{"title":"Paintings","description":"\u003ch2\u003eORIGINAL FINE ART \u0026amp; ANTIQUE PAINTINGS FOR SALE\u003c\/h2\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eM.S. Rau's fine art gallery houses an exceptional collection of original paintings for sale, including rare works by history’s most famed artists, an extensive selection of \u003c\/span\u003e\u003ca href=\"https:\/\/rauantiques.com\/collections\/impressionist-paintings\"\u003e\u003cspan style=\"font-weight: 400;\"\u003eImpressionist art for sale\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e plus modern and contemporary art. No matter the genre or artist, our fine art selection encompasses a variety of styles, eras and subject matters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOur museum-quality collection includes rare and framed original oil paintings on canvas, stunning landscape paintings, American fine art, \u003ca href=\"https:\/\/rauantiques.com\/collections\/marine\"\u003enautical paintings\u003c\/a\u003e, religious works and other rare \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eoriginal \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eworks\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e by some of the world's most sought-after and famous artists including Norman Rockwell, Claude Monet, Pieter Brueghel and Camille Pissarro. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhen you are buying an original painting or \u003c\/span\u003e\u003ca href=\"https:\/\/rauantiques.com\/collections\/fine-art%20\"\u003e\u003cspan style=\"font-weight: 400;\"\u003erare art\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\"\u003e piece, we want you to buy with confidence and complete satisfaction knowing that we back each piece we sell with an unparalleled 125% Guarantee. Whether you’re a seasoned collector or just beginning to discover the world of fine art, our expert team is here to help you find the perfect painting that speaks to your taste and style\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf you’re looking to add \u003c\/span\u003e\u003cspan\u003eoriginal art\u003c\/span\u003e\u003cspan\u003e such as an \u003c\/span\u003e\u003cspan\u003eabstract painting\u003c\/span\u003e\u003cspan\u003e or a contemporary \u003c\/span\u003e\u003cspan\u003elandscape\u003c\/span\u003e\u003cspan\u003e painting to your collection, browse our extensive selection of rare and \u003c\/span\u003e\u003cspan\u003eoriginal paintings\u003c\/span\u003e\u003cspan\u003e online or visit our New Orleans \u003c\/span\u003e\u003cspan\u003eart gallery\u003c\/span\u003e\u003cspan\u003e in person today. Explore \u003c\/span\u003e\u003cspan\u003eoriginal works\u003c\/span\u003e\u003cspan\u003e that have been featured in \u003c\/span\u003e\u003cspan\u003emuseums\u003c\/span\u003e\u003cspan\u003e, galleries, and private artwork collections worldwide. Browse our fine art collection today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eFREQUENTLY ASKED QUESTIONS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eAre the paintings at M.S. Rau authentic?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eYes. Every painting in our collection is thoroughly vetted for authenticity and provenance. Our team of experts conducts extensive research and due diligence, and we \u003c\/span\u003e\u003ca href=\"https:\/\/rauantiques.com\/pages\/authenticity-warranty\"\u003e\u003cspan\u003eguarantee the authenticity\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e of every object or work we sell.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eWhat guarantees come with purchasing a painting from M.S. Rau?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eEvery \u003c\/span\u003e\u003cspan\u003eacquisition\u003c\/span\u003e\u003cspan\u003e comes with our unconditional authenticity guarantee and is backed by our exclusive 125% Guarantee, meaning we will buy back any piece sold as authentic for 125% of the \u003c\/span\u003e\u003cspan\u003eoriginal\u003c\/span\u003e\u003cspan\u003e purchase price should it ever be proven otherwise. We also provide an authenticity warranty and complete transparency regarding each painting’s condition, provenance, and scholarly \u003c\/span\u003e\u003cspan\u003edocumentation\u003c\/span\u003e\u003cspan\u003e. This unwavering commitment ensures that every client can buy with total confidence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eDoes M.S. Rau offer appraisals or certificates of authenticity?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eYes. We provide valuations, condition reports, research dossiers and certificates for most works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cstrong\u003eHow are paintings shipped and handled?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cspan\u003eEvery package is professionally packed on site by an M.S. Rau team member specially trained in packing delicate and precious antiques.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWhat makes M.S. Rau different from other fine art dealers?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor over 110 years, M.S. Rau has built a reputation as one of the world’s most trusted names in rare fine art, antiques, and jewelry. We combine museum-level expertise with personalized service, ensuring an unparalleled collecting experience. We leverage our international network to locate specific artworks or artists not currently in our collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","products":[{"product_id":"red-rose-in-a-standing-vase-by-martin-johnson-heade","title":"Red Rose in a Standing Vase by Martin Johnson Heade","description":"Martin Johnson Heade\u003cbr\u003e 1819-1904 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eRed Rose in a Standing Vase\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"M J Heade 1883\" (lower left)\u003cbr\u003e Oil on board \u003cbr\u003e\u003cbr\u003e This stunning oil on canvas represents the great Martin Johnson Heade's lifelong fascination with the natural world of flora and fauna. The celebrated landscape and still life painter devoted his career to capturing the beauty of nature on canvas, and his greatest achievements are his depictions of flowers such as this. Exactingly rendered with the precision of a naturalist, this still life of a rose with its crimson petals shows his mastery over texture and color. \u003cbr\u003e\u003cbr\u003e By the time this work was completed in 1883, Heade was well established as a painter of both landscapes and still lifes. It was also the year he married and moved to St. Augustine, Florida, where he experienced a period of renewed creativity and well being in his new tropical setting. The rose, with its illusions to romance, its intoxicating fragrance and its dramatic red hue, was the perfect subject for this stage in his life. Not only does he capture the bloom with a lush and sensuous beauty, but he also imbues the work a sense of mystery that is enhanced by the darkened setting. In its seeming simplicity, the still life reveals the subtle complexity of Heade's best works. \u003cbr\u003e\u003cbr\u003e Born in Pennsylvania in 1819, Heade received his earliest artistic training from the painter Edward Hicks. At the age of 19, he took his first trip abroad to live in Rome for two years. Upon his return in 1841, he exhibited for the first time at the Pennsylvania Academy of the Fine Arts in Philadelphia, and just two years later showed a portrait at New York's National Academy of Design. By the mid-1850s, Heade turned away from the portrait painting that dominated his early career, instead experimenting with landscape under the tutelage of Frederic Edwin Church. \u003cbr\u003e\u003cbr\u003e Not soon after, Heade also began his pursuit of still life painting, becoming the only artist of his generation to be proficient in both genres. By the 1880s, he was well established and had earned the patronage of Henry Morrison Flagler, a wealthy oil and railroad magnate who would purchase several dozen of his works over the next decades. Today, Heade's paintings can be found in important museum collections, including the Museum of Fine Arts (Boston), the Metropolitan Museum of Art (New York), the National Gallery of Art (Washington D.C.), the North Carolina Museum of Art, and many others. \u003cbr\u003e\u003cbr\u003e Dated 1883 \u003cbr\u003e\u003cbr\u003e Board: 16\" high x 8\" wide\u003cbr\u003e Frame: 27 3\/4\" high x 19 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Berry-Hill Galleries, Inc., New York\u003cbr\u003e Acquired in 1977 from the above by Jay P. Altmayer, Palmetto Hall, Alabama\u003cbr\u003e Richard Greene Fine Paintings, London\u003cbr\u003e Private collection, New York\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eThe Life and Works of Martin Johnson Heade\u003c\/em\u003e, New Haven, 1975, by T.E. Stebbins, p. 258, no. 234 (illustrated)\u003cbr\u003e \u003cem\u003eThe Life and Works of Martin Johnson Heade: A Critical Analysis and a Catalogue Raisonné\u003c\/em\u003e, New Haven and London, 2000, by T.E. Stebbins, pp. 155, 327, no. 511 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44528169910407,"sku":"30-9149","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9149_1_516effe2-88bd-44a0-b2d8-13c90d639e2c.png?v=1777556602"},{"product_id":"autumn-garden-walk-by-john-atkinson-grimshaw","title":"Autumn Garden Walk by John Atkinson Grimshaw","description":"John Atkinson Grimshaw\u003cbr\u003e 1836-1893 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAutumn Garden Walk\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e Signed and dated \"Atkinson Grimshaw 1879-80\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The golden-red glow of the autumnal sun illuminates this countryside scene by British painter John Atkinson Grimshaw. Showcasing the celebrated painter’s mastery of light and atmosphere, the oil is a captivating example of Grimshaw's meticulously rendered evening subjects. While the majority of the artist’s works depict moon-washed cities and the fishing villages of Britain, the location of this piece is the British countryside, giving it a sense of romance that would have resonated with its Victorian audience. \u003cbr\u003e\u003cbr\u003e Born in Leeds the son of an ex-policeman, Grimshaw began painting while he was employed as a clerk for the Great Northern Railway. In 1861 he left his job to pursue a career as a full-time artist. By 1870, he was successful enough to rent Knostrop Hall, a 17th-century mansion near Temple Newsam, which is featured in many of his paintings. His continued success enabled Grimshaw to build a house in Scarborough and to rent a studio in Chelsea. \u003cbr\u003e\u003cbr\u003e His early paintings of still lifes and local landscapes were executed with a precision reminiscent of the Pre-Raphaelite Brotherhood’s ideals. Later in his career, he turned his attention to moonlit urban scenes. He was fascinated by the relatively new art of photography and often used a camera obscura in developing his compositions. He strove relentlessly to perfect his own very individual vision. John Atkinson Grimshaw died on October 31, 1893, leaving three sons, Arthur, Louis and Wilfred, and a daughter, Elaine, who also became artists. Grimshaw’s work can now be seen in galleries all over the world including the Tate Gallery in London and the Leeds Museum.\u003cbr\u003e\u003cbr\u003e Canvas: 20” high x 30” wide\u003cbr\u003e Frame: 33 1\/2” high x 43 1\/2” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542197473415,"sku":"30-6163","price":445000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-6163_1.png?v=1743858833"},{"product_id":"emprunt-6-souscrivez-by-raoul-dufy","title":"Emprunt 6% Souscrivez by Raoul Dufy","description":"Raoul Dufy\u003cbr\u003e 1877-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eEmprunt 6% Souscrivez\u003cbr\u003e (War Loan 6% Subscribe)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Raoul Dufy\" (lower right)\u003cbr\u003e Gouache on paper \u003cbr\u003e\u003cbr\u003e This vibrant gouache on paper by the renowned Raoul Dufy is a work of exceptional artistry and represents an important period in world history. The piece was a special commission ordered by the French government, which sought to encourage the French people to join in the post-war reconstruction efforts. Following World War I, the French government was destitute. The cost of the Great War had been tremendous not only in lives lost but also in terms of infrastructure and finances. To reclaim its place as a great power on the world stage, France needed funds to reconstruct its key industries, and quickly. Thus, the government turned to one of the most famous French artists of the day - Raoul Dufy - to create this gouache on paper to advertise the country's war bonds.  \u003cbr\u003e\u003cbr\u003e The extraordinary work represents Dufy's own sense of patriotic duty. Entirely unique in his oeuvre, it is clear that Dufy wished to create something truly special to help his war-torn country. The artist deftly captures the industry of France in the colorful composition, showcasing bridges, buildings, ships and other key elements of the country's infrastructure to evoke the viewers' pride, patriotism and willingness to help. The words \u003cem\u003eEmprunt 6% Souscrivez (War Loan 6% Subscribe)\u003c\/em\u003e are boldly written across the top, seeking subscribers to a 6% interest loan to help rebuild the country - a very healthy return for the age. \u003cbr\u003e\u003cbr\u003e The powerful painting represents one of the most effective and extensive patriotic campaigns of all time. France relied heavily on the willingness of its citizens to lend money to the government during World War I. By the war's end, however, the war-weary public required greater incentive to purchase war loans, so higher interest rates as well as extensive public relations campaigns were needed to sell government bonds. With the purchase of a war loan, every person could make a difference - and earn a significant return on their investment. Dufy's exceptional composition appealed to his countrymen's sense of patriotism, duty and pride, resulting in one of the most successful war and reconstruction funding campaigns of the modern age. \u003cbr\u003e\u003cbr\u003e Aside from its historic importance, the work is exemplary of Dufy's highly modern and distinctive style. The dynamism of the scene is perfectly translated through the artist's vivacious experiments in color and movement. He combines bold and spontaneous black outlines with broad areas of vivid color, creating dynamic planes that captivate the viewer. The resulting work is colorful and full of vigor, displaying the bright fluidity for which Dufy is so loved. \u003cbr\u003e\u003cbr\u003e Born in Le Havre, Normandy, both Dufy and his brother Jean showed a talent for drawing at an early age. He would eventually enroll in the École d'Art in La Havre, and later, the École Nationale Supérieure des Beaux-Arts in Paris. After viewing Matisse's Luxe, Calme et Volupte in 1904, Dufy adopted the bright color and flat compositions of the Fauvists. By 1909, the artist sought more austerity in his painting, and he became drawn to the works of Cézanne and the Cubists. From this point forward, Dufy's compositions presented a blend of the ideals upheld by these two artistic groups. His use of bold lines and colors, dynamic brushstrokes and other painterly qualities found in his paintings are a testament to his unique Expressionist ideals. \u003cbr\u003e\u003cbr\u003e This important work is accompanied by a certificate of authenticity from Mme. Fanny Guillon-Laffaille and will be included in her forthcoming supplement to the \u003cem\u003eCatalogue Raisonné des aquarelles de Raoul Dufy\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Circa 1919 \u003cbr\u003e\u003cbr\u003e Paper: 19\" high x 25\" wide\u003cbr\u003e Frame: 28\" high x 33 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Madame Collette van Leer (the artist's niece), Brussels\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44540181905543,"sku":"30-7592","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-7592_1_b92d0cd5-c541-4105-9323-0e0ceaea9b7a.png?v=1777552447"},{"product_id":"bali-by-a-e-herrmann","title":"Bali by A. E. Herrmann","description":"A.E. Herrmann\u003cbr\u003e\nActive in the 1920s | Dutch\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eBali\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\nSigned \"A.E. Herrmann 1932\" (in lower right hand corner)\u003cbr\u003e\nOil on canvas\u003cbr\u003e\u003cbr\u003e\nThis enchanting work by Dutch artist, A.E. Herrmann depicts an exotic scene in Bali. In this magnificent painting depicting four Balinese women packing baskets, a vivid background is painted so that it is vibrant with the tropical colors of Indonesia. The stunning melon-hued temple becomes a focus in the painting and evokes a serene and mesmerizing scene of a faraway land.\u003cbr\u003e\u003cbr\u003e\nIndonesia and in particular Bali and Java was an extremely important destination for many early 20th century Dutch artists and a number of important painters lived and worked there, including Rudolph Bonnet, Arie Smit and other European artists. In the 1920s Bali became an artist enclave and the landscape and people of the region can be seen in many works by European artists. Western artists, such as Herrmann had a huge impact on the production of Balinese artists and their work transformed as a result of the cultural interaction. Western artists imbued Balinese art with perspective and attention to anatomy as well as encouraging experimentation and a departure from tradition.