{"title":"The Hammer Collection","description":null,"products":[{"product_id":"fleurs-dans-un-vase-avec-partition-musicale-by-paul-gauguin","title":"Fleurs dans un vase avec partition musicale by Paul Gauguin","description":"Paul Gauguin \u003cbr\u003e 1848-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase avec partition musicale\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Flowers in vase with musical score)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “P. Gauguin 74\/76” (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Works by the legendary Paul Gauguin, particularly those comprising his still lifes, are rare treasures. This remarkable composition, entitled \u003cem\u003eFleurs dans un vase avec partition musicale (Flowers in a Vase with Musical Score)\u003c\/em\u003e, stands as an important glimpse of the master’s unparalleled eye for color, composition and expressive brushwork. \u003cbr\u003e\u003cbr\u003e Using an extraordinary palette of soft pastels and rich jewel tones, Gauguin renders the central bouquet in luminous splendor that emerges in three dimensions against the neutral background. The wrinkled edges of the musical score are almost palpable, painted with the same thick impasto that gives the lush blooms their lifelike energy. \u003cbr\u003e\u003cbr\u003e When viewing this composition, it is easy to see the technical proficiency that garnered the attention and admiration of fellow artists, including Camille Pissarro, Vincent van Gogh and Edgar Degas. It was Pissarro who persuaded Gauguin to submit a painting to the Salon of 1876. Both Pissarro and Degas were so impressed by his work that they extended an invitation to Gauguin to exhibit at the Impressionist Exhibition of 1879 and subsequent exhibitions thereafter. Even after the Impressionists held their final official exhibition in 1886, Gauguin maintained his association with Pissarro as the movement transitioned into Post-Impressionism. \u003cbr\u003e\u003cbr\u003e Endowed with an exceptional sense of color and a fervent appreciation for life, he initially engaged in painting merely as a leisure activity. This hobby became his life’s calling in 1882, following the financial setback he experienced due to the Paris stock market crash, which resulted in the loss of his position as a stockbroker. Gauguin’s work, distinguished by its vibrant individuality, would go on to change the course of art history, and his instantly recognizable paintings are held in the world’s most esteemed museums and private collections. Still lifes similar to this one are owned by the National Gallery of Art, the Philadelphia Museum of Art and the Museo National Thyssen-Bornemisza, Madrid. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase avec partition musicale\u003c\/em\u003e is accompanied by a certification from The Art Loss Register and is featured in the 1964 and 2002 Wildenstein catalogues raisonnés on the artist.  \u003cbr\u003e\u003cbr\u003e Circa 1874-76  \u003cbr\u003e\u003cbr\u003e Canvas: 16” high x 10 3\/8” wide (40.64 x 27.31 cm)\u003cbr\u003e Frame: 22 1\/4” high x 16 7\/8” wide (56.52 x 42.86 cm) \u003cbr\u003e\u003cbr\u003e View the dossier: \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8610.pdf\" target=\"_blank\"\u003eFleurs dans un vase avec partition musicale by Paul Gauguin\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e This painting was exhibited at The European Fine Art Fair. \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Armand Parent, Paris, circa 1921\u003cbr\u003e Otto Nierenstein, Vienna, circa 1928\u003cbr\u003e Kunstsalon Abels, after 1950\u003cbr\u003e Römer, Germany, circa 1950\u003cbr\u003e  Private collection, Düsseldorf, circa 1988\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, Virginia \u003cbr\u003e\u003cbr\u003e Literature: \u003cbr\u003e Charles Chassé, \u003cem\u003eGauguin et le groupe de Pont-Aven\u003c\/em\u003e, Paris, 1921, p. 64\u003cbr\u003e Wilhelm Barth, \u003cem\u003ePaul Gauguin\u003c\/em\u003e, 1929, p. 41\u003cbr\u003e Lee van Dovski, \u003cem\u003eGauguin\u003c\/em\u003e, 1950, no. 1, p. 338\u003cbr\u003e Georges Wildenstein, \u003cem\u003eGauguin\u003c\/em\u003e, vol. 1, Paris, 1964, no. 9, p. 5, illustrated\u003cbr\u003e Merete Bodelsen, \"The Dating of Gauguin’s Early Paintings,\" \u003cem\u003eThe Burlington Magazine,\u003c\/em\u003e