{"title":"Luxury Paintings","description":"\u003cp\u003e\u003cstrong\u003eLuxury Paintings\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"le-chapeau-aux-cerises-by-pierre-auguste-renoir","title":"Le chapeau aux cerises by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe chapeau aux cerises\u003cbr\u003e (The Cherry Hat)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Renoir” (upper left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This intimate portrait by the Impressionist Pierre-Auguste Renoir captures the visage of the woman who would become his wife, Aline Charigot. Renoir met the young dressmaker when she began to model for him in 1880, and the couple married ten years later. She appears in several of his most important works, most notably his 1881 \u003cem\u003eThe Luncheon of the Boating Party\u003c\/em\u003e (The Phillips Collection). Renoir continued to paint intimate and tender depictions of her throughout his career until her death in 1915; \u003cem\u003eLe chapeau aux cerises\u003c\/em\u003e is a particularly masterful example of these loving portraits. \u003cbr\u003e\u003cbr\u003e Besides attesting to the affection of this couple, this work reflects an artist who was at the height of his powers, working in the mature Impressionist style for which he is most famous. His skill is abundantly clear in the portrait, with its richly blended brushwork and luxuriant rendering of skin, fruit and fabric. When compared to the more vigorous brushwork of his earlier works, \u003cem\u003eLe chapeau aux cerises\u003c\/em\u003e displays a languor and confidence that was a hallmark of Renoir’s style for the latter half of his career. \u003cbr\u003e\u003cbr\u003e The work also reveals his genius for complementary colors with its bold turquoises and subtle greens paired with the pop of cherry red in Aline's hat. Characteristic of Renoir's Impressionist style, the loose, fluid brushwork of the background emphasizes the two-dimensional surface of the canvas. The flat color is reflective of Renoir's interest in Japanese prints, while the style is distinctly Impressionist. \u003cbr\u003e\u003cbr\u003e Further setting apart the work is that it was once part of one of the most extraordinary fine art collections of the modern era, that of Cayetana Fitz-James Stuart, the 18th Duchess of Alba. The Renoir hung in her Madrid palace, the Palacio de Liria, amid one of Europe’s most breathtaking private art collections until her death in 2014. To find a Renoir depicting such a personal subject, so masterfully composed and hailing from one of the most important collections in the world, is a truly rare opportunity. \u003cbr\u003e\u003cbr\u003e Born in Limoges, France, in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also the time during which he met Claude Monet and several other classmates, with whom he would later form the Impressionists. \u003cbr\u003e\u003cbr\u003e Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir, recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused upon composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with an acute attention to his subject, have placed him among the finest painters in history. \u003cbr\u003e\u003cbr\u003e This work has been authenticated by the Wildenstein Institute, Paris (catalogue number 12490). \u003cbr\u003e\u003cbr\u003e Circa 1884 \u003cbr\u003e\u003cbr\u003e Canvas: 21 3\/4\" high x 17 1\/2\" wide (55.25 x 44.45 cm)\u003cbr\u003e Frame: 31\" high x 26 3\/4\" wide x 3 1\/2\" deep (78.74 x 67.95 x 8.89 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1783.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Ambroise Vollard, Paris\u003cbr\u003e Marcel Kapferer, Paris\u003cbr\u003e Thos. Agnew \u0026amp; Sons, London, 1939\u003cbr\u003e Wildenstein Galleries, New York, 1943\u003cbr\u003e Mrs Charles B.G. Murphy, Maine, USA\u003cbr\u003e Mrs Charles Dewey Jr., New York\u003cbr\u003e Marlborough Fine Art, London, 1972\u003cbr\u003e Cayetana Fitz-James Stuart, 18th Duchess of Alba, Madrid, Spain\u003cbr\u003e Private collection, Ohio\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, Nebraska\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e The Illustrated London News, 1939, vol.105, plate 111 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e \u003cem\u003eRenoir\u003c\/em\u003e, Wildenstein Galleries, New York, 1943, no.95\u003cbr\u003e \u003cem\u003eFrench Portraits of the 19th Century\u003c\/em\u003e, Wildenstein Galleries, New York, 1948, no.15\u003cbr\u003e Summer Exhibition, Marlborough Fine Art, London, 1972, no.76, illustrated\u003cbr\u003e \u003cem\u003eArt from the Collection of the House of Alba\u003c\/em\u003e, Fundación Caja de Pensiones, Madrid, 1987\u003cbr\u003e \u003cem\u003eTreasures from the House of Alba: 500 Years of Art and Collecting\u003c\/em\u003e, Meadows Museum, Dallas, 2016, no. 128, p. 333","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803560313154,"sku":null,"price":9850000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1783_1.png?v=1768102564"},{"product_id":"le-carnaval-du-sage-by-rene-magritte","title":"Le carnaval du sage by René Magritte","description":"René Magritte\u003cbr\u003e 1898-1967 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe carnaval du sage\u003cbr\u003e (The Sage’s Carnival)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Magritte” (lower right); titled and dated \"Le carnaval du sage 1947\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The enigmatic paintings of René Magritte have become some of the most familiar and celebrated of the Surrealist movement. Among the most influential of the Surrealist painters of the 20th century, Magritte is an artist of international renown, as beloved for his popular appeal as he is for the psychological intensity of his works. The present oil on canvas, entitled \u003cem\u003eLe carnaval du sage\u003c\/em\u003e, was executed in 1947 at the height of his career, and it is a tour-de-force example of the haunting, mysterious scenes that comprise his oeuvre.  \u003cbr\u003e\u003cbr\u003e Painted in the years following the Second World War, \u003cem\u003eLe carnaval du sage\u003c\/em\u003e showcases several recurring themes from Magritte’s oeuvre. Chiefly, a juxtaposition between the visible and the hidden is keenly felt. Throughout his career, Magritte explores the psychological obsession with revealing what is hidden, particularly with regard to the human face. In his \u003cem\u003eLe fils de l’homme\u003c\/em\u003e, he obscures the face of a man in a bowler hat with an apple, while his \u003cem\u003eLes amants\u003c\/em\u003e (Metropolitan Museum of Art) conceals the faces of two lovers with white sheets. In \u003cem\u003eLe carnaval du sage\u003c\/em\u003e, Magritte juxtaposes the blatant nudity of his central figure by masking her face, simultaneously revealing and concealing her from the viewer. \u003cbr\u003e\u003cbr\u003e The work also incorporates two of Magritte’s most common tropes – the glass of water and the baguette. Lending the scene a strange sense of domesticity, they appear infinitely familiar and distinctly out of place, and thus heighten the uncanny effect of Magritte’s composition. In the background hovers a ghost obscured by a sheet, a figure which was of particular fascination to Magritte beginning in 1946. He once wrote to his fellow Surrealist Paul Nougé: \"I saw in a dream an answer to the problem of the ghost: the traditional ghost draped in a sheet in a framed picture on the wall of a room.” The eerie echo of the woman in the foreground, the ghost is a fascinating and enigmatic addition to the unsettling scene. \u003cbr\u003e\u003cbr\u003e Though firmly within the realm of Surrealism, \u003cem\u003eLe carnaval du sage\u003c\/em\u003e also represents the artist’s brief adoption of a colorful, more painterly style. The subtle, yet sunny colors of the background of the work reveals the influence of the Impressionist style on Magritte, particularly that of Pierre-Auguste Renoir. The figure herself is particularly Renoir-esque, evoking the burnished skin and exaggerated warmth of Renoir’s late colossal nudes. \u003cbr\u003e\u003cbr\u003e As a whole, \u003cem\u003eLe carnaval du sage\u003c\/em\u003e is an undeniable masterpiece of Magritte’s postwar output. The work exemplifies the principle tenets of the Surrealist movement, presenting ordinary objects in extraordinary situations. Thus, Magritte successfully creates a work that is both infinitely fascinating and jarring in its psychological dissonance. It is also stunningly beautiful, with its brilliant color palette and statuesque nude figure. Similar nudes can be found in the Metropolitan Museum of Art (New York) and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e In the same private collection for over 70 years, the work is fresh to the market, which has recently seen a revival of interest in the artist. A new record for a work by Magritte was achieved in November 2018 when his \u003cem\u003eLe principe du plaisir\u003c\/em\u003e brought $26,830,500 at Sotheby’s. Just one day later, his gouache \u003cem\u003eL’Incendie\u003c\/em\u003e achieved a remarkable $4,335,000; nearly half the size of the present piece, it is a far less impressive work and not nearly as striking. \u003cem\u003eLe carnaval du sage\u003c\/em\u003e represents a rare opportunity for the collector of 20th-century art to own a masterwork by one of the age’s most important names. \u003cbr\u003e\u003cbr\u003e The work comes complete with original letters sent by Magritte to the owners discussing the work. \u003cbr\u003e\u003cbr\u003e Dated 1947 \u003cbr\u003e\u003cbr\u003e Canvas: 24 3\/4\" high x 19\" wide (62.87 x 48.10 cm)\u003cbr\u003e Frame: 33 1\/2\" high x 27 1\/2\" wide, (85.09 x 69.85 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_30-8762.