\u003cbr\u003e\u003cbr\u003e\nHerrmann became renowned as a master of Indonesian scenes and in 1931 applied to participate in the Colonial Exhibition in Paris. A design for a poster by his hand for the fair in Bandung, Java, the 'Eerste Nederlandsvh-Indische Jaarbeurs' in 1920, is reproduced in \"Weekblad voor Indie\", n. 52, April 4, 1920 and an advertisement for \"The Ribbon Cigarette Cy\" in \"De Java-Bode\" of September 11, 1936 bears the same signature. His work evolved at a time in Europe where colonial images of people and the landscape were extremely popular. Herrmann became famous for his views of the exotic Indonesian countryside and was particularly renowned for his paintings depicting beautiful women and their daily activities. Important collections of colonial itinerant artists are not complete without his inclusion.\u003cbr\u003e\u003cbr\u003e\nDated 1932\u003cbr\u003e\u003cbr\u003e\nCanvas: 20\" high x 25.8\" wide\u003cbr\u003e\nFrame: 27 1\/2\" high x 33 5\/8\" wide\u003cbr\u003e\u003cbr\u003e\nLiterature:\u003cbr\u003e\n\u003cem\u003eLexicon of Foreign Artists who Visualized Indonesia (1600-1950): Surveying painters watercolourists, f-draughtsmen, sculptors, illustrators, graphic and industrial artists\u003c\/em\u003e, 1995, L. Haks \u0026amp; G. Maris","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42553360744583,"sku":"30-0244","price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-0244_1.png?v=1744226819"},{"product_id":"italian-panel-of-orpheus-and-eurydice","title":"Italian Panel of Orpheus and Eurydice","description":"Greek mythology comes to life in this extraordinary gouache and oil on canvas. The exceptionally rare work likely depicts the tragic myth of Orpheus and Eurydice. Orpheus, a legendary great hero renowned for his musical skills, was the son of the Thracian king Oeagrus and the Muse Calliope, the patron of epic poetry. According to legend, Orpheus was gifted his first lyre by the god Apollo, who was impressed by his superhuman musical talents.\n\u003cbr\u003e\u003cbr\u003e\nThe tale for which Orpheus is best remembered, however, is the one likely depicted in this panel, wherein he rescued his wife, Eurydice, from the underworld. On the day of her wedding, Eurydice was set upon by a satyr, and in her efforts to escape, she was bitten by a snake. Overcome by grief, Orpheus traveled to the underworld with his lyre in order to appeal to Hades and Persephone to return his wife. Hearts softened by his song, they agreed to allow Eurydice to return to earth, on the condition that he not turn to look at her until they escaped the underworld. Tragically, Orpheus was unable to comply with this condition - he turned back to catch a glimpse of her, and his wife vanished forever.\n\u003cbr\u003e\u003cbr\u003e\nOne of the most popular of the Greek myths, Orpheus' story is brilliantly recreated in this gouache and oil on canvas, which captured the musician as he plays for the god and goddess of the underworld. Likely once displayed in the music room of an Italian villa, it is an exceptional example of its genre.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1800\n\u003cbr\u003e\u003cbr\u003e\nCanvas: 31 1\/2\" high x 48\" wide\u003cbr\u003e\nFrame: 52 1\/4\" wide x 36\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672837390471,"sku":"30-9010","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9010_1_42c3eaca-8071-43c3-bdee-516c992787fa.png?v=1769761361"},{"product_id":"football-by-feodor-ivanovich-zakharov","title":"Football by Feodor Ivanovich Zakharov","description":"Feodor Ivanovich Zakharov\u003cbr\u003e 1882-1967 | Russian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFootball\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed in Cyrillic “F. Zakharov” (lower right) and signed again and inscribed “Feodor Zakharov\/Football” (en verso)\u003cbr\u003e Oil on card laid down on panel \u003cbr\u003e\u003cbr\u003e This exceptionally rare early work by the celebrated portraitist Feodor Ivanovich Zakharov represents the rare opportunity to own a piece of both art historical and cultural significance. Undoubtedly, football is the most beloved sport in the world, commanding the attention of billions of enthusiasts worldwide. However, the sport has seldom been chosen as a subject for fine art, particularly in its early days. Entitled \u003cem\u003eFootball\u003c\/em\u003e, this dynamic oil, which was once owned by the North Carolina Museum of Art, is one of a select few that highlights the excitement of this international pastime. \u003cbr\u003e\u003cbr\u003e The ambitious composition is highly unusual for the artist, who is particularly known for the highly popular portraits of New York society that dominated his later output. Instead, \u003cem\u003eFootball\u003c\/em\u003e offers a glimpse into Zakharov's early experimentation with reflections, light and shadows. In the present work, the technique contributes to the fervor of the game, which is further intensified by the highly saturated patches of orange-red on the players' uniforms and in the packed spectator-stands behind them. Overall, the effect is impressive and dynamic, bringing the atmosphere of the match to life. \u003cbr\u003e\u003cbr\u003e Zakharov painted the work around 1912, which was an historic year for Russian football. The establishment of the Football Union of Russia took place that year, and a number of teams had emerged, including OLLS Moscow (known today as CSKA Moscow). It is possible they are one of the teams depicted here, as they played in distinctive red and blue stripped uniforms. For the first time, Russia also sent a football team to the Olympic Games in Stockholm, where they played teams from Finland, Germany, Hungary and Norway. In this context, \u003cem\u003eFootball\u003c\/em\u003e represents a significant step taken in the history of Russian sport, and also the country’s emergence onto the world stage. \u003cbr\u003e\u003cbr\u003e Born in Astrakhan in 1882, Feodor Zakharov studied at the Moscow School of Painting, Sculpture and Architecture from 1910 until 1916. He began to exhibit as early as 1911, an amazing accomplishment for a young artist. He was invited to be an exhibitor and member of the committee organizing the \u003cem\u003eRussian Art Exhibition\u003c\/em\u003e planned for New York City in 1924. \u003cem\u003eFootball\u003c\/em\u003e was among the few compositions the artist leant for the exhibition, representing his entrée into New York society. Like many other émigrés who escaped the Russian Revolution, Zakharov subsequently settled in New York, where he opened a studio in Central Park South in 1932. \u003cbr\u003e\u003cbr\u003e His paintings soon gained a significant following among affluent society. He received a number of commissions from important patrons, including Mrs. Woodrow Wilson, Mrs. Calvin Coolidge and philanthropist Charles R. Crane. Zakharov exhibited both as a solo artist in cities such as Paris, New York and Philadelphia, and contributed to the \u003cem\u003eInternational Exhibition of Modern Art\u003c\/em\u003e held at the Carnegie Institute of Pittsburgh. Enjoying such great success in America, Zakharov thrived as a society portraitist in New York and never return to Russia. He won a number of prizes, and today, his work is exhibited at in number of prestigious collections all over the world, including the Smithsonian Museum of American Art. \u003cbr\u003e\u003cbr\u003e Circa 1912 \u003cbr\u003e\u003cbr\u003e Panel: 27” high x 36 1\/2” wide\u003cbr\u003e Frame: 37 7\/8” high x 47 1\/4” wide \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e \u003cem\u003eThe Russian Art Exhibition\u003c\/em\u003e, 1924, New York, Grand Central Palace\u003cbr\u003e \u003cem\u003eSesqui-Centennial International Exposition\u003c\/em\u003e, 1926, Philadelphia, Department of Fine Arts\u003cbr\u003e \u003cem\u003eFeodor Zakharov: A Retrospective Exhibition\u003c\/em\u003e, 1965, Raleigh, North Carolina Museum of Art \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eFeodor Zakharov: A Retrospective Exhibition\u003c\/em\u003e, 1965, Raleigh, North Carolina Museum of Art, p. 9, no. 3 (illustrated) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist, at least until 1965\u003cbr\u003e Elsie and George Kramer, New York\u003cbr\u003e North Carolina Museum of Fine Art, Raleigh, NC\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44303720153223,"sku":"29-6396","price":495000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-6396_1_4a8ce53e-d241-4077-a832-ec5f255d5e7d.png?v=1774961081"},{"product_id":"portrait-of-francis-bennett-by-thomas-gainsborough","title":"Portrait of Francis Bennett by Thomas Gainsborough","description":"Thomas Gainsborough\u003cbr\u003e 1727–1788 | English \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Francis Bennett (1712-1790)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptionally rare portrait was composed by renowned British painter Thomas Gainsborough, one of the most recognizable names in 18th-century art. This masterwork was painted in Bath in 1766, during one of the most significant artistic periods of Gainsborough's career. Just three years later, in 1769, he was invited to become a founding member of the Royal Academy, one of the highest honors a British painter could achieve. With its fluidity of line and boldness of color, \u003cem\u003ePortrait of Francis Bennett (1712-1790)\u003c\/em\u003e reveals the artist's shift away from the more realistic style of his early output toward the elegant grandeur that characterizes his later oeuvre. \u003cbr\u003e\u003cbr\u003e Francis Bennett, like Gainsborough himself, prospered thanks to the huge expansion of Bath as a spa town in the 18th century. Born in Bath in 1712, he established himself as a linen and wool draper who counted the elite of the town—including Gainsborough himself—among his clientele. A slightly earlier portrait of Bennett in a blue waistcoat was formerly in the collection of the late Viscount Cowdray at Cowdray Park. \u003cbr\u003e\u003cbr\u003e Born in 1727 in Suffolk, Gainsborough was the leading portrait painter of the 18th century, alongside Sir Joshua Reynolds, his main rival. Though Gainsborough originally set up his studio in Ipswich in 1752, he later moved to Bath, where he achieved considerable success. A favorite of the aristocracy as a portrait painter, Gainsborough was equally at home painting landscapes and pastoral idylls, presenting nobility, the working class and nature with the same extraordinary technical precision. Gainsborough’s ability to capture his subjects’ personalities, imbuing them with an emotive poetry, set him apart from his contemporaries. His portraits belong to the world's most prestigious museums, including the Louvre, the National Gallery in London, the Metropolitan Museum of Art and many more. \u003cbr\u003e\u003cbr\u003e This painting will be included in the forthcoming catalogue raisonné of the portraits of Thomas Gainsborough currently being prepared by Dr. Hugh Belsey. \u003cbr\u003e\u003cbr\u003e Circa 1766 \u003cbr\u003e\u003cbr\u003e Canvas: 30 1\/8” high x 25” wide (76.52 x 63.50 cm)\u003cbr\u003e Frame: 36 3\/4” high x 32” wide x 3\" deep (93.35 x 81.28 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Thomas Agnew \u0026amp; Sons, London, by 1899\u003cbr\u003e Jointly owned by Agnew’s and Wallis \u0026amp; Son, 1903\u003cbr\u003e Agnew’s half share sold to Wallis \u0026amp; Son on June 2, 1910\u003cbr\u003e Galerie D Heinemann, Munich, 1918 and 1928\u003cbr\u003e Private collection, Amsterdam, 1995-2005\u003cbr\u003e M.S. Rau, New Orleans, 2009\u003cbr\u003e Private collection, Los Angeles, 2012\u003cbr\u003e M.S. Rau, New Orleans, 2016\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Walter Armstrong, \u003cem\u003eGainsborough and His Place in English Art\u003c\/em\u003e, 1904, p. 258 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e French Gallery, 1913, no. 17\u003cbr\u003e Galerie D Heinemann, Munich, 1918 and 1928","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44201313468551,"sku":"29-4019","price":148500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-4019_1_04f3c8f3-b19f-42e8-9dc6-3a1ab942f411.png?v=1774961008"},{"product_id":"ondine-by-pierre-marcel-beronneau","title":"Ondine by Pierre Marcel-Béronneau","description":"Pierre-Amédée Marcel-Béronneau\u003cbr\u003e 1869-1937 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eOndine\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Studio stamped (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Mystical and mysterious, a mythological Ondine rests beside an ethereal forest pond in this majestic, original oil on canvas by French Symbolist Pierre-Amédée Marcel-Béronneau. A student of the famed Gustave Moreau, Béronneau painted some of the most ornate scenes ever envisioned which focused upon entrancing figures of classical mythology.  \u003cbr\u003e\u003cbr\u003e Ondine, or Undine, is a female elemental being of ancient origin that is used to describe nymphs, mermaids, naiades and the like. In lore, the beings reside near pools, ponds and waterfalls and are known for their captivating singing voices that are said to have a hypnotic effect on men. These immortal figures, though they may resemble women lack one of the most important human characteristics – a soul. Here, in true Symbolist fashion, Béronneau creates a breathtakingly vivid dream world in which this Ondine is prominent. Her lack of color, as compared to her surroundings, seems to reflect the absence of this most essential of mortal traits. Though graceful and unquestionably beautiful, without a soul the Ondine is unable to truly experience an enriched and fulfilled life. \u003cbr\u003e\u003cbr\u003e Born to a locksmith and a housewife in Bordeaux, Béronneau received his initial training at the Municipal School of Fine Arts in his hometown and later Paris’ Decorative Arts School. In 1892, he enrolled into the Academie des Beaux-Arts where he entered the studio of Gustave Moreau. Béronneau quickly became one of the master’s best pupils. In a letter of recommendation to the Mayor of Bordeaux, Moreau wrote: “Mr. Béronneau, my student, is a wonderful worker, very gifted and worthy of your interest.” \u003cbr\u003e\u003cbr\u003e Béronneau would go on to have a tremendously successful career, winning numerous awards and honors throughout his lifetime. He exhibited at the Salon and the Salon des Indépendants from 1895, garnering medals in 1900, 1913 and 1926. The art critic Arsène Alexandre wrote about him in the paper “Le Figaro” that he was a “great refined artist”, a “delicate, serious and often deep painter who [mixed] a great integrity with the yearning for the highest thoughts”. The French government also commissioned works, such as his “Last Hour”, currently found in the collection of the Fine-Arts Museum in Bordeaux. He became Knight of the Legion of Honor in 1914. \u003cbr\u003e\u003cbr\u003e Circa 1905 \u003cbr\u003e\u003cbr\u003e Canvas: 28 7\/8” high x 23 5\/8” wide\u003cbr\u003e Frame: 35 1\/4” high x 30 1\/8” wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist’s estate\u003cbr\u003e Private collection, France\u003cbr\u003e Sotheby’s Olympia, 2003\u003cbr\u003e Private collection, United Kingdom","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42446740095111,"sku":"30-9256","price":49850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9256_1_e9747cca-87e1-4505-9f31-67a6da5f9cda.png?v=1741873468"},{"product_id":"portrait-of-napoleon-ii-attributed-to-johann-peter-krafft","title":"Portrait of Napoléon II attributed to Johann Peter Krafft","description":"Attributed to Johann Peter Krafft\u003cbr\u003e 1780-1856 | Austrian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Napoléon François Charles Joseph Bonaparte\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Remnants of signature (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The son of the legendary Napoléon Bonaparte, Napoléon François Charles Joseph, takes a spirited stance in this remarkable oil painting attributed to the Austrian portraitist Johann Peter Krafft. Believed to have been exhibited at the Exposition Universelle of 1900 in Paris, this work stands as a testament to both Austrian artistry and the legacy of one of the most powerful men in history. \u003cbr\u003e\u003cbr\u003e After Napoléon's exile to the island of Elba in 1814, his son was seen by many of his supporters as the last hope of France. The child was named the ruler of half of Europe, holding the titles of Napoléon II, King of Rome, Prince of Parma, and the Duke of Reichstadt, the last given to him by his grandfather, Austria’s Emperor Francis II.  \u003cbr\u003e\u003cbr\u003e Following his father’s capture, the then four-year-old Napoléon and his mother fled to her homeland of Austria, never to see the fallen Emperor of France again. Once under the protection of the Habsburg Court, there was a concerted effort to sever all ties to his father. His mother left him in Vienna to pursue her own personal interests. In her absence, his grandfather assumed guardianship and gave him the title of the Duke of Reichstadt, dismissed all of his French attendants, and even disallowed the child to be referred to as “Napoléon”, instead insisting on the name “Franz” or “Francis”.  \u003cbr\u003e\u003cbr\u003e   This portrait, which dates roughly to 1818, features the young Napoléon II as he gazes directly at the viewer and assumes a pose of nonchalant authority. He wears the dress of a Spanish Grandee, a style of costuming that enjoyed a resurgence in popularity in the late years of the prior century with the advent of the majismo tradition. The incorporation of it here, however, has been tied to the young Napoléon II’s acquisition of a new title in 1818 - the Duke of Reichstadt. It was this new title that was purportedly celebrated with a large costume ball, and it is for this reason, as interpreted by experts, that Napoléon II wears such distinctive garb in this portrait.  \u003cbr\u003e\u003cbr\u003e A closer look at the technique and style of this painting leads one to draw connections to the work of Johann Peter Krafft, who devoted much of his career to history and portrait painting. Born in Hanau, Germany, Krafft eventually moved to Vienna near the end of the eighteenth century and subsequently enrolled at the Academy of Fine Arts, Austria’s preeminent artistic academy. First studying alongside Heinrich Friedrich Füger, a history painter, Krafft was also afforded training under the masterful eye of Neoclassical painter Jacques-Louis David in Paris the early 1800s. \u003cbr\u003e\u003cbr\u003e Shortly after this time abroad, Krafft returned to Vienna to establish his studio and gained fast acclaim for his striking portraits. His work garnered him membership in the Academy of Fine Arts as well as a professorial appointment there in 1823; in 1828, he was appointed the director of the Österreichische Galerie Belvedere, which still today is considered one of Austria’s most impressive artistic collections. Throughout these accomplishments, Krafft continued to accept increasingly prestigious commissions, including those from Emperor Franz I and his court. \u003cbr\u003e\u003cbr\u003e Painted in 1818 \u003cbr\u003e\u003cbr\u003e Canvas: 55 1\/4\" high x 36 3\/8\" wide\u003cbr\u003e Frame: 63 1\/2\" high x 44 1\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Haro, La Maison au Genie des Arts, 30 Rue du Colombier, Paris (label stamped on the reverse of the original canvas, the firm was at this address from 1826 - 1836); \u003cbr\u003e Sibylle-Gabrielle Marie-Antoinette de Riquetti de Mirabeau, Comtesse de Martel de Janville, from 1849 until 1932, (French author who wrote under the pseudonym Gyp);\u003cbr\u003e Thereafter, by descent in the family;\u003cbr\u003e Private Collection, Michigan, until 2018 \u003cbr\u003e\u003cbr\u003e Exhibited: \u003cbr\u003e Exposition Universelle de 1900, Paris, April 15 - November 12, 1900 (according to tradition in the Comtesse de Martel de Janville's family)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43641745703047,"sku":"30-9335","price":128500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9335_1_69d04491-9210-4d3c-b0ae-7d800e75fd70.png?v=1769760834"},{"product_id":"italian-panel-of-eurydice-with-naiads","title":"Italian Panel of Eurydice with Naiads","description":"A fascinating tale from Greek mythology is revealed in this extraordinary gouache and oil on canvas. The rare Italian painting is believed to depict a scene from the myth of Orpheus and Eurydice. One of the most tragic figures in Greek mythology, the nymph Eurydice was one of the daughters of the god Apollo. According to legend, she wed Orpheus, the legendary musician and hero who was the son of the Muse Calliope. She is captured here on the day of her wedding, joyfully dancing with the naiads in a vast field, though their severe expressions reveal the tragedy that is about to befall her.\n\u003cbr\u003e\u003cbr\u003e\nShortly after Eurydice's dance with the naiads, she was set upon by a satyr; in her efforts to escape, she was bitten on the foot by a poisonous snake and died. Overcome by grief, Orpheus traveled to the underworld with his lyre in order to appeal to Hades and Persephone to return his wife. Hearts softened by his song, they agreed to allow Eurydice to return to earth, on the condition that he not turn to look at her until they escaped the underworld. Tragically, Orpheus was unable to comply with this condition - he turned back to catch a glimpse of her, and his wife vanished forever.\n\u003cbr\u003e\u003cbr\u003e\nOne of the most popular of the Greek myths, Orpheus and Eurydice's story is brilliantly recreated in this gouache and oil on canvas. Likely once displayed in the music room of an Italian villa, it is an exceptional example of its genre.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1800\n\u003cbr\u003e\u003cbr\u003e\nCanvas: 31 1\/2\" high x 48\" wide\u003cbr\u003e\nFrame: 52 1\/4\" wide x 36\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672837718151,"sku":"30-9079","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9079_1_02dd6ff8-363a-40cb-92e8-9d58b3056928.png?v=1769758608"},{"product_id":"italian-panel-with-satyr-and-nymphs","title":"Italian Panel with Satyr and Nymphs","description":"This extraordinary Italian gouache and oil on canvas brings two of the most popular characters from Greek mythology vividly the life - the nymph and the satyr. Both creatures are famed for their carefree natures and lascivious temperaments, and tales abound of satyrs pursing nubile nymphs in order to rape or seduce them, usually with little success. One such narrative humorously unfolds in the present piece, which depicts an indignant satyr captured by three nymphs with a golden net.\n\u003cbr\u003e\u003cbr\u003e\nThe relationship between these two mythological creatures was a popular one for artists throughout the 18th and 19th centuries, though its origins stretch back to antiquity. Both satyrs and nymphs were commonly found on ancient Greek pottery, which inspired later Italian revivals such as the present piece. A similar scene was also captured by the great William-Adolphe Bouguereau in his 1873 masterpiece \u003cem\u003eNymphs and Satyr\u003c\/em\u003e, wherein a group of nymphs is surprised by a lascivious satyr while bathing.\n\u003cbr\u003e\u003cbr\u003e\nAmong the most popular of the Greek mythological characters, the satyr and nymph are brilliantly recreated in this gouache and oil on canvas. Likely once displayed in the music room of an Italian villa, it is an exceptional example of its genre.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1800\n\u003cbr\u003e\u003cbr\u003e\nCanvas: 31 1\/2\" high x 48\" wide\u003cbr\u003e\nFrame: 52 1\/4\" wide x 36\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672837816455,"sku":"30-9080","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9080_1_b17db1e6-ef9e-4862-92da-dea817279415.png?v=1769758555"},{"product_id":"virgin-and-child-with-the-infant-saint-john-by-domenico-puligo","title":"Virgin and Child with the Infant Saint John by Domenico Puligo","description":"Domenico Puligo\u003cbr\u003e 1492-1527 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eVirgin and Child with the Infant Saint John\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art in New York, Museo del Prado in Madrid, Palazzo Borghese in Rome and Palazzo Pitti in Florence, among many others. \u003cbr\u003e\u003cbr\u003e Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color are remarkable. The Virgin Mary’s crimson dress displays an impressive level of chiaroscuro, ranging from deep burgundy to vibrant pink. It is perfectly juxtaposed against the dark greens and purples of her mantle. Apart from the two holy children, the remainder of the painting offers a view of a vast landscape, executed in various shades of blues and greens. \u003cbr\u003e\u003cbr\u003e Puligo has perfected the soft sfumato effect; combined with his exaggerated, yet elegant distortion of his figures, his \u003cem\u003eVirgin and Child with the Infant Saint John\u003c\/em\u003e embodies the Mannerist idiom. The 16th-century art form emerged during the Late Renaissance. Whereas painters of the High Renaissance sought to achieve harmonious ideals and perfect proportions, the Mannerists created compositions that evoked drama through elongated limbs, strained poses, and vivid colors. Like other Mannerists of his generation, Puligo’s compositions are imbued with emotion and sentimentality rather than naturalism and perfect perspective. The style is well suited to the Virgin and Child trope, lending a motherly tenderness to Puligo’s devotional works. \u003cbr\u003e\u003cbr\u003e Domenico Puligo was born in Florence into a family of blacksmiths, though little else is known of his early life. He trained under Ridolfo Ghirlandaio, and briefly worked under Andrea del Sarto, who became a profound influence on the young painter. The majority of Puligo’s output was focused on medium-sized religious paintings such as the present work, which he composed as special commissions for his client’s private devotion. A small group of altarpieces and a number of commissioned portraits have also been attributed to the artist. His oeuvre, however, is small, as he died at the young age of 35 after contracting the plague. Today, the majority of his works are found only in museum collections. It is incredibly rare to come across such a fine example as this on the market. \u003cbr\u003e\u003cbr\u003e Circa 1515 \u003cbr\u003e\u003cbr\u003e Panel: 33 1\/2” high x 25” wide\u003cbr\u003e Frame: 50 1\/8\" high x 40 3\/8\" wide \n Provenance: Sotheby's London, Old Master Paintings Auction July 3, 1991, Lot #221 Private Collection, Turin, Italy","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43261604200583,"sku":"30-8679","price":345000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8679_1.png?v=1759512293"},{"product_id":"saint-cosmas-and-saint-damian-attributed-to-bonifacio-bembo","title":"Saint Cosmas and Saint Damian attributed to Bonifacio Bembo","description":"Attributed to Bonifacio Bembo\u003cbr\u003e 1420-1478 | Italy \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSaint Cosmas and Saint Damian\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Tempera on panel \u003cbr\u003e\u003cbr\u003e These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. Based on the research of art historians Marco Tanzi and Andrea de Marchi, it is believed that these represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. \u003cbr\u003e\u003cbr\u003e The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the\u003cem\u003e Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino\u003c\/em\u003e (the chapel’s namesake) and \u003cem\u003eSaint George\u003c\/em\u003e.  \u003cbr\u003e\u003cbr\u003e While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. \u003cbr\u003e\u003cbr\u003e According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. \u003cbr\u003e\u003cbr\u003e The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi currently in the collection of the National Gallery (London). \u003cbr\u003e\u003cbr\u003e Along with the remainder of the Cremonese altarpiece, these present panels have been attributed to the Northern Italian Renaissance painter Bonifacio Bembo. Active in Cremona throughout the 15th century, he would have been a natural choice for the construction of the altarpiece, which was to be part of a new chapel dedicated to San Nicola da Tolentina in the church of Sant'Agostino in Cremona. The Cavalcabò chapel, which is also in the Sant'Agostino, is similarly attributed to him. Several other of his works can be found in museums and churches throughout Italy and beyond, including the Pinacoteca di Brera (Milan), Denver Museum of Art, and the Musée des Arts Décoratifs (Paris), among others. \u003cbr\u003e\u003cbr\u003e Circa 1454-1458 \u003cbr\u003e\u003cbr\u003e Panel: 14 5\/8” high x 11 3\/8” wide (37.15 x 28.89 cm)\u003cbr\u003e Frame: 22 3\/4” high x 19 1\/2” wide x 2 1\/2\" deep (57.79 x 49.53 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_30-8695.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This work was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, London\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050894815367,"sku":"30-8695","price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8695_1_e3932cdd-d2ed-4759-b626-be58a4b708f0.png?v=1774967625"},{"product_id":"le-carnaval-du-sage-by-rene-magritte","title":"Le carnaval du sage by René Magritte","description":"René Magritte\u003cbr\u003e 1898-1967 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe carnaval du sage\u003cbr\u003e (The Sage’s Carnival)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Magritte” (lower right); titled and dated \"Le carnaval du sage 1947\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The enigmatic paintings of René Magritte have become some of the most familiar and celebrated of the Surrealist movement. Among the most influential of the Surrealist painters of the 20th century, Magritte is an artist of international renown, as beloved for his popular appeal as he is for the psychological intensity of his works. The present oil on canvas, entitled \u003cem\u003eLe carnaval du sage\u003c\/em\u003e, was executed in 1947 at the height of his career, and it is a tour-de-force example of the haunting, mysterious scenes that comprise his oeuvre.  \u003cbr\u003e\u003cbr\u003e Painted in the years following the Second World War, \u003cem\u003eLe carnaval du sage\u003c\/em\u003e showcases several recurring themes from Magritte’s oeuvre. Chiefly, a juxtaposition between the visible and the hidden is keenly felt. Throughout his career, Magritte explores the psychological obsession with revealing what is hidden, particularly with regard to the human face. In his \u003cem\u003eLe fils de l’homme\u003c\/em\u003e, he obscures the face of a man in a bowler hat with an apple, while his \u003cem\u003eLes amants\u003c\/em\u003e (Metropolitan Museum of Art) conceals the faces of two lovers with white sheets. In \u003cem\u003eLe carnaval du sage\u003c\/em\u003e, Magritte juxtaposes the blatant nudity of his central figure by masking her face, simultaneously revealing and concealing her from the viewer. \u003cbr\u003e\u003cbr\u003e The work also incorporates two of Magritte’s most common tropes – the glass of water and the baguette. Lending the scene a strange sense of domesticity, they appear infinitely familiar and distinctly out of place, and thus heighten the uncanny effect of Magritte’s composition. In the background hovers a ghost obscured by a sheet, a figure which was of particular fascination to Magritte beginning in 1946. He once wrote to his fellow Surrealist Paul Nougé: \"I saw in a dream an answer to the problem of the ghost: the traditional ghost draped in a sheet in a framed picture on the wall of a room.” The eerie echo of the woman in the foreground, the ghost is a fascinating and enigmatic addition to the unsettling scene. \u003cbr\u003e\u003cbr\u003e Though firmly within the realm of Surrealism, \u003cem\u003eLe carnaval du sage\u003c\/em\u003e also represents the artist’s brief adoption of a colorful, more painterly style. The subtle, yet sunny colors of the background of the work reveals the influence of the Impressionist style on Magritte, particularly that of Pierre-Auguste Renoir. The figure herself is particularly Renoir-esque, evoking the burnished skin and exaggerated warmth of Renoir’s late colossal nudes. \u003cbr\u003e\u003cbr\u003e As a whole, \u003cem\u003eLe carnaval du sage\u003c\/em\u003e is an undeniable masterpiece of Magritte’s postwar output. The work exemplifies the principle tenets of the Surrealist movement, presenting ordinary objects in extraordinary situations. Thus, Magritte successfully creates a work that is both infinitely fascinating and jarring in its psychological dissonance. It is also stunningly beautiful, with its brilliant color palette and statuesque nude figure. Similar nudes can be found in the Metropolitan Museum of Art (New York) and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e In the same private collection for over 70 years, the work is fresh to the market, which has recently seen a revival of interest in the artist. A new record for a work by Magritte was achieved in November 2018 when his \u003cem\u003eLe principe du plaisir\u003c\/em\u003e brought $26,830,500 at Sotheby’s. Just one day later, his gouache \u003cem\u003eL’Incendie\u003c\/em\u003e achieved a remarkable $4,335,000; nearly half the size of the present piece, it is a far less impressive work and not nearly as striking. \u003cem\u003eLe carnaval du sage\u003c\/em\u003e represents a rare opportunity for the collector of 20th-century art to own a masterwork by one of the age’s most important names. \u003cbr\u003e\u003cbr\u003e The work comes complete with original letters sent by Magritte to the owners discussing the work. \u003cbr\u003e\u003cbr\u003e Dated 1947 \u003cbr\u003e\u003cbr\u003e Canvas: 24 3\/4\" high x 19\" wide (62.87 x 48.10 cm)\u003cbr\u003e Frame: 33 1\/2\" high x 27 1\/2\" wide, (85.09 x 69.85 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_30-8762.