{"product_id":"merab-and-michal-by-edwin-longsden-long","title":"Merab and Michal by Edwin Longsden Long","description":"Edwin Longsden Long\u003cbr\u003e 1829–1891 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMerab\u003c\/em\u003e and \u003cem\u003eMichal\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Both signed with monogram (lower left and right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The paintings of Edwin Longsden Long stand among the most celebrated achievements of Victorian historical painting, distinguished by their meticulous detail, archaeological rigor and dramatic narrative force. Exhibited as a pair at the Royal Academy of Arts in 1883, \u003cem\u003eMerab\u003c\/em\u003e and \u003cem\u003eMichal\u003c\/em\u003e were immediately recognized as exceptional works within the artist’s oeuvre. Contemporary critics were unequivocal in their praise, with Lady’s Pictorial declaring the figures “perhaps the finest single figures Mr. Long has painted.” Preserved together for over 140 years, these paintings represent a rare survival of Long’s most ambitious and critically acclaimed masterworks. \u003cbr\u003e\u003cbr\u003e Depicting the daughters of King Saul, the compositions explore contrasting expressions of feminine character. Rather than relying solely on the biblical text, Long drew on the dramatic interpretations in the oratorio \u003cem\u003eSaul\u003c\/em\u003e by George Frideric Handel, enriching each figure with psychological nuance. Merab, the elder daughter, is rendered with commanding presence, her upright stance and proximity to arms and armor underscoring her pride and royal authority. Michal, by contrast, is imbued with quiet introspection, her softened gaze and delicately clasped hands framed by sumptuous textiles. Together, the paintings form a carefully balanced dialogue between strength and tenderness, authority and devotion—an intellectual and aesthetic pairing characteristic of Long’s most sophisticated works. \u003cbr\u003e\u003cbr\u003e When exhibited at the Royal Academy, the paintings were singled out for their beauty and commanding presence. The Globe praised their “great beauty of an Oriental type,” while noting that neighboring works paled in comparison. Their impact was such that they were later exhibited across Britain alongside Long’s monumental biblical canvas \u003cem\u003eAnno Domini,\u003c\/em\u003e further cementing their status within his most important productions. \u003cbr\u003e\u003cbr\u003e Long’s reputation during his lifetime was extraordinary. In 1882, just one year before these works were completed, his \u003cem\u003eBabylonian Marriage Market\u003c\/em\u003e achieved £6,615 at auction—the highest price ever paid for a work by a living artist at that time. Many of his most significant paintings are held in important collections, including the Yale Center for British Art, the National Gallery of Victoria and the Russell-Cotes Art Gallery \u0026amp; Museum. \u003cbr\u003e\u003cbr\u003e Both dated 1883 \u003cbr\u003e\u003cbr\u003e Canvas (each): 47 3\/4\" high x 29 3\/8\" wide (121.3 x 74.6 cm)\u003cbr\u003e Frame (each): 60\" high x 44 1\/4\" wide x 4 1\/4\" deep (152.4 x 112.4 x 10.8 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2447.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Fairless \u0026amp; Beeforth, London\u003cbr\u003e Sir John Holder, Bart., by 1906\u003cbr\u003e Anonymous sale, Sotheby’s, London, 21 March 1990, lot 221\u003cbr\u003e With Zangrilli \u0026amp; Co., London\u003cbr\u003e Private collection, United Kingdom\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e The Echo, 11 April 1883, p. 2\u003cbr\u003e The Times, 5 May 1883, p. 12\u003cbr\u003e The Globe, 5 May 1883, p. 6\u003cbr\u003e Saturday Review, 5 May 1883, p. 566; 26 May 1883, p. 665; 16 February 1884, p. 216\u003cbr\u003e Evening Irish Times, 7 May 1883, p. 6\u003cbr\u003e Punch, 12 May 1883, p. 220\u003cbr\u003e Athenaeum, 12 May 1883, p. 607\u003cbr\u003e Building News, 18 May 1883, p. 656\u003cbr\u003e Lady's Pictorial, 26 May 1883, p. 359; 5 September 1885, p. 210\u003cbr\u003e Art Journal, 1883, p. 202\u003cbr\u003e Academy Notes, 1883, p. 13\u003cbr\u003e Birmingham Daily Gazette, 29 March 1906, p. 6\u003cbr\u003e Austin Chester, “The Art of Edwin Long RA,” Windsor Magazine, February 1908, p. 548\u003cbr\u003e Richard Quick, The Life and Works of Edwin Long, R.A., Bournemouth, 1931, p. 44\u003cbr\u003e Mark Bills, Edwin Longsden Long RA, London, 1998, no. 194 (Merab), pp. 137–138, illustrated; no. 195 (Michal), pp. 138–139, illustrated \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e London, Royal Academy, 1883, no. 91 (Merab) and no. 97 (Michal)\u003cbr\u003e Fairless and Beeforth, 168 Bond Street, London, 1884–85\u003cbr\u003e Toured with Anno Domini, 1889: T. Cranfield Galleries, Dublin (April–May); Rodman’s Gallery, Belfast (June); Frost and Reed, Bristol (September–October)\u003cbr\u003e Birmingham Art Gallery, Royal Society of Artists, 1906","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":44540348661895,"sku":"32-2447","price":498500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0083\/2471\/0466\/files\/32-2447_1_09d87d93-0a47-46f4-80e3-0de25f3c73d7.png?v=1777555295","url":"https:\/\/rauantiques.com\/products\/merab-and-michal-by-edwin-longsden-long","provider":"M.S. Rau","version":"1.0","type":"link"}