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e \u003cem\u003eExposition Magritte\u003c\/em\u003e, Brussels, Galerie Lou Cosyn, 31 May – 21 June 1947\u003cbr\u003e \u003cem\u003eArtistes wallons contemporains\u003c\/em\u003e, Luxembourg, Musée de l’état du Luxembourg, 12 November – 4 December 1949\u003cbr\u003e \u003cem\u003eQuelques artistes wallons contemporains\u003c\/em\u003e, Paris, Musée d’art moderne de la ville de Paris, 11 January – 12 February 1950\u003cbr\u003e São Paulo Biennial of Modern Art, 20 October – 23 December 1951, no. 22\u003cbr\u003e \u003cem\u003eExposition sur Magritte\u003c\/em\u003e organisée par l’Institut Provincial de l’Education et des Loisir, La Louvière, province of Hainaut, 21 March – 1 April 1954, no. 13\u003cbr\u003e Magritte, Brussels, Palais des Beaux-Arts de Bruxelles, 7 May – 1 June 1954, no. 73\u003cbr\u003e Magritte, Brussels, Musée d’Ixelles, 19 April – 16 May 1959, no. 66\u003cbr\u003e Exposition Magritte, Liège, Musée des Beaux-Arts de Liège, 14 October – 10 November 1960\u003cbr\u003e Brussels, Galerie Isy Brachot, Rétrospective René Magritte, January – February 1968, no. 81\u003cbr\u003e Magritte, Lausanne, Esquisse du tableau reprise dans l’exposition de la Fondation de l’Ermitage, 19 June – 18 October 1987\u003cbr\u003e René Magritte, 1898-1967, Brussels, Musées Royaux des Beaux-Arts de Belgique, 6 March – 28 June 1998, no. 143 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Letter from Magritte to Mariën, [30 August 1946], in \u003cem\u003eMagritte Destination\u003c\/em\u003e, no. 192\u003cbr\u003e \u003cem\u003eArtistes wallons contemporains\u003c\/em\u003e, Brussels, Ministère de l’instruction Publique de Belgique, 1949, by J. Bosmant, no. 91 (illustrated)\u003cbr\u003e \u003cem\u003eQuelques artistes wallons contemporains\u003c\/em\u003e, Brussels, Ministère de l’Instruction public, 1950, by J. Bosmant, no. 84\u003cbr\u003e \u003cem\u003eRené Magritte\u003c\/em\u003e, Brussels, Editions de la Connaissance, 1954, by R. Magritte, p. 35, no. 73\u003cbr\u003e \u003cem\u003eL’oeuvre de René Magritte\u003c\/em\u003e, Brussels, Ed. de la Connaissance, by R. Magritte, 1962\u003cbr\u003e \u003cem\u003eRené Magritte\u003c\/em\u003e, Brussels, Musée d’Ixelles, 1965, by R. Magritte and L. Scutenaire, back page\u003cbr\u003e \u003cem\u003eLes Larmes d’Eros\u003c\/em\u003e, Paris, 1961, by G. Bataille, p. 216 (illustrated)\u003cbr\u003e \u003cem\u003eRené Magritte: 1898-1967\u003c\/em\u003e ,Ghent: Ludion, Paris: Flammarion, 1998, by G. Ollinger-Zinque and G. Leen, p. 150 (illustrated)\u003cbr\u003e \u003cem\u003eRené Magritte: catalogue raisonné\u003c\/em\u003e, Vol. II, Houston: Menil Foundation, Antwerp: Fonds Mercator, Paris: Flammarion, 1993, by D. Sylvester and S. Whitfield, p. 376, no. 615 (illustrated)\u003cbr\u003e Provenance:\u003cbr\u003e Robert de Keyn, Belgium, acquired from the artist in 1947\u003cbr\u003e Private collection, Netherlands\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803560476994,"sku":null,"price":9850000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/30-8762_1_b9b4d410-c5e1-44e3-807c-293b701c9483.png?v=1768102570"},{"product_id":"buste-dhomme-barbu-by-pablo-picasso","title":"Buste d'homme barbu by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBuste d'homme barbu\u003cbr\u003e (Bust of a Bearded Man)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Picasso\" (upper right) and dated \"8.4.65\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Pablo Picasso and his work transcend art history: they have achieved global celebrity within both academic circles and popular culture. More than any other artist, his ever-evolving, evocative style has come to define modern art of the 20th century, and to this day he continues to gain recognition. The most compelling of his works offer a glimpse into the psyche of the master himself, and the present work can be counted among these. Combining saturated color with a jarring simplicity, \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e represents an important series of bearded men portraits that the artist composed during the last few years of his life. These works are among the most highly personal and intimate of his career, and they serve as remarkable examples of his mature style with their highly modern expressivity. \u003cbr\u003e\u003cbr\u003e Many of Picasso's works from his last years capture the visage of his wife Jacqueline, who was his chief model during this period. In April, however, at his home studio in Mougins, France, Picasso changed direction and produced a series of individual portraits of men. His male subjects derive from various sources. Often they were self-referential portraits; often they referenced his father, Spanish painter José Ruiz y Blasco. Picasso once said, \"Every time I draw a man, I find myself thinking of my father… To me a man means 'Don José,' and it will always be so, all my life… He wore a beard… All the men I draw I see more or less with his features.\" \u003cbr\u003e\u003cbr\u003e While his father’s dark mustache and beard are clearly distinguished in \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e, Picasso's portraits of men from the mid-1960s served more as composite, archetypal figures representing vitality and virility. Although he would live eight more years after this work was created in April of 1965, at the age of 84, Picasso was preoccupied with thoughts of aging and mortality. He was suffering from an ulcer that would require surgery later that year. He seemed to combat these thoughts with a burst of youthful, creative energy, and the mid-1960s witnessed an outpouring of productivity from Picasso, with his subjects such as this displaying that same vitality. \u003cbr\u003e\u003cbr\u003e Highly modern and expressionistic, this painting explores an extreme simplification of form, breaking the figure down to its basic essentials. Remarkably, though, Picasso still managed to capture the most expressive features of his subjects in just a few choice brushstrokes. His male portraits from this period employ a particular set of facial traits delineated with decisive swoops of color to suggest a nose or a cheekbone, built up upon fields of white paint. Composed with a highly simplified palette and sparsity of line, \u003cem\u003eBuste d'homme barbu\u003c\/em\u003e successfully evokes a striking sense of vigor. This character is also endowed with a powerful, hypnotic gaze, the \u003cem\u003emirada fuerte\u003c\/em\u003e, that Picasso included in many of his portraits. These wide eyes allude both to ancient portraiture and to the artist himself, who was known personally for his strong gaze, an indication that he has projected himself onto the figure. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid, before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Critics have often divided Picasso’s artistic output into distinct phases based on his color scheme and style of painting. It was around 1907 that Picasso became very influenced by African masks and art which began making their way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eLes Demoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e Other examples of late portraits by Picasso reside in important museums worldwide such as \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000Mo3f\/jVBn9SGCMXVjXy5w4.gcIZC_0GDfu0JaMQsXBa1X2Yc\" target=\"_blank\"\u003e the Metropolitan Museum of Art, the Museé Picasso in Paris and the Museu Picasso in Barcelona.\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Dated 1965 \u003cbr\u003e\u003cbr\u003e Canvas: 31 1\/2\" high x 25 1\/2\" wide (83.82 x 68.90 cm)\u003cbr\u003e Frame: 33\" high x 27 1\/8\" wide (80.01 x 64.77 cm)  \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5479.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Louise Leiris, Paris\u003cbr\u003e Private collection\u003cbr\u003e Christie’s New York, November 14, 1990, Impressionist and modern paintings, and sculpture (part 1), lot 47\u003cbr\u003e Private collection\u003cbr\u003e Christie’s New York, May 13, 1998, 20th Century Art, lot 238\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003ePablo Picasso\u003c\/em\u003e, Volume 25, 1971, by C. Zervos, p. 57, no. 101 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803560575298,"sku":null,"price":7950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-5479_1_4f3d5b91-cc70-41e9-a515-15fa21fd916d.png?v=1768102575"},{"product_id":"falaises-temps-gris-by-claude-monet","title":"Falaises, temps gris by Claude Monet","description":"Claude Monet\u003cbr\u003e 1840–1926 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFalaises, temps gris\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Claude Monet” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Painted along the dramatic Normandy coastline, \u003cem\u003eFalaises, temps gris (Cliffs, Stormy Weather)\u003c\/em\u003e captures Claude Monet at a moment of creative daring and technical brilliance. Executed circa 1882, the work embodies the artist’s mastery of atmosphere and motion, as shifting light and sea spray dissolve the boundary between sky and shore. Monumental in conception yet intimate in tone, the painting reflects Monet’s relentless pursuit of the ever-changing effects of nature—a hallmark that would define the Impressionist revolution. \u003cbr\u003e\u003cbr\u003e This seascape was painted during Monet’s extended stay at Pourville-sur-Mer near Dieppe, a period he described as intoxicating in its beauty and energy. Facing the blustery Channel coast, Monet positioned himself perilously close to the surf, painting en plein air amid the wind and salt air. In \u003cem\u003eFalaises, temps gris\u003c\/em\u003e, the composition balances the solidity of the ochre and violet cliffs with the rhythmic movement of the turquoise and jade waves. The color harmonies shift subtly across the surface, dissolving forms into pure sensation and evoking both the strength and transience of the sea. \u003cbr\u003e\u003cbr\u003e Monet’s Normandy period was crucial to his artistic development. Having grown up near Le Havre, he returned to these northern shores throughout the 1880s to explore the relationship between weather, light and reflection. Works from this series—including \u003cem\u003eFalaises à Pourville\u003c\/em\u003e and \u003cem\u003eMarine, Pourville\u003c\/em\u003e—reveal the artist’s increasing focus on serial observation, anticipating his later explorations of Rouen Cathedral and the water lilies of Giverny. The period’s importance has been affirmed by scholars and institutions alike, including the 2024–25 exhibition Monet on the Normandy Coast, organized by the Musée d’Orsay and the Städel Museum. \u003cbr\u003e\u003cbr\u003e Acquired directly from Monet by his dealer Paul Durand-Ruel, \u003cem\u003eFalaises, temps gris\u003c\/em\u003e later entered several distinguished American collections and was exhibited in some of the earliest U.S. Impressionist exhibitions. Its enduring provenance and inclusion in major scholarly catalogues by Daniel Wildenstein attest to its rarity and significance within Monet’s oeuvre. \u003cbr\u003e\u003cbr\u003e Dated 1882 \u003cbr\u003e\u003cbr\u003e Canvas: 20 5\/8\" high x 27 7\/8\" wide (52.39 x 70.80 cm)\u003cbr\u003e Frame: 30 1\/4\" high x 37 3\/8\" wide x 3 1\/2\" deep (76.84 x 94.93 x 8.89 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1374.