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 Robert de Keyn, Belgium, acquired from the artist in 1947\u003cbr\u003e Private collection, Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Letter from Magritte to Mariën, [30 August 1946], in \u003cem\u003eMagritte Destination\u003c\/em\u003e, no. 192\u003cbr\u003e \u003cem\u003eArtistes wallons contemporains\u003c\/em\u003e, Brussels, Ministère de l’instruction Publique de Belgique, 1949, by J. Bosmant, no. 91 (illustrated)\u003cbr\u003e \u003cem\u003eQuelques artistes wallons contemporains\u003c\/em\u003e, Brussels, Ministère de l’Instruction public, 1950, by J. Bosmant, no. 84\u003cbr\u003e \u003cem\u003eRené Magritte\u003c\/em\u003e, Brussels, Editions de la Connaissance, 1954, by R. Magritte, p. 35, no. 73\u003cbr\u003e \u003cem\u003eL’oeuvre de René Magritte\u003c\/em\u003e, Brussels, Ed. de la Connaissance, by R. Magritte, 1962\u003cbr\u003e \u003cem\u003eRené Magritte\u003c\/em\u003e, Brussels, Musée d’Ixelles, 1965, by R. Magritte and L. Scutenaire, back page\u003cbr\u003e \u003cem\u003eLes Larmes d’Eros\u003c\/em\u003e, Paris, 1961, by G. Bataille, p. 216 (illustrated)\u003cbr\u003e \u003cem\u003eRené Magritte: 1898-1967\u003c\/em\u003e ,Ghent: Ludion, Paris: Flammarion, 1998, by G. Ollinger-Zinque and G. Leen, p. 150 (illustrated)\u003cbr\u003e \u003cem\u003eRené Magritte: catalogue raisonné\u003c\/em\u003e, Vol. II, Houston: Menil Foundation, Antwerp: Fonds Mercator, Paris: Flammarion, 1993, by D. Sylvester and S. Whitfield, p. 376, no. 615 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e \u003cem\u003eExposition Magritte\u003c\/em\u003e, Brussels, Galerie Lou Cosyn, 31 May – 21 June 1947\u003cbr\u003e \u003cem\u003eArtistes wallons contemporains\u003c\/em\u003e, Luxembourg, Musée de l’état du Luxembourg, 12 November – 4 December 1949\u003cbr\u003e \u003cem\u003eQuelques artistes wallons contemporains\u003c\/em\u003e, Paris, Musée d’art moderne de la ville de Paris, 11 January – 12 February 1950\u003cbr\u003e São Paulo Biennial of Modern Art, 20 October – 23 December 1951, no. 22\u003cbr\u003e \u003cem\u003eExposition sur Magritte\u003c\/em\u003e organisée par l’Institut Provincial de l’Education et des Loisir, La Louvière, province of Hainaut, 21 March – 1 April 1954, no. 13\u003cbr\u003e Magritte, Brussels, Palais des Beaux-Arts de Bruxelles, 7 May – 1 June 1954, no. 73\u003cbr\u003e Magritte, Brussels, Musée d’Ixelles, 19 April – 16 May 1959, no. 66\u003cbr\u003e Exposition Magritte, Liège, Musée des Beaux-Arts de Liège, 14 October – 10 November 1960\u003cbr\u003e Brussels, Galerie Isy Brachot, Rétrospective René Magritte, January – February 1968, no. 81\u003cbr\u003e Magritte, Lausanne, Esquisse du tableau reprise dans l’exposition de la Fondation de l’Ermitage, 19 June – 18 October 1987\u003cbr\u003e René Magritte, 1898-1967, Brussels, Musées Royaux des Beaux-Arts de Belgique, 6 March – 28 June 1998, no. 143","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44553379184775,"sku":"30-8762","price":9850000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8762_1_baa1f744-0ed0-48a0-9176-602336ab2341.png?v=1781533151"},{"product_id":"federal-hall-by-marcia-gaylor","title":"Federal Hall by Marcia Gaylor","description":"Marcia Gaylor\u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFederal Hall\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In 1789 on New York's famed Wall Street, George Washington took the oath of office as the nation's first President. In 1882, John Quincy Adams Ward erected his bronze \u003cem\u003eGeorge Washington\u003c\/em\u003e on the front steps of the Federal Building, marking the approximate site where he was inaugurated. This impactful oil on canvas by the American artist Marcia Gaylor captures the historic statue in the light of the afternoon sun. Beautifully composed, the work depicts Washington from the side as he gazes out over Wall Street and towards the New York Stock Exchange in the distance. Symbolizing the birth of both the American government and our financial institutions, it is masterful work of American patriotism. \u003cbr\u003e\u003cbr\u003e Based in southern California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted in 2011 \u003cbr\u003e\u003cbr\u003e Canvas: 24\" high x 18\" wide\u003cbr\u003e Frame: 30 1\/2\" high x 24 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911880056967,"sku":"30-9949","price":26500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9949_1.png?v=1725390173"},{"product_id":"cboe-melody-by-marcia-gaylor","title":"CBOE Melody by Marcia Gaylor","description":"Marcia Gaylor \u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e CBOE Melody \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The Chicago Board Options Exchange floor and balconies buzzing with trading activity is illustrated with vibrant energy and electrifying hues in this original oil on canvas. American painter Marcia Gaylor masterfully captures the excitement and action of options trading in a panoramic, bird’s eye view. The Chicago Board of Options Exchange, the largest U.S. options exchange and creator of listed options, is comprised of trading areas similar to orchestra sections. Like a symphony, each section synchronizes with the others to create harmony and balance conducted by the unseen hand of the free market. \u003cbr\u003e\u003cbr\u003e Based in California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted in 2009 \u003cbr\u003e\u003cbr\u003e Canvas: 12” high x 36” wide \u003cbr\u003e Frame: 18 1\/2” high x 43” wide ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911880712327,"sku":"30-9953","price":22850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9953_1.png?v=1725390216"},{"product_id":"open-outcry-by-marcia-gaylor","title":"Open Outcry by Marcia Gaylor","description":"Marcia Gaylor \u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e Open Outcry \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The exhilaration and angst of open-outcry trading is captured masterfully in this original oil by Marcia Gaylor. A thunderous atmosphere of exuberant traders shouting, gesturing and signaling bids on the crowded trading floor draws the viewer into the rowdy, energetic scene with vivid color, bold brush strokes and compelling emotion. Inspired by the immense pressures of open-outcry trading, Gaylor sought to bring outsiders face-to-face with the bellowing voices, roaring atmosphere and shrewd professionals bolstering the international economy. A relic of the past, few stock exchanges use open-outcry trading today. \u003cbr\u003e\u003cbr\u003e Based in California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. Her paintings are in the permanent Corporate Collection of NASDAQ, CBOT, CBOE, and the American Stock Exchange. \u003cbr\u003e\u003cbr\u003e Painted in 2013 \u003cbr\u003e\u003cbr\u003e Canvas: 20” high x 30” wide \u003cbr\u003e Frame: 26” high x 36” wide ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911881072775,"sku":"30-9956","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9956_1.png?v=1725390243"},{"product_id":"remembering-the-bill-of-rights-by-marcia-gaylor","title":"Remembering the Bill of Rights by Marcia Gaylor","description":"Marcia Gaylor \u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e Remembering the Bill of Rights \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Americans lounge on the steps of Federal Hall at Broad and Wall Streets under the watchful eye of George Washington in this gripping original oil by American painter Marcia Gaylor. The internationally famous statue of the United States’ first president stretches a hand over Financial District workers and tourists, assuring Americans’ freedoms guaranteed by democracy, the rule of law and the United States’ Constitution and Bill of Rights. This serene-yet-powerful contemporary view of the site of America’s first National Capitol and former home of the U.S. Congress and Senate reminds the viewer of the Founding Fathers’ wisdom and values which every American citizen is indebted. Standing in the middle of the nation’s center of commerce and markets, George Washington further reminds us that Americans are free to invest, engage in business and free-market commerce, without restriction based on class, religion, race or gender. \u003cbr\u003e\u003cbr\u003e Based in California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted in 2010 \u003cbr\u003e\u003cbr\u003e Canvas: 10” high x 8” wide \u003cbr\u003e Frame: 14 1\/2” high x 12 1\/2” wide ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911880253575,"sku":"30-9950","price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9950_1.png?v=1725390188"},{"product_id":"ceres-by-marcia-gaylor","title":"Ceres by Marcia Gaylor","description":"Marcia Gaylor\u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCeres\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The Neoclassical statue of the Roman goddess Ceres outside of the Chicago Board of Trade is the subject of this oil on canvas by the American painter Marcia Gaylor. The goddess of grain stands proudly at the entrance to the Chicago Board of Trade, alluding to the board’s activity as the world’s biggest grain exchange. Holding a sheaf of wheat in one hand and a horn of plenty in the other, she has come to symbolize and celebrate commodity culture, as well as strength and perseverance in commerce. Gaylor's representation perfectly captures the statue in front of the famed Ceres Cafe, both icons of the Chicago financial district. \u003cbr\u003e\u003cbr\u003e Based in southern California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted in 2014 \u003cbr\u003e\u003cbr\u003e Canvas: 36\" high x 24\" wide\u003cbr\u003e Frame: 43 1\/2\" high x 31 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911880908935,"sku":"30-9955","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9955_1.png?v=1725390230"},{"product_id":"the-pit-by-marcia-gaylor","title":"The Pit by Marcia Gaylor","description":"Marcia Gaylor \u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e The Pit \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The high-stakes intensity and boisterous atmosphere of the stock exchange pit and its traders is masterfully captured with vibrant hues and electrifying energy in this original oil on canvas. The wild gestures, bold jackets displaying brokerage affiliations and myriad facial expressions of the stock traders creates a visual swirling motion, leading the viewer’s eye around a rowdy scene. The Pit adroitly illustrates the octagon-shaped trading floor where brokers match, buy and sell orders amid thunderous shouting. Hand signals and loud communication enable speedy transactions in this mercurial pressure-cooker environment, making fast and efficient trading possible. Here, traders participate in a pure auction with the transparency to see who is buying and selling — a luxury electronic trading does not offer. \u003cbr\u003e\u003cbr\u003e Based in California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted in 2015 \u003cbr\u003e\u003cbr\u003e Canvas: 24” high x 36” wide \u003cbr\u003e Frame: 33” high x 45” wide ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911881433223,"sku":"30-9958","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9958_1.png?v=1725390273"},{"product_id":"creating-capital-by-marcia-gaylor","title":"Creating Capital by Marcia Gaylor","description":"Marcia Gaylor\u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCreating Capital\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This oil on canvas by the American painter Marcia Gaylor captures a birds-eye view of the famed New York Stock Exchange. Full of dynamic energy, the view of the floor represents the very core of the American financial system, reflecting the liveliness and vitality of both person-to-person and electronic trades. As the world's largest stock exchange, the NYSE represents an important microcosm of global free trade. The transactions that take place on its trading floor mirror the much larger volume of a myriad of transactions occurring all over the world electronically on a day-to-day basis. Entitled \u003cem\u003eCreating Capital\u003c\/em\u003e, Gaylor's composition celebrates this all-important financial institution.  \u003cbr\u003e\u003cbr\u003e Based in southern California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. Her paintings are in the permanent Corporate Collection of NASDAQ, CBOT, CBOE, and the American Stock Exchange. Her paintings are in the permanent Corporate Collection of NASDAQ, CBOT, CBOE, and the American Stock Exchange. \u003cbr\u003e\u003cbr\u003e Painted in 2010 \u003cbr\u003e\u003cbr\u003e Canvas: 30\" high x 24\" wide\u003cbr\u003e Frame: 36 1\/2\" high x 31 3\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911879827591,"sku":"30-9945","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9945_1.png?v=1725390130"},{"product_id":"nasdaqs-entrepreneurial-spirit-by-marcia-gaylor","title":"NASDAQ's Entrepreneurial Spirit by Marcia Gaylor","description":"Marcia Gaylor\u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNASDAQ Entrepreneurial Spirit\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e NASDAQ’s famous electronic display in Times Square shines with its bright neon hue in this oil on canvas by the American painter Marcia Gaylor. The legendary New York City corner is engulfed by the brilliant lights and presence of the current commodity culture and electronic age. NASDAQ’s luminous signage demands attention at the center of the canvas, while financial numbers glow on the displays in the building's interior. As a whole, the work is a stunning example of the artist's Wall Street series, which celebrates the financial institutions and legacy of the United States. \u003cbr\u003e\u003cbr\u003e Founded in 1971, NASDAQ was the first electronic stock market in the world. Since the market does not operate with a traditional trading floor, the exchange built the NASDAQ MarketSite in New York’s Times Square in 1999 in order to create a commercial marketing presence. Today, the studio broadcasts current financial information utilizing a complex system of data feeds to provide dynamic real-time data 24 hours a day, seven days a week. The site is truly an icon of the financial markets in New York, and Gaylor's work pays homage to its presence and influence. \u003cbr\u003e\u003cbr\u003e Based in southern California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted in 2012 \u003cbr\u003e\u003cbr\u003e Canvas: 24\" high x 36\" wide\u003cbr\u003e Frame: 32 1\/2\" high x 44 5\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911879893127,"sku":"30-9947","price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9947_1.png?v=1726270528"},{"product_id":"foundations-of-capital-by-marcia-gaylor","title":"Foundations of Capital by Marcia Gaylor","description":"Marcia Gaylor b.1947 | American \u003cbr\u003e\u003cbr\u003e Foundations of Capital \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right) Oil on canvas \u003cbr\u003e\u003cbr\u003e An elevated view of the hustle and bustle of the New York Stock Exchange trading floor as it appeared in the 1980s is illustrated in this energetic original oil on canvas. Sunlight floods the floor through a dramatic grid of windows in the background, illuminating enormous brass power tubes. Representing the transition to electronic trading during the ambitious '80s, these massive pipelines feed millions of trades worth of data into the computers in the center of the trading floor. The New York Stock Exchange remains the largest and single most important stock exchange in the world since its founding in 1792. Here, the foundations of capital investment are created, setting the standard for all other exchanges globally, an ideal which Gaylor's composition celebrates wholly. \u003cbr\u003e\u003cbr\u003e Based in California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted in 2008 \u003cbr\u003e\u003cbr\u003e Canvas: 24“ high x 12” wide \u003cbr\u003e\u003cbr\u003e Frame: 30 1\/2” high x 18 1\/2” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911879696519,"sku":"30-9944","price":18500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9944_1.png?v=1725390117"},{"product_id":"nymex-pure-energy-trading-by-marcia-gaylor","title":"NYMEX Pure Energy Trading by Marcia Gaylor","description":"Marcia Gaylor\u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNYMEX – Pure Energy Trading\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The energy and excitement of the New York Mercantile Exchange is perfectly captured in this oil on canvas by the American painter Marcia Gaylor. Initially established as the Butter and Cheese Exchange of New York in 1872, the Mercantile Exchange was officially founded in 1882; it eventually became an important hub for the buying and selling of commodities in one of the most vibrant financial districts in the world. This important venue is brilliantly captured in this original oil, from the chaotic atmosphere of the traders on the floor to the scrolling trade numbers on electronic screens around the room. While the Manhattan trading floor was officially closed in 2016, this painting offers a compelling snapshot of the NYMEX floors during its glory days. \u003cbr\u003e\u003cbr\u003e Based in southern California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. \u003cbr\u003e\u003cbr\u003e Painted in 2014 \u003cbr\u003e\u003cbr\u003e Canvas: 20 1\/8\" high x 30 1\/8\" wide\u003cbr\u003e Frame: 26 1\/2\" high x 36 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911881236615,"sku":"30-9957","price":24500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9957_1.png?v=1725390261"},{"product_id":"mutine-by-guillaume-seignac","title":"Mutine by Guillaume Seignac","description":"Guillaume Seignac \u003cbr\u003e 1870-1924 | French  \u003cbr\u003e\u003cbr\u003e Mutine \u003cbr\u003e\u003cbr\u003e Signed “G. Seignac” (lower right)\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e A mischievous maiden dominates this garden scene by French Academic artist Guillaume Seignac. Heavily based in the classical, his works bring to life nymphs, muses and Greco-Roman gods and goddesses in ethereal settings based on antiquity. The present work is imbued with the exquisite luminosity of his best works, capturing an idealized female nude within a lush landscape complete with a classical fountain and Grecian urn. Masterfully rendered in the Academic style, \u003cem\u003eMutine\u003c\/em\u003e exemplifies the artist’s skill in capturing the inherent sensuality and beauty of his classically-inspired subjects. \u003cbr\u003e\u003cbr\u003e Born in Rennes in 1870, Guillaume Seignac began his training in Paris in 1889 at the Academie Julian. He worked primarily as a student of William Bouguereau, whose influence can be seen in both the style and subject matter of his work. Seignac frequently exhibited at the Paris Salon, and his meticulousness and a keen sense of balance and color won him numerous medals, including an honorable mention in 1900 and a third-class medal in 1903.  \u003cbr\u003e\u003cbr\u003e Trained in the Academic style of the École des Beaux-Arts, Seignac embraced both the techniques and classical subject matter of the Italian Renaissance masters, whose work enjoyed a surge in popularity in Paris in the late 19th century. As with most French Academic painters, Seignac’s technical skills are masterful, while his color balances and compositional style are on par with the great artists of the Renaissance. During his lifetime, Seignac’s compositions appealed to both traditional art buyers and avant-garde connoisseurs alike, and he enjoyed financial success and critical acclaim. \u003cbr\u003e\u003cbr\u003e Canvas: 24” high x 14 1\/4” wide\u003cbr\u003e Frame: 35 1\/4” high x 25 5\/8” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44245969698951,"sku":"30-1674","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-1674_1.png?v=1774967456"},{"product_id":"entrepreneurial-spirit-by-marcia-gaylor","title":"Entrepreneurial Spirit by Marcia Gaylor","description":"Marcia Gaylor \u003cbr\u003e b.1947 | American \u003cbr\u003e\u003cbr\u003e Entrepreneurial Spirit \u003cbr\u003e\u003cbr\u003e Signed \"M. Gaylor\" (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A buoyant trio of entrepreneurs stride through Manhattan’s Financial District in this original oil on canvas by American painter Marcia Gaylor. The spirit of American entrepreneurship is captured masterfully with atmosphere and history, focusing on the people who provide the vision and leadership propelling the economy every day. New York City’s historic Trinity Church subtly looms in the background, juxtaposed by Wall Street skyscrapers and flags flying high in a wintry, blustery scene painted with cool tones. Entrepreneurial Spirit by Marcia Gaylor is the centerpiece painting of the artist’s “The Spirit of the American Economy” series. \u003cbr\u003e\u003cbr\u003e Based in California, Marcia Gaylor is renowned for her historical scenes that capture the New York City and Chicago stock market trading floors and vibrant financial districts. Before pursuing painting as a career, she earned a business degree and an MBA from the University of Southern California, and her financial background clearly influenced the direction of her art later in her life. Most of her paintings focus on the economic history of the United States as she captures the financial heart of the country's largest cities. The result is a body of work that stands in colorful tribute to the economy and the power of capital. Today, she remains an active member of the California Art Club, Oil Painters of America, Women Painters of America, as well as the American Impressionist Society. Her paintings are in the permanent Corporate Collection of NASDAQ, CBOT, CBOE, and the American Stock Exchange. \u003cbr\u003e\u003cbr\u003e Painted in 2016 \u003cbr\u003e\u003cbr\u003e Canvas: 24” high x 16” wide \u003cbr\u003e Frame: 31” high x 22 1\/2” wide ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41911879565447,"sku":"30-9942","price":14850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9942_1.png?v=1725390101"},{"product_id":"leda-and-the-swan-by-workshop-of-bartholomaeus-spranger","title":"Leda and the Swan by Workshop of Bartholomaeus Spranger","description":"Workshop of Bartholomaeus Spranger\u003cbr\u003e 16th Century | Flemish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLeda and the Swan\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Retelling one of the most legendary Greco-Roman mythological tales, this exceptional oil on panel of Leda and the Swan is credited to the workshop of the great Flemish master Bartholomaeus Spranger. The story, in which Zeus transforms into a swan to seduce the young beauty Leda, has been taken up by artists since antiquity, and this painting represents a particularly sophisticated rendition of the myth. Leda is depicted as a languishing and voluptuous female nude, as Zeus, in the form of a swan, hovers over her figure in the background. Their children, Helen and Pollux, surround their mother, while a cherubic Cupid occupies the lower right corner of the scene. Lively and vibrant, the scene bears the very best characteristics of Spranger's workshop, exemplifying the elements that make his works so treasured.   \u003cbr\u003e\u003cbr\u003e Spranger was renowned for his painterly style that was revolutionary for its merger of northern European and Italian painterly techniques. \u003cem\u003eLeda and the Swan\u003c\/em\u003e reveals these same stylistic tendencies. The richness of color and the seductive expression of Leda, complete with her limpid yet direct gaze, recall the master artists of 16th-century Italy, such as Parmigianino and late Michelangelo. It particularly recalls Michelangelo's lost 1530s version of the same subject (a copy of which is in London's National Gallery), especially in the placement of the swan and Leda's draped posture. \u003cbr\u003e\u003cbr\u003e The painting's attention to detail, however, reveals a link to Netherlandish traditions. A number of elements can be directly linked to other works by Spranger; the lavish, bejeweled gold arm cuff that Leda wears on her upper left arm, for instance, is strikingly similar to the cuff that appears on the nude nymph Scylla in Spranger's \u003cem\u003eGlaucus and Scylla\u003c\/em\u003e (Kunsthistorisches Museum, Vienna). \u003cbr\u003e\u003cbr\u003e There are also parallels in the atmospheric effects conveyed in the background of each composition. In \u003cem\u003eGlaucus and Scylla\u003c\/em\u003e, storm clouds loom over the horizon, rendered with soft washes of colliding color. A similar effect is created in \u003cem\u003eLeda\u003c\/em\u003e, wherein the hint of the landscape beyond – appearing just over the swan to the right – is captured with delicate washes of color. Taken as a whole, the oil echoes all of the qualities characteristic of Spranger's later 16th-century work, a period during which he developed a larger circle of associates; it is among his workshop that this painting can thus be determined as originating.    \u003cbr\u003e\u003cbr\u003e As one of the most noted European painters working in the 16th century outside of Rome, Flemish master Bartholomaeus Spranger enjoyed incredible acclaim for his lively and vibrant painterly style. Though he was known to invoke subjects ranging from the religious to the mythological, it is for his mythological scenes that Spranger is most well-known today. This painting of Leda and the Swan, which bears the characteristics of Spranger's workshop, exemplifies the elements that make his works so treasured. \u003cbr\u003e\u003cbr\u003e Late 16th century \u003cbr\u003e\u003cbr\u003e Panel: 33 5\/8\" high x 46 7\/8\" wide\u003cbr\u003e Frame: 41 5\/8\" high x 54 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672869306503,"sku":"31-0201","price":198000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0201_1_9c763aad-a535-4607-a009-b76cb8d5014a.png?v=1767206025"},{"product_id":"femme-aux-souliers-noir-by-jules-pascin","title":"Femme aux souliers noir by Jules Pascin","description":"Jules Pascin\u003cbr\u003e 1885-1930 | Bulgarian-French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFemme aux souliers noir\u003cbr\u003e (Woman in Black Shoes)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Pascin\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This intimate portrait was composed by the Bulgarian-born French Expressionist painter Jules Pascin. Known as the \"Prince of Montparnasse,\" Pascin made a name for himself throughout both Europe and the United States as a painter of woman, often while nude or in various stages of undress. Undoubtedly influenced by the French Impressionists, particularly Pierre-Auguste Renoir, Pascin developed a highly gestural style that is uniquely his own. \u003cem\u003eFemme aux souliers noir\u003c\/em\u003e displays the unique qualities that made his work so groundbreaking during his lifetime. \u003cbr\u003e\u003cbr\u003e Though he was born in Bulgaria and became a United States citizen in 1920, Pascin spent most of his career is Paris, and he is regarded today as a French painter. It was on his return to France from the United States in 1923 when his so-called \u003cem\u003enacrée\u003c\/em\u003e, or \"pearly,\" style began to emerge in his work; the present painting dates to this same period. In it, one can see how Pascin adopted a more fluid touch in his paint application, working with almost dry brushes. The technique allowed him to make his tones more transparent, lending a ghostly, immaterial quality to his figures. This portrait perfectly embodies the atmospheric qualities of his \u003cem\u003enacrée\u003c\/em\u003e period. Less sensual than his nudes, \u003cem\u003eFemme aux souliers noir\u003c\/em\u003e nevertheless displays the earthy softness and intimate charm that made the artist so successful. \u003cbr\u003e\u003cbr\u003e Born in Vidin, Bulgaria in 1885, Pascin grew up part of an affluent Sephardic Jewish family. He attended university in Austria and Germany, though he eventually moved to Paris in 1905. Encountering the Parisian Modernist movement changed the trajectory of his career, and he soon began exhibiting his prints and drawings at the Salon des Indépendants. He achieved a great deal of success and fame early in his career, particularly in North America, so much so that he chose to become a United States citizen in 1920. Tragically, however, he fell prey to depression and alcoholism, and committed suicide in 1930 at the age of 45. Today, his work can be found in the collections of the Metropolitan Museum of Art (New York), the Museum of Modern Art (New York), the Louvre (Paris), the Art Institute of Chicago and others. \u003cbr\u003e\u003cbr\u003e Circa 1923 \u003cbr\u003e\u003cbr\u003e Canvas: 24\" high x 18\" wide\u003cbr\u003e Frame: 33 1\/4\" high x 27\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42967690182791,"sku":"31-1161","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1161_1.png?v=1753982692"},{"product_id":"dance-of-the-nymphs-by-paul-desire-trouillebert","title":"Dance of the Nymphs by Paul Désiré Trouillebert","description":"Paul Désiré Trouillebert\u003cbr\u003e 1829-1900 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDance of the Nymphs\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Trouillebert\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This lyrical landscape entitled \u003cem\u003eDance of the Nymphs\u003c\/em\u003e was composed by the French Barbizon painter Paul Désiré Trouillebert. A joyful scene of nymphs dancing the morning fog, the work closely resembles an important work by the great Camille Corot, which is now housed at the Musée d'Orsay (Paris). Renowned for his unique individuality that toed the line between the traditional and modern, Corot and his landscapes helped pave the way for an entire generation of Impressionists who followed him. Trouillebert perfectly captures the poetic atmosphere of Corot’s groundbreaking works, while also imbuing this scene with a freshness and character that is all his own. \u003cbr\u003e\u003cbr\u003e Trouillebert's oil on canvas is exemplary of the tradition of historical painting. The work perfectly combines a realistic depiction of the natural world with a spirited romanticism as his idealized nymph figures frolic playfully beneath a crisp morning sky. As a whole, it is a lovely composition executed with a level of skill and artistry that proves Trouillebert's exceptional talent in the arts. \u003cbr\u003e\u003cbr\u003e Born in Paris in 1829, Paul Désiré Trouillebert was a student of the academic painters Ernest Hébert and Charles Jalabert. Early in his career, he primarily produced portraits and genre scenes, exhibiting his first portrait at the Paris Salon in 1865. By the end of the decade, however, his interest in landscape painting blossomed, and in 1869, he exhibited his first landscape at the Salon to great acclaim. He went on to execute a number of landscapes that recall the mature style of Corot, including the present work, though they remain distinctly Trouillbert in their execution. Today, his paintings can be found in several important private collections, as well as the Lightner Museum (St. Augustine, Florida). \u003cbr\u003e\u003cbr\u003e Canvas: 38 3\/4\" high x 51 1\/2\" wide\u003cbr\u003e Frame: 50\" high x 62 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41913597657223,"sku":"31-1655","price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1655_1.png?v=1730881855"},{"product_id":"a-peasant-country-scene-by-jan-thomas-van-kessel","title":"A Peasant Country Scene by Jan Thomas van Kessel","description":"Jan Thomas van Kessel\u003cbr\u003e 1677-1741 | Flemish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Peasant Country Scene\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A quintessential example of Flemish genre painting, \u003cem\u003eA Peasant Country Scene\u003c\/em\u003e reflects a blend of the playfulness of subject and the technical acuity that defined the style of 18th-century Flemish painter Jan Thomas van Kessel. The artist invites viewers into a merry gathering of peasants that spills across the composition. Highlighted at its center is a couple in the midst of a lively dance, their direct gaze out at the viewer conveying their happiness, while also serving as an effective means to pull the viewer's eye into the festivities underway.  \u003cbr\u003e\u003cbr\u003e This gathering of merry revelers assumes a stage-like quality as they are separated visually from the far reaches of the composition by a fence that bisects the composition horizontally, underscoring the intimate feel of the foreground scene. Beyond this enclosure, a farmhouse looms over the scene and opens at right onto a sweeping landscape that carries the eye back into the distant horizon. Here, too, the eye is guided appropriately, as figures dot the path down the river toward the steeple of a church just visible along the horizon line. Overhead, a breathtakingly blue sky, dappled with billowy clouds and soaring birds, complements the festive scene. \u003cbr\u003e\u003cbr\u003e Such genre paintings were incredibly popular during the 17th and 18th centuries, as they served as a reminder of the simple pleasures of pastoral life. Such scenes first emerged during the 16th century in the wake of the Reformation as artists sought new fields of painting in which to showcase their skill. Key figures such as David Teniers the Younger and the Brueghel family ensured the genre's success into the 17th century when they became highly fashionable. This enduring popularity thereby afforded later artists like van Kessel the opportunity to showcase their talents in conjuring such engaging vignettes.  \u003cbr\u003e\u003cbr\u003e Van Kessel clearly capitalized on that popularity, as he developed a following for his works that served as a visual escape from the realities of city life. Little is known of van Kessel's life, save for that he was born in Flanders in 1677 and studied both with the masters of Antwerp's Guild of Saint Luke, and even purportedly trained in Paris. Van Kessel then established his studio in his hometown of Antwerp just after the dawn of the 18th century. Aiding in van Kessel's rapid development as an artist was undoubtedly the fact that he descended from a long family line of painters who explored various subjects from botanical studies to portraits. It is arguably van Kessel's inviting scenes of peasants and pastoral life, as seen in this composition, however, that are the most engaging of his family's oeuvre and earned the artist acclaim for his work in Antwerp and beyond. \u003cbr\u003e\u003cbr\u003e One point often noted in van Kessel's genre paintings are the references he makes to past masters like Teniers, and these connections are tangible in this painting. The layout of this composition, from the cluster of animated figures in the foreground contrasted against the serene expanse of nature in the distance, seem to be direct quotations of Teniers' work. This reinforces both the placement of this work within the 18th century – following Teniers' lifetime – and within van Kessel's body of work. The connection of this painting to Jan Thomas van Kessel's oeuvre is without dispute, however, as this painting benefits from the scrolling script of the artist's signature along the lower edge.  \u003cbr\u003e\u003cbr\u003e Only a handful of van Kessel's works, including those held by prestigious collections such as England's National Trust and the Museum Catharijneconvent in the Netherlands, have been fully documented. As a result, it is rare when such a well-preserved example of this 18th-century Flemish genre painting tradition emerges, and it is particularly exciting when such a find contributes to the emerging legacy of a little-understood artist of the era. \u003cbr\u003e\u003cbr\u003e Canvas: 40 1\/4\" high x 54 1\/4\" wide\u003cbr\u003e Frame: 52 3\/4\" high x 66 5\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672867438727,"sku":"31-0198","price":198000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0198_1.png?v=1767203901"},{"product_id":"the-letter-by-andrea-landini","title":"The Letter by Andrea Landini","description":"Andrea Landini\u003cbr\u003e 1847-1935 | Italian  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Letter\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “A. Landini” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A red-robed cardinal chuckles at the letter in his hand in this oil on canvas by the Italian painter Andrea Landini. The vibrantly hued piece illustrates the artist’s genius at rendering charming narratives in remarkable detail. Entitled \u003cem\u003eThe Letter\u003c\/em\u003e, the work is a superb example of Landini's technical virtuosity — from the finely carved and upholstered chair to the neoclassical painting in the background, every detail is meticulously depicted.  \u003cbr\u003e\u003cbr\u003e Such works satirizing the clergy would have been severely censured just a generation earlier. Yet, by the time Landini picked up the brush, the European public had grown discontent with the hypocrisy of the clergy, many of whom enjoyed lavish lifestyles. Cardinal paintings such as this became highly popular during the period, and Landini emerged alongside Georges Croegaert, Marcel Brunery and Jehan Georges Vibert as the leading painters of the genre. \u003cbr\u003e\u003cbr\u003e Born in Florence in 1847, Andrea Landini trained at the Academy of Fine Arts in Florence, first under the animal painter Riccardo Pasquini and later with religious painter Antonio Ciseri. Landini quickly made a name for himself as a painter of portraits, attracting clients such as the Signora Guerrazzi of Livorno, the contessa Lavinia Bocca, the writer signora Elena Landini Ruffino and the Princess of Wales. While his portraits made him a success during his lifetime, today he is best remembered for his highly detailed genre scenes, and particularly his Cardinal paintings such as this. \u003cbr\u003e\u003cbr\u003e Canvas: 18 1\/4\" high x 15\" wide\u003cbr\u003e Frame: 23 1\/4\" high x 20 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238364487815,"sku":"31-2429","price":74500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2429_1_93a457da-a454-422d-8fc6-db4a762246a1.png?v=1720512721"},{"product_id":"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":"almond-trees-in-spring-by-achille-lauge","title":"Almond Trees in Spring by Achille Laugé","description":"Achille Laugé\u003cbr\u003e 1861-1944 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAlmond Trees in Spring\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"A. Laugé\" (lower right)\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e This Neo-Impressionist landscape by the French artist Achille Laugé captures an orchard in late spring in his celebrated, highly modern style. The work displays a thick impasto thanks to the artist's distinctive technique of applying his paint in quick dabs, a characteristic of his later works. One of the foremost painters of the Post-Impressionist period, Laugé’s works are beloved for his sensitivity to light, shade and tone, and his mastery of medium is clearly on display in \u003cem\u003eAlmond Trees in Spring\u003c\/em\u003e. The light blue of the sky and the more muted colors of the field, along with the cottony white and pink tones of the blossoming trees create a scenic and calm composition. \u003cbr\u003e\u003cbr\u003e Born in 1861 to wealthy farmers, he moved to Toulouse at the age of 17 to study pharmacy. At this time, he also enrolled part-time at the school of the Beaux-Arts, where he befriended the artist Bourdelle. Three years later, he moved to Paris, where he studied under the famous masters Alexandre Cabandel and Aristide Maillol, making his debut at the \u003cem\u003eSalon\u003c\/em\u003e in 1884. Like many other artists of his generation, Laugé eventually rejected the conservative ideals of this teacher, falling under the Post-Impressionist influence of George Seurat. By 1888, his landscapes became assiduous experiments in complementary colors and light on canvas. He exhibited three paintings at the \u003cem\u003e Salon des Indépendants\u003c\/em\u003e in 1894, as well as with the Nabis that same year. In addition, Laugé held several one-man shows in Paris, Toulouse and Perpignan from 1907 to 1930. \u003cbr\u003e\u003cbr\u003e It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896, Laugé composed his pictures with small points of color. At the end of the century, he abandoned the dots and dabs and painted his landscapes, portraits and still-lives with thin, systematically placed strokes resembling crosshatching. After 1905, he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the translucence of southern light. Today, his exceptional works can be found in museums throughout France, including the Musée D'Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Canvas: 21\" high x 28 1\/2\" wide\u003cbr\u003e Frame: 32 3\/4\" high x 40\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galleris Maurice Sternberg, Chicago\u003cbr\u003e Private collection, Texas, 1975\u003cbr\u003e Private collection, Broadway, UK\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238532915335,"sku":"31-3146","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3146_1_da40b300-a9ae-4767-908f-31e11a2f3694.png?v=1717922680"},{"product_id":"the-buttonhole-by-charles-spencelayh","title":"The Buttonhole by Charles Spencelayh","description":"Charles Spencelayh\u003cbr\u003e 1865-1958 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Buttonhole\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “C.SPENCELAYH” (lower left) and inscribed “This Drawing was accepted into the Royal Academy but crowded out for want of space” (en verso)\u003cbr\u003e  Watercolor and pencil with gum arabic on paper \u003cbr\u003e\u003cbr\u003e One of the most important English genre painters in the Academic style, Charles Spencelayh's anecdotal scenes are among the best of his age. This work, entitled \u003cem\u003eThe Buttonhole\u003c\/em\u003e, captures the celebrated painter’s preferred subject – an elderly gentleman performing an ordinary task. Spencelayh’s talent for portraying the common man with an engaging sentimentality remains unsurpassed, and his everyday narratives imbue his work with an undeniable timelessness. \u003cbr\u003e\u003cbr\u003e He trained at the National Art Training School (later renamed the Royal College of Art), where he flourished in his figural drawings. Spencelayh continued his education in Paris, where he exhibited at the Salon with much success. His primary exhibition venue throughout his career was the Royal Academy, where he showcased 30 paintings from 1912 to 1958. His incredible canvases were hung in the leading art venues of the day and gained him membership into the most prestigious art societies. \u003cbr\u003e\u003cbr\u003e During his lifetime, Spencelayh was greatly admired by many influential collectors, including Queen Mary, who provided the artist and his family a residence in Manchester. Spencelayh painted a postage-size portrait of King George V for the Queen’s dollhouse that currently resides in Windsor Castle. Today, his work is highly sought after, though examples rarely become available on the market. \u003cbr\u003e\u003cbr\u003e Circa 1940 \u003cbr\u003e\u003cbr\u003e Paper: 15 1\/2\" high x 11 3\/4\"\u003cbr\u003e Frame: 26 1\/2\" high x 22 5\/8\" wide  \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Charles Nicholls \u0026amp; Son, Manchester\u003cbr\u003e Sotheby’s, Chester, 27th April 1989\u003cbr\u003e Private collection, United Kingdom\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41239066378375,"sku":"29-4020","price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-4020_1_247ff50d-a708-406a-aa10-1f0a9eb0f643.png?v=1712738977"},{"product_id":"boarding-the-ship-for-new-york-by-auguste-loustaunau","title":"Boarding the Ship for New York by Auguste Loustaunau","description":"Louis Auguste Georges Loustaunau\u003cbr\u003e 1846-1898 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBoarding the Ship for New York\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"ALoustaunau\" (lower right)\u003cbr\u003e Watercolor on paper \u003cbr\u003e\u003cbr\u003e This watercolor by the French artist Louis Auguste Georges Loustaunau offers a compelling glimpse into late 19th-century travel. Depicting a couple boarding a ship to New York City, the work brings to life the hustle and bustle of the shipyard while celebrating the majesty of the ocean liner. Loustaunau's skills as an observer are clearly on display, as he captures with a keen eye the movements of the ship's crew, as well as the details of the ship and luggage. In an era when global travel was just becoming accessible to the masses, such works would have resonated with a wide audience. \u003cbr\u003e\u003cbr\u003e Born in 1846, Louis Auguste Georges Loustaunau studied at the École des Beaux-Arts under the tutelage of the greats Jean-Léon Gérôme and Eugène Barrias. He exhibited his first work at the Paris Salon in 1869; it was a landscape of Brittany that was typical of his output from that period. It wasn't until around 1875 when he abandoned landscapes and country scenes in favor of the genre subjects for which he would become best known. He joined the Société d'Aquarellistes Français in 1891; he died just a few short years later in Versailles in 1898.  \u003cbr\u003e\u003cbr\u003e Paper: 45\" high x 37\" wide\u003cbr\u003e Frame: 51 1\/2\" high x 54\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672849055879,"sku":"31-1153","price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1153_1_2fd3ec66-e047-4f30-a259-c044767d7ad9.png?v=1766567054"},{"product_id":"solitude-by-guillaume-seignac","title":"Solitude by Guillaume Seignac","description":"Guillaume Seignac\u003cbr\u003e 1870-1924 | French  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSolitude\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “G-Seignac” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e French Academic painter Guillaume Seignac was renowned for his masterful treatment of the idealized nude. His languishing female subjects based on Greco-Roman prototypes were and remain a favorite from the artist's oeuvre. \u003cem\u003eSolitude\u003c\/em\u003e is exemplary of this preferred subject. Draped in sheer white fabric that lays over her otherwise nude form, she appears as though she has just been interrupted in her solitary enjoyment of the sunset beyond her. Gazing back towards the viewer with a timid yet welcoming expression, she is rendered with a remarkable sense of personality and the high degree of technical skill that sets Seignac apart from his contemporaries. In terms of style, the artist's paintings are perfect examples of the forms favored by the Paris Salon during his lifetime. \u003cbr\u003e\u003cbr\u003e Born in Rennes in 1870, Seignac began his training in Paris in 1889 at the Academie Julian. He was a student of William-Adolphe Bouguereau, whose influence can be seen in both the style and subject matter of his work. Seignac frequently exhibited at the Paris Salon, and his meticulousness and keen sense of balance and color won him numerous medals, including an honorable mention in 1900 and a third-class medal in 1903.  \u003cbr\u003e\u003cbr\u003e Trained in the Academic style of the École des Beaux-Arts, Seignac embraced both the techniques and classical subject matter of the Italian Renaissance masters, whose work enjoyed a surge in popularity in Paris in the late 19th century. As with most French Academic painters, Seignac’s technical skills are masterful, while his color balances and compositional style are on par with the great artists of the Renaissance. During his lifetime, Seignac’s compositions appealed to both traditional art buyers and avant-garde connoisseurs alike, and he enjoyed financial success and critical acclaim. \u003cbr\u003e\u003cbr\u003e Canvas: 29\" high x 39 5\/8\" wide\u003cbr\u003e Frame: 40 7\/8\" high x 51 3\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41238625812615,"sku":"31-3741","price":124500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3741_1.png?v=1717923007"},{"product_id":"a-pompeian-lady-by-john-william-godward","title":"A Pompeian Lady by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Pompeian Lady\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"J.W. Godward 1904\" (lower right, partially covered by frame)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled \u003cem\u003eA Pompeian Lady\u003c\/em\u003e, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. \u003cbr\u003e\u003cbr\u003e Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pelt. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. \u003cbr\u003e\u003cbr\u003e Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops, was a direct reflection of this pervasive view. \u003cbr\u003e\u003cbr\u003e Godward debuted at London’s Royal Academy exhibition in 1887 at the age of only 26. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton and Sir Edward John Poynter, Godward quickly adopted, if not rivaled, their style. He envisioned similar scenes of the ancient world, seamlessly blending antiquity and beauty in breathtaking compositions and attracting fans across Europe. In 1889, he was elected to the Royal Society of British Artists, and, ten years later, Godward debuted at the Paris Salon, where again he was heaped with critical praise. However, the 20th century brought rapid artistic change, and he was faced with the painful reality that the classical world he loved was being overshadowed by modern art movements. His devotion to the classics never waned, and he moved to Rome in 1912 to surround himself with the physical remnants of the classical world, where he stayed for the major part of his remaining career. \u003cbr\u003e\u003cbr\u003e Dated 1904 \u003cbr\u003e\u003cbr\u003e Canvas: 25“ diameter (63.5 cm)\u003cbr\u003e Frame: 45 3\/4” high x 44 3\/8” wide (116.21 x 112.71 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-3739.pdf%20target=\" 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 Thomas McLean, art dealer, London, 1904\u003cbr\u003e Purchased by Sir Alfred Bird, Tudor Grange Solihull\u003cbr\u003e Cooling Galleries, London and Toronto, Canada\u003cbr\u003e The collection of Maurice and Louella Brown, Toronto and Calgary, Canada\u003cbr\u003e By descent to Keith C. Brown and L. Joan Brown, Calgary, Alberta, 1982\u003cbr\u003e Hodgin’s Art Auctions, Calgary\u003cbr\u003e Fred and Sherry Ross, New Vernon, New Jersey\u003cbr\u003e Sotheby’s, New York\u003cbr\u003e Private collection, New Orleans\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J.W. Godward: The Eclipse of Classicism, 2018, Vern Swanson, page 290, no.12 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Thomas McLean Gallery, London, 1904","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050790613127,"sku":"31-3739","price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3739_1_96367abf-d12d-4f22-9c18-fc2d4b326df3.png?v=1774967315"},{"product_id":"blackstone-cigars-by-norman-rockwell","title":"Blackstone Cigars by Norman Rockwell","description":"Norman Rockwell \u003cbr\u003e 1894-1978 | American  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBlackstone Cigars\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e A charming relic of a bygone era, this rare oil is the work of the inimitable American illustrator, Norman Rockwell. The iconic artist’s ability to render the details and nuances of everyday life is on full display in this original advertisement, which features a businessman enjoying a Blackstone cigar while dictating to his secretary. Executed by Rockwell in 1921, the work was a special commission for a billboard campaign by the American cigar manufacturer Waitt \u0026amp; Bond. They were so pleased with the work that the company commissioned two additional billboard designs from Rockwell, a hunting scene in 1922 and a fishing scene in 1923. \u003cbr\u003e\u003cbr\u003e Rockwell's ability to capture the character of the nation was prized not only by magazine art editors but also by advertisers. Nearly all major companies of the day called upon Rockwell for his outstanding compositions, including Jell-O, Coca-Cola, General Motors, Ford, Post Cereals, and the U.S. Army, while his works continued to grace the covers of publications such as \u003cem\u003eLiterary Digest\u003c\/em\u003e, \u003cem\u003eLife\u003c\/em\u003e, \u003cem\u003eCountry Gentleman\u003c\/em\u003e, \u003cem\u003eLook\u003c\/em\u003e and the iconic \u003cem\u003eSaturday Evening Post\u003c\/em\u003e. Taken together, his many paintings capture the essence of the American spirit. “I paint life as I would like it to be,” Rockwell once said. Nostalgic and idealistic, his paintings evoke the hopes and aspirations of the entire nation. As filmmaker Steven Spielberg once said, “Rockwell painted the American dream – better than anyone.” \u003cbr\u003e\u003cbr\u003e Norman Rockwell led a very long and incredibly successful career as an artist. His first commission was painted when he was only 16 years old, and his irresistible paintings of American life made him the foremost American illustrator of the 20th century. While history was in the making all around him, Rockwell chose to fill his canvases with the small details and nuances of ordinary people in everyday life. His distinguished career earned him the Presidential Medal of Freedom in 1977, the highest honor bestowed upon an American civilian. \u003cbr\u003e\u003cbr\u003e Circa 1921 \u003cbr\u003e\u003cbr\u003e Canvas: 16 3\/4\" high x 36 3\/4\" wide\u003cbr\u003e Frame: 22 7\/8\" high x 43\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sale, Illustration House NYC, Auction of Illustration Art, 21 May 2005, lot 9\u003cbr\u003e The Illustrated Gallery, 2005-2017\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672895914119,"sku":"31-3782","price":698500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3782_1_6e509485-b560-4941-8d58-9aaa0aa827f3.png?v=1767204934"},{"product_id":"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":"les-roses-dispahan-by-lucien-levy-dhurmer","title":"Les roses d'Ispahan by Lucien Lévy-Dhurmer","description":"Lucien Lévy-Dhurmer\u003cbr\u003e 1865-1953 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLes roses d’Ispahan\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Lévy Dhurmer\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e French painter Lucien Lévy-Dhurmer was one of the leading artists of the Symbolist and Art Nouveau movements at the turn of the century. This stunning oil on canvas is imbued with a misty, hazy romanticism that characterizes many of his landscapes and portraits, and it is an exceptional example of Lévy-Dhurmer’s ability to transport the viewer into an imaginary journey of the senses. \u003cbr\u003e\u003cbr\u003e Partly obscured by a rose bush, the Persian city of Isfahan, in present-day Iran, forms the expansive vista. The painting's title is taken from the poem by Charles Leconte de Lisle, which was famously set to music by Gabriel Fauré in 1884. Lévy-Dhurmer's incredible brushwork and mastery of color bring the vista to life with thousands of feathery strokes, perfectly evoking the allure and mystery of this legendary city. \u003cbr\u003e\u003cbr\u003e Born in French Algeria in 1865, Lucien Lévy-Dhurmer studied drawing and sculpture in Paris as a child and began his artistic career as a decorative painter at a porcelain manufactory in Golfe-Juan. Throughout his long career, Lévy-Dhurmer experimented with different artistic styles and mediums, succeeding as a ceramicist, painter, pastelist and furniture designer. Perhaps his most celebrated work, the famed Wisteria Dining Room, which is now held in the