June 1965, p. 309\u003cbr\u003e Daniel Wildenstein, \u003cem\u003eGauguin: A Savage in the Making. Catalogue Raisonné of the Paintings (1873-1888)\u003c\/em\u003e, vol. 1, 2002, Paris and Milan, no. 36, p. 37, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited: \u003cbr\u003e Basel, Kunsthalle, 1928, no. 1 (as \u003cem\u003eBunch of Flowers in Blue Vase\u003c\/em\u003e, 1874)\u003cbr\u003e Berlin, Thannhauser, 1928, no. 2","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44553379676295,"sku":"31-8610","price":2985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-8610_1_c568d0ef-6209-44e6-9569-723bb06af33a.png?v=1789572203"},{"product_id":"femme-au-corsage-blanc-jeanne-samary-by-pierre-auguste-renoir","title":"Femme au corsage blanc, Jeanne Samary by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFemme au corsage blanc, Jeanne Samary\u003cbr\u003e (Woman in a white blouse, Jeanne Samary\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Initialed \"AR\" (lower right)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e Among Renoir's most famous works are those that capture the ladies of his inner circle in his signature style. This vibrant pastel from 1879 depicts the young Jeanne Samary, Renoir’s favorite subject and most important muse at the height of his career. Compared to his 4,000 paintings, the artist made exceptionally few pastels—only about 150 total—making this luminous work an extraordinary Renoir rarity. \u003cbr\u003e\u003cbr\u003e Samary was one of the most captivating figures of late 19th-century Paris. An iconic actress at the Comédie-Française, her fame rivaled that of the great Sarah Bernhardt. Beginning in 1876, Renoir created dozens of portraits of Samary, and she also appeared in all three of the artist’s most important paintings from this pivotal period—\u003cem\u003eBal du moulin de la Galette\u003c\/em\u003e (1876), \u003cem\u003eLa balançoire\u003c\/em\u003e (1876) and \u003cem\u003eThe Luncheon of the Boating Party\u003c\/em\u003e (1880–81). Renoir’s close friend and biographer, Georges Rivière, noted that “no portrait ever gave Renoir greater satisfaction than the ones he made of Samary.” \u003cbr\u003e\u003cbr\u003e This magnificent pastel perfectly embodies this bond between Renoir and Samary. Vivid and spontaneous, the work captures an intimate moment, with Samary’s blouse delicately falling over her shoulder. Renoir typically reserved pastel for his portraits of friends and family, as it allowed him to capture their true essence with speed and ease. \u003cbr\u003e\u003cbr\u003e The year this pastel was created, 1879, was also one of the most important years of Renoir’s career. He entered the prestigious Salon of 1879, where four of his portraits were accepted, including a full-length masterpiece of Jeanne Samary. This pastel stands as a testament to this pivotal chapter for Renoir, portraying the muse who shaped his groundbreaking vision.  \u003cbr\u003e\u003cbr\u003e Renoir’s portraits of Jeanne Samary are exceptionally scarce, with most already held in prestigious museum collections, including the State Hermitage Museum in St. Petersburg and the National Gallery of Art in Washington, D.C. Similar pastels of Samary have commanded millions at auction—among some of the highest prices for Renoir’s works on paper. Importantly, the artist’s pastels are getting recent museum attention, with the major 2025-2026 exhibition organized by the Musée d’Orsay and the Morgan Library, \u003cem\u003eRenoir Drawings\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Wildenstein Plattner Institute, and it will be included in their forthcoming digital catalogue raisonné. \u003cbr\u003e\u003cbr\u003e Drawn 1879 \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1821.