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Paul Durand-Ruel, Paris and New York, acquired c. 1888\u003cbr\u003e Alden W. Kingman, New York, acquired c. 1891\u003cbr\u003e Paul Durand-Ruel, New York, acquired in 1896\u003cbr\u003e Cyrus J. Lawrence, New York, acquired in 1898\u003cbr\u003e Sale of the above; The American Art Association, 21–22 Jan. 1910, lot 72\u003cbr\u003e Paul Durand-Ruel, acquired at the above sale\u003cbr\u003e Mrs. Albert L. Webster, New York, acquired from the above in 1910\u003cbr\u003e Sale of the above; The American Art Association, 28–29 Jan. 1926, lot 175\u003cbr\u003e Paul Durand-Ruel, acquired at the above sale\u003cbr\u003e Sale of the above; Galerie Charpentier, Paris, 7–8 Dec. 1954, lot 37\u003cbr\u003e Philippe Tiranty, Nice, acquired at the above sale\u003cbr\u003e Private Collection, Switzerland, by 1971\u003cbr\u003e Private Collection, London\u003cbr\u003e Private Collection, Hong Kong\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e New York, Union League Club, Monet, 12–15 Feb. 1891, no. 49 (loaned by A.W. Kingman, as The Cove)\u003cbr\u003e New York, The Lotos Club, Monet, Jan. 1899, no. 12 (loaned by Cyrus J. Lawrence, as Falaises à Dieppe)\u003cbr\u003e Lausanne, Fondation Pierre Gianadda, Monet, 17 June–20 Nov. 2011, no. 25, pp. 82–83 (dated c. 1882–86, illustrated) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Daniel Wildenstein, Monet: Biographie et catalogue raisonné, vol. II, Paris, 1979, no. 720, pp. 64–65 (illustrated)\u003cbr\u003e Daniel Wildenstein, Monet: Catalogue raisonné, vol. II, Cologne, 1996, no. 720, pp. 264, 268–269 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803560640834,"sku":null,"price":6985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1374_1_d6302c56-5cb6-4f3f-9e65-5a5dbdb84e56.png?v=1768102581"},{"product_id":"un-beau-matin-dete-by-henri-matisse","title":"Un beau matin d'été by Henri Matisse","description":"Henri Matisse\u003cbr\u003e 1869-1954 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eUn beau matin d'été\u003cbr\u003e (A beautiful summer morning)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Henri Matisse\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptionally vibrant oil is among the most coveted Matisse masterworks. Finding any painting by this giant of modern art is difficult, but one from the pivotal year of 1905—the origin of the Fauves—is an incredible rarity. \u003cem\u003eUn beau matin d'été\u003c\/em\u003e was not only painted in this critical year, but it also captures the birthplace of this groundbreaking movement. \u003cbr\u003e\u003cbr\u003e In the summer of 1905, Matisse and his friend André Derain spent a few weeks painting and drawing along the enchanting blue waters of the French Riviera. Their time in the quaint fishing village of Collioure would go on to be one of the most important moments in art history. It was here that Matisse pushed his color palette and energetic brushwork to daring new heights, which founded an entire movement. In \u003cem\u003eUn beau matin d'été\u003c\/em\u003e, painted during this fateful summer in Collioure, the surface pulses with electric hues, and Matisse's confident strokes bring the vivid street scene swirling to life. \u003cbr\u003e\u003cbr\u003e When Matisse exhibited the works he created in Collioure a few months later at the Salon d'Automne, one critic, Louis Vauxcelles, famously referred to the works as \"les fauves,\" which translates to \"wild beasts.\" Matisse and his circle took up this name as a badge of honor, and the Fauves became the first modern art movement of the 20th century. \u003cbr\u003e\u003cbr\u003e Matisse created just fifteen canvases during this pivotal stay in Collioure, making \u003cem\u003eUn beau matin d'été\u003c\/em\u003e one of the rarest treasures in his vast oeuvre. Almost all of these important works are in prestigious institutions worldwide, including the Museum of Modern Art, the Metropolitan Museum of Art and the San Francisco Museum of Modern Art. Importantly, this work has also been requested for an upcoming major exhibition at the San Francisco Museum of Modern Art in 2026. \u003cbr\u003e\u003cbr\u003e Matisse was renowned throughout his career for his versatility as an artist, and his revolutionary works in painting, drawing, sculpture, graphic arts, paper cutouts and book illustration changed the course of modern art. As the leading force of the Fauves, his bold colors and simplified shapes radically challenged tradition and influenced generations of artists to come. \u003cbr\u003e\u003cbr\u003e Painted 1905 \u003cbr\u003e\u003cbr\u003e Canvas: 15 1\/4\" high x 12 1\/4\" wide (38.74 x 31.12 cm)\u003cbr\u003e Frame: 28 1\/4\" high x 25 1\/4\" wide x 4 1\/4\" deep (71.76 x 64.14 x 10.80 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2148.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Druet, Paris (1908)\u003cbr\u003e Professor Braune, Breslauer (acquired from the above in 1908)\u003cbr\u003e Galerie Thannhauser, Luzern (16 December 1926)\u003cbr\u003e Galerie Matthiesen, Berlin (1927)\u003cbr\u003e Charles H. Worcester (1928)\u003cbr\u003e Helen W. Bradley (donated from the above)\u003cbr\u003e Kenneth Ingels, California (by descent from the above)\u003cbr\u003e Private collection, Europe (acquired in 2006)\u003cbr\u003e Private collection, Paris (acquired in 2013)\u003cbr\u003e M.S. Rau, New Orleans  \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Ceret, Musée d’art moderne; Le Cateau-Cambresis, Musée Matisse, \u003cem\u003eMatisse-Derain: Collioure 1905, un été fauve\u003c\/em\u003e, 2005-06, p. 81, no. 8 (illustrated)\u003cbr\u003e This work has been requested for a major Matisse exhibition at the San Francisco Museum of Modern Art in 2026","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803560706370,"sku":null,"price":5500000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-2148_1.png?v=1768102585"},{"product_id":"girl-with-a-banjo-by-mary-cassatt","title":"Girl with a Banjo by Mary Cassatt","description":"Mary Cassatt\u003cbr\u003e 1844–1926 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGirl with a Banjo\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed (lower right)\u003cbr\u003e Pastel on paper mounted on canvas \u003cbr\u003e\u003cbr\u003e This important pastel entitled \u003cem\u003eGirl with a Banjo\u003c\/em\u003e by Mary Cassatt is a true masterwork from one of the most significant figures in the Impressionist movement. In the late 19th century, American artists in France faced marginalization, with women encountering even greater obstacles. Yet Cassatt overcame these challenges, not through talent alone, but with extraordinary vision and unwavering perseverance. Created at the peak of her career, this exquisite composition coincided with her monumental mural commission for the 1893 World’s Columbian Exposition, underscoring her pivotal role in both American and European art history. \u003cbr\u003e\u003cbr\u003e Encouraged by her close friend and mentor Edgar Degas, Cassatt began experimenting with the medium of pastel in the early 1880s. Her mastery of the medium became one of the defining elements of her artistic legacy. \u003cem\u003eGirl with a Banjo\u003c\/em\u003e exemplifies her technical virtuosity in pastel, with its vibrant, explosive use of color and dynamic brushwork, enhancing the delicate rendering of the young musician’s pale skin and soft hair. The composition is alive with texture and movement, bringing the figure to life with remarkable immediacy. \u003cbr\u003e\u003cbr\u003e By the early 1890s, Mary Cassatt had firmly established herself as the foremost American female artist, reshaping the role of women in art and society alongside fellow Impressionist Berthe Morisot. While earlier female artists often followed the stylistic conventions of their male peers, Cassatt and Morisot distinguished themselves by focusing on the lives of women, depicting them as active participants in their domestic and personal spheres. In 1891, Cassatt was commissioned to create a large mural for the Woman’s Building at the 1893 Chicago World’s Fair. Her monumental work, Modern Woman, spanned 54 feet by 14 feet and explored the expanding roles of women in modern society. A central figure in the mural depicted a woman playing the banjo—an instrument associated with African American culture and considered unconventional for women—highlighting Cassatt’s bold statement on women’s growing autonomy and their evolving place in the world. \u003cbr\u003e\u003cbr\u003e During this period, Cassatt produced several works of women playing the banjo, many of which were preparatory studies for her mural. \u003cem\u003eGirl with a Banjo\u003c\/em\u003e stands as one of only two complete works on this subject, with the other belonging to the collection of the Virginia Museum of Fine Arts. This particular pastel is widely regarded as the finest of her surviving banjo-themed works. Unfortunately, Cassatt's mural for the World’s Columbian Exposition was lost after the fair, likely destroyed in a warehouse fire, leaving works like \u003cem\u003eGirl with a Banjo\u003c\/em\u003e as rare surviving testaments to this significant phase of her career. Cassatt’s legacy as a groundbreaking artist endures, with her pastels highly prized by collectors and prestigious institutions worldwide. \u003cbr\u003e\u003cbr\u003e Circa 1894 \u003cbr\u003e\u003cbr\u003e Paper: 23\" high x 28\" wide (58.42 x 71.12 cm)\u003cbr\u003e Frame: 37 1\/2\" high x 42 1\/4\" wide x 2 3\/4\" deep (95.25 x 107.32 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0025.