example of his Impressionist period, when he explored color, light and atmosphere with exceptional confidence. \u003cbr\u003e\u003cbr\u003e Painted in 1905, \u003cem\u003eEffet de soleil (avril); Sur les bords du Loing\u003c\/em\u003e belongs to a formative period in Picabia’s career. After meeting the two sons of the legendary Impressionist Camille Pissarro in 1902, Picabia began painting landscape scenes \u003cem\u003een plein air\u003c\/em\u003e, turning his attention to the shifting effects of light and nature. In this composition, dappled sunlight filters through a canopy of green and gold leaves, casting flickering reflections across the riverbank. Broad, expressive strokes define the trees, water and distant architecture, giving the scene a vivid sense of warmth and atmospheric movement. A small figure in a boat adds quiet human presence to the radiant riverside landscape. \u003cbr\u003e\u003cbr\u003e By 1905, Picabia had achieved significant recognition for his Impressionist works, exhibiting them in Parisian salons to considerable acclaim. Critics praised him as a promising French landscape painter, and the French government purchased one of his works. Yet Picabia’s restless creativity soon led him beyond Impressionism. By 1908, elements of Fauvism and Cubism began to appear in his paintings, signaling the beginning of the stylistic evolution that would become one of the defining features of his career. \u003cbr\u003e\u003cbr\u003e Picabia’s openness to transformation ultimately placed him at the center of European modernism. Alongside Marcel Duchamp and Guillaume Apollinaire, he helped shape Dada, one of the most influential movements of the early 20th century. He also worked in poetry, graphic art, set design and film, extending his ideas across a remarkable range of creative forms. In 2016, the Museum of Modern Art in New York honored this expansive legacy with the retrospective, \u003cem\u003eFrancis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction\u003c\/em\u003e. As exhibition curator Ann Umland wrote, “The world of art is a richer, more complicated, more unpredictable place because of him.” His works are held in important public collections worldwide, including the Museum of Modern Art, the Solomon R. Guggenheim Museum, the Philadelphia Museum of Art, the Art Institute of Chicago, Tate London and the Musée National d'Art Moderne in Paris. \u003cbr\u003e\u003cbr\u003e Dated 1905 \u003cbr\u003e\u003cbr\u003e Canvas: 13\" high x 17 3\/4\" wide (33 x 45.1 cm)\u003cbr\u003e Frame: 22\" high x 27\" wide x 3 1\/4\" deep (55.9 x 68.6 x 8.3 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Charles Heumann, Paris (possibly)\u003cbr\u003e Private collection, France (acquired in the 1910s)\u003cbr\u003e Private collection, France (by descent from the above)\u003cbr\u003e Private collection\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Haussmann, \u003cem\u003eExposition F. Picabia\u003c\/em\u003e, 1907, no. 6, n. p. (illustrated) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e William A. Camfield, Beverley Calté, Candace Clements and Arnauld Pierre \u0026amp; Pierre Calté, \u003cem\u003eFrancis Picabia, Catalogue Raisonné, 1898-1914\u003c\/em\u003e, vol. I, New Haven \u0026amp; London, 2014, no. 168, pp. 50, 202, 211, 216, 222, 264, 284, 414 (illustrated, p. 216)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44936412987527,"sku":"32-2710","price":268500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2710_1.png?v=1781904190"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/collections\/7-28-23ImpressionistHeader.jpg?v=1781905692","url":"https:\/\/rauantiques.com\/collections\/impressionist.oembed?page=3","provider":"M.S. Rau","version":"1.0","type":"link"}