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Paper: 22 1\/4\" high x 14 1\/4\" wide (56.5 x 36.2 cm)\u003cbr\u003e Frame: 36 3\/4\" high x 28 1\/4\" wide x 3\" deep (93.4 x 71.8 x 7.6 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Ambroise Vollard, Paris, acquired from the artist (as of 1907)\u003cbr\u003e Étienne Bignou, Paris (as “Jeanne Samary”)\u003cbr\u003e Lafarge, Paris\u003cbr\u003e Victor Hélin, Paris\u003cbr\u003e Succession Victor Hélin, c. 1945\u003cbr\u003e M. and Mme Schmit, acquired from the above, 2009\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44489087746183,"sku":"32-1821","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-1821_1.png?v=1777552664"},{"product_id":"falaise-en-normandie-by-gustave-caillebotte","title":"Falaise en Normandie by Gustave Caillebotte","description":"Gustave Caillebotte\u003cbr\u003e 1848-1894 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFalaise en Normandie\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped “G. Caillebotte” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Gustave Caillebotte was among the most visionary and influential artists of the 19th century. This extraordinary Normandy landscape embodies the artist at his most adventurous and expressive, brimming with rich color and energetic brushwork. Painted circa 1880 during the height of his career, \u003cem\u003eFalaise en Normandie\u003c\/em\u003e beautifully captures the iconic towering cliffs with the artist's signature brilliance. \u003cbr\u003e\u003cbr\u003e Even among his trailblazing Impressionist contemporaries, Caillebotte stood out for his distinctive vision marked by dynamic perspectives and precise details. Here, he perfectly composes the scene to emphasize the pure drama of the Normandy cliffs, with the swirl of rocks in the foreground making the colorful cascade of the cliffs even more towering in the background. Caillebotte also pushes his brushwork to new heights, beautifully layering the thickness of his paint to create the illusion of depth and movement. \u003cbr\u003e\u003cbr\u003e By 1880, when \u003cem\u003eFalaise en Normandie\u003c\/em\u003e was painted, Caillebotte was looking for inspiration beyond the streets of Paris. This masterwork belongs to an important series of works painted during Caillebotte’s transformative summers along the windswept cliffs of Normandy, where he explored landscape painting with exceptional vigor. \u003cbr\u003e\u003cbr\u003e More than an artist, Caillebotte was also among the earliest and most important collectors of his fellow Impressionists, acquiring nearly 70 masterpieces by Monet, Renoir, Degas and many others. Upon his death, he bequeathed these works to the French state, and they would later serve as the cornerstone of the great Musée d’Orsay’s founding, securing Impressionism’s lasting fame. \u003cbr\u003e\u003cbr\u003e Caillebotte's life was tragically short, and the artist created only around 450 paintings in total, with the majority of these in renowned museums and important private collections worldwide, including the Musée d'Orsay, the National Gallery of Art, the Metropolitan Museum of Art and many others. There has also been renewed scholarly and collecting interest in his works in recent years, with several critically acclaimed exhibitions such as the Musée d'Orsay's \u003cem\u003eCaillebotte: Painting Men\u003c\/em\u003e (2024-25), which traveled to the J. Paul Getty Museum and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Canvas: 32\" high x 25 5\/8\" wide (81.2 x 65.2 cm)\u003cbr\u003e Frame: 39 1\/4\" high x 32 1\/2\" wide x 2 1\/4\" deep (99.7 x 82.6 x 5.7 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2326.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e Private collection, France, by descent from the above\u003cbr\u003e Private collection, acquired from the above \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Marie Berhaut, \u003cem\u003eLa Vie et l’oeuvre de Gustave Caillebotte\u003c\/em\u003e, Paris, 1951, no. 115, illustrated n.p.\u003cbr\u003e Marie Berhaut, \u003cem\u003eCaillebotte, Sa vie et son oeuvre: Catalogue raisonné des peintures et pastels\u003c\/em\u003e, Paris, 1978, no. 163, illustrated p. 137 (titled Falaise à Villiers-sur-mer and with incorrect dimensions)\u003cbr\u003e Marie Berhaut, \u003cem\u003eGustave Caillebotte: Catalogue raisonné des peintures et pastels\u003c\/em\u003e, Paris, 1994, no. 177, illustrated p. 142 (with incorrect dimensions) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Lausanne, Fondation de l'Hermitage, \u003cem\u003eCaillebotte au cœur de l'impressionnisme\u003c\/em\u003e, 2005, no. 51, illustrated in color in the catalogue\u003cbr\u003e Bremen, Kunsthalle Bremen; Copenhagen, Ordrupgaard \u0026amp; Madrid, Museo Nacional Thyssen-Bornemisza, \u003cem\u003eGustave Caillebotte\u003c\/em\u003e, 2008-09, no. 31, illustrated in color in the catalogue (with incorrect