{"title":"Zero Inventory Products","description":"","products":[{"product_id":"portrait-of-abraham-lincoln-by-david-bustill-bowser","title":"Portrait of Abraham Lincoln by David Bustill Bowser","description":"David Bustill Bowser\u003cbr\u003e\n1820-1900 | American\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eAbraham Lincoln – A Portrait\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nOil on photo paper mounted on canvas\u003cbr\u003e\nSigned and dated “Bowser 1865” (lower right)\n\u003cbr\u003e\u003cbr\u003e\nBoasting both historic and artistic import, this remarkably rare period oil painting depicts one of the most recognized and admired figures in American history, created by one of the very few black artists of the period, David Bustill Bowser. Based upon the famous photograph of Abraham Lincoln by Mathew B. Brady that is now featured on the American five dollar bill, this important work is both infinitely familiar and a remarkable rarity. While many well-respected artists have painted Lincoln, few works were created during his lifetime, and even fewer by the hand of a black artist.\n\u003cbr\u003e\u003cbr\u003e\nWhile this portrait by Bowser is an extraordinary rarity, it is not entirely unique. Bowser created a handful of portraits of the famous Lincoln, revealing the respect the artist held for his subject, including one in the Sanofka Collection in Washington D.C. Only one other of these important works has ever been publicly traded, having been sold at auction in 1990 for $20,900. To find another on the market over twenty years later, in its original frame, is an exceptional opportunity.\n\u003cbr\u003e\u003cbr\u003e\nBorn in 1820 in Philadelphia, David Bustill Bowser was one of the first successful African-American artists in the United States. He showed a remarkable artistic talent at an early age, and was apprenticed to his cousin, commercial artist Robert Douglas Jr., in 1833 at the age of thirteen. By the mid-nineteenth century Bowser’s commercial art, with its strong lines and bright colors, could be found on advertising signs and banners throughout Philadelphia. While commercial art, particularly sign painting, afforded Bowser financial success, he was also an accomplished portrait and landscape painter, winning the first prize medal of the Colored American Institute’s exhibition in 1851 and 1852. Among his numerous political and social subjects, however, one stood above the rest and came to define his career: President Abraham Lincoln.\n\u003cbr\u003e\u003cbr\u003e\nAside from his artistic talents, Bowser was also a key figure in the early civil rights movement. His grandfather, Cyrus Bustill, is remembered as one of Philadelphia’s earliest free black leaders and abolitionists. Bowser followed his grandfather’s example, beginning his lifelong work in civil rights in 1838. He was a leading member of the African American Anti-Slavery Society, and also provided his home as a stop for the Underground Railroad. It was during this time that radical abolitionist John Brown was a guest in his home and sat for a portrait, executed by Bowser in 1858. \n\u003cbr\u003e\u003cbr\u003e\nCanvas: 26 1\/2\" high x 22\" wide\u003cbr\u003e\nFrame: 33 3\/4\" high x 27 1\/4\" wide\n\u003cbr\u003e\u003cbr\u003e\nProvenance:\u003cbr\u003e\nJay Cooke\u003cbr\u003e\nH.E. Babcock Private Collection, Boston Massachusetts, 1963\u003cbr\u003e\nThence by descent, Edwina Coleman","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839400325255,"sku":"30-8301","price":148500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-8301_1_f363ea75-f261-408f-bd20-7b7f11d5c662.png?v=1707553342"},{"product_id":"winter-in-washington-square-new-york-by-johann-berthelsen","title":"Winter in Washington Square, New York by Johann Berthelsen","description":"Johann Berthelsen \u003cbr\u003e\n1883-1972 | American        \n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eWinter in Washington Square, New York\u003c\/em\u003e   \n\u003cbr\u003e\u003cbr\u003e\nSigned \"Johann Berthelsen\" (lower right)\u003cbr\u003e\nOil on canvas\n\u003cbr\u003e\u003cbr\u003e\nA master of the American Impressionist movement, Johann Berthelsen’s wintertime scene perfectly portrays the beauty and ambiance of snowfall in the city. The scene wonderfully depicts Washington Square in New York City under a veil of blinding flurries, while streetcars and bundle figures battle the weather. Heavily influenced by the Impressionists of France, Berthelsen sacrifices the details of the cityscape in favor of atmosphere. The painting’s blue- and grey-toned monochrome palette conveys to perfection both the coolness and peacefulness of a winter's afternoon.\n\u003cbr\u003e\u003cbr\u003e\nWhile the Impressionist movement found its beginnings in France in the 19th century, the style soon penetrated the American arts scene, where the style was imbued with a spirit of patriotism and optimism. Berthelsen’s urban landscapes are the perfect example of this progression, as his paintings of the urban landscape exude a hopefulness and beauty in each impressionistic stroke.\n\u003cbr\u003e\u003cbr\u003e\nBorn in Copenhagen in 1883, Berthelsen moved to New York City in 1920, at which time he began to paint these iconic cityscapes. His works exhibit a perceptive sensitivity to shifting environmental elements, including weather, light and atmosphere. Considering Berthelsen status as an immigrant in America, his emotive scenes that depict hopefulness and vibrancy gain a distinctive poignancy.\n\u003cbr\u003e\u003cbr\u003e\nThese iconic, sentimental New York winter scenes epitomize Berthelsen’s impressive oeuvre. His fascination with the city resonates through his work, and his iconic scenes such as this one are highly prized.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1940\n\u003cbr\u003e\u003cbr\u003e\nCanvas: 16 1\/8” high x 20 1\/8” wide\u003cbr\u003e\nFrame: 23 5\/8” high x 27 3\/4” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839400489095,"sku":"30-8303","price":38850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-8303_1_708c8d25-4955-4620-83ab-b253f1532644.png?v=1705502833"},{"product_id":"nu-allonge-by-delphin-enjolras","title":"Nu Allongé by Delphin Enjolras","description":"Delphin Enjolras\u003cbr\u003e 1857-1945 | French  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu Allongé\u003cbr\u003e (Reclining Nude)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, inscribed and dated “Paris 11 novembre 1918 11h. matin\/DEnjolras” (lower center)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e This entrancing painting by the Academic painter Delphin Enjolras is among the French artist’s celebrated series of female nudes. The artist specialized in paintings that paid homage to the female form, excelling in portraits and nudes depicting young women in airy, domestic scenes. The present work, entitled \u003cem\u003eNu Allongé\u003c\/em\u003e, is imbued with the exquisite luminosity for which Enjolras is celebrated. He places his model against a background of luxurious, richly patterned fabrics rendered in lush pastel hues, while his signature airy composition lends a dream-like softness to her voluptuous form. \u003cbr\u003e\u003cbr\u003e Born in 1857, Enjolras began his studies at the École de Dessin de la Ville de Paris, focusing primarily on watercolors. He soon moved on to study at the École des Beaux-Arts, learning from masters including the Academic great Jean-Léon Gérôme. Landscapes were his primary focus in his early career, though it became clear that painting women was where his true talent shown the brightest. He became a celebrated painter of nudes, and his later work became imbued with a stunning sensuality, as seen in the present pastel. Beginning in 1890, he frequently exhibited at the Paris Salon, and he joined the Société des Artistes Français in 1901. His works are highly exhibited throughout France, including significant collections of his work at the Musée du Puy and the Musée d’Avignon. \u003cbr\u003e\u003cbr\u003e Dated 1918 \u003cbr\u003e\u003cbr\u003e Paper: 23 1\/2” high x 31” wide\u003cbr\u003e Frame: 31 3\/8” high x 38 7\/8“ wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839400718471,"sku":"30-8547","price":49500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-8547_1.png?v=1705502887"},{"product_id":"autumn-on-the-shore-of-the-lake-by-leopold-francois-kowalsky","title":"Autumn on the Shore of the Lake by Leopold Francois Kowalsky","description":"Leopold Francois Kowalsky\u003cbr\u003e\n1856-1931 | French\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eAutumn on the Shore of the Lake\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\nSigned \"L. Kowalsky\" (in lower right)\u003cbr\u003e\nOil on Canvas\u003cbr\u003e\u003cbr\u003e\nThis ethereal painting by French artist Leopold Kowalsky depicts a beautiful redhead deep in contemplation in the midst of a dreamy landscape. An expert draughtsman, Kowalsky's painting of an autumn afternoon is exquisitely rendered with vibrant complementary colors and precise detail. Primarily a painter of portraits and landscapes Kowalsky was a pupil of J. Pillard and Henri Lehmann at the Ecole des Beaux-Arts in Paris. He exhibited regularly in Paris from 1881 at the Salon des Artistes Francais and became a member of the Salon in 1883. Kowalsky's work was much admired by his peers for his attention to realism and he received a commendation in 1890 and a bronze medal in 1891.\u003cbr\u003e\u003cbr\u003e\nIn 1912 he moved to the Eure region of France and lived there until he died in the company of his wife and daughter, leaving some fine portraits of them behind. His landscapes of the Normandy and Brittany countryside often reveal a strong Post-Impressionist inspiration with their qualities of changing light and reflections and he was mainly known for extraordinary domestic scenes in gorgeous landscapes. The majority of his oeuvre focuses on Victorian nymphets dancing through fields of flowers, an incredibly popular theme in the late 19th century. His paintings reveal a bohemian sensibility that is equally charming today and his work is an important addition to any collection of 19th century painting.\u003cbr\u003e\u003cbr\u003e\nCanvas: 25 1\/2\" high x 18 1\/8\" wide\u003cbr\u003e\nFrame: 31 1\/8\" high x 26 7\/8\" wide\u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e\n\u003cem\u003eDictionary of Artists\u003c\/em\u003e, 2006, E. Benezit","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839410811015,"sku":"30-0243","price":98500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-0243_1_e123a88c-bc16-46b4-a646-96b6f951ffe0.png?v=1707553327"},{"product_id":"napoleon-before-the-battle-of-moscow-by-joseph-franque","title":"Napoléon before the Battle of Moscow by Joseph Franque","description":"Joseph Franque\u003cbr\u003e 1774-1833 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSa Majesté l’Empereur: Le matin de la bataille de la Moskowa\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eHis Majesty the Emperor: The Morning of the Battle of Moscow\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBetter not to have been born than to live without glory.\u003c\/em\u003e\u003cbr\u003e  -Napoléon Bonaparte \u003cbr\u003e\u003cbr\u003e Emperor Napoléon I was and remains one of the most legendary military and political figures in history, having held, for a brief period, the fate of the Western world in his hands. Composed by the French painter Joseph Franque, this portrait captures the imposing Emperor addressing his army before the Battle of Borodino in 1812 – a battle that would be one of the final victories of the legendary general’s career. Part of the final showing of Salon portraits of Napoléon I, and one of the few of him as emperor in the field, this rare and monumental work is an impressive portrayal of the French leader at the very pinnacle of his power. \u003cbr\u003e\u003cbr\u003e Napoléon invaded Russia in 1812; his aim was to achieve a fast and decisive victory, and then to force the Russians to agree to the terms of a treaty they had signed just four years earlier. The two forces eventually met at Borodino on September 7, 1812 — it would prove to be one of Napoléon’s final victories. After a single day of battle, the Russian forces withdrew, and Napoléon’s Grand Armée pushed on to take the ancient city of Moscow. Yet, they arrived to a city already burning, and what followed was a brilliantly strategic scorched earth retreat by the Russians that ultimately led to Napoléon’s defeat. This incredible oil on canvas offers a captivating portrait of the Emperor before these fateful months, portraying him at the zenith of his power. \u003cbr\u003e\u003cbr\u003e Composed for the Salon of 1812, this monumental work by Franque is one of the last French paintings exhibited of Napoléon during his lifetime; the next Salon took place in 1814 months after his exile to Elba. The large-scale work is part of a rich tradition of court painting under the Napoleonic regime that exalted the triumphs of the Emperor. Franque is counted among the great French masters Jacques-Louis David, Antoine-Jean Gros, and Jean-Auguste-Dominique Ingres as those artists favored by the French court during this period. Their works, the present piece included, helped to shape the persona of Napoléon as both the heroic general and the benevolent sovereign, while ultimately glorifying the entire Napoleonic age. \u003cbr\u003e\u003cbr\u003e Epic in both size and character, Franque’s work provides a rare, almost intimate portrait of the Emperor on this pivotal day. While hints of his forces’ camp can be seen behind him, his imposing figure fills the canvas. He is depicted in full military regalia with his distinctive bicorne hat atop his head, and strikes a brave pose. Though Franque was not present on the battlefield, he would have seen Napoléon in Paris just a few months earlier, and thus his portrait is almost certainly a true likeness of the Emperor. Large in size and historically significant, it is perhaps the best of Franque’s oeuvre. \u003cbr\u003e\u003cbr\u003e Born in 1774, the painter Joseph Franque was a student of the preeminent Neoclassical painter Jacques-Louis David. He painted a number of portraits for the Imperial family, including his celebrated portrait the Empress Marie-Louise currently hanging in Versailles. He left Paris in 1812, the same year this work was composed, following Elisa Bonaparte, Napoléon’s sister, to Italy. He settled there, eventually earning the directorship of the Fine Art Academy in Naples. Today, his works are represented in important museum collections worldwide, including the Philadelphia Museum of Art and the Palace of Versailles. \u003cbr\u003e\u003cbr\u003e Circa 1812 \u003cbr\u003e\u003cbr\u003e Canvas: 89 3\/4” high x 48 3\/8” wide\u003cbr\u003e Frame: 105” high x 63 3\/4” wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Salon, 1812, no. 394, as \u003cem\u003eSa Majesté l’Empereur: Le matin de la bataille de la Moskowa\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Acquired in Italy, circa 1855, thus by succession\u003cbr\u003e Ducal Collection, France\u003cbr\u003e Private Collection, France\u003cbr\u003e M.S. Rau Antiques, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43802643628167,"sku":"30-4811","price":885000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-4811_1_43ba4a62-6d0d-40f6-b6cc-0b26a61ddd0e.png?v=1770132206"},{"product_id":"sarah-bernhardt-hunting-with-hounds-by-louise-abbema","title":"Sarah Bernhardt Hunting with Hounds by Louise Abbema","description":"Louise Abbéma\u003cbr\u003e 1858-1927 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003e Sarah Bernhardt Hunting with Hounds (Diane)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Louise Abbema” (upper left)\u003cbr\u003eOil on canvas\u003cbr\u003e\u003cbr\u003e This painting was illustrated in the catalogue of the 1907 Salon of the Société des Artistes Français on page 43. A very similar portrait by Abbéma was shown at the Paris \u003cem\u003eSalon\u003c\/em\u003e of 1907 under the title \u003cem\u003eDiane\u003c\/em\u003e. A preparatory study was auctioned in 1992 under the title \u003cem\u003ePortrait de Mlle Delettrez en habit de l’équipage du Prince de la Tour d’Auvergne.\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e This elegant Belle Époque portrait is the work of celebrated artist, sculptor and designer Louise Abbéma. Almost certainly depicting legendary actress Sarah Bernhardt, this magnificent oil on canvas captures the iconic actress in a stately riding habit before a hunt. One of the most successful women artists of her day, Abbéma was also an engraver, watercolorist, draughtswoman, illustrator and writer. She enjoyed an extremely close friendship with Bernhardt for many years, and eventually became the great thespian’s official portraitist. \u003cbr\u003e\u003cbr\u003e A painter in the Impressionist style, Abbéma is known for her allegorical paintings and genre scenes, and especially for her portraits of society ladies, interiors and a myriad of floral works. Born in Etampes, France, the great-granddaughter of actress Mlle. Contat and Comte Louis de Narbonne, she had an early introduction to the arts through her aristocratic family and was greatly influenced by painter Rosa Bonheur. At a time when it was still unusual for a woman to be accepted into art academies, she became a pupil of Charles Chaplin in 1873, Carolus-Duran the following year, and, later, Jean-Jacques Henner. \u003cbr\u003e\u003cbr\u003e In 1876, at the age of 18, Abbéma painted a portrait of Bernhardt, whom she met five years earlier, which was exhibited at the Paris \u003cem\u003eSalon des Artistes Français\u003c\/em\u003e of 1876 (at Carolus-Duran's suggestion, she had begun showing work in the Salon the previous year.) \u003cem\u003ePortrait of Sarah Bernhardt\u003c\/em\u003e was an immediate success for the young painter (only 22 at the time). She continued to exhibit regularly at the \u003cem\u003eSalon\u003c\/em\u003e until 1926, gaining an honorable recommendation in 1881 and a bronze medal at the Exposition Universelle of 1900. Soon after this triumph, Abbéma created a bronze medallion of Bernhardt (the only known sculpture by her), which she exhibited at the Salon in 1878. In turn Bernhardt, herself a sometime sculptor, exhibited a marble bust of Abbéma at the same Salon. Abbéma later made drawings of both sculptures. \u003cbr\u003e\u003cbr\u003e Abbéma went on to pursue a brilliant career as a society portrait painter, depicting the celebrities of the age, her former teachers, Charles Garnier, architect of the Paris Opéra, Ferdinand de Lesseps, and Don Pedro the Emperor of Brazil, among many others. One of her most esteemed works is the painting \u003cem\u003eDéjeuner dans la serre\u003c\/em\u003e, depicting a sumptuous lunch given by Mlle. Bernhardt, which fully displays her Impressionist affinities. Many of her works also showed the influence of Chinese and Japanese painters, as well as contemporary masters such as Édouard Manet. \u003cbr\u003e\u003cbr\u003e Particularly known for her portraits of the leading ladies of the high society of her era, Abbéma also painted allegorical figures and many decorative murals for the town halls of the 7th, 10th and 20th arrondissements of Paris, the Hôtel de Ville, the Musée d’Armée, the French National Horticultural Society, the former Sarah Bernhardt Theatre and the palace of the governor of Dakar, Senegal. She was even designated an Official Painter of the Third Republic, and also exhibited work in the Women's Building at the 1893 World's Columbian Exposition in Chicago. She worked for several art magazines, including the journals \u003cem\u003eGazette des Beaux-Arts\u003c\/em\u003e and \u003cem\u003eL'Art,\u003c\/em\u003e and illustrated Rene Maizeroy's \u003cem\u003eLa Mer.\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e She was made a Chevalier of the \u003cem\u003eLegion d'Honneur\u003c\/em\u003e in 1906.  \u003cbr\u003e\u003cbr\u003e Circa 1897 \u003cbr\u003e\u003cbr\u003e Canvas: 33 1\/2” high x 24” wide\u003cbr\u003e Frame: 42 3\/8” high x 33 1\/8” wide \u003cbr\u003e\u003cbr\u003e Artist’s Museums: \u003cbr\u003e Musée d’Orsay, Paris \u003cbr\u003e National Museum of Women in the Arts, Washington, D.C. \u003cbr\u003e Musée de Pau, France \u003cbr\u003e\u003cbr\u003e Reference: \u003cbr\u003e \u003cem\u003eDictionary of Artists, Vol. 1\u003c\/em\u003e, 2006, E. Benezit","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839408910471,"sku":"29-8969","price":64500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/29-8969_1.png?v=1707553325"},{"product_id":"ange-jouant-du-violin-by-gaston-leroux","title":"Ange Jouant du Violin by Gaston Leroux","description":"Gaston Veuvenot Leroux\u003cbr\u003e 1854-1942 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAnge Jouant du Violon\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eAngel Playing the Violin\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed \"G. Leroux\" (on base)\u003cbr\u003e Bronze with green-olive patina on gilt base \u003cbr\u003e\u003cbr\u003e The work of the renowned French sculptor Gaston Leroux, this exceptional bronze brings to life a charming winged musician. Complete with his violin, the cupid figure exhibits a high level of dynamism, detail and artistry, from the individual feathers in the putti's wings to the foliage-covered rock upon which he rests. \u003cbr\u003e\u003cbr\u003e Putti have been used for allegorical portrayals since ancient times. From young, mischievous gods of love to boisterous embodiments of the bacchanal, putti proliferate throughout art history, particularly in the neoclassical art of the 19th century. Delightful groups of musical putti such as the present piece were among the most popular forms of allegorical representation, and remain highly cherished to this day. \u003cbr\u003e\u003cbr\u003e Born in Paris in 1854, Gaston Veuvenot Leroux was a student of the famed French sculptor François Jouffroy. Leroux became a regular exhibitor at the Paris Salon, earning honorable mentions in 1882 and 1883, and a third class medal in 1885. He received a medal and a traveling fellowship in 1885, and further medals in 1889 and 1900, both at the Salons and at the Expositions Universelles; he was made a Chevalier of the Légion d'Honneur in 1908. Particularly renowned for his Orientalist bronzes, Leroux achieved considerable fame during his lifetime. \u003cbr\u003e\u003cbr\u003e 15\" wide x 14 5\/8\" deep x 26 1\/2\" high","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40499846447239,"sku":"30-9829","price":64500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-9829_1_d2fbc3fb-430f-49a0-965d-76127b0a2dfe.png?v=1702369687"},{"product_id":"too-close-to-call-by-fritz-wagner","title":"Too Close to Call by Fritz Wagner","description":"Fritz Wagner\u003cbr\u003e\n1896-1939 • German\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eToo Close to Call\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\nSigned “Fritz Wagner Mch” (lower left)\u003cbr\u003e\nOil on canvas\u003cbr\u003e\u003cbr\u003e\nA group of gentlemen are in the midst of a challenging game of cards in this stunning genre scene by German artist Fritz Wagner. His incredible gift for detail is evident in this faithful scene, entitled \u003cem\u003eToo Close to Call\u003c\/em\u003e. Ranked among the great early 20th-century German artists, his skillful draftsmanship and beautifully rendered figures distinguish his magnificent canvases.\u003cbr\u003e\u003cbr\u003e\nWagner specialized in depicting the common man of 19th-century Germany engaging in leisurely activities in public gathering places. In \u003cem\u003eToo Close to Call\u003c\/em\u003e, three gentlemen are enthralled in a tense card game, as one of the men ponders his next move. Their emotive faces and detailed dress give the impression that they are common folk, perhaps relaxing after a long day’s work. The interior is rustic yet inviting, displaying Wagner's gift for using atmosphere and soft color to create a scene that engages the viewer.\u003cbr\u003e\u003cbr\u003e\nCanvas: 27 3\/4\" high x 23 7\/8\" wide\u003cbr\u003e\nFrame: 34 7\/8” high x 31 1\/2” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839409270919,"sku":"29-9038","price":58500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/29-9038_2_0f63eb2b-75ab-4875-99c8-d15322e9e29c.png?v=1707553329"},{"product_id":"the-drive-by-george-elgar-hicks","title":"The Drive by George Elgar Hicks","description":"George Elgar Hicks, RBA\u003cbr\u003e\n1824 - 1914 | British\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eThe Drive\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\nSigned “G E Hicks 1860”\u003cbr\u003e\nOil on panel\u003cbr\u003e\u003cbr\u003e\nThis painting was recorded in the artist’s notebook entry for 1860 as The Drive, representing “2 Misses Perry”.\u003cbr\u003e\u003cbr\u003e\nThis charming portrait by George Elgar Hicks captures two elegant ladies as they take a carriage ride on a bright, winter morning. Just as they have taken a great deal of trouble over their appearance for their excursion, so too does Hicks take pains to articulate the finer details of the women’s apparel, contrasting the light and dark-haired women in harmonious tones of white, grey, lilac and purple. Hicks painted a variety of subjects including religious scenes, landscapes and his preferred form of genre scenes. His most famous works were his extraordinarily detailed portrayals of Victorian life, which are reminiscent of the great Victorian novelists Dickens and George Augustus Sala in their narrative intensity and documentary power.\u003cbr\u003e\u003cbr\u003e\nHicks lived most of his life in London and Hampshire. He studied for a medical degree at University College, London, before becoming an artist. He undertook his artistic studies at Sass’s Academy and the Royal Academy Schools, which he entered in 1844, and won a silver medal. A follower of William Powell Frith, Hicks enjoyed a career as both a painter of modern-life subjects and, later as a society portrait painter. He exhibited regularly at the Royal Academy from 1848, and developed his skill as a portraitist. Many of his works reached their greatest fame through their exhibition at private galleries, which gained enormous prestige in the mid-19th century art world. The vast dissemination of these compelling images in the form of prints ensured Hicks’ enormous and enduring popularity.\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eThe Athenaeum\u003c\/em\u003e commented upon the significance Hick’s views of Victorian life would hold for future generations: \u003cem\u003e“Mr. G. E. Hicks hit upon a good idea when he resolved to paint for us the scenes which take place at some of the well-known places of business of the City of London...Such pictures, even less well painted than these really are, will be interesting for the future time, and therefore we shall be thankful to get them as creditably executed as [those of Hick’s are.]” \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\nPanel: 9 ¾” high x 7 ¾” wide\u003cbr\u003e\nFrame: 19” high x 17” wide\u003cbr\u003e\u003cbr\u003e\nProvenance:\u003cbr\u003e\nMr. Vokins\u003cbr\u003e\nPrivate collection, UK \n\u003cbr\u003e\u003cbr\u003e\nLiterature:\u003cbr\u003e\nRosamond Allwood, George Elgar Hicks: Painter of Victorian Life, exhibition catalogue, Geffrye Museum, London \u0026amp; Southampton Art Gallery, ILEA, 1982, p. 55 (artist’s notebook entry for 1860)\u003cbr\u003e\u003cbr\u003e\nArtist’s Exhibitions:\u003cbr\u003e\nRoyal Academy\u003cbr\u003e\nBritish Institute\u003cbr\u003e\nSociety of British Artisits, Suffolk Street\u003cbr\u003e\nGrosvenor Gallery, England\u003cbr\u003e\nManchester City Art Gallery, England\u003cbr\u003e\nSouthampton Art Gallery\u003cbr\u003e\u003cbr\u003e\nArtist’s Museums:\u003cbr\u003e\nGeffrye Museum, London\u003cbr\u003e\nMuseum of London \u003cbr\u003e\nTate Britain, London \u003cbr\u003e\nCapetown Museum, South Africa\u003cbr\u003e\u003cbr\u003e\nArtist’s Memberships:\u003cbr\u003e\nRoyal Society of British Artists\u003cbr\u003e\u003cbr\u003e\nReferrences:\n\u003cem\u003eDictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs\u003c\/em\u003e, 1976, E. Bénézit\n\u003cem\u003eDictionary of British Art, Volume IV: Victorian Painters\u003c\/em\u003e, 1995, C. Wood\n\u003cem\u003eVictorian Painting\u003c\/em\u003e, 1999, L. Lambourne\n\u003cem\u003eDavenport’s Art Reference \u0026amp; Price Guide\u003c\/em\u003e, 1994, R. J. Davenport","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839408255111,"sku":"29-4021","price":39500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/29-4021_1_7c2893f5-7644-4ee4-b904-728397ace8a4.png?v=1707553385"},{"product_id":"le-renouveau-by-georges-morren","title":"Le Renouveau by Georges Morren","description":"Georges Morren\u003cbr\u003e 1868-1941 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Renouveau\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Renewal\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “G. Morren” and dated 1892 (lower right); signed, titled and dated “George Morren \/ Le Renouveau \/ 1892” en verso\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Every woman nursing a child is a Virgin by Raphael.”\u003c\/em\u003e\u003cbr\u003e – Pierre-Auguste Renoir  \u003cbr\u003e\u003cbr\u003e A wet nurse is caught in a moment of reflection as she breastfeeds an infant in this outstanding oil on canvas by Belgian Pointillist painter Georges Morren. The subject of this work, entitled \u003cem\u003eLe Renouveau (The Renewal)\u003c\/em\u003e, is one that was rendered often during the late 19th century due to the burgeoning concepts of childcare and early childhood development. The great Impressionist Pierre-Auguste Renoir, for one, delved into this subject in his 1886 painting entitled \u003cem\u003eMotherhood\u003c\/em\u003e, which undoubtedly influenced this work by Morren. Secular rather than religious, the thoroughly modern subject is nevertheless reminiscent of the traditional Raphaelian Madonna and Child theme, a connection that is strengthened by the Madonna-like blue veil of Morren's subject. The artist captures the scene using the latest concepts of Luminism, which lends the work an incredible radiance few artist could successfully achieve. It is for his incorporation of these elements that \u003cem\u003eLe Renouveau\u003c\/em\u003e is ranked among the most accomplished works of the Neo-Impressionist movement. \u003cbr\u003e\u003cbr\u003e The vivid composition is set in Koning Albert Park in Antwerp. A very similar work by Morren, which includes the same model in the same setting, is currently in the collection of the Musée d'Orsay (Paris). Comparable in both subject and palette, each reveals Morren's genius for capturing the feeling of a sunny summer's day. \u003cbr\u003e\u003cbr\u003e Morren was particularly skilled at emphasizing fleeting moments of light in the natural environment, a technique known as Luminism. The present work demonstrates his remarkable talent brilliantly. Situated outdoors, the wet nurse and her charge are awash in golden sunlight. The vivid golden hue radiating from the manicured lawn gives the canvas a magnificent glow. \u003cbr\u003e\u003cbr\u003e An active member of the Neo-Impressionist movement, Morren's works represent one of the most innovative painting techniques that developed out of Impressionism. Known as Pointillism, the technique was born from avant-garde research into color theory, or how the eye interprets line and color. The style relied on the eye's ability to blend individual points of color into an overall tone - through the precise placement of minuscule dots of pure color, Morren and his contemporaries, including Georges Seurat and Paul Signac, were able to create effective, striking works of art. The result was one of the most radical innovations in modern painting. \u003cbr\u003e\u003cbr\u003e Having trained briefly as a painter in his native Antwerp, Morren moved to Paris in the late 1880s. It was there that he first encountered the Pointillist technique of painting that he would soon incorporate into his own work. By the 1890s, his work exemplified the rich possibilities of this innovative method, characterized by tiny, tightly painted dots of color. Because he was independently wealthy and did not need to sell his art, Morren never gained the prominence of his compatriot and fellow Neo-Impressionist painter Théo van Rysselberghe. Nonetheless, Morren participated in exhibitions with van Rysselberghe, Signac and Seurat, and his compositions of the 1890s rival those of his elite colleagues. Shimmering with the light and reflection of the midday sun, this scene displays Morren's talents at his very best. \u003cbr\u003e\u003cbr\u003e Dated 1892 \u003cbr\u003e\u003cbr\u003e Canvas: 31 7\/8” high x 36 1\/4” wide\u003cbr\u003e ​​Frame: 42 1\/2\" high x 46 1\/4\" wide \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e \u003cem\u003eExposition de Gand, Salon de 1892\u003c\/em\u003e, XXVeme Exposition centenaire, 1892, Ghent, Casino, no. 534\u003cbr\u003e \u003cem\u003eTwenty Years of Post-Impressionism 1880-1900. A Selection of Paintings from the Gallery's Collection\u003c\/em\u003e, 1977, New York, Hirschl \u0026amp; Adler Galleries, no. 18, illustrated in the catalogue \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eGeorge Morren: 1868-1941\u003c\/em\u003e, 2000, Tony Calabrese, p. 39 and 9. 212, no. 15 (illustrated) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Jean Dubrosse\u003cbr\u003e L. Mundery\u003cbr\u003e Galerie Campo, Antwerp, October 5-6, 1965, lot 91\u003cbr\u003e Hirshl \u0026amp; Adler Gallery, New York\u003cbr\u003e Private collection, 1977\u003cbr\u003e M.S. Rau Antiques, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43673032294535,"sku":"29-9947","price":695000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-9947_2.png?v=1769759542"},{"product_id":"antonita-va-a-los-toros-by-sir-gerald-festus-kelly","title":"Antonita va a los toros by Sir Gerald Festus Kelly","description":"Sir Gerald Festus Kelly\u003cbr\u003e 1879-1972 | English \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eAntoñita going to the Bulls\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed (en verso) \u003cbr\u003e\u003cbr\u003e World-renowned for his exquisitely composed portraits, British painter Sir Gerald Festus Kelly offers an intriguing mix of sensuality and innocence in this arresting portrait of a young Andalusian beauty. Kelly’s full powers in the handling of color and paint are clearly on display, as well as his remarkable ability to create portraits of intense power and expression. Rendered with exquisite detail and draftsmanship, Kelly’s brushstrokes reproduce in stunning detail the translucent lace framing his subject’s youthful visage, the delicate folds of her silk lilac dress, and her expression of intriguing tranquility. The highly exhibited work, entitled \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e, represents the English painter’s artistic heights, embodying the uniquely expressive, yet traditional portraiture that permeates his distinctive oeuvre. \u003cbr\u003e\u003cbr\u003e Composed in the Academic style, \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e is a study of captivating personality and expression. It is this quality that makes his portraits so compelling; a master of observation, Kelly possessed the rare ability to capture a true sense of his subject. Dubbed “a student of character” by the art critic W.S. Maugham, Kelly gained a reputation for his works’ poignancy as much as his technical accomplishments. In \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e, his arrangement of his subject, slightly away from the viewer, is masterfully conceived. Though her gaze is direct, her body’s position conveys a coyness that is only enhanced by the veil that falls around her face and the fan held open in her lap. It is a stunning example of the subtle sensuality and strength that permeates his portraiture. \u003cbr\u003e\u003cbr\u003e An avid traveler, Kelly filled his canvases with subjects that reflect the diverse cultures he encountered during his lifetime. From exotic locales such as Burma and South Africa to the closer regions of Italy and Spain, his inspiration was both far reaching and ever-fascinating. \u003cem\u003eAntoñita va a los toros\u003c\/em\u003e exemplifies these works; his Andalusian subject is simultaneously exotic and accessible, rendered in a vibrant palette of cobalts, reds, and purples that frame her elegant, yet affable face. Donning a stunning lace mantilla and colorful peineta, she is elaborately dressed in the traditional costume of the bullfight. Exuding an unapologetic boldness and charisma, Antoñita evokes the theatricality of Manet’s portraits of Spanish dancers, though not at the expensive of her individuality. \u003cbr\u003e\u003cbr\u003e Born in London in 1879, Kelly spent his youth studying at Eton College and Trinity College Cambridge, and later moved to Paris in 1901. It was there that he received his first artistic training, falling under the influence of James McNeil Whistler and John Singer Sargent, while befriending such greats as Edgar Degas, Claude Monet, Paul Cézanne, and Auguste Rodin. In 1920, he married Lillian Ryan, and she would become the subject of numerous works, which he titled Jane – Kelly submitted a portrait of her to the Royal Academy nearly every year following their marriage. Her face, thus, became one of the best known in England; upon meeting her, the Queen Mary is said to have exclaimed: “Jane of the many Janes!” Among his other famed sitters were King George VI, Queen Elizabeth, Henry Clay Frick, T. S. Eliot, Ralph Vaughan Williams, and Somerset Maugham.  \u003cbr\u003e\u003cbr\u003e Elected a member of the Royal Academy in 1930, he was later appointed its President, a post which he held from 1949 to 1954. Today, his remarkable works are represented in important public collections worldwide, including the Tate Gallery (London), the Frick Collection (New York), the National Portrait Gallery (London), the Royal Collection (Windsor Castle) and the Crawford Art Gallery (Cork). \u003cbr\u003e\u003cbr\u003e Circa 1920 \u003cbr\u003e\u003cbr\u003e Canvas: 40 1\/8” high x 30 1\/2” wide\u003cbr\u003e Frame: 51 1\/4” high x 41 1\/4” wide \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Sir Malcolm Sargent, the English conductor\u003cbr\u003e Atkinson Art Gallery \u003cbr\u003e\u003cbr\u003e Exhibited: \u003cbr\u003e \u003cem\u003eAnnual Exhibition of the National Portrait Society\u003c\/em\u003e, Agnews Gallery, London, 1920, no. 17\u003cbr\u003e Walker Art Gallery, Liverpool, 1920\u003cbr\u003e Oldham Gallery, Oldham, 1920\u003cbr\u003e Aberdeen Art Gallery and Museum, Aberdeen, 1921\u003cbr\u003e \u003cem\u003eModern British Art\u003c\/em\u003e, Whitechapel Art Gallery, London, 1922\u003cbr\u003e Southampton Art Gallery, Southampton, 1923, no. 28\u003cbr\u003e Art Museum of Toronto, Toronto, 1925\u003cbr\u003e Bristol City Art Gallery, Bristol, 1928\u003cbr\u003e Bradford City Art Gallery and Museum, Cartwright Hall, Bradford, 1931\u003cbr\u003e Ferens Art Gallery, Hull, 1931\u003cbr\u003e Atkinson Art Gallery, Southport, 1936\u003cbr\u003e \u003cem\u003eExhibition of works by Sir Gerald Kelly\u003c\/em\u003e, 1957, Royal Academy of Arts, Diploma Gallery, London, no. 184\u003cbr\u003e Glasgow Art Gallery and Museum, Glasgow, 1958, no. 16\u003cbr\u003e Ferens Art Gallery, Hull, 1958, no. 14\u003cbr\u003e \u003cem\u003eArt Exhibitions Bureau Traveling Exhibition\u003c\/em\u003e, 1958-61","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839396393095,"sku":"30-5250","price":88500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-5250_1.png?v=1707553305"},{"product_id":"le-passeur-by-jean-baptiste-camille-corot","title":"Le Passeur by Jean-Baptiste-Camille Corot","description":"Jean-Baptiste-Camille Corot\u003cbr\u003e 1796-1875 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Passeur\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eThe Ferryman\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed \"Corot\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“There is only one master here — Corot. We are nothing compared to him, nothing.”