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e The Art Institute of Chicago, Mary Cassatt: Modern Woman, 10 October 1998-10 January 1999, no. 74, p. 218, 296, 325, illustrated in color; exhibition traveled to Museum of Fine Arts, Boston, 6 February-10 May 1999 and National Gallery of Art, Washington, D.C., 5 June-6 September 1999 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Roger Marx, Paris\u003cbr\u003e Private collection, Tokyo, acquired from above\u003cbr\u003e Sale, Sotheby’s London, 26 June 1990, lot 13, sold by above\u003cbr\u003e Private collection, Texas\u003cbr\u003e Private collection, Los Angeles, by 1998\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803560804674,"sku":null,"price":4950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0025_1.png?v=1768102590"},{"product_id":"les-baigneuses-du-harem-by-jean-leon-gerome","title":"Les baigneuses du harem by Jean-Léon Gérôme","description":"Jean-Léon Gérôme\u003cbr\u003e 1824-1904 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLes baigneuses du harem\u003cbr\u003e (The Bathers of the Harem)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"J.L. Gérôme\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This monumental masterpiece is among the most important of Jean-Léon Gérôme's iconic harem bather scenes still in private hands. \u003cem\u003eLes baigneuses du harem\u003c\/em\u003e, painted in 1901, reveals why Gérôme was among the world's most famous living artists in his day, renowned especially for his brilliantly alluring Orientalist scenes such as this one. \u003cbr\u003e\u003cbr\u003e During his travels to Bursa in 1879, Gérôme visited the famed Turkish baths, going to great lengths to make careful studies of the mesmerizing atmosphere and luxurious architecture. Back in his studio in Paris, the artist's firsthand observations enabled him to recreate the fantastical magic of these baths. He installed the iconic blue \u003cem\u003eİznik\u003c\/em\u003e tiles on his walls, so that his Parisian models could pose in front of them. \u003cem\u003eLes baigneuses du harem\u003c\/em\u003e reveals Gérôme’s incredible ability to render these enticing interiors with intimacy and authenticity—even though he was never allowed into the women’s bathing quarters himself. \u003cbr\u003e\u003cbr\u003e This work also epitomizes Gérôme's singular talent for capturing the human form perfectly in paint. The women are rendered with astonishing naturalism, and their pearl-white skin gleams with an ethereal radiance. These magnificent bather scenes were an instant sensation with Gérôme's audiences, inviting them into a mystical, faraway world. The first owner of the painting, in fact, paid an astonishing 6,600 francs for it—the equivalent of several years of wages for the average French laborer in 1901. \u003cbr\u003e\u003cbr\u003e Gérôme painted only a handful of these intimate bather scenes with a few figures, and this masterpiece is the largest of all of them. It is bigger and more striking than all of the similar examples in prestigious museums, including those in the Museum of Fine Arts, Boston, the Fine Arts Museums of San Francisco and the State Hermitage Collection in St. Petersburg. It is even more substantial than the bath scene that he exhibited at the Salon of 1885 to widespread acclaim, \u003cem\u003eThe Great Bath at Bursa\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e The most prominent French academic painter of the 19th century, Gérôme was also among the foremost inventors of Orientalist themes. After the year he spent in Rome with his teacher Paul Delaroche in 1843, he developed an insatiable appetite for traveling, which inspired his treks to Egypt, Turkey and North Africa. During his career, Gérôme achieved great popularity, exhibiting at countless Salons and wielding considerable influence as a defender of academic tradition. \u003cbr\u003e\u003cbr\u003e His skill was so widely admired that he was appointed as professor of painting at the École des Beaux-Arts in 1863. Over many decades, he would go on to teach over 2,000 students there (including Mary Cassatt and Thomas Eakins) and publish the most important instructional book on drawing that would influence many great artists, including William Bouguereau, Odilon Redon and Pablo Picasso. \u003cbr\u003e\u003cbr\u003e Painted 1901 \u003cbr\u003e\u003cbr\u003e Canvas: 38 1\/2\" high x 31\" wide (97.79 x 78.74 cm)\u003cbr\u003e Frame: 53\" high x 45 3\/4\" wide x 3 1\/2\" deep (134.62 x 116.21 x 8.89 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2050.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Boussod, Valadon \u0026amp; Cie, Paris, acquired directly from the artist, 1901\u003cbr\u003e Edward Brandus Inc., New York, acquired from the above in 1901 (6,600 ffr.)\u003cbr\u003e Anon. Sale; Parke-Bernet Galleries, Inc., New York, 20 Nov. 1947, lot 85\u003cbr\u003e Renaissance, Inc., acquired at the above sale\u003cbr\u003e Anon. Sale; Parke-Bernet Galleries, Inc., New York, 24 March 1954, lot 70\u003cbr\u003e Cianis, acquired at the above sale\u003cbr\u003e Private Collection, USA\u003cbr\u003e Private Collection, Europe\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eParis Photographs:Gérôme, Oeuvres, Cabinet des Estampes\u003c\/em\u003e, Bibliothèque Nationale, Paris, vol. V\u003cbr\u003e G. Ackerman, \u003cem\u003eThe Life and Work of Jean-Léon Gérôme, with a catalogue raisonné\u003c\/em\u003e, London and New York, 1986 (republished 1992, 2000), p. 328, no. 380 (illus. p. 148)\u003cbr\u003e L. de Cars, D. de Font-Reaulx and E. Papet, \u003cem\u003eJean-Léon Gérôme (1824 – 1904): L’Histoire en Spectacle\u003c\/em\u003e, exh. cat., The J. Paul Getty Museum, Los Angeles, CA; Musée d’Orsay, Paris; and Museo Thyssen-Bornemisza, Madrid, 2010, p. 288 (illus. fig. 137)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803560870210,"sku":null,"price":4850000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-2050_1_7f153f90-a9e1-4a89-9e73-b1d0f6f382f0.png?v=1768102597"},{"product_id":"portrait-of-a-gentleman-by-frans-hals","title":"Portrait of a Gentleman by Frans Hals","description":"Frans Hals\u003cbr\u003e 1582-1666 | Dutch \u003cbr\u003e\u003cbr\u003e Portrait of a Gentleman\u003cbr\u003e (possibly Theodore Blevet) \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks.” \u003c\/em\u003e \u003cbr\u003e -Vincent van Gogh writing of Frans Hals’ genius in a letter to his brother Theo\u003cbr\u003e Letter 536, 20 October 1885. \u003cbr\u003e\u003cbr\u003e This masterful and rare oil painting by Frans Hals is a quintessential portrait of the Dutch Golden Age. Painted circa 1630, this portrait is exemplary of Hals’ celebrated oeuvre and has been verified as an authentic work by the world’s foremost Hals scholars, including the former and current chief curators of the Frans Hals Museum. \u003cbr\u003e\u003cbr\u003e Calm, austere and decorous, the portrait depicts a man turning to meet the viewer's gaze. Wearing a dark cloak with a pleated white collar, the sitter holds a quill in his right hand – perhaps indicating his profession as a writer or calligrapher. The canvas is marked with an inscription that reads “He is 30 years old” in Latin. \u003cbr\u003e\u003cbr\u003e Imbued with a sense of genteel kindness, Hals renders the sitter’s expressive face with his signature bold, impressionistic brushwork, painting the sitter’s bone structure with a level of realism and precision that naturalistically captures his likeness along with a glimmer of his personality too. This composition also showcases Hals’ remarkable approach to color whilst working with the deceptively simple palettes of the era. In the Post-Reformation Calvinist society, Dutch elites stood at a delicate balance of boasting the fruits of the Dutch East India Company through both their attire and possessions, while also appearing moral and restrained. Thus, virtuosic painters like Frans Hals would render the dark, yet richly textured fabrics of his sitters with a certain air of inconspicuous luxury in an effort to simultaneously conceal and highlight the sitters’ great taste and wealth. Scholars surmise that this portrait of a black cloak and white collar-clad man likely captures calligrapher and schoolmaster Theodore Blevet, noting the sitter’s resemblance to an engraving of Blevet by Theodor Matham done after a lost 1640 portrait by Frans Hals. \u003cbr\u003e\u003cbr\u003e This portrait is an unequivocal triumph of Dutch Golden Age portraiture and an exemplary showpiece of Hals’ esteemed oeuvre. It perfectly showcases the technical acuity and emotional intelligence Hals brought to his works, underscoring his mastery over the medium of oil painting and the genre of portraiture.  \u003cbr\u003e\u003cbr\u003e Frans Hals’ works grace the walls of the most renowned museums in the world including the Rijksmuseum, the Louvre, the Metropolitan Museum of Art and Hals’ namesake museum in Haarlem in the Netherlands. Hals’ compositions are instantly recognizable by both art connoisseurs and casual museum-goers alike. Hals, Rembrandt and Vermeer are regarded as the crowning trifecta of painters of the Dutch Golden Age, with Hals specifically holding court as the leader in the realm of portraiture. Scholars today praise Hals as decisively ahead of his time, noting the groundbreaking sense of modernity in his 17th-century works. Hals’ triumphant ability with portraiture has been the subject of several seminal exhibitions mounted at institutions including the Metropolitan Museum of Art, The National Gallery of Art and The Wallace Collection. \u003cbr\u003e\u003cbr\u003e Circa 1630 \u003cbr\u003e\u003cbr\u003e Panel: 17 1\/2” high by 14 1\/4” wide\u003cbr\u003e Framed: 25 1\/2” high by 23 3\/8” wide by 2 3\/4\" deep \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-6867.