dimensions)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44256932233351,"sku":"32-2326","price":1950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2326_1.png?v=1788290467"},{"product_id":"danseuse-en-rose-by-edgar-degas","title":"Danseuse en Rose by Edgar Degas","description":"Edgar Degas\u003cbr\u003e 1834-1917 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDanseuse en rose\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamp signed \"Degas\" (lower left)\u003cbr\u003e Pastel on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e\"When you see his pastels…! When you think that he managed to achieve the tone of frescoes with a material so unpleasant to handle!\" —Pierre-Auguste Renoir on Degas\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Edgar Degas’ dancers require little by way of introduction—no artist better captured the fluid grace and ephemeral beauty of the ballet. This exceptionally rare pastel on canvas, titled \u003cem\u003eDanseuse en rose\u003c\/em\u003e, is among the most extraordinary the great artist ever painted—a masterpiece of grand scale, radiant beauty and iconic subject. \u003cbr\u003e\u003cbr\u003e This extraordinary pastel hails from the height of Degas’ career, circa 1877-80. The opening of the Palais Garnier in 1875 transformed Parisian cultural life and offered the artist easy access to the world of performers. Degas soon became widely acclaimed, hailed as the definitive “painter of dancers.” This pivotal period for Degas also coincided with the meteoric rise of Rosita Mauri, the celebrated prima ballerina who is at the center of this pastel.  \u003cbr\u003e\u003cbr\u003e Rosita Mauri was the great star of the Paris Opéra at this time, admired not only for her technical brilliance but for her commanding stage presence, which Degas captured perfectly in \u003cem\u003eDanseuse en rose\u003c\/em\u003e. It is quite difficult to identify most dancers in Degas’ oeuvre, but Mauri was among the most famous and beloved ballerinas of her day. Similar pastels of Mauri on stage belong to prestigious museums, including the Art Institute of Chicago and the Musée d’Orsay.  \u003cbr\u003e\u003cbr\u003e The monumental beauty of \u003cem\u003eDanseuse en rose\u003c\/em\u003e is breathtaking at every turn. Degas captured Mauri \u003cem\u003een pointe\u003c\/em\u003e, gracefully suspended between stillness and motion—a hallmark of the artist’s genius for rendering fluid motion. Her elaborate costume shimmers in harmony with the colorful stage scenery, creating a spontaneous symphony of energy and vibrancy. Her face is rendered with exceptionally delicate beauty—a rarity among Degas’ dancers, who he often portrayed under harsh, unflattering lights. \u003cbr\u003e\u003cbr\u003e This wonderful work of art also has great scale—over three feet high—and is unique for being on canvas. The canvas allowed him to work much larger than his typical paper works and to achieve extraordinarily vivid colors and textures, which are still remarkably luminous almost 150 years later. \u003cbr\u003e\u003cbr\u003e This work’s provenance further elevates its importance. Danseuse en rose remained with Degas and his family for almost 100 years, when it then entered one of the most storied private collections of the 20th century—that of the Maharani Sita Devi Gaekwar of Baroda. Known throughout international society for her extraordinary taste and connoisseurship, she was often referred to as the “Indian Wallis Simpson.” The Maharani assembled a remarkable group of Impressionist masterworks, of which this Degas was a clear highlight. \u003cbr\u003e\u003cbr\u003e Given its provenance, beauty and rarity, \u003cem\u003eDanseuse en rose\u003c\/em\u003e is an undeniable masterpiece of Impressionism. Similar, but smaller, examples have gone for large sums at auction. These iconic works, however, hardly ever come to auction, as most of Degas' masterpiece ballerinas already reside in the world’s most prestigious museums, including the Musée d’Orsay, the Art Institute of Chicago, the Metropolitan Museum of Art, the MFA, Boston and many more. \u003cbr\u003e\u003cbr\u003e Circa 1877-80 \u003cbr\u003e\u003cbr\u003e Canvas: 35 3\/4” high x 28 1\/4” wide (90.81 x 71.76 cm)\u003cbr\u003e Frame: 44 3\/4” high x 37 1\/2” wide x 2 1\/2” deep (113.7 x 95.3 x 6.4 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2603.