\u003c\/em\u003e\u003cbr\u003e - Claude Monet\u003cbr\u003e \u003cbr\u003e One of the world’s most important artists, Jean-Baptiste-Camille Corot’s contributions to the history of art are immeasurable. Acclaimed as one of the world’s greatest landscape painters and widely regarded as the first Impressionist, Corot's paintings served as inspiration for entire generations of artists who followed him. In this phenomenal and monumental work, entitled \u003cem\u003eLe Passeur (The Ferryman)\u003c\/em\u003e, his groundbreaking ability to express the very essence of the landscape with subtle poeticism and impressionistic luminosity is clear. \u003cbr\u003e\u003cbr\u003e The work is both a meditation on nature’s beauty and a study in serenity, deftly reflecting the artist’s own self-confessed affinity to retreat from the world. The ferryman's boat, mirrored in a tranquil sheet of water, contributes to the calm of the evening scene, while also offering a subtle question as to man’s place in nature. The subject of the ferryman was a familiar one to Corot, who returned to the subject time and time again. A second example, just half the size of the present piece, is currently on display at the Metropolitan Museum of Art (New York), while another earned him significant critical acclaim when it was exhibited at the Salon of 1873. The present piece remarkably shares the brilliance of these smaller works, and Corot deftly captures the monumentality of the French landscape with his renowned lyricism. \u003cbr\u003e\u003cbr\u003e Once owned by the Art Institute of Chicago, \u003cem\u003eLe Passeur\u003c\/em\u003e was part of the celebrated Henry Field Memorial Collection, along with other pivotal masterpieces such as \u003cem\u003eThe Song of the Lark\u003c\/em\u003e by Jules Adolphe Breton (1884) and \u003cem\u003ePeasants Bringing Home a Calf Born in the Fields\u003c\/em\u003e by Jean-François Millet (1864). It bears all of the hallmarks of his beloved style. His charming tendency to animate his landscapes with a note of brilliant color is seen in the vibrant red of a ferry passenger's cap, which serves as a beacon in the vast canvas. His brushstrokes, feathery and light, transformed the neoclassical landscape of his predecessors; rather than idealism and order, Corot discovered an intrinsic poetry in nature’s powerful presence. His persistence in capturing variations of light and atmosphere in the same setting portends the innovations of the Impressionists – just 20 years later Monet would do the same when he painted, over and over again, the façade of the cathedral at Rouen. Yet, it was his steadfastness to his style and \u003cem\u003eplein air\u003c\/em\u003e technique that was the greatest influence on those budding young artists around him. The great Camille Pissarro, in particular, fell under his influence, and he persistently upheld Corot as an example of independence to the Impressionists. \u003cbr\u003e\u003cbr\u003e Corot received a classical education in Rouen before turning to painting, at which time he studied with Achille Etna Michallon and Jean-Victor Bertin, both pupils of the leading historical landscape painter Pierre-Henri de Valenciennes. He visited the countryside of Rome and produced plein air studies, capturing the area’s natural beauty and classical antiquity. His fresh, starkly lit renditions reflect the debate of the day that sought to reconcile classically inspired idealizations with closely observed depictions of light and climate. \u003cbr\u003e\u003cbr\u003e He debuted at the Paris Salon in 1827 and would continue to exhibit there his entire life. Many of these paintings, particularly those produced later in his career, were purchased by the state for public museums, as well as by important collectors such as Emperor Napoleon III. For his enduring contribution to the arts, Corot was made a Knight of the Legion of Honor in 1846 and an Officer in 1867. At the Munich International Exposition of 1869, he was made a Knight of the Order of St. Michael. \u003cbr\u003e\u003cbr\u003e As seen in this extraordinary example, Corot’s work shows great strength, purity and a deep understanding of the French landscape. His use of light and shadow breathes life into the canvas and gives the subject an exceptional dimension of realism. Corot was profoundly influential both upon his contemporaries and later generations of artists. Those who counted him as their greatest inspiration include Daubigny, Théodore Rousseau, Jean-François Millet, Gustave Courbet and Berthe Morisot. \u003cbr\u003e\u003cbr\u003e Circa 1870 \u003cbr\u003e\u003cbr\u003e Canvas: 36” high x 52 1\/2” wide\u003cbr\u003e Frame: 45 3\/4” high x 62” wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Arnold \u0026amp; Tripp, Paris\u003cbr\u003e Durand- Ruel, Paris, 1889\u003cbr\u003e Durand-Ruel, New York, 1889\u003cbr\u003e Henry Field, Chicago, 1891\u003cbr\u003e by descent to his wife, Florence Lathrop Field, Chicago\u003cbr\u003e Gift to The Art Institute of Chicago, 1894\u003cbr\u003e Max E. Greenberg, New York\u003cbr\u003e by descent to his wife, Filomen D’Agostino Greenberg\u003cbr\u003e Alexander Gallery, New York\u003cbr\u003e Private collection, California, 2014\u003cbr\u003e M.S. Rau Antiques, 2016","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672833491079,"sku":"30-5760","price":785000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-5760_1_b87e1f6a-a128-4c27-99ea-eda79d0c49a7.png?v=1769759164"},{"product_id":"the-education-of-achilles-by-auguste-clement-chretien","title":"The Education of Achilles by Auguste-Clément Chrétien","description":"Auguste-Clément Chrétien\u003cbr\u003e 1835-1913 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Education of Achilles by the Centaur Chiron\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"A.C. Chrétien 1861\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A masterpiece of French Neoclassical painting, this monumental oil on canvas by Auguste-Clément Chrétien is among the most significant paintings in this celebrated painter's oeuvre. The composition depicts a famous episode in the life of the legend Achilles - his education by the centaur Chiron. Inspired in part by a famous ancient fresco discovered in Pompeii, the composition also pays tribute to Jean-Baptiste Regnault's work of the same name, exhibited at the Royal Academy in 1782 and preserved today in the Musée du Louvre (Paris). Chrétien's \u003cem\u003eThe Education of Achilles\u003c\/em\u003e, composed for and exhibited at the Paris Salon of 1861, fits perfectly into the traditions of both Neoclassical and history painting. With his emphasis on symmetry, perspective, and narrative, Chrétien beautifully captures notions of both physical and moral ideals on canvas. \u003cbr\u003e\u003cbr\u003e The legend of Achilles is one of the richest and oldest of Greek mythology. It was made famous by Homer in \u003cem\u003eThe Iliad\u003c\/em\u003e, which helped to popularize the adventures of the young hero of the Trojan War. Son of Peleus, king of Phthia in Thessaly, and the sea nymph Thetis, Achilles is most remembered for his one weakness - his heel - which would eventually lead to his downfall. Chrétien's composition, however, captures the warrior as a youth with the centaur Chiron, the legendary tutor of gods and heroes who instructed him in the arts of medicine, music, riding and hunting.  \u003cbr\u003e\u003cbr\u003e Achilles is represented standing, dressed in a simple lion's skin tied around the neck, his body facing the viewer, his head turned in profile and holding the arch with his left hand. Chiron stands behind him, kneeling on his front legs to lower himself to the height of his pupil, and is giving him advice: with his left hand he directs the arrow while with his right hand he directs Achilles' arm. The scene takes place on Mount Pelion in front of the Centaur Cave; the Aegean Sea and the Gulf of Thessaloniki can be seen in the distance. \u003cbr\u003e\u003cbr\u003e Beautifully composed, the two figures are depicted in perfect juxtaposition: young versus old, man versus centaur, light versus dark. Yet, the result is a lyrical harmony enhanced by both the narrative and aesthetic presence of the piece. Indeed, Chrétien proves himself a master of Neoclassical proportion and symmetry, imbuing both figures with a strength and beauty all their own. \u003cbr\u003e\u003cbr\u003e Born in 1835, Auguste-Clément Chrétien was a pupil of the French Neoclassical master Hippolyte Flandrin (1809-1864) and later Louis Lamothe (1822-1869) at the École des Beaux-Arts. He made his debut at the Salon in 1857 and remained a regular participant until 1882, presenting mainly portraits and historical subjects. Among his most important commissions was the decoration of the Abbey of Saint Germain des Prés in Paris. \u003cbr\u003e\u003cbr\u003e Dated 1861 \u003cbr\u003e\u003cbr\u003e Canvas: 51 3\/16\" high x 64 3\/8\" wide\u003cbr\u003e Frame: 57\" high x 70 1\/4\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Salon, Paris, 1861, no. 621","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42588422471815,"sku":"30-7585","price":248500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-7585_1_ce3cf61b-6577-4118-9b3a-cf2829449ee7.png?v=1746450707"},{"product_id":"salome-by-marie-felix-hippolyte-lucas","title":"Salome by Marie Felix Hippolyte-Lucas","description":"Marie Felix Hippolyte-Lucas\u003cbr\u003e 1854-1925 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSalome\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F. Hippolyte-Lucas\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This compelling portrait of Salome was composed by the French painter Marie Felix Hippolyte-Lucas. While the celebrated artist's oeuvre is filled with bright and cheerful portraits of aristocratic women surrounded by florals, here he takes a different approach. Hippolyte-Lucas' Salome is simultaneously exotic and highly modern, rendered in a style that is both theatrical and bold. The monumental work's rich color palette is filled with gem-inspired hues that lend drama to the scene, highlighting the blatant sexuality of this legendary seductress. This work was so monumental for the artist, it was his illustrated submission in the 1912 Paris Salon. \u003cbr\u003e\u003cbr\u003e Though Salome is not named in the New Testament, she has appeared time and time again in art and literature over the centuries, as both an innocent and a seductress. Her mother, Herodias, resented John the Baptist, who denounced her marriage to King Herod as unlawful. At one evening meal, Salome danced for King Herod and his guests. He was so entranced by her, that he swore to give her whatever she asked of him. At her mother's request, she demanded the head of John the Baptist on a platter. Hippolyte-Lucas portrays her here in the role of the remorseless seductress, standing proudly next to the severed head of her mother's enemy.  \u003cbr\u003e\u003cbr\u003e Born in 1854 in Rochefort-sur-Mer, Marie Felix Hippolyte-Lucas studied under the great French Academic painters Isidore Pils, Karl Lehmann and Évariste Luminais. He became primarily known as a figure and portrait painter, and his oeuvre is filled with bright portraits of aristocratic women. He began exhibiting at the Paris Salon in 1877 and continued to do so until the year before his death, early numerous award over the years. Also a celebrated muralist, he composed decorative paintings for the casino in Monte Carlo, the conference centre at the Musée Océanographique in Monaco, the Paris Stock Exchange and three ceilings in the Préfecture du Rhône. \u003cbr\u003e\u003cbr\u003e Canvas: 76 3\/4\" high x 38 1\/4\" wide\u003cbr\u003e Frame: 82 3\/8\" high x 43 5\/8\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e 1912 Paris Salon. No. 885. Illustrated on page 165.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672844599431,"sku":"30-9395","price":68500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-9395_1_3c38defb-acb3-4df1-9dc8-c436f7dd5065.png?v=1769760875"},{"product_id":"napoleons-tomb-by-thomas-rossiter","title":"Napoléon's Tomb by Thomas Rossiter","description":"Thomas Prichard Rossiter\u003cbr\u003e 1818-1871 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNapoléon’s Tomb\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Rossiter \/ 1854\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptional work by the American painter Thomas Prichard Rossiter represents a masterful combination of American romanticism and historical genre painting. The subject is the tomb of the French Emperor Napoléon on the island of St. Helena, where he had been exiled by the British from 1815 until his death in 1821. Rossiter presents a romantic and idealized vision of Napoléon’s resting place, executed with a distinctively American eye for the romantic in its juxtaposition of light and shadow. Cleverly hidden between the trees is the silhouette of the emperor himself, gazing out towards the sea as though longing to return to France. \u003cbr\u003e\u003cbr\u003e Having been imprisoned and exiled on St. Helena by the British following the Hundred Days and his defeat at the Battle of Waterloo, Napoléon died on the island of stomach cancer at the age of 51. His death was met by an outpouring of emotion. In a codicil to his will, he had expressed a desire to be buried on the banks of the Seine in Paris, but this wish was denied by both the British government and by King Louis XVIII, who believed the return of the remains would inspire civil unrest. \u003cbr\u003e\u003cbr\u003e Instead, Napoléon was buried in a simple, unadorned plot beneath a willow in St. Helena’s Sane Valley. An island 1,162 miles from the west coast of Africa, St. Helena was chosen as the place of Napoléon’s final exile precisely for its isolation. Because of its remoteness, few were able to visit the tomb of their former emperor, and only a handful of sketches of his resting place beneath a willow tree were brought back to France. Rossiter likely would have used one of these images as his inspiration, though the scene is almost entirely a product of his rich imagination. \u003cbr\u003e\u003cbr\u003e Napoléon’s remains would eventually be returned to France in 1840, when he was entombed at the Hôtel des Invalides in Paris. It was the same year that Rossiter first arrived in France. The removal of Napoléon’s remains was one of the most important political topics of the day, and Rossiter was certainly privy to the debates on the topic. This work is a testament to his understanding of and empathy for the sentimentality attached to the French reclaiming their Napoléon. It was well received in both France and America, and a lithograph by Nathaniel Currier based on the painting is currently held in the Brooklyn Museum. \u003cbr\u003e\u003cbr\u003e Born in Connecticut in 1818, he learned his trade in New Haven, exhibiting at the National Academy of Design and eventually opening a studio in New York. In 1840, however, he decided to continue his studies in Europe, settling in Paris for several years and attending the École des Beaux-Arts. He soon became friends with a close-knit group of other American painters in Paris, including Asher Durand, George Healy, and John Kensett, with whom he shared a studio. He exhibited three works at the Paris Exposition of 1855, winning a gold medal for his \u003cem\u003eVenice in the 15th Century\u003c\/em\u003e. Shortly thereafter, he composed the present work, which is a stunning ode to his two homes – America and France. \u003cbr\u003e\u003cbr\u003e Dated 1854 \u003cbr\u003e\u003cbr\u003e Canvas: 25\" high x 30 1\/4\" wide\u003cbr\u003e Frame: 34 1\/2\" high x 39 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40839400751239,"sku":"30-8565","price":98500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-8565_1.png?v=1705502904"},{"product_id":"portrait-d-une-jeune-femme-by-alexei-harlamoff","title":"Portrait d’une Jeune Femme by Alexei Harlamoff","description":"Alexei Alexeievich Harlamoff\u003cbr\u003e\n1840-1925 | Russian\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003ePortrait d'une Jeune Femme\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nSigned “Harlamoff” (lower right)\u003cbr\u003e\nCharcoal on paper\n\u003cbr\u003e\u003cbr\u003e\nOne of Russia's most important portrait painters, Alexei Harlamoff’s is perhaps best known for his romanticized images of Bohemian children and young girls. He painted his subjects with enormous sensitivity, and by the 1880s, he gained international fame and recognition for his work. As is evident in the present drawing, Harlamoff was particularly skilled at using very subtle and natural lines when composing faces - the soft lines of the charcoal clearly reveal Harlamoff’s extraordinary level of draftsmanship. His technical skill is evident in each and every inch, from his modeling of light to his delicate depiction of his subject's features.\n\u003cbr\u003e\u003cbr\u003e\nThe viewer is instantly drawn to the subject's face thanks to Harlamoff's masterful composition. The somewhat coy and withdrawn air of the sitter is a staple of his portraiture, along with the informality of his execution. His ultimate talent lay in his ability to evoke the natural beauty of his models, engaging the viewer with his unparalleled aesthetic impact. \n\u003cbr\u003e\u003cbr\u003e\nBorn in Saratoff in 1848, Harlamoff first attended the Academy of Fine Arts in St. Petersburg, where he won a gold medal and a travel scholarship in 1868. He used this scholarship to travel to Paris, where he attended the \u003cem\u003eÉcole des Beaux-Arts\u003c\/em\u003e and worked with Leon Bonnat. He was particularly inspired by Rembrandt and frequently emulated the work of the Dutch master. During his early career, Harlamoff painted many genre and religious themes and also became an established portrait painter. He exhibited one of his masterpiece, \u003cem\u003eYoung Flower Girls\u003c\/em\u003e, at the Glasgow International Exhibition of 1888, where it was greatly admired by Queen Victoria - thereafter he was recognized as \"a favorite of Queen Victoria.\" He painted cultural giants such as writer Yvan Tourgueniev and singer-composer Pauline Viardot-Garcia, and soon counted many distinguished members of Russian aristocracy as subjects. Two of his more important works were of the Tsar Alexander II and Prince Demidoff-San Donato.\n\u003cbr\u003e\u003cbr\u003e\nPaper: 18 3\/4” high x 14” wide\u003cbr\u003e\nFrame: 30 1\/2\" high x 25 1\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42648741642375,"sku":"30-8529","price":58500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-8529_1.png?v=1747321228"},{"product_id":"sunset-on-lake-george-by-louis-remy-mignot","title":"Sunset on Lake George by Louis Rémy Mignot","description":"Louis Rémy Mignot\u003cbr\u003e\n1831-1870 | American\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eSunset on Lake George\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nOil on canvas\n\u003cbr\u003e\u003cbr\u003e\nThe golden red glow of the setting sun permeates throughout this ethereal composition by the great Hudson River School painter Louis Rémy Mignot. \u003cem\u003eSunset on Lake George\u003c\/em\u003e brilliantly showcases Mignot's mastery of both light and atmosphere. The blazing sky, comprising subtly graded tones from deep purple through oranges to dazzling yellow, is the most impressive element in this attention-demanding painting. With his subtle variations between light and shadow, Mignot's composition reveals the alluring and haunting beauties of the unspoiled American landscape.\n\u003cbr\u003e\u003cbr\u003e\nAs a prominent member of the Hudson River School, Mignot sought out sprawling vistas and virgin landscapes such as this. The view of Lake George in northern New York reveals the quiet solemnity and repose that was typical of Mignot's mature style. Like his friend and colleague Thomas Cole, Mignot possessed the innate ability to capture the atmospheric drama of a scene. With its softly blurred edges and intense red palette, \u003cem\u003eSunset on Lake George\u003c\/em\u003e seems to reveal the essence of this place, while at the same time maintaining an air of mystery and the Sublime. It is precisely the type of composition that earned him such high praise during his lifetime, and that made the Hudson River School painters such artistic revolutionaries.\n\u003cbr\u003e\u003cbr\u003e\nBorn in 1831 in South Carolina, Louis Rémy Mignot was born to French parents of Huguenot descent. Both his French and southern heritages would influence his later artistic style, distinguishing him from other painters of the Hudson River School, particularly in his atmospheric effects. As a young painter, he travelled extensively, first to Europe for his artistic training, and later to Ecuador with his colleague Frederic Edwin Church. He first exhibited at the National Academy of Design in 1853, eventually becoming an academician. He died of smallpox at the young age of 39, cutting short a promising career. Today, his works can be found in the collections of the Metropolitan Museum of Art (New York), Brooklyn Museum, North Carolina Museum of Art, Detroit Institute of Arts, and the de Young Museum (San Francisco), among others.\n\u003cbr\u003e\u003cbr\u003e\nCirca 1860\n\u003cbr\u003e\u003cbr\u003e\nCanvas: 16\" high x 24 1\/8\" wide\u003cbr\u003e\nFrame: 24 3\/8\" high x 34 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40510303469703,"sku":"30-8878","price":188500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-8878_1.png?v=1689409336"},{"product_id":"flight-into-egypt-by-giovanni-francesco-grimaldi","title":"Flight into Egypt by Giovanni Francesco Grimaldi","description":"Giovanni Francesco Grimaldi\u003cbr\u003e 1606-1680 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFlight into Egypt\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A stunning example of 17th-century Italian artistry, this oil on canvas depicting the biblical tale of the Flight into Egypt is the work of the famed Baroque painter Giovanni Francesco Grimaldi. Renowned for his extraordinary talent as a fresco painter, Grimaldi devoted much of his career to mural painting for leading Roman families such as the Santacroce, the Pamphili, and the Borghese. In comparison to his frescos, easel paintings attributed to Grimaldi are a remarkable rarity, and most known examples are held in important public collections, including the Hermitage Museum (Saint Petersburg), J. Paul Getty Museum (Los Angeles), Kunsthistorisches Museum (Vienna), and the Royal Academy of Arts (London), among others. \u003cbr\u003e\u003cbr\u003e The present work, entitled \u003cem\u003eFlight into Egypt\u003c\/em\u003e, exemplifies his distinctive compositional style. The story was taken from the New Testament Gospel of Matthew. Fleeing from Herod's call for all infant boys to be killed, Joseph, Mary and the infant Jesus sought refuge in Egypt. Depicting the moment when they reach the end of their long journey, Grimaldi positioned the family in the lower left corner of his composition. The remainder of the canvas is occupied by a sweeping landscape, including a soaring rendition of a pyramid that dwarfs the Roman-esque structure beside it. \u003cbr\u003e\u003cbr\u003e Grimaldi perfectly applies the Baroque technique of uniting the key figures in his landscape with looped lines and lively rhythms. The curves of the pathway and Grimaldi's masterful placement of figural groups and structures lead the eye on a swooping visual journey that terminates at the hazy mountain in the distance. Through this compositional technique, Grimaldi achieves a remarkable sense of depth in his epic narrative landscape. \u003cbr\u003e\u003cbr\u003e The overall conception of the scene is characteristic of the artist, and similar works in terms of composition, include Grimaldi's \u003cem\u003eLandscape with Tobias and the Archangel Raphael\u003c\/em\u003e (Museo Thyssen-Bornemisza, Madrid) and \u003cem\u003eTobias and the Angel\u003c\/em\u003e (Hunterian Art Gallery, Glasgow). \u003cbr\u003e\u003cbr\u003e Born in Bologna in 1606, Giovanni Francesco Grimaldi arrived in Rome around 1626. Throughout his career, he primarily devoted his attention to fresco painting, executing compositions that included sweeping landscapes for palaces throughout Italy and beyond to Paris. Among his most celebrated murals were those painted in 1640 at the Santacroce ai Catinari Palace in Rome, as well as frescos in the Villa Pamphilj and the Muti-Papazzurri Palace. Between 1649 and 1651, Grimaldi traveled to Paris, where he painted in the residence of Cardinal Mazarin and the Palais du Louvre.  \u003cbr\u003e\u003cbr\u003e Canvas: 19 3\/4\" high x 26 1\/8\" wide\u003cbr\u003e Frame: 26 1\/2\" high x 33\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672824643719,"sku":"30-6595","price":74500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-6595_1_8030b611-455e-48b0-9569-4d7afb2593f5.png?v=1767207013"},{"product_id":"la-lecture-au-jardin-by-georges-despagnat","title":"La lecture au jardin by Georges d'Espagnat","description":"Georges d'Espagnat\u003cbr\u003e 1870-1950 | French  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa lecture au jardin\u003cbr\u003e (Lesson in the Garden)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “GdE” (lower left)\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e French Post-Impressionist painter Georges d’Espagnat captures a charming moment between a mother and her child in this vibrant oil on canvas. Rendered with a studied use of complementary colors and bold brushstrokes, the painting showcases the artist's unique Post-Impressionist style. Remembered as one of the most individualistic artists of the 20th century, his distinctive canvases bring together the loose brushwork of the Impressionists and the bold color palette favored by the Fauves. Together, they achieve a vibrant spontaneity that lends itself well to the carefree subjects of the present work.  \u003cbr\u003e\u003cbr\u003e Masterfully composed, \u003cem\u003eLa lecture au jardin\u003c\/em\u003e moves beyond the Impressionist instinct to capture a fleeting moment on canvas. Rather, d'Espagnat succeeds in creating a deep feeling of harmony in the work. Warm colors are perfectly balanced with cool tones, while vertical and horizontal lines are softened by the curves of the foliage and his subjects' figures. Through his simplification of forms and intentional use of color and line, he creates a scene that is carefully designed and thoroughly modern. A similar view of a mother and her child by d'Espagnat is currently in the collection of the Metropolitan Museum of Art (New York). \u003cbr\u003e\u003cbr\u003e The Post-Impressionist painter was an individualist since his youth, choosing to forgo traditional schooling in order to independently study the Old Masters in the Louvre. He soon became involved with the most prominent Impressionist and Post-Impressionist painters of the age, including Pierre-Auguste Renoir and Paul Signac, who themselves existed outside the traditional norms of French Academic training. In 1891, he exhibited at the Salon des Refusés, and again the following year at the Salon des Indépendants. \u003cbr\u003e\u003cbr\u003e By 1895, he held his first one-man show in Paris, and just three years later his success earned him a solo show at the prestigious Durand-Ruel Gallery. Between 1905 and 1910 he made several trips to visit Renoir on the Côte d’Azur. Their close friendship resulted in a group exhibition at Marcel Bernheim Gallery in 1907, which included the work of d'Espagnat and Renoir alongside Pierre Bonnard, Paul Cézanne, Henri Matisse, Camille Pissarro and other Impressionist and Post-Impressionist greats. It was during this period that he also extended his artistic reach into the realms of illustration and stage design. In 1906, he illustrated Remy de Gourmont’s popular book \u003cem\u003eSixtine\u003c\/em\u003e, and later collaborated with Alphonse Daudet on his book \u003cem\u003eL'Immortel\u003c\/em\u003e. In 1914 he provided the decor for a production of Alfred de Musset’s play \u003cem\u003eFantasio\u003c\/em\u003e at the Théâtre de Batignolles in Paris.  \u003cbr\u003e\u003cbr\u003e In 1920, after working in a camouflage unit during World War I, d’Espagnat bought a country house in the Quercy region, and over the next decade, he painted numerous landscapes and interiors there. Though disrupted by World War II, he continued to paint until his death in 1950.  \u003cbr\u003e\u003cbr\u003e Circa 1898 \u003cbr\u003e\u003cbr\u003e Canvas: 55 3\/4\" high x 42\" wide\u003cbr\u003e Frame: 68\" high x 53 1\/2\" wide \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e “Un Décorateur Nouveau: Georges d’Espagnat,” \u003cem\u003eArt et Décoration\u003c\/em\u003e, Vol. 6, 1899, by O. Maus, p. 122 (illustrated) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Dr. Georges Viau, Paris\u003cbr\u003e Guarisco Gallery, Washington, D.C.\u003cbr\u003e Private collection, U.S.\u003cbr\u003e Private collection, U.K.\u003cbr\u003e Guarisco Gallery, Washington, D.C.\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43056706355335,"sku":"31-0008","price":248500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0008_1.png?v=1755537897"},{"product_id":"the-abduction-of-the-sabine-women-by-jean-francois-millet","title":"The Abduction of the Sabine Women by Jean-François Millet","description":"Jean-François Millet\u003cbr\u003e 1814-1875 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Abduction of the Sabine Women\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"J.F. Millet\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This dynamic oil on canvas represents one of the most recognized subjects of art history by one of the most important artists of the 19th century. Entitled \u003cem\u003eThe Abduction of the Sabine Women\u003c\/em\u003e, it was composed by the great Jean-François Millet, a painter who is rightfully celebrated as the master of the peasant. Rather than a sower or field laborer, however, this early work captures a mythological narrative, a remarkable rarity for this painter. The dramatic story lends Millet the opportunity to display his command of figure, gesture and tone, revealing the earliest hints of the Realist style that would come to define his artistic genius.  \u003cbr\u003e\u003cbr\u003e This tempestuous scene of a woman being abducted by a man on horseback was composed at a critical point in Millet’s career. After studying at the École des Beaux-Arts under the tutelage of the history painter Paul Delaroche, Millet achieved modest success as a portrait and genre painter. Yet, by the 1840s, he sought to establish himself on a larger stage and began working on classical and historical compositions for the Paris Salon with emphasis on the human figure. \u003cem\u003eThe Abduction of the Sabine Women\u003c\/em\u003e is among his finest compositions during this important period. \u003cbr\u003e\u003cbr\u003e The narrative refers to an incident in Roman mythology when Roman men abducted women from a neighboring region — known as the Sabines — to take as wives. Under the direction of their founder Romulus, the Romans sought to form peaceful alliances with their neighbors and formally requested the rights of marriage with neighboring tribes. Rome's emissaries, however, were unsuccessful, so Romulus decided upon more drastic measures in order to ensure the security and future of his city. According to Levy, during the festival of Neptune Equester, the Romans successfully fought off the Sabine men and captured the young Sabine virgins, who they then married. Though the action initially resulted in war between the two nations, eventually peace was won thanks to the intervention of the Sabine women, who begged for unity between their families and their new husbands. \u003cbr\u003e\u003cbr\u003e Throughout art history, \u003cem\u003eThe Abduction of the Sabine Women\u003c\/em\u003e has been depicted by modern and old masters from Giambologna’s 16th-century marble sculpture to masterpieces in oil by Nicolas Poussin, Peter Paul Rubens, Jacques-Louis David and Pablo Picasso. Millet's treatment of the subject reveals his own influences, most specifically the great French Romantic painter Eugène Delacroix.  \u003cbr\u003e\u003cbr\u003e Although the subject pays homage to Jacques-Louis David’s Neoclassicism, Millet’s use of broad, quick brushstrokes and strong color notes of deep blue-greens and oranges displays a Romantic treatment. In assessing this painting, Millet expert Alexandra Murphy writes, “Only a few documented works survive from this period, and [the] painting is important as a reminder that Millet was looking to the example of Delacroix’s work even more than to his own master, Delaroche.” \u003cbr\u003e\u003cbr\u003e Within a few years of creating the work, Millet turned to realistic subjects and moved to Barbizon, where he lived for the rest of his life. By the 1870s, the artist’s work was well established in Boston collections, but it wasn’t until the 1880s that Millet’s popularity spread to other parts of the country. In 1886, two important painting auctions took place in New York at the American Art Galleries: the sale of the Estate of Mrs. Charles Morgan, which included ten works by Millet, and the sale of the Collections of Beriah Wall and John A. Brown. Of the 267 paintings sold in the latter, Millet’s Abduction of the Sabine Women achieved the auctions fourth highest price, just behind Barbizon landscapes by Rousseau and Corot. \u003cbr\u003e\u003cbr\u003e Circa 1844-47 \u003cbr\u003e\u003cbr\u003e Canvas: 24 1\/4\" high x 19 7\/8\" wide\u003cbr\u003e Frame: 37\" high x 32 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e \u003cem\u003eLoan Exhibition of Painting in Aid of the First Light Infantry\u003c\/em\u003e, Providence, Rhode Island, January 1886 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Beriah Wall, Providence, Rhode Island\u003cbr\u003e American Art Galleries, New York, April 1, 1886, lot #246\u003cbr\u003e Joseph Drexel, New York and Philadelphia\u003cbr\u003e by descent to Sofie Dahlgren, Philadelphia\u003cbr\u003e by descent to Phillip Randolph, Philadelphia\u003cbr\u003e Butch McGrath, Scituate, Massachusetts","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40492041339015,"sku":"31-0260","price":685000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-0260_1.png?v=1692001409"},{"product_id":"la-naissance-de-venus-by-james-ensor","title":"La Naissance de Vénus by James Ensor","description":"James Ensor\u003cbr\u003e 1860 - 1949 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa Naissance de Vénus\u003cbr\u003e (The Birth of Venus)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Ensor\" (lower left)\u003cbr\u003e Signed and titled \"J. Ensor \/ Naissance de Venus\" (en verso)\u003cbr\u003e Dated \"Janvier 40\" (on frame)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A work of engaging richness and emotion, \u003cem\u003eLa Naissance de Vénus\u003c\/em\u003e invites the viewer directly into the heart of the personal and highly poetic world of the great James Ensor. A major figure in the Belgian avant-garde, Ensor's highly modern oeuvre stands as an important precursor to the Expressionists of the 20th century. With its vivid colors and poignant composition, the present work is typical of his output, containing all of the best characteristics of his mature style. Brilliant colors and flowing lines lend an emotional impact to the otherwise simplistic scene, which features a solitary Venus against the vast nothingness of the expansive sky and sea.  \u003cbr\u003e\u003cbr\u003e The figure of Venus was the subject of many paintings, drawings and engravings in Ensor's work. He felt a certain affinity for the goddess, recounting in his writings that he was born “the day of Venus,” and claiming, “At my birth Venus came toward me, smiling, and we looked long into each other’s eyes. She smelled pleasantly of seawater.”  \u003cbr\u003e\u003cbr\u003e The present work represents Ensor's manifestation of Venus' own birth. The scene is based on the classical Venus Anadyomene (from Greek, \"Venus Rising From the Sea\"), in which the water-born goddess emerges from the water, wringing out her hair. \u003cem\u003eLa Naissance de Vénus\u003c\/em\u003e attests to Ensor's engagement with classicism and the Old Masters, which preoccupied him throughout his career. Yet, here, Ensor’s Venus exemplifies his habit of personalizing the classical prototype. Pictured without her shell or her entourage of attendants, Ensor's Venus is a solitary, striking figure rising against the green-blue sea and blood red sky. The artist's intentionally crude brushwork marks a deliberate departure from the classical ideal, instead invoking an expressionistic, highly emotional response to Venus' miracle birth. \u003cbr\u003e\u003cbr\u003e Born in 1860 in Ostend, Ensor's artistic talent was recognized and encouraged at an early age. He began formal painting lessons at the age of fourteen, and enrolled in the Academy of Fine Arts in Brussels beginning in 1877. Following his studies, he returned to his parents' home, where he maintained a studio until 1917. Aside from brief trips to France and England, he spent most of his life in Belgium and his home town of Ostend. \u003cbr\u003e\u003cbr\u003e His talent was recognized early during his lifetime, and he exhibited extensively through Belgium. In 1895, his painting \u003cem\u003eThe Lamp Boy\u003c\/em\u003e was acquired by the Musées Royaux des Beaux-Arts de Belgique in Brussels. By the 1920s, he became the subject of major exhibitions and was named a Baron by Albert I of Belgium. Alfred H. Barr, Jr., the founding director of the Museum of Modern Art in New York, proclaimed Ensor the boldest painter working at that time. Today, this legendary artist's works can be found in museum collections around the world, including the Musée d'Orsay (Paris), the Metropolitan Museum of Art (New York), the Musées Royaux des Beaux-Arts de Belgique (Brussels), the J. Paul Getty Museum (Los Angeles), the Tate Modern (London), and the Museum of Modern Art (New York), among others. \u003cbr\u003e\u003cbr\u003e This important work is accompanied by a certificate of authenticity signed by Belgian art expert Harold t'Kint de Roodenbeke. \u003cbr\u003e\u003cbr\u003e Dated 1940 \u003cbr\u003e\u003cbr\u003e Canvas: 19 3\/4” high x 24 1\/8” wide\u003cbr\u003e Frame: 26 3\/4” high x 31 1\/4” wide \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eJames Ensor: The Complete Paintings\u003c\/em\u003e, Brussels, 2009, by X. Tricot, no. 834 (illustrated) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Gillicoux Collection, Belgium\u003cbr\u003e Palais des Beaux Arts, Brussels, sold November 6, 1950, cat. 26\u003cbr\u003e Palais des Beaux Arts, Brussels, sold March 14, 1972, cat. 59\u003cbr\u003e Dr. Sierens, Aalst, Belgium\u003cbr\u003e By descent, Oudenaare, Belgium","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491789254791,"sku":"30-9696","price":598000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-9696_1_f9e8467d-1f0a-4db7-8b25-25c5fecc89f6.png?v=1689410188"},{"product_id":"portrait-of-a-young-woman-by-emile-eisman-semenowsky","title":"Portrait of a Young Woman by Emile Eisman-Semenowsky","description":"Emile Eisman-Semenowsky\u003cbr\u003e\n1857-1911 | Polish\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003ePortrait of a Young Woman\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\nOil on panel\u003cbr\u003e\nSigned and dated “E. Eisman-Semenowsky, Paris 1882” (lower right)\u003cbr\u003e\u003cbr\u003e\nA beautiful young woman exudes romantic charm in this captivating portrait by Polish artist Emile Eisman-Semenowsky. Born in a Russian-annexed area of Poland in 1857, Eisman-Semenowsky immigrated to Paris in the 1880s, where he became a well-known portraitist. His impressive oeuvre is dominated by airy and romantic portraits of idealized women, frequently adorned with flowers and stylish clothing, as is seen in this delightful example. This blue-eyed beauty, with flowers in her hair and a luxurious fur collar, epitomizes the bourgeois elegance popular in France during his time.\u003cbr\u003e\u003cbr\u003e\nAlong with his portraits of women, Eisman-Semenowsky also developed a fascination with the Orientalist influences that were appearing in the work of his contemporaries. Many of his works feature lavish Oriental details, with beautiful women clad in sumptuous and colorful clothing. Still, his decorative and romantic portraits, imbued with an unmistakable grace and beauty, remain his most sought after works on the market today.\n\u003cbr\u003e\u003cbr\u003e\n1882\u003cbr\u003e\u003cbr\u003e\nPanel: 12 5\/8: high x 9 3\/8\" wide \nFrame: 18 1\/2\" high x 15 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42689960050823,"sku":"30-2447","price":14850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/30-2447_1.png?v=1749042320"},{"product_id":"view-of-san-giorgio-maggiore-by-giacomo-guardi","title":"View of San Giorgio Maggiore by Giacomo Guardi","description":"Giacomo Guardi\u003cbr\u003e 1764-1835 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eView of San Giorgio Maggiore\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and inscribed \"Veduta di S. Girgio Maggiore, e la punta della Giudeca \/ all Ospedaletto in SS. Gion e Paolo No. 5245 dimandar \/ Giacomo de Guardi\" (en verso)\u003cbr\u003e Gouache on paper \u003cbr\u003e\u003cbr\u003e Italian veduta painter Giacomo Guardi composed this impressive view of the San Giorgio Maggiore in Venice. The 16th-century Benedictine church was designed by the famed architect Andrea Palladio on the island of the same name, and Guardi captures it in all of its classical Renaissance grandeur. In addition to being a monastery, the church famously houses a number of paintings by Jacopo Tintoretto, including \u003cem\u003eThe Last Supper\u003c\/em\u003e. Its impressive façade has been captured by a number of artists over the years, including an important series by the Impressionist Claude Monet. Depicted from a low vantage point, the grandeur of the church is perfectly realized with Guardi's renowned eye for architectural detail in the present work. \u003cbr\u003e\u003cbr\u003e By the mid-18th century, Venice had become renowned as the center of production for \u003cem\u003evedute\u003c\/em\u003e, a genre of highly detailed cityscapes, or vistas. The Guardi family were arguably the genre’s greatest practitioners, and they are historically considered to be the last true painters of the Venetian School in its classical form. Both Francesco Guardi and his son Giacomo painted the San Giorgio Maggiore; Francesco’s version of the scene is currently in the collection of the Hermitage Museum (St. Petersburg). In both subject and style, it closely resembles the present gouache by his son. \u003cbr\u003e\u003cbr\u003e While scenes like these appealed to the wealthy Italian elite, they were most popular amongst English travelers and other cultivated tourists partaking in their Grand Tour. Giacomo's masterfully executed works in watercolor and gouache were the perfect souvenirs that captured the picturesque beauty and architectural drama of Venice. This gouache is an exceptional example of his output, capturing the lasting grandeur of the City of Water. \u003cbr\u003e\u003cbr\u003e Circa 1804-1828 \u003cbr\u003e\u003cbr\u003e Paper: 5 1\/4\" high x 9 1\/2\" wide\u003cbr\u003e Frame: 8 1\/2\" high x 12 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42017436795015,"sku":"29-9467","price":38500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/29-9467_1_339eccfc-4cb4-4de0-9842-38116d620c4c.png?v=1729868514"},{"product_id":"lamour-desarme-by-emile-munier","title":"L'amour désarmé by Émile Munier","description":"Émile Munier\u003cbr\u003e 1810-1895 | French  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eL'amour désarmé\u003cbr\u003e (Love Disarmed)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"E. Munier 1886\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Émile Munier is counted among the greatest Academic painters of all time, and this oil on canvas entitled \u003cem\u003eL'amour désarmé\u003c\/em\u003e is one of the finest works that he ever composed. It was painted for and exhibited at the Paris Salon of 1886, the annual exhibition where artists showcased the very best examples of their work. In terms of style, \u003cem\u003eL'amour désarmé\u003c\/em\u003e is a perfect example of the subjects favored by the Paris Salon during his lifetime. \u003cbr\u003e\u003cbr\u003e Draped in a diaphanous crimson robe, his partially nude subject epitomizes the classically inspired figures typically seen in Munier’s work. She playfully snatches the bow and arrow from the hands of Cupid, who is depicted as a mischievous young boy with white wings. The artist is best known for his allegorical subjects such as this, rendered with exacting precision and incorporating the idealized female nude in classical settings. \u003cbr\u003e\u003cbr\u003e Monumental in scale and beautifully finished, the composition reflects the influence of his friend and teacher, the Academic master William-Adolphe Bouguereau. In fact, Bouguereau presented his own version of the subject, also entitled \u003cem\u003eL'amour désarmé\u003c\/em\u003e, at the Salon of 1886, the same year that the present painting was exhibited. \u003cbr\u003e\u003cbr\u003e Munier’s artistic training began with his mentor, Abel Lucas, though he would later become a student of his close friend Bouguereau. During the 1870s, Munier met George A. Luca, an important American art agent who lived in Paris and sold many of his prominent clients several of Munier’s finest paintings. The artist enjoyed an extremely successful career, earning medals and honors from not only the Salon, but also the Academie des Beaux Arts and the Exposition Internationale in Chicago. \u003cbr\u003e\u003cbr\u003e Literature\u003cbr\u003e\u003cbr\u003e This painting is pictured in Thompson \u0026amp; Thomas, \u003cem\u003eFamous Pictures by Renowned Artists\u003c\/em\u003e Chicago, and Rehs Gallery's virtual Munier catalogue raisonné.