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e The Hague, Schilderkundig Genootschap Pulchri Studio, Catalogue de la Collection Goudstikker d'Amsterdam, November 1919, no. 50, illustrated, as Frans Hals\u003cbr\u003e Amsterdam, Maatschappij voor Beeldende Kunst, Catalogue de la Collection Goudstikker d'Amsterdam, 14 December 1919-4 January 1920, no. 28, illustrated, as Frans Hals\u003cbr\u003e Copenhaguen, Staaten's Museum for Konst, Collection Goudstikker  d'Amsterdam, January-February 1920, no. 24, illustrated, as Frans Hals\u003cbr\u003e Christiania [Oslo], Utstillet Christiania Kunstforening, Katalog over Goudstikkers Samling Amsterdam, April 1920, no. 24, illustrated, as Frans Hals\u003cbr\u003e St. Louis, City Art Museum, November 1922, no. 45, as Frans Hals\u003cbr\u003e Detroit, The Detroit Institute of Arts, January 1923, no. 2, as Frans Hals\u003cbr\u003e New York, The Anderson Galleries, March 1923, no. 48 as Frans Hals\u003cbr\u003e Rotterdam, Rotterdamsche Kunstkring, Catalogue de la Collection Goudstikker d'Amsterdam, 20 December 1924-11 January 1925, no. 30, as Frans Hals\u003cbr\u003e Utrecht, Centraal Museum, December 1925-January 1926, no. as Frans Hals1\u003cbr\u003e The Hague, Schilderkundig Genootschap Pulchri Studio, Catalogue de la Collection Goudstikker d'Amsterdam, 13 March-4 April 1926, no. 66, illustrated, as Frans Hals\u003cbr\u003e Rotterdam, Rotterdamsche Kunstkring, Catalogue de la Collection Goudstikker d'Amsterdam, 10-25 April 1926, no. 43, as Frans Hals\u003cbr\u003e Amsterdam, Rijksmuseum, Tentoonstelling van oude Kunst, 1929, no. 61, as Frans Hals\u003cbr\u003e Rotterdam, Rotterdamsche Kunstkring, Catalogus der Tentoonstelling van Schilderijen en Antiquiteiten geexposeerd door den Kunsthandel J Goudstikker NV., Amsterdam, 17 December 1936-10 January 1937, no. 26, illustrated, as Frans Hals\u003cbr\u003e Haarlem, Frans Hals Museum, Tentoonstelling van oude kunst in het Frans Halsmuseum, 4-26 April 1936, p. 17, no. 17, as Frans Hals\u003cbr\u003e Haarlem, Frans Hals Museum, Frans Hals tentoonstelling ter gelegenheid van het 75-jarig bestaan van het Gemeentelijk Museum Haarlem, 30 June 1937, no. 38, fig. 38, as Frans Hals \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e W.R. Valentiner, 'Frans Hals, des Meisters Gemalde', in Klassiker der Kunst, Stuttgart\/Berlin, 1921, p. 80, illustrated, p. 311 as Frans Hals\u003cbr\u003e W.R. Valentiner, 'Frans Hals, des Meisters Gemalde', in Klassiker der Kunst, Stuttgart\/Berlin, 1923, p. 83, illustrated, p. 312 as Frans Hals\u003cbr\u003e C. Grimm, Frans Hals and his Workshop, will be published in Autumn 2023, no. A3. 13, as Frans Hals \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Friedrich W.R.A. Lippmann, Berlin and London\u003cbr\u003e Jacques Goudstikker, Amsterdam by 1919\u003cbr\u003e Looted by the Nazi authorities in July 1940\u003cbr\u003e Recovered by the Allies in 1945\u003cbr\u003e In the custody of the Dutch Government\u003cbr\u003e Restituted to the heir of Jacques Goudstikker in February 2006\u003cbr\u003e Sale Christie's Amsterdam, 14 November 2007, lot 4\u003cbr\u003e Private Collection, USA\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803560935746,"sku":null,"price":4850000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6867_1_8ac36737-69eb-4293-aefc-16e46aff864d.png?v=1768102601"},{"product_id":"jeune-fille-au-chien-by-berthe-morisot","title":"Jeune fille au chien by Berthe Morisot","description":"Berthe Morisot\u003cbr\u003e 1841-1895 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJeune fille au chien\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eYoung girl with dog\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Stamped with signature \"Berthe Morisot\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A pioneering figure of Impressionism, Berthe Morisot stands out not only as a leader of this revolutionary movement but also as one of the most groundbreaking women artists in history. This extraordinarily rare masterpiece, \u003cem\u003eJeune fille au chien\u003c\/em\u003e, is among her largest and most beautiful works available today. \u003cbr\u003e\u003cbr\u003e Glowing with a luminous palette and an ethereal softness, \u003cem\u003eJeune fille au chien\u003c\/em\u003e was painted in one of the most important years of Morisot’s life. In the spring of 1892, Morisot achieved a monumental milestone with her first solo retrospective at Paris's prestigious Boussod, Valadon et Cie gallery—a first for a woman Impressionist. Just one month before the exhibition opened, her husband of nearly two decades, Eugène Manet, died. Grief-stricken, Morisot entered the most innovative year of her career, seeking solace in her art and reinventing herself as an artist. \u003cbr\u003e\u003cbr\u003e Set in Morisot's garden at 40 Rue de Villejust, this captivating composition centers the stunning Jeanne Fourmanoir, the famous model who posed for both Morisot and Renoir during this period. Fourmanoir's distinctive cap and hair harmonize with the lush foliage, exemplifying the stylistic dialogue between Morisot and Renoir. This work reveals Morisot's evolution toward her softer, richer textures compared to her earlier energetic brushwork, creating a hazy, dreamlike quality that mirrors the emotional world of the artist in the final years of her life. \u003cbr\u003e\u003cbr\u003e Fourmanoir was one of Morisot’s favorite subjects, frequently appearing in Morisot's iconic masterpieces, most notably as a cherry picker in \u003cem\u003eLe Cerisier\u003c\/em\u003e of 1891, now at the Musée Marmottan Monet. Our painting depicting this famed model also has distinguished provenance, once belonging to the major American collectors Ralph Coe of Cleveland and Harry and Doris Rubin of New York. Its remarkable exhibition history includes the important 1896 Durand-Ruel exhibition, organized shortly after Morisot's death by her distinguished peers: Edgar Degas, Claude Monet, Pierre-Auguste Renoir and Stephane Mallarmé. An incredible tribute to one of Impressionism's most visionary talents, this show was a grand event in the Parisian art scene. \u003cbr\u003e\u003cbr\u003e Born in Bourges, France, in 1841, Berthe Morisot came from a wealthy family. Like many young girls of her social class, she received private art lessons beginning at the age of 11. Her teacher, the painter Joseph Guichard, helped to introduce her to the Parisian art scene. Through him, Morisot made the acquaintance of Jean-Baptiste-Camille Corot and Édouard Manet, both of whom would have a profound impact on her career and artistic style. Morisot exhibited regularly at the Paris Salon from 1864 to 1873 until, in 1874, she officially joined and became a vital leader of the Impressionists, exhibiting in all but one of the eight Impressionist shows. \u003cbr\u003e\u003cbr\u003e Today, Morisot's paintings remain some of the rarest Impressionist works on the market—she produced just 416 oil paintings, significantly less than Monet, Degas and Renoir. The majority of Morisot’s works are held in prestigious museum collections worldwide, including the Metropolitan Museum of Art in New York, the Tate Modern in London, the Musée du Louvre and the Musée d’Orsay in Paris. She has also been the focus of endless scholarship and landmark exhibitions, including a major retrospective at The Barnes Foundation in 2019 that traveled to the Musée National des Beaux-Arts du Québec, the Dallas Museum of Art and the Musée d’Orsay. \u003cbr\u003e\u003cbr\u003e Painted 1892 \u003cbr\u003e\u003cbr\u003e Canvas: 25 1\/4\" high x 31 1\/2\" wide (64.14 x 80.01 cm)\u003cbr\u003e Framed: 35\" high x 41\" wide x 2 3\/8\" deep (88.90 x 104.14 x 5.91 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0999.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e C.W. Kraushaar Galleries, New York (by 1926)\u003cbr\u003e Ralph M. Coe, Cleveland (aquired from the above, 1926)\u003cbr\u003e Sale, Sotheby's New York, January 14, 1959, lot 70 (sold by the above)\u003cbr\u003e Milch Gallery, New York (acquired at the above sale)\u003cbr\u003e Harry and Doris Rubin, New York (acquired from the above in 1959)\u003cbr\u003e Sale, Sotheby’s New York, May 7, 2008, lot 10 (sold by the above)\u003cbr\u003e Private collection (acquired at the above sale)\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J. Rewald, \u003cem\u003eThe History of Impressionism\u003c\/em\u003e, New York, 1961, p. 573 (illustrated in color)\u003cbr\u003e M.-L. Bataille and G. Wildenstein, \u003cem\u003eBerthe Morisot, Catalogue des peintures, pastels et aquarelles\u003c\/em\u003e, Paris, 1961, p. 44, no. 311 (illustrated fig. 318)\u003cbr\u003e A. Clairet, D. Montalant and Y. Rouart, \u003cem\u003eBerthe Morisot, Catalogue Raisonné de l’oeuvre Peint\u003c\/em\u003e, Paris, 1997, p. 267, no. 315 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Galerie Durand-Ruel et Cie., \u003cem\u003eBerthe Morisot (Madame Eugène Manet), Exposition de son oeuvre\u003c\/em\u003e, March 1896, p. 19, no. 29 (dated 1887)\u003cbr\u003e Paris, Galerie Bernheim, \u003cem\u003eRetrospective de Berthe Morisot\u003c\/em\u003e, June – July 1922\u003cbr\u003e Chicago, The Arts Club, \u003cem\u003eBerthe Morisot\u003c\/em\u003e, March-April 1943, no. 26 (titled \u003cem\u003eGirl with a Dog in a Garden\u003c\/em\u003e)\u003cbr\u003e New Haven, Yale University Art Gallery, \u003cem\u003ePictures Collected by Yale Alumni\u003c\/em\u003e, May-June 1956, no. 87 (illustrated; titled \u003cem\u003eJeanne Foumanoir in Madame Morsiot’s Garden, with the Little Dog\u003c\/em\u003e)\u003cbr\u003e New York, Wildenstein \u0026amp; Co., \u003cem\u003eBerthe Morisot\u003c\/em\u003e, November-December 1960, no. 58 (illustrated; titled \u003cem\u003eJeanne Fourmanoir et son Petit Chien Colas\u003c\/em\u003e)\u003cbr\u003e Turin, Galleria Civica d’arte Moderna e Contemporanea, \u003cem\u003eBerthe Morisot, Impressionist painter\u003c\/em\u003e, 16 October 2024 – 9 March 2025, no. 38","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803561165122,"sku":null,"price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0999_1.png?v=1768102605"},{"product_id":"fleurs-dans-un-vase-avec-partition-musicale-by-paul-gauguin","title":"Fleurs