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist\u003cbr\u003e Sale of the above, Atelier Edgar Degas, Galerie G. Petit, Paris, 2nd sale, December 11-13, 1918, lot 110\u003cbr\u003e Roland Nepveu-Degas (Degas’ nephew), 1918, purchased at the above sale\u003cbr\u003e S.A.R. the Maharani Seethadevi Gaekwar de Baroda\u003cbr\u003e Sale of the above, Palais Galliéra, Paris, November 30, 1961, lot 4\u003cbr\u003e Micheline Maus, Switzerland\u003cbr\u003e Private collection, Geneva, acquired from the above in 2008\u003cbr\u003e Private collection, Germany\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Sale catalog, Atelier Edgar Degas, Galerie G. Petit, Paris, 2nd sale, December 11-13, 1918, no. 110, p. 61 (illustrated)\u003cbr\u003e Paul-André Lemoisne, \u003cem\u003eDegas et son œuvre\u003c\/em\u003e, Paris, 1946, vol. II, no. 468, p. 256-57 (illustrated)\u003cbr\u003e Sale catalog, Palais Galliéra, Paris, November 30, 1961, no. 4 (illustrated)\u003cbr\u003e Jacques Lassaigne, Fiorella Minervino, \u003cem\u003eTout l'oeuvre peint de Degas\u003c\/em\u003e, Paris, 1988, no. 539, p. 111 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Charpentier, \u003cem\u003eDanse et Divertissement\u003c\/em\u003e, 1948-1949, no. 59 (as \u003cem\u003eDanseuse sur les pointes\u003c\/em\u003e)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44567224582279,"sku":"32-2603","price":12500000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2603_1.png?v=1789068024"},{"product_id":"shepherd-and-shepherdess-at-the-gate-bazincourt-by-camille-pissarro","title":"Shepherd and Shepherdess at the Gate, Bazincourt by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBerger et bergère à la barrière, Bazincourt\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eShepherd and Shepherdess at the Gate, Bazincourt\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped \"C.P.\" (lower left)\u003cbr\u003e Gouache and wash on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes, this rare masterpiece offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard also explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the landscape in a panoramic arc. Figures gather along a rustic fence, drawing the viewer into the foreground while the countryside opens behind them. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1885 \u003cbr\u003e\u003cbr\u003e Paper: 15\" high x 25\" wide (38.10 x 63.50 cm)\u003cbr\u003e Frame: 17\" high x 27 1\/2\" wide x 1\" deep (43.18 x 69.85 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Jeanne \u0026amp; Alexandre Bonin Collection, Paris (the artist's daughter and son-in-law) by descent from the artist circa 1903\u003cbr\u003e Sale of the above, Hôtel Drouot, Paris, June 26, 1931, lot 22\u003cbr\u003e Madame Zimmerman Collection, Paris (acquired at the above sale)\u003cbr\u003e Private collection, Paris (by descent from the above)\u003cbr\u003e Sale of the above, Sotheby's, London, April 4, 1990, lot 107\u003cbr\u003e Private collection, acquired at the above sale through Legatt Brothers, London\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e L.-R. Pissarro \u0026amp; L. Venturi, Camille Pissarro, son art–son oeuvre, Vol. I, Paris, 1939, no. 1632 (illustrated Vol. II, pl. 309)\u003cbr\u003e M-J. Pellé, Les Éventails de Camille Pissarro, Paris, 1990, no. 22 (illustrated p. 24)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44797831053447,"sku":"32-2735","price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2735_1.png?v=1785360021"},{"product_id":"return-to-the-village-by-moonlight-by-camille-pissarro","title":"Return to the Village by Moonlight by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Retour au village au clair de lune (Éragny)\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eReturn to the Village by Moonlight (Éragny)\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed and dated \"Camille Pissarro 86\" (lower left)\u003cbr\u003e Gouache and watercolor on silk laid down on paper \u003cbr\u003e\u003cbr\u003e Among Camille Pissarro’s most unique artworks, this magnificent fan painting transforms a decorative object into a luminous Impressionist landscape. Displaying one of his iconic rural scenes under moonlight, this rare masterpiece offers one of the most singular and delightful ways of experiencing Pissarro’s celebrated vision. \u003cbr\u003e\u003cbr\u003e