\u003cbr\u003e\u003cbr\u003e Dated 1886 \u003cbr\u003e\u003cbr\u003e Canvas: 67 1\/2\" high x 51 1\/4\" wide\u003cbr\u003e Frame: 71 1\/2\" high x 55\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40517659656327,"sku":"31-1205","price":395000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-1205_1.png?v=1689409064"},{"product_id":"self-portrait-with-the-artists-wife-by-albert-janesch","title":"Self Portrait with the Artist's Wife by Albert Janesch","description":"Albert Janesch\u003cbr\u003e 1889-1973 | Austrian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSelf Portrait with the Artist's Wife\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Albert Janesch\" (lower right); inscribed and dated \"MEIN SELBSTBILDNIS IM 43.\/ LEBENSJAHR\/ MIT MEINEM BRAVEN\/ WEIBE MARIA ANTAONIA.\/ WEIN IM JAHRE 1933.\" (upper right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This haunting self portrait by the Viennese painter Albert Janesch is an exceptional example of his distinctive style. Masterfully conceived, the work is a play on the popular \u003cem\u003evanitas\u003c\/em\u003e genre of painting that harkens back to Netherlandish art of the 16th century. As the artist enjoys the simple pleasures of life — a drink in hand while painting with his wife and dog — a skeleton looms in the background as a reminder of man's mortality. The artist seems to urge the viewer with each detail to enjoy life's simple pleasures while you can. Death waits for us all. \u003cbr\u003e\u003cbr\u003e Born in Vienna in 1889, Albert Janesch was formally trained at the Graphic Arts Teaching and Research Institute and the Vienna Academy of Fine Arts. He was the recipient of the highly competitive Prix de Rome in 1912 and studied in Italy for a year thereafter. During the First World War, he served as a wartime artist on the frontlines with the Imperial and Royal Press Quartier. For his work, he was award first prize in 1916 for a special war memorial competition. Today, many of his wartime works can be found in the Museum of Military History (Vienna) and the Historical Museum of the City of Vienna. \u003cbr\u003e\u003cbr\u003e After the war, Janesch enjoyed a career as a successful painter of portraits, landscapes and genre scenes. He received the Prize of the city of Vienna in both 1924 and 1929, and in 1928, he was award the State Prize. In 1954 the Vienna Kunsthaus dedicated an exhibition solely to his work, and he went on to receive the Great Golden Medal of Honor in 1966 and the Austrian Cross of Honor for Science and Art in 1970. He died just a few years later in Vienna on May 10, 1973. \u003cbr\u003e\u003cbr\u003e Dated 1933 \u003cbr\u003e\u003cbr\u003e Canvas: 40\" high x 36\" wide\u003cbr\u003e Frame: 46 1\/4\" high x 42 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Künstlerhaus, Vienna, 1933\u003cbr\u003e XIX Esposizione Biennale Internaziole d'Arte, Venice, May-October, 1934, no. 341\u003cbr\u003e Große deutsche kunstausstellung, Haus de Deutschen Kunst, Munich, 1937","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672847646855,"sku":"31-1115","price":48500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1115_1.png?v=1766567021"},{"product_id":"deaths-arrest-by-john-henry-amshewitz","title":"Death's Arrest by John Henry Amshewitz","description":"John Henry Amshewitz\u003cbr\u003e 1882–1942 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDeath's Arrest\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The vivid imagination of the British artist John Henry Amshewitz comes to life in this monumental oil on canvas. Exhibited at the Royal Academy in 1912, \u003cem\u003eDeath’s Arrest\u003c\/em\u003e is exemplary of his distinctive output, which is perhaps most closely aligned with the work of the American painter and illustrator Maxfield Parrish. They share an affinity for deeply saturated hues and neoclassical imagery, though Amshewitz's approach had a greater focus on allegorical figures than Parrish's more whimsical creations. The result is a work like \u003cem\u003eDeath's Arrest\u003c\/em\u003e, which is equally thought provoking and aesthetically arresting. \u003cbr\u003e\u003cbr\u003e In the large-scale scene, a young troubadour is shadowed by a cloaked figure representing death. Occupying the foreground is a court jester, cupid figure and young maiden — the presence of these figures is enigmatic as they float at the bottom of the canvas in a dreamlike haze. Set in the garden of a coastal villa, the work has the narrative quality of a fairy tale that is enhanced by it brilliant colors and magical luminosity. Large in size and theatrical in subject, it is one of Amshewitz's finest creations. \u003cbr\u003e\u003cbr\u003e Born in Ramsgate, England, in 1882, John Henry Amshewitz was the son of a prominent rabbi. His talent as an artist was cultivated early, and he quickly gained the attention of the Royal Academy, winning a scholarship in 1902. During his time with the Academy, he studied under the great American artist John Singer Sargent, as well as Sir George Clausen and Solomon J. Solomon. Amshewitz earned a reputation for his large-scale murals, having won a major competition to paint four murals at the City Hall in Liverpool. However, he was also a prominent painter who exhibited regularly at the Royal Academy. \u003cbr\u003e\u003cbr\u003e He eventually moved to South Africa, where he continued his work as both a muralist and a painter, leading many art historians to label him a South African artist. He would die there in 1942. Following his death, a commemorative exhibition of his work took place at Johannesburg City Hall. Today, his paintings can be found in a number of public collections, including the British Library (London), the Brighton and Hove Museum, the South Africa National Art Gallery (Cape Town), and the Johannesburg Art Gallery. \u003cbr\u003e\u003cbr\u003e Circa 1912 \u003cbr\u003e\u003cbr\u003e Canvas: 75 1\/4\" high x 55 1\/4\" wide\u003cbr\u003e Frame: 87\" high x 66 7\/8\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Royal Academy, London, 1912, no. 349\u003cbr\u003e Bristol, 1912\u003cbr\u003e Autumn Exhibition of Modern Art: The Forty-Second, Walker Art Gallery, Liverpool, October 5, 1912 - January 4, 1913 \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eThe Paintings of J.H. Amshewitz, R.B.A.\u003c\/em\u003e, London, 1951, by S.B. Amshewitz, p. 3","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42556876980359,"sku":"31-1114","price":49850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1114_1.png?v=1744387230"},{"product_id":"the-battle-of-the-sound-by-hendrik-van-minderhout","title":"The Battle of The Sound by Hendrik van Minderhout","description":"Hendrik van Minderhout\u003cbr\u003e 1632-1696 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Battle of The Sound, 29th October, 1650\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Battle of The Sound, 29th October, 1650\u003c\/em\u003e is a dramatic oil on canvas that captures a significant moment in the military history of Northern Europe. It was composed by Hendrik van Minderhout, a Dutch-born marine painter known as \"The Green Knight of Rotterdam\" who became famous for his landscapes and maritime battle scenes. As the present scene attests, van Minderhout possessed the remarkable ability to simultaneously express the fury of battle and the majesty of the sea. \u003cbr\u003e\u003cbr\u003e The work captures the Battle of The Sound, which took place during the Dano-Swedish War of 1657. Denmark, with Dutch support, sought to put an end to the Swedish King Charles X's plan for Swedish domination of the Baltic region. The Sound was the only entry point to the Baltic Sea in the area, and the Netherlands fought to prevent Sweden from gaining control of both sides of the strait. The Dutch, under the command of Lieutenant-Admiral Jacob van Wassenaer Obdam, sailed to the Baltic in support of Denmark with 41 ships and 1413 guns, slightly less than the Swedish forces they were up against. Nevertheless the Dutch prevailed, resulting in a major allied victory. The Dutch fleet was left in control of The Sound with Swedish power and influence curtailed for the remainder of the War. \u003cbr\u003e\u003cbr\u003e The battle was undoubtedly a source of pride for the Dutch, and it became a popular subject for contemporary paintings and etches. Van Minderhout's version successfully captures a fierce and poignant snapshot of the battle. It is typical of his distinctive style, rendered with a misty atmosphere and diffusion of light that recalls the work of his contemporary, Claude Gellée, also known as Le Lorrain. \u003cbr\u003e\u003cbr\u003e Born in 1632 in Rotterdam, Hendrick van Minderhout was primarily active in Bruges and Antwerp, though he briefly spent time in Italy in the 1650s. In Antwerp, he became part of a group of Northern European painters who worked in the style of the Italian artist Salvator Rosa. Thus, his later landscapes and maritime works display a greater degree of romanticism than some of his contemporaries. Incorporating a warm light and sense of movement, \u003cem\u003eThe Battle of The Sound, 29th October, 1650\u003c\/em\u003e is indicative of this distinctive style. \u003cbr\u003e\u003cbr\u003e Canvas: 33 1\/4\" high x 43 1\/2\" wide\u003cbr\u003e Frame: 38\" high x 45 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672850464903,"sku":"31-1167","price":88500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1167_1_c3cc3c55-558d-47ff-b470-312a2798fed9.png?v=1767205537"},{"product_id":"kittens-on-a-rampage-by-jules-leroy","title":"Kittens on a Rampage by Jules LeRoy","description":"Jules LeRoy\u003cbr\u003e 1856-1921 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eKittens on a Rampage\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed ‘J.LeRoy’ (lower right)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e A trio of rambunctious kittens wreak havoc in this delightful scene by the French painter Jules LeRoy. Such portraits of family pets were popular at the end of the 19th century, and LeRoy possessed a particular talent for capturing the unique character of his feline subjects. This work is a particularly humorous example of his output, as three young kittens terrorize a parrot while their mother looks on.  \u003cbr\u003e\u003cbr\u003e Jules LeRoy was born in France in 1856, perhaps the son of the still life painter Jules LeRoy Sr. (1833-1865). He was renowned for his paintings of cats such as this one, executed in both oils and watercolors. Paintings of pets were highly coveted by the wealthy upper classes of the 19th century, and LeRoy's charming compositions of mischievous cats in domestic interiors were particular favorites. His works remain just as popular today, found in important private and public collections such as the Musée d'Art et d'Industrie (Roubaix). \u003cbr\u003e\u003cbr\u003e Panel: 13 1\/4\" high x 10 1\/8\" wide\u003cbr\u003e Frame: 17 3\/4\" high x 14 3\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491932811399,"sku":"31-1140","price":14500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-1140_1.png?v=1685644422"},{"product_id":"graduate-on-top-of-the-world-by-edmund-davenport","title":"Graduate on Top of the World by Edmund Davenport","description":"Edmund Davenport\u003cbr\u003e 20th Century | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGraduate on Top of the World\u003cbr\u003e Saturday Evening Post\u003c\/em\u003e cover, June 13, 1925 \u003cbr\u003e\u003cbr\u003e Signed \"Edmund Davenport\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e At the time of this painting's creation, a woman's graduation from college was a rare accomplishment. For that reason, American illustrator Edmund Davenport presents his female graduate quite literally \"on top of the world.\" Featured on the June 13, 1925, cover of the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e, this modern, accomplished young woman is undoubtedly on cloud nine. Her stylish bob and confident gaze hearken back to the independent flappers of her age, a decade that saw numerous changes in the status of women. Composed with Davenport's distinctively luminous style and lush color palette, \u003cem\u003eGraduate on Top of the World\u003c\/em\u003e is both a visually appealing and historically important American Illustration painting. \u003cbr\u003e\u003cbr\u003e Edmund Davenport was a New Yorker and a successful illustrator in the 1920s. A frequent cover artist for a number of glossy periodicals, including the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e and \u003cem\u003eWomen's Home Companion\u003c\/em\u003e, while also working in the art department of Paramount Studios. As seen in the present piece, Davenport excelled at romancing the celebratory moments of life while avoiding obvious or excessive sentimentalism. The important work is relatively new to the market, having been held in the artist's estate until recently, making it an extraordinary find. \u003cbr\u003e\u003cbr\u003e Circa 1925 \u003cbr\u003e\u003cbr\u003e Canvas: 38 1\/4” high x 29 1\/4” wide\u003cbr\u003e Frame: 45” high x 35” wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e \u003cem\u003eIllustrating America: Norman Rockwell and His Contemporaries\u003c\/em\u003e, New York, November 2013 - January 2014","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42058168795271,"sku":"31-1368","price":228500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-1368_1.png?v=1733525971"},{"product_id":"an-evening-at-the-circus-in-copenhagen-by-paul-gustav-fischer","title":"An Evening at the Circus in Copenhagen  by Paul Gustav Fischer","description":"Paul Gustav Fischer\u003cbr\u003e 1860-1934 | Danish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAn Evening at the Circus in Copenhagen - I Cirkus Varieté\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, inscribed and dated “Paul Fischer Circus Varieté 1891” (lower left) \u003cbr\u003eOil on canvas \u003cbr\u003e\u003cbr\u003e This lively and highly detailed scene was composed by Paul Gustav Fischer, a leading Danish painter of the Belle Époque era. Inspired by his many travels to Paris between the 1870s and 1890s, Fischer began incorporating elements he saw in the works of the French Impressionists into his own paintings – not just in technique, but in the subject as well. His compositions soon reflected the complexities of modern life in the city, with brilliant depictions of bustling streets, public squares and society at large. The present work, entitled \u003cem\u003eAn Evening at the Circus in Copenhagen - I Cirkus Varieté\u003c\/em\u003e, exemplifies the spirited, cultural subjects of his very finest works. \u003cbr\u003e\u003cbr\u003e The impressive oil captures the interior of the Cirkusbygningen in Copenhagen; completed in 1866, the building was destroyed by a fire in 1914. Fischer's composition, which is dated 1891, is one of the very few existing records of the interior of this historic space. The artist adds a personal touch to the scene, as many subjects are notable friends, colleagues and members of society. Among them are his brother, Niels Fischer, and the artist's wife, Dagny Fischer. His friends Høyrup and Tontoppidan also grace the scene, while the famous French actress Madame Pacra sings \u003cem\u003eMarseillaise\u003c\/em\u003e from the stage. \u003cbr\u003e\u003cbr\u003e Daily life in Copenhagen was an inspiration for Fischer throughout his long and successful career. The son of the artist Phillip Fischer, he began to paint when he was still young, guided by his father. He became a pupil of C. Möller but was formally educated in art for only a short time when he spent two years at the Royal Danish Academy of Art. Rejecting the traditional curriculum of the Academy, he aligned himself with a group of young artists the celebrated a new modern era of Danish art, including Peder Severin Krøyer, Carl Locher, and Laurits Tuxen. His first breakthrough came in 1882 when he created illustrations for the magazine \u003cem\u003eUde og hjemme.\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e It was not long before Fischer gained fame as a painter of cities, not just Copenhagen, but scenes from Scandinavia, Italy, and Germany. He benefited from contemporaries in Norway and Sweden, especially Carl Larsson. Besides Paris, Fischer traveled and worked extensively in Germany and Italy. The artist’s greatest triumph came when Denmark transferred the sovereignty of Norway back to the Norwegians, and he was awarded the royal commission by King Haakon of Norway to paint the event over the more prominent painter Laurits Tuxen. \u003cbr\u003e\u003cbr\u003e Dated 1891 \u003cbr\u003e\u003cbr\u003e Canvas: 31 1\/2” high x 41 1\/4” wide\u003cbr\u003e Frame: 35 1\/2” high x 45 1\/2” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491967611015,"sku":"31-1363","price":265000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-1363_1.png?v=1689410581"},{"product_id":"the-siege-of-tournai-by-pierre-lenfant","title":"The Siege of Tournai by Pierre L'Enfant","description":"Pierre L'Enfant\u003cbr\u003e 1704-1787 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Siege of Tournai\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"LEnfant\" (lower center); titled \"Siege de Tournay\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This monumental oil on canvas by the French painter Pierre L'Enfant captures the historic siege of Tournai (1745) during the War of the Austrian Succession. The artist was renowned for his renderings of this conflict between France and the Habsburg Monarchy, including his famed series of panoramas that highlighted the battles in the Low Countries between 1744 and 1748. These panoramas are now in the collection of the Musée National des Châteaux de Versailles; the present painting closely resembles them in both subject and style. \u003cbr\u003e\u003cbr\u003e In late April of 1745, the French besieged the Belgian municipality of Tournai. Successfully taking Tournai would mean the French gained control of the upper Scheldt basin, one of the most vital waterways for trade in northern Europe. French Marshal Maurice, Count de Saxe, left 22,000 troops to lay siege to the city while taking his main force 5 miles southwest to Fontenoy. The Allied troops (composed of English, Hanoverian, Dutch and Austrian units) were united under William Augustus, Duke of Cumberland, son of King George II of England. While Cumberland sought to relieve Tournai, the French attacked from their superior defensive positions; their subsequent victory led to French control of the Austrian Netherlands by the end of 1745. \u003cbr\u003e\u003cbr\u003e L'Enfant's rendition of the siege is a refreshing take on traditional history painting. Rather than focusing on the more brutal elements of war, L'Enfant presents a look at the everyday reality of troops during a long siege — soldiers play cards, sharing stories and preparing meals. Yet, drama looms in on the horizon, as smoke billows from distant battles and the enemy approaches from the right. With an eye for detail and narrative, L'Enfant captures the calm before the storm. \u003cbr\u003e\u003cbr\u003e Pierre L'Enfant was born in Anet in 1704. He studied under Charles Parrocel, a French painter of battle and hunting scenes. After earning renown for his battles scenes and landscapes, he was elected as an Academician in 1745. Eventually, he was appointed the \"Painter in Ordinary to the King in his Manufacture of the Gobelins.