dans un vase avec partition musicale by Paul Gauguin","description":"Paul Gauguin \u003cbr\u003e 1848-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase avec partition musicale\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Flowers in vase with musical score)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “P. Gauguin 74\/76” (lower right) \u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Works by the legendary Paul Gauguin, particularly those comprising his still lifes, are rare treasures. This remarkable composition, entitled \u003cem\u003eFleurs dans un vase avec partition musicale (Flowers in a Vase with Musical Score)\u003c\/em\u003e, stands as an important glimpse of the master’s unparalleled eye for color, composition and expressive brushwork. \u003cbr\u003e\u003cbr\u003e Using an extraordinary palette of soft pastels and rich jewel tones, Gauguin renders the central bouquet in luminous splendor that emerges in three dimensions against the neutral background. The wrinkled edges of the musical score are almost palpable, painted with the same thick impasto that gives the lush blooms their lifelike energy. \u003cbr\u003e\u003cbr\u003e When viewing this composition, it is easy to see the technical proficiency that garnered the attention and admiration of fellow artists, including Camille Pissarro, Vincent van Gogh and Edgar Degas. It was Pissarro who persuaded Gauguin to submit a painting to the Salon of 1876. Both Pissarro and Degas were so impressed by his work that they extended an invitation to Gauguin to exhibit at the Impressionist Exhibition of 1879 and subsequent exhibitions thereafter. Even after the Impressionists held their final official exhibition in 1886, Gauguin maintained his association with Pissarro as the movement transitioned into Post-Impressionism. \u003cbr\u003e\u003cbr\u003e Endowed with an exceptional sense of color and a fervent appreciation for life, he initially engaged in painting merely as a leisure activity. This hobby became his life’s calling in 1882, following the financial setback he experienced due to the Paris stock market crash, which resulted in the loss of his position as a stockbroker. Gauguin’s work, distinguished by its vibrant individuality, would go on to change the course of art history, and his instantly recognizable paintings are held in the world’s most esteemed museums and private collections. Still lifes similar to this one are owned by the National Gallery of Art, the Philadelphia Museum of Art and the Museo National Thyssen-Bornemisza, Madrid. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFleurs dans un vase avec partition musicale\u003c\/em\u003e is accompanied by a certification from The Art Loss Register and is featured in the 1964 and 2002 Wildenstein catalogues raisonnés on the artist.  \u003cbr\u003e\u003cbr\u003e Circa 1874-76  \u003cbr\u003e\u003cbr\u003e Canvas: 16” high x 10 3\/8” wide (40.64 x 27.31 cm)\u003cbr\u003e Frame: 22 1\/4” high x 16 7\/8” wide (56.52 x 42.86 cm) \u003cbr\u003e\u003cbr\u003e View the dossier: \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8610.pdf\" target=\"_blank\"\u003eFleurs dans un vase avec partition musicale by Paul Gauguin\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e Armand Parent, Paris, circa 1921\u003cbr\u003e Otto Nierenstein, Vienna, circa 1928\u003cbr\u003e Kunstsalon Abels, after 1950\u003cbr\u003e Römer, Germany, circa 1950\u003cbr\u003e  Private collection, Düsseldorf, circa 1988\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, Virginia \u003cbr\u003e\u003cbr\u003e Literature: \u003cbr\u003e Charles Chassé, \u003cem\u003eGauguin et le groupe de Pont-Aven\u003c\/em\u003e, Paris, 1921, p. 64\u003cbr\u003e Wilhelm Barth, \u003cem\u003ePaul Gauguin\u003c\/em\u003e, 1929, p. 41\u003cbr\u003e Lee van Dovski, \u003cem\u003eGauguin\u003c\/em\u003e, 1950, no. 1, p. 338\u003cbr\u003e Georges Wildenstein, \u003cem\u003eGauguin\u003c\/em\u003e, vol. 1, Paris, 1964, no. 9, p. 5, illustrated\u003cbr\u003e Merete Bodelsen, \"The Dating of Gauguin’s Early Paintings,\" \u003cem\u003eThe Burlington Magazine,\u003c\/em\u003e June 1965, p. 309\u003cbr\u003e Daniel Wildenstein, \u003cem\u003eGauguin: A Savage in the Making. Catalogue Raisonné of the Paintings (1873-1888)\u003c\/em\u003e, vol. 1, 2002, Paris and Milan, no. 36, p. 37, illustrated \u003cbr\u003e\u003cbr\u003e Exhibitions: \u003cbr\u003e Basel, Kunsthalle, 1928, no. 1 (as \u003cem\u003eBunch of Flowers in Blue Vase\u003c\/em\u003e, 1874)\u003cbr\u003e Berlin, Thannhauser, 1928, no. 2","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803561263426,"sku":null,"price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-8610_1_02c2b902-2d28-4a07-8233-46c91d393e7f.png?v=1768102610"},{"product_id":"the-twelve-princesses-by-gustave-max-stevens","title":"The Twelve Princesses by Gustave-Max Stevens","description":"Gustave-Max Stevens\u003cbr\u003e 1871-1946 | Belgian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas\u003cbr\u003e Signed and dated “G.M. Stevens \/ 1899” (lower right) \u003cbr\u003e\u003cbr\u003e The greatest triumph of the artist’s career, this extraordinary and monumental oil on canvas by Gustave-Max Stevens perfectly represents the highly detailed compositions and richly hued palettes championed by the Pre-Raphaelite Brotherhood. The composition’s larger-than-life-size, brilliant coloring and myriad details enhance the drama of its subject, the Brothers Grimm fairy tale, \"The Twelve Princesses.\" The artist exhibited this work extensively, including at the 1901 Paris Salon, testifying to both the artist’s regard for the work and its exceptional quality. \u003cbr\u003e\u003cbr\u003e Monumental in subject, style and size, it is clear that the artist himself knew that \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e was his masterpiece, and he took every opportunity to show it publicly. It was first shown shortly after its creation at an exhibition of the artist’s work at the Cercle Artistique et Littéraire in Brussels in 1899 and then at the Salon d’Art Idéaliste in Brussels. It was then accepted into the prestigious Paris Salon of 1901, the annual exhibition where artists showcased only the very best examples of their work. The artist also exhibited it with Sächsischer Kunstverein (Saxon Art Association) in Dresden in 1900, the Antwerp Triennial Salon of 1901 and the Salon des Beaux-Arts d’Ostende of 1907. Additionally, Stevens kept \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e in his own personal collection for the entirety of his life, and it descended within his family — a testimony to the artist’s particular attachment to this work.  \u003cbr\u003e\u003cbr\u003e The fairy tale \"The Twelve Princesses,\" also called \"The Shoes That Were Danced to Pieces\", tells the story of twelve sisters who are kept locked up in their bedroom every night by their father, the king. Despite this, the king finds his daughters’ shoes “danced to pieces” every morning when he releases them. He presents a challenge to his kingdom: “Whoever could discover where they went dancing each night could choose one of them for his wife and become king after his death.” After many before him fail, a man accepts the challenge and, with the help of an invisibility cloak, discovers the sisters travel to a magical underground realm where they attend a lavish ball every evening. \u003cbr\u003e\u003cbr\u003e Stevens chooses to depict the moment of the sisters' escape. They adorn themselves in their finest gowns and jewels, with each princess dressed more extravagantly than the last. His approach to the painting is meticulous yet romantic, and the entire composition is a feast for the senses. The long, graceful silhouettes of the princesses occupy the entirety of the colossal canvas, and the artist revels in a painstaking depiction of detail for each and every figure. Strongly-patterned, iridescent fabrics combine with lush jewel tones to create a highly expressive aesthetic that brings a sense of realism to the mythical narrative. \u003cbr\u003e\u003cbr\u003e Stevens captures the princesses with the precise detail and symbolism that were tenets of the Pre-Raphaelite Brotherhood. They are shown standing before a window barred with iron, emphasizing the wonder of their nightly escape. The central figure gazes into a mirror, serving not as a symbol of vanity, but rather representing the ephemeral, alternate world they are about to enter. The mirror holds their secret and points beyond exterior appearances. Only two of the sisters look out at the viewer, the oldest and the youngest, who have the most significant roles in the story. The eldest, dressed the most austerely and almost hidden behind her sisters, wears a knowing look of secrecy and mystery, while the youngest looks at us apprehensively, foreshadowing their eventual exposure. Combining thoughtful detail, symbolism and aestheticism, this work showcases the enigmatic, dreamlike style of painting for which the Pre-Raphelites were renowned. \u003cbr\u003e\u003cbr\u003e Apart from the fact that it is an exceptional example of a Pre-Raphaelite painting, it is also exemplary of the 19th-century interest in legends and fairy tales; the story of the dancing princesses would have been a well-known tale in affluent households of the age. These tales were popularized by Andrew Lang’s \u003cem\u003eFairy Book\u003c\/em\u003e series, a collection of 12 volumes that was hugely successful. \"The Twelve Dancing Princesses\" was the first story printed in the \u003cem\u003eRed Fairy Book\u003c\/em\u003e edition of the series in 1890 — an edition the artist would have certainly been familiar with. \u003cbr\u003e\u003cbr\u003e Born in Saint-Gilles, Belgium, just outside of Brussels, in 1871, Stevens began his artistic studies at the Académie Royale des Beaux-Arts in Brussels in 1886 under the instruction of Jean-François Portaels. He then studied with Fernand Cormon and Louis-Joseph-Raphaël Collin at the École des Beaux-Arts in Paris. He then returned to Brussels, a city that at the time was a major center for artistic innovation. There, he co-founded and led \u003cem\u003eLe Sillon\u003c\/em\u003e in 1893, an artistic movement that sought a different approach to painting from the Neo-Impressionists and instead espoused a philosophy of decorative realism and luminous coloring.  \u003cbr\u003e\u003cbr\u003e The great Pre-Raphaelite Edward Burne-Jones was a supporter and honorary member of \u003cem\u003eLe Sillon\u003c\/em\u003e, and the group hosted an exhibition of the master’s works in 1895. Stevens, who was already an admirer of Burne-Jones, was heavily involved in the planning of this exhibition and must have taken immense inspiration from his aesthetic approach. He completed \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e only a few years after the Burne-Jones show, embracing the Pre-Raphaelite ideals of truth to nature, complexity of composition and brilliance of color. He also won a coveted bronze medal at the Paris Exposition Universelle of 1900 for \u003cem\u003eAnnunciation\u003c\/em\u003e, another painting with strong Pre-Raphaelite connections. \u003cbr\u003e\u003cbr\u003e Today, his works reside in the National Gallery of Canada (Ottowa), Minneapolis Institute of Art, Musées royaux des Beaux-Arts de Belgique (Brussels) and the British Museum (London), but none surpass the current painting. Staggering in size, magnificent in palette, exceptional in technique, and fascinating in subject, \u003cem\u003eThe Twelve Princesses\u003c\/em\u003e represents the very best from the artist. \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/landing.rauantiques.com\/stevens-insights\/\" target=\"new\"\u003e\u003cb\u003eSee auction comparables and market data\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Dated 1899 \u003cbr\u003e\u003cbr\u003e Canvas: 76 1\/8\" high x 114\" wide (193.36 x 289.56 cm)\u003cbr\u003e Frame: 100 1\/4\" high x 138 5\/8\" wide (254.64 x 352.11 cm) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Exhibition Gustave-Max Stevens, Cercle Artistique et Littéraire, Brussels, 1899\u003cbr\u003e Salon d’Art Idéaliste, Brussels\u003cbr\u003e Paris Salon, 1901, number 846, p.27 (illustrated under the title “Filles de Rois”)\u003cbr\u003e Sächsischer Kunstverein, Dresden, 1900, number 1864\u003cbr\u003e Triennial Salon, Antwerp, 1901, number 46\u003cbr\u003e Salon des Beaux-Arts d'Ostende, 1907 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist, Brussels\u003cbr\u003e Thence by descent\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803561361730,"sku":null,"price":4450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-4687_1.png?v=1768102616"},{"product_id":"longnook-valley-by-edward-hopper","title":"Longnook Valley by Edward Hopper","description":"Edward Hopper\u003cbr\u003e 1882-1967 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLongnook Valley\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Edward Hopper” (lower right)\u003cbr\u003e Watercolor and pencil on paper \u003cbr\u003e\u003cbr\u003e Edward Hopper is unparalleled in his portrayal of the American ethos, capturing landscapes and figures with a command of light and atmosphere that defines his legacy. One of the most important American artists of the modern era, Hopper reached extraordinary heights with \u003cem\u003eLongnook Valley \u003c\/em\u003e, a radiant landscape painted on his beloved Cape Cod in 1934. Much larger and more vibrant than most of his watercolors, this work is an exceptionally rare treasure of American art. \u003cbr\u003e\u003cbr\u003e Depicting a brilliant New England vista on a sunlit autumn day, this watercolor has been regarded as a masterwork since its creation. Beginning in 1935, \u003cem\u003eLongnook Valley\u003c\/em\u003e has traveled to dozens of major museums around the world—from New York to Milan to Tokyo. It was once part of the permanent collection of the Whitney Museum of American Art, where it featured in many of the institution’s most important exhibitions. \u003cbr\u003e\u003cbr\u003e The work exemplifies Hopper’s exceptional talent for the challenging medium of watercolor. Layers of delicately applied hues capture the iconic brilliance of fall in New England. In his official ledger, Hopper included a sketch and noted its “vivid color” and “blue sky with grey bird cloud,” showing that he recognized this scene as one of remarkable intensity. A winding road anchors the composition, vanishing into a dramatic band of trees and drawing the viewer inward with the quiet mystery that is quintessential Hopper. \u003cbr\u003e\u003cbr\u003e Hopper and his wife first visited Cape Cod in 1930, and the Truro Valley made an immediate and lasting impression. From his studio nestled above the cape, he walked daily to the shoreline, captivated by the landscape’s sweeping forms and luminous light—motifs that became central to his art. The couple returned every summer for the rest of their lives, and Hopper’s paintings of this area remain some of his most coveted works. \u003cbr\u003e\u003cbr\u003e A master realist, Hopper captured a rare narrative depth, achieved through precise composition and luminous color, giving even the simplest subjects a profound emotional resonance. He developed an unmistakable visual language defined by honesty and a deep sensitivity to the American experience, and his influence can be felt across generations of artists, filmmakers and writers. Few painters have shaped the visual identity of America as entirely—and as enduringly—as Edward Hopper. \u003cbr\u003e\u003cbr\u003e Large-scale watercolors of this caliber are exceptionally rare on the market. Many of Hopper’s finest examples now reside in major American museums, including the Museum of Fine Arts, Boston, the Smithsonian American Art Museum and the Philadelphia Museum of Art. \u003cbr\u003e\u003cbr\u003e Painted 1934 \u003cbr\u003e\u003cbr\u003e Paper: 20\" high x 27 3\/4\" wide (50.80 x 70.49 cm)\u003cbr\u003e Frame: 31 1\/2\" high x 39\" wide x 2\" deep (80.01 x 99.06 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1960.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist\u003cbr\u003e Josephine N. Hopper, acquired in 1967 by descent from the above\u003cbr\u003e Whitney Museum of American Art, New York, acquired in 1970 by bequest from the above\u003cbr\u003e Private Collection, acquired from the above\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Gail Levin, \u003cem\u003eEdward Hopper: A Catalogue Raisonné\u003c\/em\u003e, New York, 1995, vol. II , no. W-298, p. 267 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Philadelphia, Pennsylvania Academy of the Fine Arts, \u003cem\u003eThe Thirty-Third Annual Philadelphia Watercolor Exhibition, and the Thirty-Fourth Annual Exhibition of Miniatures\u003c\/em\u003e, 1935.\u003cbr\u003e\u003cbr\u003e New York, Whitney Museum of American Art, \u003cem\u003eEdward Hopper: Selections from the Hopper Bequest\u003c\/em\u003e, 1971-74, no. 66, p. 55, illustrated, p. 64; this exhibition traveled to: Palm Beach, The Society of the Four Arts; Fort Worth Art Museum; La Jolla Museum of Art; Sacramento, E.B. Crocker Art Gallery; Seattle Art Museum; Kansas City, William Rockhill Nelson Gallery and Atkins Museum of Fine Arts; Richmond, Virginia Museum of Fine Arts; Athens, Georgia Museum of Art; Baltimore Museum of Art; Madison, Elvehjem Art Center; Toledo Museum of Art; Fort Lauderdale Museum of the Arts and Montgomery Museum of Fine Arts.\u003cbr\u003e\u003cbr\u003e New York, Whitney Museum of American Art, Downtown Branch, \u003cem\u003eEdward Hopper: Paintings, Prints, Drawings\u003c\/em\u003e, 1974.\u003cbr\u003e\u003cbr\u003e Tokyo, Isetan Art Hall, \u003cem\u003eAmerican Painting 1900 - 1940\u003c\/em\u003e, 1976.\u003cbr\u003e\u003cbr\u003e San Jose Museum of Art; Newport, Wales, Newport Museum and Art Gallery; Edinburgh, The Fruitmarket Gallery; Münster, Germany, Westfälisches Landesmuseum für Kunst und Kulturgeschichte; Llandudno, Wales, Mostyn Gallery; and Milan, Padiglione d'Arte Contemporanea, \u003cem\u003eEdward Hopper: The Formative Years, 1980-81\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003e Stamford, Whitney Museum of American Art, Fairfield County Branch, \u003cem\u003eEdward Hopper Landscapes\u003c\/em\u003e, 1986.\u003cbr\u003e\u003cbr\u003e Stamford, Whitney Museum of American Art, Fairfield County Branch, \u003cem\u003eEdward Hopper: City, Country, Town: Selections from the Permanent Collection of the Whitney Museum of American Art\u003c\/em\u003e, 1986-88; this exhibition traveled to: Iowa City, University of Iowa Museum of Art; Scottsdale Center for the Arts; Williamsburg, Muscarelle Museum of Art; Greenville, South Carolina, Greenville County Museum of Art and Charleston, West Virginia, Sunrise Art Museum.\u003cbr\u003e\u003cbr\u003e New York, Whitney Museum of American Art and San Jose Museum of Art, \u003cem\u003eAmerican Art: 1900-1940: A History Reconsidered\u003c\/em\u003e, 1995.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803561492802,"sku":null,"price":2850000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1960_1_1ab34d10-037d-42ad-be5a-1c169526981d.png?v=1768102620"},{"product_id":"baigneuses-a-guernsey-by-pierre-auguste-renoir","title":"Baigneuses à Guernsey by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBaigneuses à Guernsey\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Renoir\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This luminous canvas belongs to a defining moment in Pierre-Auguste Renoir’s career—a brief period in the mid-1880s that yielded some of his most ambitious, vibrant works. Painted in 1885, \u003cem\u003eBaigneuses à Guernsey\u003c\/em\u003e is one of the rare examples from this vivid era that remains in private hands. Its brilliance links it closely to the artist’s celebrated achievements of the decade, revealing Renoir's unmatched mastery of color and the expressive potential of light. \u003cbr\u003e\u003cbr\u003e The bather at the center of the composition is pure radiance, with her copper hair and luminous complexion shimmering with hundreds of Renoir's precise brushstrokes. Surrounding her is a symphony of saturated blues, greens and warm golden tones that evoke the brilliance of summers on the Normandy coast. The canvas captures not only the physical setting but also the sensation of the salty air and gleaming brightness, hallmarks of Renoir's finest Impressionist masterpieces. \u003cbr\u003e\u003cbr\u003e Depicting the beauty of the Channel Island of Guernsey, this painting reflects Renoir's deep love of this place, where he stayed for five weeks in 1883. Enchanted by its atmosphere, he remarked that “one would believe oneself in a landscape by Watteau rather than in the real world.