Inspired by Japanese art and encouraged by Edgar Degas, Pissarro began experimenting with fans in the late 1870s, exhibiting 12 examples at the 1879 Impressionist exhibition alongside his paintings. What was once a decorative object became, in Pissarro’s hands, a highly inventive work of art. Other artists such as Gauguin and later Bonnard explored the fan format, but Pissarro perhaps embraced it most fully, helping transform the fan into one of the era’s most elegant experiments in modern composition. \u003cbr\u003e\u003cbr\u003e In this example, the sweeping crescent shape of the fan offered Pissarro a compositional challenge unlike the traditional canvas, allowing him to unfold the scene in a panoramic arc. Under the luminous haze of a moonlit night, Pissarro’s figures move along a bucolic village path. The result is intimate yet expansive, offering Pissarro a place to reimagine the countryside he loved.  \u003cbr\u003e\u003cbr\u003e Fewer than 100 fans by modern artists of this period are believed to exist, making each surviving example exceptionally rare. Comparable examples by Pissarro have gone for impressive sums at auction and now reside in leading museum collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Van Gogh Museum and the Brooklyn Museum. The importance of these works continues to receive institutional attention today, with the Musée d’Orsay showcasing an exhibition of 17 Impressionist fans this year.  \u003cbr\u003e\u003cbr\u003e Known as the \"Father of Impressionism,\" Camille Pissarro was the only painter to exhibit in all eight of the Impressionist exhibitions. His revolutionary approach to painting and thought-provoking compositions had a profound effect on his contemporaries and the future of modern art, and his works can be found in many of the most important museums and private collections throughout the world.  \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Dated 1886 \u003cbr\u003e\u003cbr\u003e Paper: 17\" high x 29\" wide (43.2 x 73.7 cm)\u003cbr\u003e Frame: 23\" high x 32 3\/4\" wide x 2\" deep (58.4 x 88.3 x 5.1 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Madame de Kerrieu Collection, Paris\u003cbr\u003e Her sale, Hôtel Drouot, Paris, February 8-9, 1898, lot 88\u003cbr\u003e Galerie Durand-Ruel et Cie., Paris (acquired at the above sale)\u003cbr\u003e Jean \u0026amp; Marie-Louis d'Alayer (née Durand-Ruel) Collection, Paris (transferred from the above in 1940)\u003cbr\u003e Sale: Hôtel Drouot, Paris, December 19, 1955, lot 22\u003cbr\u003e Sale: Drouot Rive Gauche, Paris, June 18, 1976, lot 108\u003cbr\u003e Sale: Drouot-Richelieu, Paris, May 14, 1997, lot 32\u003cbr\u003e Galerie Charles \u0026amp; André Bailly, Paris (likely acquired at the above sale)\u003cbr\u003e Private collection, acquired from the above in August 1997\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e L.-R. Pissarro \u0026amp; L. Venturi, Camille Pissarro, son art – son oeuvre, Vol. I, Paris, 1939, no. 1635 (Vol. II, illustrated pl. 309)\u003cbr\u003e M-J. Pellé, Les Éventails de Camille Pissarro, Paris, 1990, no. 27 (illustrated p. 27; titled 'Le Départ du village, Eragny' and 'Le Chemin de l'atelier')\u003cbr\u003e M-J. Pellé, \"Vert Pissarro...\" Impressions de Normandie et d'ailleurs, Luneray, 2000, no. 8 (illustrated p. 72)\u003cbr\u003e J. Pissarro \u0026amp; C. Durand-Ruel Snollaerts, Pissarro, Critical Catalogue of Paintings, Vol. I, Paris, 2005, p. 281 (titled 'The Path to the Studio')","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45024806895751,"sku":"32-2734","price":368500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2734_1.png?v=1782516031"},{"product_id":"paysannes-assises-by-camille-pissarro","title":"Paysannes assises by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePaysannes assises\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Seated Peasant Women)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"C Pissarro\" (lower left)\u003cbr\u003e Crayon on paper \u003cbr\u003e\u003cbr\u003e This intimate work by Camille Pissarro represents a period of great significance for the Impressionist master. The early 1880s were years of remarkable innovation for the artist, after he spent much of the preceding decade devoted to landscape painting. Shifting focus, he embarked on a series of works in a range of media dedicated to