\" Interestingly, his son, Major Pierre Charles L'Enfant, was a French-American military engineer who was responsible for designing the basic plan for Washington, D.C. Today, his works can be found in the Palais du Luxembourg and Versailles. \u003cbr\u003e\u003cbr\u003e Circa 1770 \u003cbr\u003e\u003cbr\u003e Canvas: 98 1\/4\" high x 75 1\/4\" wide\u003cbr\u003e Frame: 105 3\/4\" high x 82 1\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672883691655,"sku":"31-0899","price":168500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0899_1.png?v=1766567566"},{"product_id":"still-life-with-flowers-by-jean-baptiste-monnoyer","title":"Still Life with Flowers by Jean-Baptiste Monnoyer","description":"Jean-Baptiste Monnoyer\u003cbr\u003e 1636-1699 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eStill Life with Flowers on a Carved Stone Ledge\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Impeccable detail and luminous color breathe life into this floral still life by the French artist Jean-Baptiste Monnoyer. Trained in Antwerp, Monnoyer's works follow in the footsteps of a rich tradition of Flemish still life painting that flourished in the 17th century. While \u003cem\u003eStill Life with Flowers on a Carved Stone Ledge\u003c\/em\u003e reflects Monnoyer's Flemish education, it also reveals a distinctly French grandeur and flair, typifying the extravagant style that made the artist so beloved during his lifetime. His still life paintings remain just as coveted today, particularly those of the size, detail and quality of the present composition. \u003cbr\u003e\u003cbr\u003e Monnoyer specialized in floral still life painting throughout his life, achieving a level of skill that made him the preferred flower painter of the French aristocracy, who decorated their châteaux and luxury hotels with his works. Yet, very few of the compositions he created incorporated the level of complexity of the present oil. In addition to its sumptuous vase of flowers, it also features elements of classical architecture, a rarity in his oeuvre. The cool grays and earthly browns of the stone ledge, for instance, provide contrast to the vibrant blooms, while two stone lions look at one another in the background, lending the scene character. Taken as a whole, it incorporates all of the finest qualities of his highly sought-after output; few artists could achieve the veracity and vibrancy that Monnoyer obtains in the work. \u003cbr\u003e\u003cbr\u003e Born in Lille in 1636, Monnoyer studied in Antwerp, where he encountered the great Flemish masters Hieronymus Galle and Davidsz de Heem, to whom he is clearly indebted. Following his training, he moved to Paris by 1650, and his first large commission came in the form of the decoration of the Hôtel Lambert on the Ile Saint-Louis. It was one of the grandest projects of the day, and it cemented Monnoyer's reputation early as a painter of repute in Paris. The work led to numerous other commissions, first on hotels and later on the royal residences of Versailles, Château de Vincennes, Château de Saint-Cloud, Château de Marly and the Palais des Tuileries. \u003cbr\u003e\u003cbr\u003e Monnoyer's skill for still life painting was admired by the English as well as the French, and he visited London on a handful of occasions in order to complete special commissions, including decorations at Burlington House and Kensington Palace. He spent the last two years of his life in England before passing away in 1699. His works were not only well respected during his lifetime, but also in the century that followed. Today, they are well represented in museum collections around the world, including the Musée du Louvre (Paris), the Museo Nacional Thyssen-Bornemisza (Madrid), the Art Institute of Chicago, the National Gallery of Art (Washington, D.C.) and the British Royal Collection. \u003cbr\u003e\u003cbr\u003e Canvas: 53\" high x 37\" wide (134.62 cm x 93.98 cm)\u003cbr\u003e Frame: 61\" high x 43 3\/4\" wide x 2 1\/2\" deep (154.94 cm x 111.13 cm x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, United States\u003cbr\u003e Private Collection, Colorado\u003cbr\u003e M.S. Rau","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43686979240071,"sku":"31-0200","price":148500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0200_1.png?v=1780146944"},{"product_id":"the-artists-subject-by-jehan-georges-vibert","title":"The Artist's Subject by Jehan Georges Vibert","description":"Jehan Georges Vibert \u003cbr\u003e 1840-1902 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Artist's Subject\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “J.G. Vibert. 1875” (lower left)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e The legendary humor of French Academic painter Jehan Georges Vibert is on full display in this charming oil on panel. A master of detail, texture and narrative, Vibert is renowned for his comical genre paintings such as this one, which captures a portrait painter gone rouge. While the likeness of his sitter sits unfinished in the foreground aside his slumbering subject, the artist is glimpsed in the shadowy background making advances towards his client's wife. Beyond the comedy of the narrative, the entire opulent scene is a study in period satins, lace and more — Vibert demonstrates the full range of his painterly talents in the extraordinary work. \u003cbr\u003e\u003cbr\u003e Vibert began his career studying first under his grandfather, Jean-Pierre-Marie Jazet, who was a celebrated engraver. The artist soon realized that his true calling was painting, and enlisted in the studio of Félix-Joseph Barrias before enrolling at the École des Beaux-Arts at the age of 16. He continued his studies there until the outbreak of the Franco-Prussian War in 1870, at which time he joined the military as a member of the “sharpshooters.” Vibert was wounded at Malmaison and was awarded the medal of the \u003cem\u003eLégion d’Honnour \u003c\/em\u003efor his valiant efforts during the conflict.  \u003cbr\u003e\u003cbr\u003e The artist returned to his passion of painting after the war, which he continued until 1899. During his extensive career, he proved to be somewhat of a “renaissance man,” excelling in the fields of oil painting, watercolors, writing and acting. He co-founded and became president of the Sociéte des Aquarellistes Français (Society of French Watercolors), and in 1891, he wrote the book \u003cem\u003eLa Science de la Peinture (The Science of Painting).\u003c\/em\u003e Vibert also found time to write numerous essays for the American publication \u003cem\u003eThe Century Magazine\u003c\/em\u003e, as well as several notable plays. \u003cbr\u003e\u003cbr\u003e He exhibited extensively at the Paris Salon throughout his entire career, earning much praise for his masterpieces that extended far beyond Europe. The popularity of his works spread to the United States, and innumerable famous Americans commissioned works from the artist, including John Jacob Astor and William Vanderbilt. \u003cbr\u003e\u003cbr\u003e Dated 1875 \u003cbr\u003e\u003cbr\u003e Panel: 12 1\/2\" high x 16\" wide\u003cbr\u003e Frame: 19 1\/8\" high x 22 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Sarasota, Florida\u003cbr\u003e M.S. Rau, New Orleans, 2020","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491859148935,"sku":"31-1782","price":28500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-1782_1.png?v=1689410351"},{"product_id":"doctor-in-the-hospital-by-clementine-hunter","title":"Doctor in the Hospital by Clementine Hunter","description":"Clementine Hunter\u003cbr\u003e\n1886\/1887-1988 | American\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eDoctor in the Hospital\u003c\/em\u003e\n\u003cbr\u003e\u003cbr\u003e\nSigned with the monogram “CH” (lower right)\u003cbr\u003e\nOil on panel\n\u003cbr\u003e\u003cbr\u003e\nRenowned Louisiana painter Clementine Hunter is counted among the most recognizable and beloved American folk artists of the 20th century. She enjoyed a remarkable career as an artist painting brightly colored scenes that reflected daily life on the Louisiana plantation where she spent most of her 101 years. Noted for her vibrant palette and expressive style, Hunter's paintings reflect her own unique American experience. In her works, she documented the world around her, from figures picking cotton and washing clothes to major life events such as baptisms and funerals.\n\u003cbr\u003e\u003cbr\u003e\n\u003cem\u003eDoctor in the Hospital\u003c\/em\u003e is a classic example of Hunter's subjects of the rural south. With a color palette dominated by vibrant blues and subdued browns, she captures a quiet hospital ward. The doctor, who appears at the lower left of the work, has just arrived to tend to his patients, some of whom are receiving visitors. The nurse at the center is administering medicine, and is noticeably larger than the male doctor who has just entered. Hunter commonly painter her female figures taller than men - perhaps as her acknowledgement of the importance of a woman's work. The hospital was a subject she returned to often, and many of those scenes are composed in the same multi-level view as is seen in the present work. The unique, flattened perspective is part of her distinctive style, and a classic mark of the folk art tradition.\n\u003cbr\u003e\u003cbr\u003e\nAbove all, Hunter's works are a highly personal reflection of her time and place. During her teenage years, she moved with her family to Melrose Plantation in Cane River Country in northwest Louisiana. It was there she would remain for the rest of her life, working first as a field hand and later becoming a maid and part-time cook in the house. The plantation owner, Cammie Henry, was a great supporter of the local arts community, and in the 1930s she turned a part of the grounds into a thriving artists' colony. It was there that Hunter's creativity was encouraged and thrived. Though she did not begin painting until her 50s, she soon became recognized as a folk art legend of the art world. Today, her works can be seen in museums around the United States, including the Smithsonian Institution (Washington D.C.), the American Folk Art Museum (New York), The Oprah Winfrey Collection (Chicago) and countless others.\n\u003cbr\u003e\u003cbr\u003e\nThis work is accompanied by an original Polariod photograph of the artist holding the painting.\n\u003cbr\u003e\u003cbr\u003e\nPanel: 18\" high x 24\" wide\u003cbr\u003e\nFrame: 21\" high x 27\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491786698887,"sku":"30-8752","price":28500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/30-8752_1.png?v=1689410188"},{"product_id":"his-eminences-monkey-by-francois-brunery","title":"His Eminence's Monkey  by François Brunery","description":"François Brunery\u003cbr\u003e 1849-1926 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eHis Eminence's Monkey\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F. Brunery\" (lower right)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e This highly detailed oil on panel by French artist François Brunery offers a rich and exuberant glimpse into the life of a clergyman. Entitled \u003cem\u003eHis Eminence's Monkey\u003c\/em\u003e, the painting captures a humorous scene of a cardinal's favored pet climbing a chandelier in the midst of a sumptuous dinner party. Executed with wonderful sense of realism, the work exhibits Brunery’s skill for capturing texture, color and detail in each and every brushstroke.  \u003cbr\u003e\u003cbr\u003e François Brunery’s passion for depicting the clergy began by accident for the classically trained painter. Brunery began his studies in Paris, a student under Jean-Léon Gérôme, a pillar of the art establishment whose work has been described as meticulously realistic. To further his studies, Brunery and his wife traveled to Rome where his attentions focused on painting classical and mythological subjects. They soon returned to Paris, as his wife was displeased with her husband’s proximity to nude models in Rome. Upon their return, Brunery accepted a commission to paint a cardinal, which piqued his curiosity about the inner sanctum of the Catholic Church. \u003cbr\u003e\u003cbr\u003e After completing a series of ecclesiastical scenes and a number of portraits, Brunery’s works became more creative and comical. As his career evolved, he developed a partiality for what are know known as Cardinal paintings. The everyday trials and tribulations of the clergy were his subject matter, shedding light on the mysterious and somber shroud that veiled the religious elite from the outside world. Such paintings were remarkably popular among the French during the 19th century. Bruney, along with his contemporaries Georges Croegaert and Jehan Georges Vibert, was among the leading painters of this sought after genre. \u003cem\u003eHis Eminence's Monkey \u003c\/em\u003eis a charming, yet thought-provoking example of the output of this very talented and respected 19th-century artist. \u003cbr\u003e\u003cbr\u003e Circa 1901 \u003cbr\u003e\u003cbr\u003e Panel: 31\" high x 39 1\/2\" wide\u003cbr\u003e Frame: 38 1\/4\" high x 46 1\/4\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris Salon, 1901, as \u003cem\u003eLe Singe de Son Éminence\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Sarasota, Florida\u003cbr\u003e M.S. Rau, New Orleans, 2020","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40491858985095,"sku":"31-1781","price":68500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-1781_1.png?v=1689410353"},{"product_id":"la-femme-aux-fleurs-by-paul-cesar-helleu","title":"La femme aux fleurs by Paul César Helleu","description":"Paul César Helleu\u003cbr\u003e 1859-1927 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa femme aux fleurs (Portrait de Mathilde See)\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eFlower Woman (Portrait of Mathilde See\u003c\/em\u003e)) \u003cbr\u003e\u003cbr\u003e Signed \"Helleu\" (lower left)\u003cbr\u003e Pastel on linen \u003cbr\u003e\u003cbr\u003e Paul César Helleu is regarded among the most sought-after society portraitists of his era, and his Belle Époque works rival those of his contemporaries John Singer Sargent and Giovanni Boldini. He is best remembered for capturing the era's most beautiful socialites, including Consuelo Vanderbilt, the Duchess of Marlborough, the Comtesse de Loriol Chandieu and the Comtesse Mathieu de Noailles, among others. This work, however, stands out in that it captures the charming likeness of one of his art world cohorts, Mathilde See, a Parisian-born decorator and painter of floral still lifes. She is the essence of the modern woman, captured in her fashionable dress as she strolls along the flower-lined streets of Paris. \u003cbr\u003e\u003cbr\u003e Commanding in size, \u003cem\u003ePortrait de Mathilde See\u003c\/em\u003e fully displays Helleu's mastery over the medium of pastel. The muted palette of greys and blues is typical of the artist, bringing a harmony and cohesiveness to the composition. Furthermore, Helleu cleverly alludes to See's own artistic output with a backdrop of vibrant floral blooms, enlivening the canvas and complementing the greens and blues of the peacock feather adorning her hat. \u003cbr\u003e\u003cbr\u003e The portrait is all the more significant thanks to its provenance. It was previously in the collection of A. Alfred Taubman, one of America's most successful entrepreneurs and one-time owner of Sotheby's. Considering Taubman encountered some of the most noteworthy and beautiful works of art ever made through his auction house, the fact that he chose this portrait by Helleu to grace his collection is a testament to its import. \u003cbr\u003e\u003cbr\u003e Born in Brittany in 1859, Helleu moved to Paris in 1876 in order to study at the École des Beaux-Arts. Like so many other artists of his generation, he was trained there under the Academic master Jean-Léon Gérôme. That same year, he also attended the Second Impressionist Exhibition, where he met John Singer Sargent, James McNeill Whistler and Claude Monet, each of whom would have a significant influence on his art. Sargent in particular remained a lifelong friend, and Helleu and his family appear in many of Sargent's portraits in the decades to follow. \u003cbr\u003e\u003cbr\u003e Helleu quickly became a portraitist of renown, capturing many of the great socialites of the age. Later in his career, he also explored the art of the landscape, finding inspiration in the parks of Versailles and the port of Deauville. In 1904, he was awarded the Légion d'honneur and was made an honorary member of important beaux-arts societies. Today, his works can be found in the collections of the National Gallery of Art (Washington, D.C.), the Metropolitan Museum of Art (New York) and the Brooklyn Museum, among others. \u003cbr\u003e\u003cbr\u003e The impact of Helleu's body of work continues to have a profound influence on the realm of high fashion, as demonstrated in the 2022 exhibition \u003cem\u003eChristian Dior: Designer of Dreams\u003c\/em\u003e held at the Brooklyn Museum. This showcase drew connections between Dior's exquisite dresses and his favorite artist and design inspiration: Helleu. This present work will also be included in the forthcoming catalogue raisonné of the artist currently being prepared by the Association des amis de Paul César Helleu as no. PA-1495. \u003cbr\u003e\u003cbr\u003e Circa 1910 \u003cbr\u003e\u003cbr\u003e Linen: 49 1\/4\" high x 35 1\/2\" wide\u003cbr\u003e Frame: 61 3\/8\" high x 48 1\/4\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Detroit Institute of Arts, June 30, 1989 - June 30, 1991 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sotheby's, New York, May 23, 1989, lot 116\u003cbr\u003e Collection of A. Alfred Taubman","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43590158254215,"sku":"31-2851","price":425000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-2851_1.png?v=1765473885"},{"product_id":"a-two-bit-tip-by-john-george-brown","title":"A Two Bit Tip by John George Brown","description":"John George Brown\u003cbr\u003e 1831-1913 | British-American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Two Bit Tip\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Copyright \/ J.G. Brown N.A.\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A cheerful shoeshine boy is the subject of this oil on canvas by John George Brown, one of the most successful genre painters of the late 19th century. The work embodies the artist's popular works capturing the roguish, playful nature of his young subjects, most of whom were among the working class. His paintings of fine-natured, wholesome characters making their way on the streets of urban America were immensely popular in their day, delighting the public and critics alike. This shoeshine boy is a quintessential example of the subjects that made him so successful. \u003cbr\u003e\u003cbr\u003e Born in Durham, England, in 1831, Brown knew early in life that he wanted to be a painter. His parents, however, had other plans, apprenticing him to a glass cutter when he was just 14 years old. Undaunted, Brown studied art at night, and at the age of 22 he immigrated to the United States, hoping to make a better life for himself. He found a job at a glassworks in New York, and, in 1855, just two years after arriving, he married the owner’s daughter. Recognizing the young artist’s undeniable talent, Brown’s father-in-law provided the financial assistance needed for him to pursue painting as a full-time career. \u003cbr\u003e\u003cbr\u003e Brown quickly endeared himself to Americans, becoming the most popular genre painter of his time. While affluent collectors bought his paintings, lithographic reproductions were also available, enhancing both Brown’s popularity and financial success. Brown also served as an influential instructor at the National Academy of Design. Today his work is acclaimed for its poignant realism and its social commentary of a child’s life on the city streets of Victorian America. \u003cbr\u003e\u003cbr\u003e Circa 1885 \u003cbr\u003e\u003cbr\u003e Canvas: 24 1\/4\" high x 16 1\/4\" wide \u003cbr\u003e Frame: 32 7\/8\" high x 25\" wide ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40492106285191,"sku":"31-2872","price":64500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-2872_1_9bd861c5-8ba8-41c4-8ad7-d86ef2896003.png?v=1692001613"},{"product_id":"bateaux-de-peche-audierne-by-henry-moret","title":"Bateaux de pêche, Audierne, by Henry Moret","description":"Henry Moret\u003cbr\u003e 1856-1913 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBateaux de pêche, Audierne\u003cbr\u003e (Fishing Boat, Audierne)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Henry Moret 1906” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Beautifully composed and imbued with vivid color, this oil on canvas is the work of Impressionist Henry Moret. One of the most celebrated painters of the Pont-Aven School, Moret’s lasting reputation is tied to his talent for capturing the bright skies, tranquil waterways and diverse coastline of northern France. With a mastery of \u003cem\u003eplein air\u003c\/em\u003e composition and a deep appreciation for the natural world, the artist paints with such artistry that his subject is transformed into something timeless and eternal. His genius for recreating natural phenomena on canvas is most evident in this work entitled \u003cem\u003eBateaux de pêche, Audierne\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e The oil on canvas depicts fishing boats off the coast of Audierne in North-Western France, capturing the effects of light and weather upon the rough seas. Moret's rich impasto conveys the energy of the water, which is depicted in a profusion of green and blue hues. Fishing boats dramatically punctuate the canvas, rendered in deep crimson and purple hues that stand out against the otherwise cool palette of the painting. Simultaneously naturalistic and emotive, the oil reveals Moret’s intense devotion to and love for the seaside of Brittany. \u003cbr\u003e\u003cbr\u003e As a young man in military service in 1875, Moret discovered the beauty of France’s northern coasts, particularly those of Normandy and Brittany. After his tour ended, he embarked on his artistic career, completing his formal education at the École Nationale des Beaux-Arts under Jean-Paul Laurens and Jean-Leon Gérôme. In 1881, he returned to the north and became greatly influenced by the artist of Pont-Aven, particularly Gauguin. Moret had already begun exploring more abstract theories within his works, but it was his time with Gauguin that opened his eyes to the concept of Symbolism. \u003cbr\u003e\u003cbr\u003e After Gauguin left Pont-Aven in 1891, Moret returned to his Impressionist roots and found a balance between the two methodologies. In \u003cem\u003eLes Aiguilles du Port-Coton à Belle-Île\u003c\/em\u003e, there is a clear Impressionist handling of the brush with more subjective hues. The contrast gives the work a depth and vivacity unique to Moret’s paintings. From the shadows of the jagged rocks to the stillness of the sea, the artist creates a delicate balance within his subject that portrays both the beauty and power of nature. \u003cbr\u003e\u003cbr\u003e This important work will be included in the forthcoming Henry Moret catalogue raisonné currently being prepared by Jean-Yves Rolland.  \u003cbr\u003e\u003cbr\u003e Dated 1906 \u003cbr\u003e\u003cbr\u003e Canvas: 21 1\/2” high x 32” wide\u003cbr\u003e Frame: 28 1\/4\" high x 38 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40492171788423,"sku":"31-3144","price":198500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-3144_1.png?v=1692001739"},{"product_id":"on-the-fjord-by-hans-dahl","title":"On the Fjord by Hans Dahl","description":"Hans Dahl\u003cbr\u003e 1849-1937 | Norwegian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eOn the Fjord\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Hans-Dahl \/ Balestrand \/ Sogn\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Hans Dahl was a keen chronicler of rural Norwegian life in the late 19th and early 20th centuries, capturing the daily lives of people along the country's famed fjords. \u003cem\u003eOn the Fjord\u003c\/em\u003e typifies his mature style, highlighting the relationship between the Norwegian people and the grand natural landscape they inhabited. Here, Dahl captures a group of peasants wearing regional bunads, or folk costumes, as they stroll along the fjord following a day's work. The flowers in the foreground are captured with a vitality and vigor of brushstroke that reveals the early influence of the French Impressionists on the painter. Combined with his masterful use of composition and color, \u003cem\u003eOn the Fjord\u003c\/em\u003e is a fine example of this accomplished artist's discerning gift for evoking the charm and nostalgia of his home. \u003cbr\u003e\u003cbr\u003e Hans Dahl was born in Hardanger, West Norway in 1849. After serving his time in the Swedish Army, he studied art in Carlsruhe and in Düsseldorf under the Norwegian romanticist artist Hans Gude. His first exhibition was in Dusseldorf in 1876, and he lived in Germany for much of his early career. However, by the 1890s he was successful enough to support a second residence, and in 1893 he commissioned the Trondheim-based firm of Jacob Digre to build his summer home in Balestrand. Eventually, he moved to Balestrand full time; he was enamored with the Norwegian landscape, and it filled his canvases, informing his mature style. These works were among the best of his career and highly popular among art patrons of the period, including German emperor Kaiser Wilhelm II. Today, his light-filled paintings are much sought after by collectors worldwide, particularly those of German and Norwegian descent. \u003cbr\u003e\u003cbr\u003e Canvas: 36\" high x 24\" wide\u003cbr\u003e Frame: 43 1\/4\" high x 31 5\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672892047495,"sku":"31-3346","price":54500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3346_1_78e8c9cc-1103-47df-9686-ea6fe1da757e.png?v=1767202903"},{"product_id":"soyez-gentils-avec-les-animaux-by-paul-charles-chocarne-moreau","title":"Soyez gentils avec les animaux by Paul-Charles Chocarne-Moreau","description":"Paul-Charles Chocarne-Moreau\u003cbr\u003e French | 1855-1931 \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSoyez gentils avec les animaux\u003cbr\u003e (Be Kind to Animals)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed Chocarne-Moreau (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A group of altar boys makes a parrot the object of their amusement in this engaging oil on canvas. The work, entitled \u003cem\u003eSoyez bons pour les animaux\u003c\/em\u003e, was composed by the French artist Paul-Charles Chocarne-Moreau, a popular turn-of-the-century genre painter known for his compositions of mischievous young boys. A student of William Bouguereau and Tony Robert-Fleury, Chocarne-Moreau applied the style of the French Academy to his own unique, humorous genre paintings. With his cheerful perception of the children of the working class, Chocarne-Moreau successfully depicted the lighthearted, playful nature of his subjects. \u003cbr\u003e\u003cbr\u003e In this particular work, the playful mischievousness of his subjects takes center stage. The altar boy was a typical subject in the artist's works, and here they are shown mercilessly teasing an irate parrot. Another boy drinks from the communion wine in the background, while another peers around the door, on the lookout for any adults who may ruin their fun. A charming example of Chocarne-Moreau's anecdotal scenes, it is also masterfully executed with the high level of detail that typifies his very best compositions. \u003cbr\u003e\u003cbr\u003e Born in Dijon in 1855, Chocarne-Moreau was a popular and regular exhibitor at the Salon beginning in 1882, receiving an Honorable Mention in 1886 and a Bronze Medal at the Universal Exhibition of 1889. His humorous and anecdotal works have led many to mark him as an important forerunner to the American painter and storyteller Norman Rockwell, and his charming works remain both important and admired today. \u003cbr\u003e\u003cbr\u003e Canvas: 32 1\/8\" high x 39 5\/8\" wide\u003cbr\u003e Frame: 36 5\/8\" high x 44\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40492106449031,"sku":"31-2877","price":59850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-2877_1_33b00c31-e2b8-4beb-9f37-3dff68e2562b.png?v=1692001622"},{"product_id":"mujer-con-flores-by-alfredo-ramos-martinez","title":"Mujer con flores by Alfredo Ramos Martínez","description":"Alfredo Ramos Martínez\u003cbr\u003e 1871-1946 | Mexican \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMujer con flores\u003cbr\u003e (Woman with Flowers)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Ramos Martinez\" (lower left)\u003cbr\u003e Tempera and Conté crayon on paper laid down on cardboard \u003cbr\u003e\u003cbr\u003e One of the founders of Mexican Modernism, Alfredo Ramos Martínez was celebrated for his powerful and thoroughly modern depictions of Mexico’s indigenous people. Nostalgic and accessible, his artwork bears the heavy influence of the ideals of the Mexican Revolution of 1910, after which he shrugs off the influence of his European training to capture a wholly unique modern Mexican idiom. \u003cem\u003eMujer con flores\u003c\/em\u003e is exemplary of perhaps the most coveted subset of his oeuvre — indigenous women depicted with tropical flora. With its heavy lines, earthy palette, flattened planes and textural patterning, it brings together all of the most distinctive elements of Martínez's revolutionary style. \u003cbr\u003e\u003cbr\u003e Throughout his career, Ramos Martínez was celebrated for his representations of Mexico's indigenous people that promoted a romanticized view of Mexican culture. A contemporary of the other greats of Mexican Modernism, Frida Kahlo and Diego Rivera, Martínez developed a similar folkloric \u003cem\u003eindigenismo\u003c\/em\u003e that fully evolved in his later works such as this. Interestingly, it was his relocation to California that cemented this mature style; he moved there in 1930 to seek medical care for his daughter. Perhaps it was a longing for the culture that he left behind that rooted his works so fully in his Mexican identity. Fortunately, his highly modern, youthful indigenous subjects proved remarkably popular to his California clientele, and they frequently appeared in both his easel and mural paintings of this period. In fact, \u003cem\u003eMujer con flores\u003c\/em\u003e only slightly predates his famed murals at Scripps College near Los Angeles, which he painted in 1937 and closely resemble the present work in both subject and style. \u003cbr\u003e\u003cbr\u003e Born in Monterrey in 1871, Alfredo Ramos Martínez began his artistic career at an early age. When he was just fourteen years old, his portrait of the governor of Nuevo León was awarded first prize at an art exhibition in San Antonio. The prize came with a scholarship to the Academia Nacional de Bellas Artes in Mexico City, and thus Ramos Martínez began his studies as an artist. \u003cbr\u003e\u003cbr\u003e From the beginning, he rebelled against the strict Academic structure of his classes and his teachers' adherence to prevailing European aesthetics. Yet, in 1899 Phoebe Apperson Hearst visited the school and was so impressed by Ramos Martínez's talent that she agreed to finance the young painter's studies in Paris. His time spent in Europe, where he fraternized with the likes of Claude Monet, Pablo Picasso, Henri Matisse and Joaquín Sorolla, who would significantly influence the trajectory of his career. \u003cbr\u003e\u003cbr\u003e Using the techniques he had so faithfully studied and practiced during his European years, Ramos Martínez succeeded in creating a new kind of Mexican art, bringing together an awareness of Mexico’s pre-Columbian history and culture with modern aesthetics. His subjects particularly appealed to a Hollywood clientele who became significant patrons of Mexican art, including screenwriter Jo Swerling; the directors Dudley Murphy and Alfred Hitchcock; and actors John Huston, Corinne Griffith, Charles Laughton and Beulah Bondi. Today, his works are highly prized in private collections, achieving significant prices at auction, and they are held in museum collections around the world, including the San Francisco Museum of Modern Art, Santa Barbara Museum of Art, Museo Andres Blaisten, San Diego Museum of Art and the Phoenix Art Museum. \u003cbr\u003e\u003cbr\u003e Louis Stern has confirmed the authenticity of this work. It will be included in the forthcoming catalogue raisonné for Martínez's paintings and frescoes currently being prepared by the Alfredo Ramos Martínez Research Project. \u003cbr\u003e\u003cbr\u003e Circa 1936 \u003cbr\u003e\u003cbr\u003e Cardboard: 30 5\/8\" high x 27 3\/4\" wide\u003cbr\u003e Frame: 34 3\/4\" high x 31 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40500357038215,"sku":"31-3615","price":375000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-3615_1_5273f3cb-9b03-4255-bb0c-28f5087e6a26.png?v=1707556457"},{"product_id":"portrait-of-noble-lady-by-nicolaes-maes","title":"Portrait of Noble Lady by Nicolaes Maes","description":"Nicolaes Maes\u003cbr\u003e 1634-1693 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of a Noble Lady\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"N MAE \/ 1691\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A masterful example of 17th-century Dutch portraiture, this magnificent oil on canvas comes alive with luminous color, dramatic contrast and extraordinary detail. Composed by Nicolaes Maes, an artist widely regarded as the most prominent portrait painter of his era in Amsterdam, \u003cem\u003ePortrait of a Noble Lady\u003c\/em\u003e exemplifies Maes' signature style. As with many of his works, this painting is executed with the same artistry and attention to detail he imparted on his most important private commissions. \u003cbr\u003e\u003cbr\u003e This work by Maes comes from the second half of his career and follows in the rich tradition of the great Flemish Baroque painters Peter Paul Rubens and Anthony van Dyck. Like these artists, Maes excels at not only capturing his subjects with technical perfection but also their inherent elegance and grace. The sitter is draped in luxurious white and red silks and pearls, underscoring the importance and prosperity of his wealthy clientele. She is placed against a dark backdrop, enabling a striking chiaroscuro effect characteristic of the artist’s portraits. \u003cbr\u003e\u003cbr\u003e Maes’s immense talent for detail and composition is clearly evident. In both palette and proportion, it embodies the somewhat austere style preferred by the artist, which emphasized a painstaking study of the costumes, hairstyles and accessories of his subjects. Such elaborate and highly detailed costuming in portraiture was a fashionable way to show one's wealth in the 17th century, particularly among the emerging class of wealthy merchants. Similar works by the painter can be found in the Rijksmuseum (Amsterdam), National Gallery (London), National Gallery of Art (Washington, D.C.), Metropolitan Museum of Art (New York) and Philadelphia Museum of Art, among others. \u003cbr\u003e\u003cbr\u003e Nicolaes Maes was born in Dordrecht in 1634 to a prosperous cloth merchant. Around 1848, he moved to Amsterdam to study under Rembrandt for several years before returning to his native Dordrecht, where he established himself as a painter of genre scenes and portraits. In the 1650s, Maes traveled to Antwerp where he studied the work of Flemish artists such as Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens, after which he dedicated his career almost entirely to portraiture. Also at this time, he abandoned his more Rembrandtesque early style, opting instead for a lighter, cooler palette with shadows of grays and blacks rather than brownish tones, as seen in the present work. For the last two decades of his life, he resided again in Amsterdam, swiftly becoming the premier portrait painter for Dutch high society. \u003cbr\u003e\u003cbr\u003e The painting is registered in the Netherlands Institute for Art History (RKD), The Hague, as an authenticated work by Nicolaes Maes. \u003cbr\u003e\u003cbr\u003e Dated 1691 \u003cbr\u003e\u003cbr\u003e Canvas: 24 5\/8\" high x 19 3\/4\" wide\u003cbr\u003e Frame: 36\" high x 31 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43257092014215,"sku":"31-3622","price":88500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3622_1_d224a75a-79d9-4bb1-8df6-d347838ab49d.png?v=1759410598"},{"product_id":"the-pause-that-refreshes-by-stevan-dohanos","title":"The Pause That Refreshes by Stevan Dohanos","description":"Stevan Dohanos\u003cbr\u003e 1907-1994 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Pause That Refreshes\u003cbr\u003e Medical Times\u003c\/em\u003e cover, March, 1964 \u003cbr\u003e\u003cbr\u003e Signed \"Stevan Dohanos” (lower right)\u003cbr\u003e Oil on canvas laid down on board \u003cbr\u003e\u003cbr\u003e Alongside J.C. Leyendecker and Norman Rockwell, Stevan Dohanos is remembered as one of the most beloved and prolific illustrators for the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e. His gift for capturing the nuanced details of everyday life is reflected in this charming work, entitled \u003cem\u003eThe Pause That Refreshes\u003c\/em\u003e, which depicts a doctor taking a break from his practice to relax, smoke his pipe and catch up on his reading. Featured on the March 1964 cover of the medical professional magazine \u003cem\u003eMedical Times\u003c\/em\u003e, the painting embodies the remarkable photographic realism and nuance of Dohanos' oeuvre. \u003cbr\u003e\u003cbr\u003e Dohanos, more than almost any other illustrator of his age, was extraordinarily adept at capturing the significant incidentals of his scenes. He once said, \"I never begin a painting until I have complete and authentic information for a drawing, particularly because I work so realistically and there is no covering up a bit of ignorance with a careless stroke of the brush.\" His extensive research is evident in almost every minute detail of this charming piece. From the stacks of medical books and periodicals on the desk (on top is an issue of \u003cem\u003eMedical Times\u003c\/em\u003e) to an EKG printout, all of the elements come together to form a comprehensive narrative. \u003cbr\u003e\u003cbr\u003e The son of Hungarian immigrants, Dohanos was born in small-town Ohio in 1907. He became fascinated at a young age with the art of illustration, and as a child he frequently copied many Rockwell pieces that he admired. A dedicated artist, he would soon become one of the greatest illustrators of his age. Dohanos was a founding member of the Famous Artists School in Westport, Connecticut, and gained fame and popularity through the more than 120 \u003cem\u003ePost\u003c\/em\u003e covers he created during the 1940s and 1950s. Today, his work can be found in such acclaimed institutions as the Cleveland Museum of Art and the Whitney Museum, among others, and remain highly collectible. \u003cbr\u003e\u003cbr\u003e Circa 1964 \u003cbr\u003e\u003cbr\u003e Canvas: 20 7\/8 high x 19 3\/5” wide\u003cbr\u003e Frame: 26 7\/8\" high x 25 3\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42058174759047,"sku":"31-4096","price":68500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4096_1.png?v=1736063845"},{"product_id":"traffic-jam-by-earl-mayan","title":"Traffic Jam by Earl Mayan","description":"Earl Mayan\u003cbr\u003e 1916-2009 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTraffic Jam\u003cbr\u003e Saturday Evening Post\u003c\/em\u003e cover, April 28, 1956 \u003cbr\u003e\u003cbr\u003e Signed \"Mayan\" (lower left)\u003cbr\u003e Oil on board \u003cbr\u003e\u003cbr\u003e Featured on the cover of the April 28, 1956 \u003cem\u003eSaturday Evening Post\u003c\/em\u003e, the comical illustration by American illustrator Earl Mayan chronicles a messy traffic jam. The traffic cop that is supposed to be operating the busy intersection’s stoplight is distracted by a group of young ladies nearby. He ignores his post, causing the gridlock and angering the motorists. American automobile culture reached its heyday in the 1950s. Here, the eye-catchingly colorful pile-up of cars echoes America’s growing love affair with this modern convenience, while Mayan’s humorous narrative highlights the inconveniences they sometimes bring. \u003cbr\u003e\u003cbr\u003e With a career that spanned the era of pulp magazines to the post-WWII years, Earl Mayan's oeuvre presents a colorful snapshot of mid-20th century American life. Born in 1916, he learned his trade at the Pratt Institute in Brooklyn, joining the field of pulp illustration after his graduation in 1936. When America joined the Second World War, Mayan enlisted in the Army, serving overseas from 1941-1945. Upon his return, he earned a number of important commissions for the \u003cem\u003eSaturday Evening Post\u003c\/em\u003e, painting ten \u003cem\u003ePost\u003c\/em\u003e covers in all and illustrating many of the stories that appeared inside the magazine. Much like Norman Rockwell and other master American illustrators of his era, Mayan worked from real-life photographs to achieve remarkable detail and realism in his works. Today, a portrait of César Chávez by Mayan hangs in the National Portrait Gallery in Washington, D.C., and his work is prized in important private collections worldwide. \u003cbr\u003e\u003cbr\u003e Circa 1956 \u003cbr\u003e\u003cbr\u003e Canvas: 34 5\/8\" high x 30 1\/8\" wide\u003cbr\u003e Frame: 42 3\/4\" high x 38 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672902303879,"sku":"31-4099","price":348500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4099_1_d9e32ecf-8c57-458f-87a0-a473ee674d74.png?v=1767204750"},{"product_id":"baigneuses-by-louis-joseph-courtat","title":"Baigneuses by Louis-Joseph Courtat","description":"Louis-Joseph Courtat\u003cbr\u003e 1847-1909 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBaigneuses\u003cbr\u003e (Bathers)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “L. Courtat 1885” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e French Academic painter Louis-Joseph Courtat displays his mastery of composition and the female form in this entrancing oil on canvas. Entitled \u003cem\u003eBaigneuses\u003c\/em\u003e, the work was painted for and exhibited at the 1885 Paris Salon, the foremost exhibition of painters in the Western world. Large in size, it captures two nude bathers within a tranquil beach scene. While the artist's skill for landscape painting is on display, it is his command of form, light and color that bring this canvas to life. The artist specialized in paintings that glorified the nude, and his skill is clear in the luminosity of his models' skin and the classical beauty of their form and proportions. \u003cbr\u003e\u003cbr\u003e With their soft, undulating curves and flowing hair, Courtat's models reflect the two key influences on the young painter, that of the great Jean-Auguste-Dominique Ingres as well as his teacher Alexandre Cabanel. Like these two greats who came before him, Courtat similarly follows in the artistic tradition of the female nude that is traceable to classical antiquity and the Italian Renaissance.  \u003cbr\u003e\u003cbr\u003e Born in Paris in 1847, Courtat studied at the famed École des Beaux-Arts under Cabanel. He was one of the Academic master's first students at the school, where he began to teach in 1864. Displaying considerable skill at an early age, Courtat won the Prix de Rome around 1870, and subsequently studied in Rome for a number of years. He returned to Paris in 1873 to make his debut at the Salon, where he was met with immediate success, receiving a third class medal. He received medals again in 1874 and 1875, a remarkable achievement for a painter of his age. In addition to the monumental nudes he composed for the Salon, Courtat was also an accomplished portraitist and genre painter. Today his works are considered among the last great Academic paintings of the 19th century. \u003cbr\u003e\u003cbr\u003e Dated 1885 \u003cbr\u003e\u003cbr\u003e Canvas: 70 1\/2\" high x 90 1\/2\" wide\u003cbr\u003e Frame: 80\" high x 99\" wide ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672866783367,"sku":"31-0197","price":298500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-0197_1.png?v=1767204597"},{"product_id":"overhead-trestle-bass-rocks-massachusetts-by-martha-walter","title":"Overhead Trestle, Bass Rocks, Massachusetts by Martha Walter","description":"Martha Walter\u003cbr\u003e 1875 – 1976 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eOverhead Trestle, Bass Rocks, Massachusetts\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Martha Walter\" (lower center)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Martha Walter is celebrated as one of the great female artists of American art history, and this remarkable and highly expressive oil on canvas represents one of the artist’s favorite subjects: carefree New England shore scenes teeming with beachgoers. Pairing a traditional seascape with thoroughly modern execution, the painting is exemplary of Walter’s distinctive style and an evocative example of American Impressionism. \u003cbr\u003e\u003cbr\u003e Depicting Bass Rocks Beach in Gloucester, Massachusetts, this painting’s daring compositional framing places loosely rendered figures in the background while the sea and a trestle bridge dominate the foreground. This unconventional perspective, as well as a wonderful sense of light and shadow, creates a spontaneous snapshot-like effect — a technique espoused by the French Impressionists. Furthermore, the artist’s loose brushwork and splashes of vivid color lend vitality to the figures at rest and at play along the water’s edge. With its extreme vertical cropping and strong brushwork, this is perhaps one of Walter’s most strongly modern canvases. \u003cbr\u003e\u003cbr\u003e Born in Philadelphia in 1875, Walter quickly established her place as one of the foremost American Impressionist painters of her lifetime. She studied at the Pennsylvania Academy for the Fine Arts under the tutelage of American painter William Merritt Chase, who became one of her greatest supporters. Chase encouraged her to enter a number of art competitions early in her career, and she subsequently won the Tappan prize in 1902, as well as a Cresson traveling scholarship in 1908. She was thus able to travel extensively throughout France, Holland, Italy and Spain, eventually enrolling at both the Academie Julian and the Academie Grand Chaumiere in Paris for brief periods. Rebelling at their traditional approach and classical subjects, Walter left the formal academies and established her own studio in Paris with a small group of female American artists. It was during this period that Walter developed her infatuation for \u003cem\u003eplein air\u003c\/em\u003e painting, which would profoundly influence the course of her career. \u003cbr\u003e\u003cbr\u003e Walter returned to America at the beginning of World War I, and her previously light and airy paintings took on a more vivid and spontaneous feel. She quickly became known for her charming beach scenes of Cape Ann, Atlantic City and Coney Island, and her paintings from this period boast a colorful palette, remarkable atmosphere and masterful use of light and shadow. Gaining increasing popularity for her distinct style, Walter won prizes from the Pennsylvania Academy of the Fine Arts and the National Association of Women Artists. Soon after she became a teacher at Chase's New York School of Art. Today, the artist's works reside in several important permanent collections including the Art Institute of Chicago, the Pennsylvania Academy for the Fine Arts (Philadelphia) and the Woodmere Art Museum (Philadelphia).  \u003cbr\u003e\u003cbr\u003e Circa 1920 \u003cbr\u003e\u003cbr\u003e Canvas: 40 1\/8\" high x 32\" wide\u003cbr\u003e Frame: 50 1\/8\" high x 42 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":40500495843463,"sku":"31-4281","price":198500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/products\/31-4281_1_48cf42f0-f65a-4a44-9165-125fb6c403b9.png?v=1710146687"},{"product_id":"till-death-us-do-part-by-edmund-blair-leighton","title":"Till Death Us Do Part by Edmund Blair Leighton","description":"Edmund Blair Leighton\u003cbr\u003e 1852-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTill Death Us Do Part\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"E. Blair Leighton 1878-9\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This delightful oil on canvas was composed by the great Regency painter Edmund Blair Leighton. Like many of Leighton’s genre scenes, \u003cem\u003eTill Death Us Do Part\u003c\/em\u003e is a humorous portrayal of male-female interaction. Walking down the aisle of their wedding ceremony, a beautiful young woman in period dress links arms with her new husband, a gentleman several years her senior. The artist exhibited this work at the Royal Academy in 1879, and when he first sent it to the Academy, he gave it the incisively sarcastic title “L.S.D.“ standing for the Latin phrase ”librae, solidi, denarii.“ The phrase translates to ”pounds, shillings, pence,“ suggesting the woman is marrying for money rather than affection. \u003cbr\u003e\u003cbr\u003e Elaborately detailed, the canvas is filled with wedding guests who whisper and flash disapproving looks, wearing comical expressions ranging from worry to dazed confusion. The bride casts her eyes downward as the “well-wishers” look on, avoiding the gaze of a young man to her right, implying perhaps that they were once to be married instead. The old groom (humorously painted as a self-portrait of the artist) stares ahead, his face blank, oblivious to their connection. Although no one looks happy on this occasion, Leighton is able to infuse the work with the rich narrative detail and his trademark sense of humor that make his canvases an absolute pleasure to view. \u003cbr\u003e\u003cbr\u003e This painting once belonged in the collection of Malcolm Forbes, one of the most prolific fine and decorative art collectors of the 20th century. All told, his collection filled six residences across three continents and was internationally renowned for its importance and eclectic nature. At one point, Forbes owned more of the famed Fabergé eggs than were in the country of Russia. He had a particular inclination towards Victorian narrative painters, including the great Edmund Leighton. \u003cbr\u003e\u003cbr\u003e Edmund Blair Leighton was the son of Charles Blair Leighton (1823–1855), a portrait and historical painter who showed at the Royal Academy and who died when his son was only three years old. At twelve years of age, he began his studies at the University College School in London, completing his schooling in 1867 at age fifteen. For some time thereafter, he worked for a tea merchant, and after earning a sufficient income to determine his own path in life, Leighton chose to pursue a career as an artist. For six years, he took evening classes in art, both at the South Kensington School of Art and at Heatherley’s School of Art, one of the most venerable private art schools in the United Kingdom. In 1874, Leighton enrolled at the prestigious Royal Academy schools for full-time instruction, and he studied there for another five years, supporting himself financially by producing illustrations for such publications as Cassel \u0026amp; Co. and Harper’s Bazaar. \u003cbr\u003e\u003cbr\u003e Leighton first exhibited at the Royal Academy in 1878, beginning a period of over four decades in which he was represented by over sixty artworks at the Royal Academy’s summer annuals. Like many of Heatherley’s most famous students, who include Edward Burne Jones, Dante Gabriel Rossetti and Sir Frederic Leighton, Leighton was a figure painter first and foremost who specialized in historical scenes. Enjoying medieval subjects, he also frequently painted scenes set in Britain’s Regency era, such as the present canvas. \u003cbr\u003e\u003cbr\u003e Dated 1878-9 \u003cbr\u003e\u003cbr\u003e Canvas: 61\" high x 44\" wide\u003cbr\u003e Frame: 72\" high x 56\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1879, no. 599 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Mr. Bromwick, Rugby\u003cbr\u003e Anonymous sale, Miss Cecil Lucas: Sotheby’s, London, 25 October 1977\u003cbr\u003e Forbes Magazine Collection, acquired from the above\u003cbr\u003e The Forbes Collection, Christie’s, London, 19 February 2003\u003cbr\u003e  Private collection, acquired from the above","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42556880060551,"sku":"31-4276","price":298500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4276_1_61654dc5-dedb-4f6e-b3de-c7ec4b349c92.png?v=1744392452"},{"product_id":"allegory-of-smell-or-the-perfume-painting-by-jan-brueghel-the-younger-and-jan-van-balen","title":"Allegory of Smell, or The Perfume Painting by Jan Brueghel the Younger and Jan van Balen","description":"Jan Brueghel the Younger\u003cbr\u003e 1601-1678 | Flemish \u003cbr\u003e\u003cbr\u003e Jan van Balen\u003cbr\u003e 1611-1654 | Flemish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAllegory of Smell, or The Perfume Painting\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Two of the leading Flemish artists of the 17th century, Jan Brueghel the Younger and Jan van Balen, collaborated in the creation of this remarkable scene entitled \u003cem\u003eAllegory of Smell, or The Perfume Painting\u003c\/em\u003e. Brueghel, the grandson of Pieter Brueghel the Elder, was renowned for his allegorical figures, while van Balen was among the greatest landscape painters in Antwerp of his generation. A melodic balance is struck between van Balen’s vast panoramic view, reminiscent of ancient Greece, and Brueghel’s distinctive figures, both executed with the level of precision for which each artist is famed. \u003cbr\u003e\u003cbr\u003e The pair continued in the painterly tradition established by their fathers, Jan Brueghel the Elder and Hendrick van Balen, who also frequently collaborated. In fact, the elder Brueghel and van Balen created a series of works on the subjects of the senses themselves; these are now in the Museo Nacional del Prado (Madrid). \u003cbr\u003e\u003cbr\u003e The present work follows in this prodigious tradition, ingeniously translating the elusive, non-visual experience of scent into the allegorical realm by painting a perfumer engaged in the act of producing a fragrance. By revealing the use of vials and stills, Brueghel sought to demystify the process of perfuming, showing it was scientific and not based in magic or realms of sorcery as was commonly believed at the time. Conversely, this painting also served to create a visual lexicon for perfume chemistry and a methodology for scientific education. Displaying an incredible level of detail, it provides a meticulous record of the traditional flowers of the region, as well as new species such as tulips, irises and crown imperials that had recently arrived from the East. The dried rhizomes of the blue iris, also known as the Florence Lily, produce an intense and precious essence when distilled that made it particularly precious to perfumers. \u003cbr\u003e\u003cbr\u003e Chloris, the goddess of flowers, is pictured at the center of the scene. Her classical beauty is juxtaposed against the traditional tools of the perfumer’s trade. At her left, Brueghel illustrates the tools and process of steam distillation. Petals or flower extracts are placed into a still with boiling water. The steam transports the essence into the first glass flask, called a condenser, then into a second flask called a separator. Since the essence is less dense than water, it rises to the top of the flask to be easily separated. This traditional method of fragrance extraction is still used to this day. \u003cbr\u003e\u003cbr\u003e In the foreground, the boxes of ointment recall the technique of enfleurage. With cold enfleurage, the petals are placed in drawers filled with cold fat; with hot enfleurage, the petals are plunged into a bath of hot animal fat. Once the flowers have released all their essence, they are discarded, and the fat is washed until the absolute essence has been obtained. \u003cbr\u003e\u003cbr\u003e The last raw material, the civet, or “musk cat,” lying down in the foreground, provides musk, the base and fixative of perfumes. The rosary to its right is probably made from gomme agradante (gum tragacanth) derived from tree sap. A stick of incense is burning. To the side, there are a series of perfume vials including Aqua d’Angelus (angel water), a highly fashionable 17th century perfume, while the gloves evoke the profession of the perfumer. Lemon and orange trees, roses, potted carnations, hollyhocks and saffron lilies complete this garden of visual and scent delights. In the foreground are scented pads and small black objects of irregular size with white dots. These are burning tablets, and the different number of dots helped distinguish the perfume they emit. The very small scent ball on the right is a pomander used to hold perfumes and usually worn around the neck. The stately Château of Mariemont looms in the background, a symbol of Albert VII, Archduke of Austria and Isabella Clara Eugenia, who ruled the region until 1633. Both the rolling landscape and the highly detailed figures reveal the mastery of their respective painters; Brueghel and van Balen have achieved a level of mastery in this work that is worthy of their heritages. \u003cbr\u003e\u003cbr\u003e The Brueghel dynasty of artists were known as the first genre painters, focusing upon the gentry and allegorical scenes as opposed to religious or historical subjects. This was due in large part to events that occurred during the Eighty Years’ War, also known as the Dutch War of Independence (1568–1648), in which the 17 Provinces that comprised the Netherlands revolted against their Habsburg rulers, led by Spain’s King Philip II. Influenced heavily by Lutheranism in Germany and Anglicanism in England, the pull away from the Catholicism mandated by the Spanish allowed more secular subjects to become acceptable, and in turn, incredibly popular amongst wealthy Netherlands patrons. \u003cbr\u003e\u003cbr\u003e Another element that appealed to art patrons of the day was the financial security of investing in their native art. Especially during the turmoil of the War, investing in banks and even land was, at best, speculative and was still primarily controlled by the Church. Art, on the other hand, proved safe and more stable. To commission a large work, such as the \u003cem\u003eAllegory of Smell\u003c\/em\u003e, meant purchasing the best: a masterpiece created by the most coveted and renowned artists of the day, both of whom were descended from artistic families whose name alone commanded tremendous respect. \u003cbr\u003e\u003cbr\u003e This painting was displayed at the European Fine Art Fair (TEFAF) in Maastricht, Holland. A similar work by Jan Brueghel the Younger and Jan van Balen entitled \u003cem\u003eLandscape With Ceres (Allegory of Earth)\u003c\/em\u003e resides at the J. Paul Getty Museum in California, while another collaboration entitled \u003cem\u003eAllegory of Touch\u003c\/em\u003e is in the Calvet Museum of Avignon. Other works by Jan Brueghel the Younger can be found at the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art, and the Norton Simon Museum in California. \u003cbr\u003e\u003cbr\u003e Circa 1640 \u003cbr\u003e\u003cbr\u003e Panel: 20 5\/8\" high x 34\" wide\u003cbr\u003e Frame: 25 3\/4\" high x 40 1\/8\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, France","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":41789936861319,"sku":"31-4554","price":1885000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4554_1_f7196889-bdd4-4c99-8a22-79db20e8e97f.png?v=1730880840"},{"product_id":"judith-by-jean-joseph-benjamin-constant","title":"Judith by Jean-Joseph Benjamin-Constant","description":"Jean-Joseph Benjamin-Constant\u003cbr\u003e 1845-1902 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJudith\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Benjamin-Constant\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e French Orientalist painter Jean-Joseph Benjamin-Constant reveals himself as a master of detail and texture in this skillfully executed oil on canvas. In it, the beautiful and exotically dressed Old Testament heroine Judith dons her sword amid a luxurious Moorish-inspired interior. The artist adeptly captures the intricacies of the scene, including the contrasting patterns of the wallpaper and fabrics, Judith's silky garments and the fur at her feet. The composition alludes to the heroine's most legendary act: the beheading of the conquering general Holofernes. Judith was a favorite subject for Benjamin-Constant. He exhibited a work on the subject at the Paris Salon of 1886, and a similar scene by the artist depicting Judith bearing her sword is currently in the collection of the Metropolitan Museum of Art (New York).  \u003cbr\u003e\u003cbr\u003e Regarded as one of the foremost Orientalist painters of his age, Jean-Joseph Benjamin-Constant studied at the École des Beaux-Arts in Toulouse from 1859 until 1866. Thanks to a scholarship, he was able to move his studies to Paris, and by 1871, he embarked on an extended journey abroad that lasted two years. In particular, his time in Moorish Spain and Morocco would have a lasting impact on his oeuvre. While there, he collected objects and made sketches that would provide the basis for numerous paintings in the years that followed. \u003cbr\u003e\u003cbr\u003e Benjamin-Constant soon established a reputation as a painter of Orientalist scenes and became particularly renowned for his treatment of fabric and flesh. He exhibited and won medals at the Salon throughout his career and painted the portraits of Pope Leo XIII, Queen Alexandra of the United Kingdom, Lord John Lumley-Savile and Henri Blowitz, among others. Today, his works can be found in important collections around the world, including the Metropolitan Museum of Art (New York), the National Portrait Gallery (London) and the Musée d'Orsay (Paris). This painting was previously owned by Horst Reichelbacher, founder of Aveda Cosmetics. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Canvas: 18 3\/8\" high x 10 3\/4\" wide \u003cbr\u003e Frame: 22 7\/8\" high x 15 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The Estate of Horst Rechelbacher, Osceola, Wisconsin","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":43672899584135,"sku":"31-3932","price":44500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-3932_1_60e2ef22-09f4-45cd-b98f-5fbbeaf3cd4c.png?v=1767201683"},{"product_id":"stable-mates-attributed-to-john-frederick-herring-jr","title":"Stable Mates, Attributed to John Frederick Herring, Jr.","description":"John Frederick Herring, Jr.\u003cbr\u003e c. 1820-1907 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eStable Mates\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In this painting attributed to John Frederick Herring, Jr., the idyllic charm of a bucolic farm is rendered with remarkable warmth and skill. Entitled \u003cem\u003eStable Mates\u003c\/em\u003e, Herring Jr. portrays a pair of nuzzling horses and resting birds in extraordinarily realistic detail, the horses’ expressions exuding a palpable tranquility. \u003cbr\u003e\u003cbr\u003e Born the son of famed sporting and equestrian painter John Frederick Herring, Sr., the younger Herring grew up surrounded by fine painting and developed a love of it under his father’s influence. In fact, he developed so quickly as an artist that it is said that his father felt compelled to add “Sr.” to the end of his signature to distinguish his paintings from his son’s. Herring, Jr. focused as his father did on the subject of horses, whether in the farmyard, beside a stream or amid the hunt or a race, and this work is modeled after a painting by Herrick Sr. entitled \u003cem\u003eGood Companions\u003c\/em\u003e, painted in 1847. Herring Jr.’s bold canvases helped solidify his reputation as one of the finest sporting artists of his day. \u003cbr\u003e\u003cbr\u003e Herring, Jr. was widely popular and was often commissioned to paint sporting and hunting subjects for wealthy landowners. While known for his paintings of racehorses, later in his career, he transitioned to painting tranquil scenes of farmyard animals. He frequently exhibited in London from 1860 to 1875, showing his work at the Royal Academy and the British Institution, among others. \u003cbr\u003e\u003cbr\u003e Mid-to-late 19th Century \u003cbr\u003e\u003cbr\u003e Frame: 30 3\/8\" high x 26 1\/4\" wide Canvas: 23 7\/8\" high x 19 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":42556956311687,"sku":"31-4645","price":29850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/31-4645_1_c7aee4a2-ac74-42b1-82b2-8ae867ece1f1.png?v=1744392472"}],"url":"https:\/\/rauantiques.com\/collections\/zero-inventory-products.oembed?page=5","provider":"M.S. Rau","version":"1.0","type":"link"}