Metropolitan Museum of Art, is a brilliant example of the artist’s remarkable range of skills in various media. \u003cbr\u003e\u003cbr\u003e His trip to Italy in 1895 would change the course of his life and interests. It was there that he discovered an interest in German and Florentine Renaissance—resulting in paintings that fit in nicely alongside those of the English Pre-Raphaelites. That same year, Lévy-Dhurmer officially began his painting career. In 1896, he held his first solo exhibition at the Galerie Georges Petit in Paris, where he appeared for the first time under the name Lévy-Dhurmer, adding to his surname Lévy part of his mother’s maiden name, Pauline-Amelie Goldhurmer. \u003cbr\u003e\u003cbr\u003e His unique blend of Academic detail with Impressionist color and technique garnered the artist considerable attention. He was drawn to the ideals of the Symbolist movement, which offered an intellectual alternative to the purely visual pursuits of the Impressionists. After 1900, Lévy-Dhurmer’s work explored the emotional and lyrical possibilities of landscape and atmosphere. Similar landscapes by Lévy-Dhurmer from this period reside in the Denver Art Museum and the Musée d’Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Circa 1910 \u003cbr\u003e\u003cbr\u003e Canvas: 23 3\/4\" high x 32\" wide (60.33 x 81.28 cm)\u003cbr\u003e Frame: 30\" high x 38 1\/8\" wide x 2\" deep (76.20 x 96.84 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44422079479943,"sku":"31-4730","price":228500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4730_1_544fb0d5-bcda-4765-9888-9062b04032a5.png?v=1775582534"},{"product_id":"young-girl-from-tetouan-morocco-by-charles-landelle","title":"Young Girl From Tetouan, Morocco by Charles Landelle","description":"Charles Landelle\u003cbr\u003e 1821-1908 | French \u003cbr\u003e\u003cbr\u003e Young girl from Tetouan, Morocco \u003cbr\u003e\u003cbr\u003e Signed (center right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In this important oil on canvas, French Orientalist painter Charles Landelle captures the engaging visage of a young Moroccan woman in a moment of tranquil contemplation. Seated on the floor of what is almost certainly an opulent \u003cem\u003eriad\u003c\/em\u003e, the young woman wears an intricately embroidered Moroccan kaftan and headdress. The sumptuous patterns on the floor and in the background lend an additional warmth to the strikingly vivid red hues which dominate the composition and are a hallmark of Landelle’s work. \u003cbr\u003e\u003cbr\u003e The symbol behind the young woman is the Islamic Seal of Solomon. Solomon is frequently mentioned in the Qur’an, with many descriptions of his esoteric knowledge granted by God. A talismanic scroll from the Islamic world bearing this symbol resides at the Metropolitan Museum of Art in New York. While Islam was the dominant religion in Morocco in the 19th century, there was also a large Jewish population. Though the woman’s faith is uncertain, there is no question about her transcendent, captivating beauty, which is one of the most remarkable features of this painting. \u003cbr\u003e\u003cbr\u003e Charles Landelle was born in 1821 in Laval, France. He studied under the supervision of the painters Paul Delaroche and Ary Scheffer at the School of Fine Arts in Paris and began exhibiting at the Paris Salon in 1841 with religious works and portraits that found great success among critics and visitors. Noticed by King Louis-Philippe, he won a third-class medal in 1842 and a first-class one in 1848. Four years later, Napoleon III purchased two pieces and appointed him Knight of the Légion of Honor. He also won a medal at the 1855’s Universal Exhibition and in Philadelphia in 1876. \u003cbr\u003e\u003cbr\u003e Landelle’s career took a turning point in 1866 with a trip to Morocco. Infatuation with the warm colors he encountered inspired the trend toward Orientalism in his work. Fascinated by these brand new landscapes, the artist traveled across Egypt and the Nile in 1875, then traveled to Algeria in 1880 with his son Georges, also a painter. From 1881 to 1892, he spent winters in Algeria, sharing his love for the country with Pierre-Auguste Renoir and Paul Leroy. An active member of the Society of French Orientalist Painters, he participated in the creation of the Fine Art Museum of Laval, thanks to his donation of some of his works as well as ancient paintings. At the peak of his fame, he opened the museum in 1895 alongside French president Félix Faure. \u003cbr\u003e\u003cbr\u003e Landelle’s works are well-represented in museums such as the Musée d’Orsay in Paris, the Palace of Versailles, and the Musée de Grenoble in Grenoble, France. A very similar painting by Landelle titled \u003cem\u003eAn Armenian Woman\u003c\/em\u003e resides at the Wallace Collection in London. \u003cbr\u003e\u003cbr\u003e Mid-to-late 19th century \u003cbr\u003e\u003cbr\u003e Canvas: 53 1\/4\" high x 39 1\/4\" wide\u003cbr\u003e Frame: 64 1\/4\" high x 51 1\/8\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Japan\u003cbr\u003e Private collection, France\u003cbr\u003e M.S. Rau, New Orleans \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672915673223,"sku":"31-4686","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4686_1_0d5145a2-c3d3-4ed7-8bda-f4ed7868368e.png?v=1767201572"},{"product_id":"gum-kids-by-leslie-thrasher","title":"Gum Kids by Leslie Thrasher","description":"Leslie Thrasher\u003cbr\u003e 1889-1936 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGum Kids\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Leslie Thrasher” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Two young children play an ill-advised game of gum stretching on the family couch in this charming composition by famed American illustrator, Leslie Thrasher. These images appeared on the covers of \u003cem\u003eLiberty Magazine\u003c\/em\u003e, for whom he produced one cover illustration a week for six consecutive years. Painted towards the start of the Great Depression, Thrasher provided light-hearted images of the lives of everyday people to distract Americans from their troubles. \u003cbr\u003e\u003cbr\u003e Born in 1889 in Piedmont, West Virginia, Thrasher studied at the Pennsylvania Academy of Fine Arts as a teenager and received a scholarship to study art abroad in Paris. Upon his return, he began studying under Howard Pyle, known as the “father of American illustration.” Thrasher sold his first cover illustration to the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e in 1912, four years before Norman Rockwell’s first \u003cem\u003ePost\u003c\/em\u003e cover, and he would go on to produce over 360 magazine covers throughout his career. He painted humorous, relatable scenes of life in America with colorful characters set against white backgrounds. He was also a successful commercial artist, painting advertisements for Cream of Wheat, Chesterfield Cigarettes and Fisk Tire. \u003cbr\u003e\u003cbr\u003e Circa 1930 \u003cbr\u003e\u003cbr\u003e Canvas: 14 1\/8\" high x 13 1\/8\" wide\u003cbr\u003e Frame: 18 1\/4\" high x 17 3\/8\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43316894138503,"sku":"31-4494","price":42500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4494_1.png?v=1760369264"},{"product_id":"santa-by-leslie-thrasher","title":"Santa by Leslie Thrasher","description":"Leslie Thrasher\u003cbr\u003e 1889-1936 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSanta\u003c\/em\u003e\u003cbr\u003e \u003cem\u003eLiberty Magazine\u003c\/em\u003e cover, December 20, 1930 \u003cbr\u003e\u003cbr\u003e Signed “Leslie Thrasher” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A Salvation Army Santa looks on with a mixture of fatigue and disinterest as a group of children tell him their Christmas gift wish lists in this lighthearted composition by leading American illustrator Leslie Thrasher. This painting was created for the December 20, 1930 issue of \u003cem\u003eLiberty Magazine\u003c\/em\u003e, for which the artist illustrated covers on a weekly basis for six consecutive years. Thrasher is known for his scenes of everyday American life imbued with a sense of humor, qualities represented to great effect in this charming painting. \u003cbr\u003e\u003cbr\u003e Born in 1889 in Piedmont, West Virginia, Thrasher studied at the Pennsylvania Academy of Fine Arts as a teenager and received a scholarship to study art abroad in Paris. Upon his return, he began studying under Howard Pyle, known as the “father of American illustration.” Thrasher sold his first cover illustration to the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e in 1912, four years before Norman Rockwell’s first \u003cem\u003ePost\u003c\/em\u003e cover, and he would go on to produce over 360 magazine covers throughout his career. He painted humorous, relatable scenes of everyday life in America with colorful characters set against white backgrounds. He was also a successful commercial artist, painting advertisements for Cream of Wheat, Chesterfield Cigarettes and Fisk Tire. \u003cbr\u003e\u003cbr\u003e Circa 1930 \u003cbr\u003e\u003cbr\u003e Canvas: 20 1\/8\" high x 17\" wide\u003cbr\u003e Frame: 24 1\/2\" high x 21 3\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41913598640263,"sku":"31-4493","price":54500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4493_1.png?v=1726240625"},{"product_id":"the-twelve-princesses-by-gustave-max-stevens","title":"The Twelve Princesses by Gustave-Max Stevens","description":"Gustave-Max Stevens\u003cbr\u003e 1871-1946 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed and dated “G.M. Stevens \/ 1899” (lower right) \u003cbr\u003e\u003cbr\u003e The greatest triumph of the artist’s career, this extraordinary and monumental oil on canvas by Gustave-Max Stevens perfectly represents the highly detailed compositions and richly hued palettes championed by the Pre-Raphaelite Brotherhood. The composition’s larger-than-life-size, brilliant coloring and myriad details enhance the drama of its subject, the Brothers Grimm fairy tale, \"The Twelve Princesses.\" The artist exhibited this work extensively, including at the 1901 Paris Salon, testifying to both the artist’s regard for the work and its exceptional quality. \u003cbr\u003e\u003cbr\u003e Monumental in subject, style and size, it is clear that the artist himself knew that \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e was his masterpiece, and he took every opportunity to show it publicly. It was first shown shortly after its creation at an exhibition of the artist’s work at the Cercle Artistique et Littéraire in Brussels in 1899 and then at the Salon d’Art Idéaliste in Brussels. It was then accepted into the prestigious Paris Salon of 1901, the annual exhibition where artists showcased only the very best examples of their work. The artist also exhibited it with Sächsischer Kunstverein (Saxon Art Association) in Dresden in 1900, the Antwerp Triennial Salon of 1901 and the Salon des Beaux-Arts d’Ostende of 1907. Additionally, Stevens kept \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e in his own personal collection for the entirety of his life, and it descended within his family — a testimony to the artist’s particular attachment to this work.  \u003cbr\u003e\u003cbr\u003e The fairy tale \"The Twelve Princesses,\" also called \"The Shoes That Were Danced to Pieces\", tells the story of twelve sisters who are kept locked up in their bedroom every night by their father, the king. Despite this, the king finds his daughters’ shoes “danced to pieces” every morning when he releases them. He presents a challenge to his kingdom: “Whoever could discover where they went dancing each night could choose one of them for his wife and become king after his death.” After many before him fail, a man accepts the challenge and, with the help of an invisibility cloak, discovers the sisters travel to a magical underground realm where they attend a lavish ball every evening. \u003cbr\u003e\u003cbr\u003e Stevens chooses to depict the moment of the sisters' escape. They adorn themselves in their finest gowns and jewels, with each princess dressed more extravagantly than the last. His approach to the painting is meticulous yet romantic, and the entire composition is a feast for the senses. The long, graceful silhouettes of the princesses occupy the entirety of the colossal canvas, and the artist revels in a painstaking depiction of detail for each and every figure. Strongly-patterned, iridescent fabrics combine with lush jewel tones to create a highly expressive aesthetic that brings a sense of realism to the mythical narrative. \u003cbr\u003e\u003cbr\u003e Stevens captures the princesses with the precise detail and symbolism that were tenets of the Pre-Raphaelite Brotherhood. They are shown standing before a window barred with iron, emphasizing the wonder of their nightly escape. The central figure gazes into a mirror, serving not as a symbol of vanity, but rather representing the ephemeral, alternate world they are about to enter. The mirror holds their secret and points beyond exterior appearances. Only two of the sisters look out at the viewer, the oldest and the youngest, who have the most significant roles in the story. The eldest, dressed the most austerely and almost hidden behind her sisters, wears a knowing look of secrecy and mystery, while the youngest looks at us apprehensively, foreshadowing their eventual exposure. Combining thoughtful detail, symbolism and aestheticism, this work showcases the enigmatic, dreamlike style of painting for which the Pre-Raphelites were renowned. \u003cbr\u003e\u003cbr\u003e Apart from the fact that it is an exceptional example of a Pre-Raphaelite painting, it is also exemplary of the 19th-century interest in legends and fairy tales; the story of the dancing princesses would have been a well-known tale in affluent households of the age. These tales were popularized by Andrew Lang’s \u003cem\u003eFairy Book\u003c\/em\u003e series, a collection of 12 volumes that was hugely successful. \"The Twelve Dancing Princesses\" was the first story printed in the \u003cem\u003eRed Fairy Book\u003c\/em\u003e edition of the series in 1890 — an edition the artist would have certainly been familiar with. \u003cbr\u003e\u003cbr\u003e Born in Saint-Gilles, Belgium, just outside of Brussels, in 1871, Stevens began his artistic studies at the Académie Royale des Beaux-Arts in Brussels in 1886 under the instruction of Jean-François Portaels. He then studied with Fernand Cormon and Louis-Joseph-Raphaël Collin at the École des Beaux-Arts in Paris. He then returned to Brussels, a city that at the time was a major center for artistic innovation. There, he co-founded and led \u003cem\u003eLe Sillon\u003c\/em\u003e in 1893, an artistic movement that sought a different approach to painting from the Neo-Impressionists and instead espoused a philosophy of decorative realism and luminous coloring.  \u003cbr\u003e\u003cbr\u003e The great Pre-Raphaelite Edward Burne-Jones was a supporter and honorary member of \u003cem\u003eLe Sillon\u003c\/em\u003e, and the group hosted an exhibition of the master’s works in 1895. Stevens, who was already an admirer of Burne-Jones, was heavily involved in the planning of this exhibition and must have taken immense inspiration from his aesthetic approach. He completed \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e only a few years after the Burne-Jones show, embracing the Pre-Raphaelite ideals of truth to nature, complexity of composition and brilliance of color. He also won a coveted bronze medal at the Paris Exposition Universelle of 1900 for \u003cem\u003eAnnunciation\u003c\/em\u003e, another painting with strong Pre-Raphaelite connections. \u003cbr\u003e\u003cbr\u003e Today, his works reside in the National Gallery of Canada (Ottowa), Minneapolis Institute of Art, Musées royaux des Beaux-Arts de Belgique (Brussels) and the British Museum (London), but none surpass the current painting. Staggering in size, magnificent in palette, exceptional in technique, and fascinating in subject, \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e represents the very best from the artist. \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/landing.rauantiques.com\/stevens-insights\/\" target=\"new\"\u003e\u003cb\u003eSee auction comparables and market data\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Dated 1899 \u003cbr\u003e\u003cbr\u003e Canvas: 76 1\/8\" high x 114\" wide (193.36 x 289.56 cm)\u003cbr\u003e Frame: 100 1\/4\" high x 138 5\/8\" wide (254.64 x 352.11 cm) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Exhibition Gustave-Max Stevens, Cercle Artistique et Littéraire, Brussels, 1899\u003cbr\u003e Salon d’Art Idéaliste, Brussels\u003cbr\u003e Paris Salon, 1901, number 846, p.27 (illustrated under the title “Filles de Rois”)\u003cbr\u003e Sächsischer Kunstverein, Dresden, 1900, number 1864\u003cbr\u003e Triennial Salon, Antwerp, 1901, number 46\u003cbr\u003e Salon des Beaux-Arts d'Ostende, 1907 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist, Brussels\u003cbr\u003e Thence by descent\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672916230279,"sku":"31-4687","price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4687_1.png?v=1767201297"},{"product_id":"portrait-of-a-beauty-by-william-clarke-wontner","title":"Portrait of a Beauty by William Clarke Wontner","description":"William Clarke Wontner\u003cbr\u003e 1857-1930 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"W. Wontner 1918\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Classical beauty and technical precision define this painting by British Neoclassical artist William Clarke Wontner. Although his career was largely devoted to formal portraits, he is best celebrated today for his classical maidens idling before cool marble backdrops. The present work, with a singular focus on the sitter, showcases Wontner's talent as a portraitist as well as the classical vision for which he is renowned today. \u003cbr\u003e\u003cbr\u003e Entitled \u003cem\u003ePortrait of a Beauty\u003c\/em\u003e, this painting demonstrates Wontner at his most impressive. The artist is admired for his precision in rendering the surfaces of marble and the flowing movement of classical costumes. Within this perfectly composed world, Wontner heightens the inherent sensuality of his subject through a masterful use of contrast. The vivid, jewel-like tones of her flowing tunic and veil seem especially rich as they fall over her tanned skin and sit against the smooth, veined marble structure.  \u003cbr\u003e\u003cbr\u003e Wontner, along with John William Godward, is considered among the top British Neoclassical artists of his time, and in fact, the two painters enjoyed a friendship and working relationship. They became acquainted after Godward apprenticed under Wontner’s father, noted architect William Hoff Wontner, who taught him architectural rendering. William Clarke Wontner studied under Godward for a time, and his influence is easily noticed in Wontner’s Neoclassical works. \u003cbr\u003e\u003cbr\u003e Wontner exhibited his work at the Royal Academy, the Society of British Artists and the Royal Institute of Painters in Water Colours. Today, his works reside in the collections of museums such as the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mnqq\/cvLbUpnWoYJZe3lo0HCdZEBKb9j75Am6ZYyt0EX4Cvk\" target=\"_blank\"\u003eNational Portrait Gallery (London) and the Harris Museum (Preston, UK)\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Dated 1918 \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 21\" wide\u003cbr\u003e Frame: 36\" high x 32\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42578025513095,"sku":"31-5487","price":198500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5487_1.png?v=1746450329"},{"product_id":"qing-dynasty-chinese-reverse-glass-painting","title":"Qing Dynasty Chinese Reverse Glass Painting","description":"Glass takes the place of canvas in this Qing Dynasty reverse glass painting dating to the 19th century. Chinese painters and calligraphers began the practice of painting in oil on glass in the mid-18th century, and the technique required the utmost skill and precision. Painted layers are applied to the glass in reverse, with the top layer painted first and the background last. Due to the complexity of the process and the high level of artistic skill required, highly detailed examples such as this are only rarely found. Depicting three courtly maidens with a kneeling male figure in an elegant palace setting, it shows a stunning level of detail and retains its vibrant color. \u003cbr\u003e\u003cbr\u003e Reverse glass paintings were almost always made for export, as British collectors clamored for all things Chinese during the late 18th and early 19th centuries. In fact, the present scene was once part of the collection of the Lake House, an Elizabethan country house in Wiltshire. It is a typical, though elaborate example of the subjects frequently seen in these works, which often depicted bucolic landscapes populated with Chinese figures enjoying leisurely pursuits. An amazing survival of the luxury trade, this painting is completed by its later giltwood frame. \u003cbr\u003e\u003cbr\u003e Inscribed \"Lake House\" (en verso) \u003cbr\u003e\u003cbr\u003e Circa 1850 \u003cbr\u003e\u003cbr\u003e Glass: 28 1\/3\" high x 19 1\/2\" wide\u003cbr\u003e Frame: 34 1\/8\" high x 25 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41347080355975,"sku":"31-5230","price":38850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5230_1_b955a4ba-7451-4ead-a58a-f4e995264784.png?v=1783034609"},{"product_id":"buste-dhomme-barbu-by-pablo-picasso","title":"Buste d'homme barbu by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBuste d'homme barbu\u003cbr\u003e (Bust of a Bearded Man)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Picasso\" (upper right) and dated \"8.4.65\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Pablo Picasso and his work transcend art history: they have achieved global celebrity within both academic circles and popular culture. More than any other artist, his ever-evolving, evocative style has come to define modern art of the 20th century, and to this day he continues to gain recognition. The most compelling of his works offer a glimpse into the psyche of the master himself, and the present work can be counted among these. Combining saturated color with a jarring simplicity, \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e represents an important series of bearded men portraits that the artist composed during the last few years of his life. These works are among the most highly personal and intimate of his career, and they serve as remarkable examples of his mature style with their highly modern expressivity. \u003cbr\u003e\u003cbr\u003e Many of Picasso's works from his last years capture the visage of his wife Jacqueline, who was his chief model during this period. In April, however, at his home studio in Mougins, France, Picasso changed direction and produced a series of individual portraits of men. His male subjects derive from various sources. Often they were self-referential portraits; often they referenced his father, Spanish painter José Ruiz y Blasco. Picasso once said, \"Every time I draw a man, I find myself thinking of my father… To me a man means 'Don José,' and it will always be so, all my life… He wore a beard… All the men I draw I see more or less with his features.\" \u003cbr\u003e\u003cbr\u003e While his father’s dark mustache and beard are clearly distinguished in \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e, Picasso's portraits of men from the mid-1960s served more as composite, archetypal figures representing vitality and virility. Although he would live eight more years after this work was created in April of 1965, at the age of 84, Picasso was preoccupied with thoughts of aging and mortality. He was suffering from an ulcer that would require surgery later that year. He seemed to combat these thoughts with a burst of youthful, creative energy, and the mid-1960s witnessed an outpouring of productivity from Picasso, with his subjects such as this displaying that same vitality. \u003cbr\u003e\u003cbr\u003e Highly modern and expressionistic, this painting explores an extreme simplification of form, breaking the figure down to its basic essentials. Remarkably, though, Picasso still managed to capture the most expressive features of his subjects in just a few choice brushstrokes. His male portraits from this period employ a particular set of facial traits delineated with decisive swoops of color to suggest a nose or a cheekbone, built up upon fields of white paint. Composed with a highly simplified palette and sparsity of line, \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e successfully evokes a striking sense of vigor. This character is also endowed with a powerful, hypnotic gaze, the \u003cem\u003emirada fuerte\u003c\/em\u003e, that Picasso included in many of his portraits. These wide eyes allude both to ancient portraiture and to the artist himself, who was known personally for his strong gaze, an indication that he has projected himself onto the figure. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid, before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Critics have often divided Picasso’s artistic output into distinct phases based on his color scheme and style of painting. It was around 1907 that Picasso became very influenced by African masks and art which began making their way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eLes Demoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e Other examples of late portraits by Picasso reside in important museums worldwide such as \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mo3f\/jVBn9SGCMXVjXy5w4.gcIZC_0GDfu0JaMQsXBa1X2Yc\" target=\"_blank\"\u003e the Metropolitan Museum of Art, the Museé Picasso in Paris and the Museu Picasso in Barcelona.\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Dated 1965 \u003cbr\u003e\u003cbr\u003e Canvas: 31 1\/2\" high x 25 1\/2\" wide (83.82 x 68.90 cm)\u003cbr\u003e Frame: 33\" high x 27 1\/8\" wide (80.01 x 64.77 cm)  \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5479.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 Louise Leiris, Paris\u003cbr\u003e Private collection\u003cbr\u003e Christie’s New York, November 14, 1990, Impressionist and modern paintings, and sculpture (part 1), lot 47\u003cbr\u003e Private collection\u003cbr\u003e Christie’s New York, May 13, 1998, 20th Century Art, lot 238\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003ePablo Picasso\u003c\/em\u003e, Volume 25, 1971, by C. Zervos, p. 57, no. 101 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44310043066503,"sku":"31-5479","price":7950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5479_1_31c61617-44e1-4c77-83ed-3dd499386897.png?v=1774992134"},{"product_id":"marschlandschaft-mit-drei-hausern-by-emil-nolde","title":"Marschlandschaft (mit drei Häusern) by Emil Nolde","description":"Emil Nolde \u003cbr\u003e 1867-1956 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMarschlandschaft (mit drei Häusern)\u003cbr\u003e Marshland (With Three Houses)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Nolde” (lower right)\u003cbr\u003e Watercolor on Japan paper \u003cbr\u003e\u003cbr\u003e A work of engaging richness and emotion, \u003cem\u003eMarschlandschaft (mit drei Häusern)\u003c\/em\u003e invites the viewer directly into the heart of the intuitive, poetic world of Emil Nolde. An essential figure in the German avant-garde, Nolde’s highly modern oeuvre stands as an important precursor to the Abstract Expressionists of the mid-20th century. With its vivid colors and emotional intensity, the present work is exemplary of his output, containing all of the best characteristics of his mature style. \u003cbr\u003e\u003cbr\u003e Brilliant, amorphous fields of color suggest the vast, marshy landscape of Nolde’s native Schleswig-Holstein region near the German-Danish border. The artist’s application of paint is powerful and dramatic, conveying with a few brushstrokes the impression of passing storm clouds, allowing light and sky to peek through and illuminate the colors of his landscape. A sense of fluidity and immediacy were of great importance to Nolde. He once said, “I try to avoid all thinking. A vague concept of color and luminosity suffices, and the picture evolves during the act of painting.” The flow and spontaneity of watercolor lent themselves well to Nolde’s creative approach, and he achieved a vibrancy in the medium that is unsurpassed. \u003cbr\u003e\u003cbr\u003e Nolde is considered one of the most important exponents of German Expressionism and was one of the most prominent representatives of the avant-garde in Germany. His participation in the seminal group Die Brücke (The Bridge) links him to one of the earliest artists' associations which had a crucial impact on the development of modern art. His interplay of color and form set him apart from his contemporaries, and his work is recognized as a monumental step toward modernism. \u003cbr\u003e\u003cbr\u003e However, Nolde’s work was derided in his day by the Nazi regime in Germany, and he was forbidden from painting. Deemed too “decadent,” 33 of his works were displayed in the infamous \u003cem\u003eEntartete Kunst\u003c\/em\u003e, Degenerate Art Exhibition in Munich in 1937, labeling the artist's works as a “threat” to Germany. The Nazi Party destroyed hundreds of Nolde's works and confiscated over one thousand more — the greatest number of any artist — highlighting the rarity of the present composition. \u003cbr\u003e\u003cbr\u003e Throughout his career, Nolde received numerous awards, including the Print Prize of the XXVL Venice Biennale and the Order “Pour le mérite,” the highest achievement for German arts and sciences. Nolde's auction history has also been triumphant. In 2021, a similar watercolor by Nolde sold at Sotheby's London for over $1,000,000, setting a record for the artist. Today, Nolde's works are held in important museum collections internationally, including in the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000MkWU\/y42fae8P6suUKCBWCCmE7qUnECgWydZJ_H5tbZbwQPQ\" target=\"_blank\"\u003eArt Institute of Chicago and the Museo Nacional Thyssen-Bornemisza\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Circa 1920 \u003cbr\u003e\u003cbr\u003e Paper: 13 1\/2\" high x 18 1\/2\" wide (34.29 x 46.99 cm)\u003cbr\u003e Frame: 25 5\/8\" high x 30\" wide x 1 3\/8\" deep (65.09 x 76.2 x 3.49 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5395.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Germany, a gift from the artist\u003cbr\u003e Thence by descent\u003cbr\u003e Sale, Christie's, London, 1 December 1987, lot 355.\u003cbr\u003e Anonymous sale, Hauswedell \u0026amp; Nolte, Hamburg, 12 June 1999, lot 2052.\u003cbr\u003e Galerie Neher, Essen.\u003cbr\u003e Private collection, Germany. \u003cbr\u003e M.S. Rau, New Orleans. \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Balingen, Stadthalle, \u003cem\u003eEmil Nolde, Weltsicht, Farbe Phantasie\u003c\/em\u003e, 2008, p. 132 (illustrated).","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42542075838599,"sku":"31-5395","price":785000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5395_1.png?v=1743858694"},{"product_id":"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-tax-collectors-attributed-to-marinus-van-reymerswaele","title":"The Tax Collectors attributed to Marinus van Reymerswaele","description":"Marinus van Reymerswaele\u003cbr\u003e c.1490 – c.1546 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Tax Collectors\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on wood panel \u003cbr\u003e\u003cbr\u003e Marinus van Reymerswaele stands among the greatest and most beloved artists of 16th-century Antwerp. Entitled \u003cem\u003eThe Tax Collectors\u003c\/em\u003e, this oil on board original exudes the technical skill and life-like vibrancy for which the artist is renowned.  \u003cbr\u003e\u003cbr\u003e In a quiet interior scene, two men sit at a green table covered in coins, jewels, and empty moneybags. While the man in the red turban-like head wrap calmly records transactions in his leger, his companion grimaces, still clutching an empty coin purse. A meticulous painter, Marinus takes care to painstakingly render each minute detail with tremendous accuracy. Marinus has precisely lined each fold in their garments and each wrinkle on the men’s faces and hands. He further demonstrates his skill by capturing the reflections of light within the reflective gemstones and brass candlestick. His treatment of the men’s faces is caricatured but still believable, setting up an excellent satire on the tax collectors. Overall, the artist has imbued the scene with a lifelike vibrancy with a bold palette and confident application of paint. For further explanation of the incredible details in this work of art, \u003ca href=\"https:\/\/msrauantiques2022.my.salesforce.com\/sfc\/p\/8c000000eEg1\/a\/Vb000000Yv2H\/VSt.9b3UYGfvaM2kT_jK2D33ojjfG7m9m_3tDKP_xVQ\" _blank\u003eplease see the pictorial key\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e The economic and cultural boom of 16th-century Antwerp effectively made the once-small Flemish city the financial center of the world. The greatest artists from all over the continent were drawn to the prosperity and sophistication of Antwerp. Without a doubt, a scene of two misers would have been immediately recognizable to a 16th-century European. The subject was one of the most popular of its time, gracing the collections of queens, kings and private citizens alike. All would have understood the image as satirical, poking fun at the two tax collectors wearing gaudy, outdated clothing with contorted faces. During this period, the citizens of Antwerp would have paid their taxes directly to the Habsburg dynasty of the Holy Roman Empire, centered in Vienna, leading to discontent among those in Flanders. The sudden advent of capitalism and urbanism stirred uncertainty among many about the world’s future. Despite these political and economic grievances, viewers could share a laugh at Marinus’s painting depicting the two men who served this oft-despised role. \u003cbr\u003e\u003cbr\u003e Marinus van Reymerswaele, Dutch by birth, spent the majority of his life living and working in Antwerp. In 1509, he registered with the Antwerp Guild of St. Luke, cementing his position within the artistic fabric of the city by producing copies of beloved artworks. Nearly 500 years later, Marinus’s works reside in museums worldwide, including the Louvre in Paris, the National Gallery in London and the Museo del Prado in Madrid. One version resides in Windsor Castle, within the King’s private quarters, and the Royal Liechtenstein collection acquired its own in 2008. It, like ours, displays the same remarkable color and expressive faces that characterize our masterpiece. Of these comparable paintings, only the Royal Liechtenstein example is equal to ours in quality and condition. \u003cbr\u003e\u003cbr\u003e Circa 1540 \u003cbr\u003e\u003cbr\u003e Panel: 42\" high x 31 3\/4\" wide\u003cbr\u003e Frame: 48 1\/2\" high x 38 5\/8\" wide x 3 3\/4\" deep \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5668.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Acquired by Private Collection, United Kingdom, circa 1880\u003cbr\u003e Thence by direct descent\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44050995740807,"sku":"31-5668","price":1985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-5668_1_e45e4bf4-4f5d-4f59-acb4-d7398189fbab.png?v=1774967007"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/collections\/PaintingsBanner1-19.jpg?v=1774275260","url":"https:\/\/rauantiques.com\/collections\/paintings.oembed?page=31","provider":"M.S. Rau","version":"1.0","type":"link"}