the human figure—particularly the rural laborers and peasant women who became central to his art. This vibrant drawing of two seated peasants is an exceptional example of Pissarro’s remarkable works on paper. \u003cbr\u003e\u003cbr\u003e Depicting two peasant figures seated in quiet conversation, the work captures the dignity and intimacy of rural life with extraordinary immediacy. One figure, dressed in a blue skirt and red kerchief, sits with hands folded, while the other turns toward her in profile, her yellow headscarf and blue skirt enlivening the composition. Rendered with spontaneous strokes of pastel, the scene displays the harmony of color, movement and atmosphere that typifies Pissarro’s work of the 1880s. The soft green ground, warm paper tone and vivid touches of blue, yellow and red give the drawing the freshness of a moment observed directly from life. \u003cbr\u003e\u003cbr\u003e Born in St. Thomas in the Danish West Indies, Pissarro was sent to school in Paris at the age of 11, where he first displayed a talent for drawing. In 1855, having convinced his parents of his determination to pursue a career as an artist rather than work in the family shipping business, he returned to Paris, where he studied at the Académie Suisse alongside Claude Monet. At the outbreak of the Franco-Prussian War in 1870, Pissarro moved to England. Along with Monet, he painted a series of landscapes around South-East London and studied English landscape painters in the museums. When he returned home to Louveciennes a year later, Pissarro discovered that all but 40 of the 1,500 paintings he had left there—almost 20 years of work—had been vandalized. \u003cbr\u003e\u003cbr\u003e In 1872, Pissarro settled in Pontoise, where he remained for the next 10 years, gathering a close circle of friends around him. Gauguin was among the many artists to visit him there, and Cézanne, who lived nearby, came for long periods to work and learn. In 1874, Pissarro participated in the first Impressionist exhibition and became the only painter to exhibit in all eight of their shows, underscoring why he is known today as the “Father of Impressionism.” His revolutionary approach to painting and his deeply human compositions had a profound effect on his contemporaries and the future of modern art. His work can be found in many of the most important museums and private collections throughout the world. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Wildenstein Plattner Institute and will be included in their forthcoming digital catalogue raisonné. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Paper: 16 1\/8” high x 22” wide (41 x 55.9 cm)\u003cbr\u003e Frame: 26 1\/2” high x 31 3\/4” wide x 3\/4” deep (67.3 x 80.7 x 2 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Erna Stiebel Collection Sale of the above; Christie’s New York, 11 May 1995, lot 231 Paolo Dal Bosco, Trento (acquired at the above sale) Private Collection, Europe","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45133017841799,"sku":"32-2624","price":368500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2624_1.png?v=1783113675"},{"product_id":"le-lavoir-de-billancourt-by-alfred-sisley","title":"Le lavoir de Billancourt by Alfred Sisley","description":"Alfred Sisley \u003cbr\u003e 1839-1899 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Lavoir de Billancourt\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Sisley” (lower left) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A master of the landscape, Alfred Sisley is one of the founders of the French Impressionist style, and his works are counted alongside Monet and Renoir for their magnificent interpretations of the natural world. This stunning view of the Seine, \u003cem\u003eLe Lavoir de Billancourt\u003c\/em\u003e, was painted during the artist's golden period and captures the light, atmosphere and immediacy that have made Sisley so prized. \u003cbr\u003e\u003cbr\u003e One of Impressionism's purest landscape painters, Sisley devoted himself almost entirely to working directly before nature. After the upheaval of the Franco-Prussian War and the Siege of Paris, he moved with his family west of the city. There, along the winding Seine valley, he found the landscape that would define his career—villages, river bends, bridges, working towns and open skies, all transformed by season, weather and time of day. \u003cbr\u003e\u003cbr\u003e The artist’s devotion to this place is immediately felt in \u003cem\u003eLe Lavoir de Billancourt\u003c\/em\u003e. The river glistens with reflected light, while the soft sky, airy brushwork and delicate tonal harmonies give the landscape a remarkable sense of freshness and calm. At the center of the composition is a washing house, where locals paid a small fee to wash clothes directly in the Seine. In Sisley’s hands, this humble structure is absorbed into the rhythm of river, sky and shore, brilliantly transformed into a scene of pure splendor. \u003cbr\u003e\u003cbr\u003e Sisley was born in Paris to affluent English parents, who supported him financially until the age of 31 when his father lost his merchant trading company. His early years of financial comfort allowed Sisley to practice his art without concern. In 1860, he studied with Monet, Renoir and Bazille in the atelier of Marc-Charles Gabriel Gleyre. It was here that he learned the technique of painting \u003cem\u003een plein air\u003c\/em\u003e to better capture the effects of light in nature. His serene views of the Seine, Loing and Île-de-France helped define the visual language of Impressionism, and his works can now be found in major museums worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the National Gallery in London, the Art Institute of Chicago and the Museum of Fine Arts, Boston. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Comité Alfred Sisley and will be included in the forthcoming new edition of the catalogue raisonné being prepared by Galerie Brame \u0026amp; Lorenceau. \u003cbr\u003e\u003cbr\u003e Painted 1879 \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/4” high x 25 1\/2” wide (62.9 x 76.8 cm)\u003cbr\u003e Framed: 30 1\/4” high x 37” wide x 4” deep (76.8 x 94 x 10.2 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Henri Poidatz, Paris\u003cbr\u003e Galerie Georges Petit, Paris, April 27, 1900, lot 79\u003cbr\u003e Georges Petit, acquired at the above sale\u003cbr\u003e Sale: Galerie Georges Petit, Paris, March 4-5, 1921, lot 113\u003cbr\u003e Comte de Lanscay, Paris\u003cbr\u003e Hôtel Drouot, Paris, April 6, 1922, lot 16\u003cbr\u003e Eugène Blot, Paris, acquired at the above sale\u003cbr\u003e Dr. Arthur Charpentier, Paris\u003cbr\u003e Private Collection, Switzerland, acquired c. 1950\u003cbr\u003e Private Collection, by descent from the above\u003cbr\u003e Private Collection, Europe\u003cbr\u003e Private Collection, London \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Maximilien Gauthier, \"Hommage à Sisley,\" in L'Art vivant, 1933, no. 170, p. 116 (illustrated)\u003cbr\u003e François Daulte, Alfred Sisley, Catalogue raisonné de l'oeuvre peint, Paris, 1959, no. 315 (illustrated)\u003cbr\u003e Jacques Lassaigne \u0026amp; Sylvie Gache-Patin, Sisley, Paris, 1982, p. 31 (illustrated)\u003cbr\u003e Mary Anne Stevens, ed., Alfred Sisley, London, 1992, p. 154\u003cbr\u003e Sylvie Brame \u0026amp; François Lorenceau, Alfred Sisley: Catalogue Critique des Peintures et des Pastels, Paris, 2021, p. 155, 488 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Georges Petit, Alfred Sisley, 1917, no. 83\u003cbr\u003e Paris, Durand-Ruel, Tableaux de Sisley, 1930, no. 23\u003cbr\u003e Paris, Galerie d'Art Braun, Sisley, 1933, no. 13\u003cbr\u003e Berne, Kunstmuseum, Alfred Sisley, 1958, no. 38\u003cbr\u003e Paris, Musée du Petit-Palais, De Géricault à Matisse, Chefs-d'oeuvre des collections suisses, 1959, no. 126\u003cbr\u003e Schaffhausen, Museum Zu Allerheiligen, Die Welt des Impressionnismus, 1963, no. 125\u003cbr\u003e Minneapolis, Minneapolis Institute of Arts, The Past Rediscovered: French Painting 1800-1900, 1969\u003cbr\u003e Greenwich, CT, The Bruce Museum, Alfred Sisley: Impressionist Master, 21st January - 21st May 2017, illustrated in color in the exhibition catalogue p. 134\u003cbr\u003e Aix-en-Provence, Caumont Centre d'Art, Sisley l'impressioniste, June - October 2017, illustrated in color in the exhibition catalogue p. 134","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":45155874668679,"sku":"32-2690","price":1985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2690_1.png?v=1784575218"}],"url":"https:\/\/rauantiques.com\/collections\/the-hammer-collection.oembed","provider":"M.S. Rau","version":"1.0","type":"link"}