\" That sense of wonder and inspiration animates every brushstroke of \u003cem\u003eBaigneuses à Guernsey\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e As one of Renoir's most coveted subjects, bathers of this caliber from this important period are exceptionally difficult to find. This work is also distinguished by its provenance, having been directly acquired from Renoir by the influential dealer Ambroise Vollard. Most of Renoir's paintings from this defining moment already reside in major institutions, including the Metropolitan Museum of Art, the Barnes Foundation and the National Gallery, London. \u003cbr\u003e\u003cbr\u003e Born in Limoges, France, in 1841, Renoir began his career as an apprentice to a painter of porcelain wares. He later moved to Paris at the age of 21, enrolling at the prestigious École des Beaux-Arts. It was here, while studying under Charles Gleyre, that Renoir attained a tremendous appreciation for the academic style of painting, a quality that would last throughout his career. This was also the time during which he met Claude Monet and several other classmates, with whom he would later form the Impressionists. \u003cbr\u003e\u003cbr\u003e Working closely with Monet, Renoir began experimenting with the portrayal of light and its effect on his canvases. The youngest member of the Impressionist movement, an astute Renoir, recognized how a subject was constantly changing due to the dynamic effects of light on color. Relying heavily upon his academic training that focused upon composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with an acute attention to his subject, have placed him among the finest painters in history. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity from the Wildenstein Institute, and it will be featured in their forthcoming catalogue raisonné. \u003cbr\u003e\u003cbr\u003e Painted 1885 \u003cbr\u003e\u003cbr\u003e Canvas: 18\" high x 14 3\/4\" wide (45.72 x 37.47 cm)\u003cbr\u003e Frame: 28 1\/4\" high x 25\" wide x 3 1\/2\" deep (71.76 x 63.50 x 8.89 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1820.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Ambroise Vollard, Paris, acquired from the artist (before 1919)\u003cbr\u003e Galerie Bignou, Paris and New York\u003cbr\u003e Gottfried Tanner, Zurich\u003cbr\u003e Galerie Beyeler, Basel (as of 1956)\u003cbr\u003e Private Collection, Paris\u003cbr\u003e Sale, Sotheby \u0026amp; Co., London, March 27, 1957, no. 116, p. 16 (illustrated)\u003cbr\u003e Stapylton, United Kingdom, purchased at above sale\u003cbr\u003e Sale, Palais Galliera, December 8, 1961, no. 71 (illustrated pl. XXXVI)\u003cbr\u003e Gabriel Fodor, Paris\u003cbr\u003e M. \u0026amp; Mme Robert Schmit, Paris (1978)\u003cbr\u003e M. \u0026amp; Mme Schmit, Paris, by descent from above (c. 2009)\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Ambroise Vollard, Tableaux, pastels \u0026amp; dessins de Pierre-Auguste Renoir, vol. I, 1918, no. 2, p. 1 (illustrated)\u003cbr\u003e Vassily Photiadès, Renoir: Nus, 1960 (illustrated)\u003cbr\u003e François Daulte, Auguste Renoir: Catalogue raisonné de l’oeuvre peint, vol. I, Figures: 1860-1890, 1971, no. 489 (illustrated)\u003cbr\u003e Ambroise Vollard, Pierre-Auguste Renoir: Paintings, Pastels and Drawings, rev. ed., 2009, no. 2 (illustrated)\u003cbr\u003e Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 2, 1882-1894, 2009, no. 1287 (illustrated)\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Los Angeles, Dalzell Hatfield Galleries, Renoir: 1841-1919, Sept 15 - Oct 15, 1943, no. 8\u003cbr\u003e Basel, Galerie Beyeler, Maîtres de l’art moderne, Aug - Oct 1956, no. 8 (illustrated)\u003cbr\u003e Paris, Galerie Schmit, Delacroix à Braque: Maîtres Français XIXe - XXe siècles, April 25 - July 11, 2001, no. 47 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803561689410,"sku":null,"price":2750000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1820_1_0a490784-3775-4764-a220-cc5e559f4976.png?v=1768102626"},{"product_id":"still-life-with-aubergines-and-red-peppers-on-a-silver-tray-by-winston-churchill","title":"Still Life with Aubergines and Red Peppers on a Silver Tray by Winston Churchill","description":"Sir Winston Churchill\u003cbr\u003e 1874-1965 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eStill Life with Aubergines and Red Peppers on a Silver Tray\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"WSC\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Widely considered the greatest Briton of all time, Sir Winston Churchill also pursued the art of painting for more than 40 years. This exceptional painting, \u003cem\u003eStill Life with Aubergines and Red Peppers on a Silver Tray\u003c\/em\u003e, displays the legendary statesman's artistic gift and offers an intimate glimpse into his private creative life. It is not only far larger than most works by Churchill, but it also importantly bears his signature, unlike a majority of his celebrated works. \u003cbr\u003e\u003cbr\u003e Painted between 1934 and 1935 during Churchill's time at his beloved country home, Chartwell, this oil painting demonstrates Churchill's mastery of bold color. His attentive brushwork captures the vivid reds and purples of the peppers and aubergines, which he expertly contrasts with the sharpness of the polished silver and the soft folds of the draped tablecloth. \u003cbr\u003e\u003cbr\u003e The classic subject of this painting was influenced by Churchill's friend and mentor, the artist Sir William Nicholson, who often stayed at Chartwell in the 1930s. Nicholson’s impact is evident in the composition and brushwork and this rare painting by Churchill is similar to examples by Nicholson in the Tate collection. Additionally, the painting’s subject matter closely mirrors a work by the celebrated N.C. Wyeth, which is now housed in the Brandywine Museum of Art. Churchill was an admirer of Wyeth’s work, and even arranged to have Wyeth’s watercolors displayed in his hotel room during a visit to Boston.   \u003cbr\u003e\u003cbr\u003e As with most of Churchill’s masterpieces, this painting was not created for public display but solely for Churchill’s pleasure. It was later given as a token of gratitude to Mr. Alfred Kern, a prominent Swiss banker who owned Villa Choisy in Switzerland. In 1946, Kern hosted Churchill at the villa during the period of his iconic Zurich speech, a seminal call for European unity in the aftermath of World War II. The villa’s tranquil setting on the banks of Lac Léman provided Churchill with a sanctuary during a pivotal moment in history, as he worked to lay the foundations for post-war peace and stability in Europe. \u003cbr\u003e\u003cbr\u003e Painting was a dominating passion for Churchill in the last half of his life. There is little evidence that he had any artistic training prior to his 40s. In fact, his wife Clementine mentioned at one point that before he began painting, Churchill had hardly visited an art museum, much less created art. Churchill first began painting following a personal and political disaster—the Dardanelles campaign in 1915. He is quoted as telling the painter Sir John Rothenstein: “If it weren’t for painting, I couldn’t live; I couldn’t bear the strain of things.”  \u003cbr\u003e\u003cbr\u003e In 1948, Churchill was bestowed the prestigious recognition of Honorary Academician Extraordinary by The Royal Academy of Arts. Churchill painted roughly 500 works, approximately 350 of which are housed in Churchill’s garden studio at Chartwell, with few others ever coming to market. Created by one of the most influential figures of the 20th century, this extraordinary gift to a close confidant provides a rare and intimate glimpse into who the “real” Winston Churchill was.  \u003cbr\u003e\u003cbr\u003e Circa 1934-35 \u003cbr\u003e\u003cbr\u003e Canvas: 24 3\/8” high x 29 1\/2” wide (61.91 x 74.93 cm)\u003cbr\u003e Frame: 30 3\/8” high x 35 1\/2” wide x 4\" deep (77.15 x 90.17 x 10.16 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0392.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Gifted by the artist to Mr. Alfred Kern, 1946\u003cbr\u003e Sale, Sotheby's, London 14th March 1979\u003cbr\u003e Sale, Christie's, London March 1991\u003cbr\u003e Wells Collection\u003cbr\u003e Churchill family member, United Kingdom\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e David Coombs and M. Churchill, \u003cem\u003eSir Winston Churchill: His Life and His Paintings\u003c\/em\u003e, Dorset, 2011, C510, fig. 510, p. 240, illustrated","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803561787714,"sku":null,"price":2250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0392_1.png?v=1768102631"},{"product_id":"au-bord-du-ruisseau-by-william-adolphe-bouguereau","title":"Au Bord du Ruisseau by William-Adolphe Bouguereau","description":"William-Adolphe Bouguereau\u003cbr\u003e 1825-1905 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAu bord du ruisseau\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “W-Bouguereau-1888” (upper left)\u003cbr\u003e Oil on Canvas \u003cbr\u003e\u003cbr\u003e “Bouguereau’s paintings of children allowed for the expression of values that formed, for the painter, the very heart of his philosophy of life.“ - Gilles Chazal, ‘The Art of Bouguereau,’ 1984-1985 \u003cbr\u003e\u003cbr\u003e This enchanting work, painted by the majorly successful William-Adoplhe Bouguereau, depicts his favored subject from the second half of his career: young women at ease in nature. This work, entitled \u003cem\u003eAu bord du ruisseau\u003c\/em\u003e, masterfully captures the subtle curiosity in the child's expressive eyes. It is this charming subject that charted his rise to one of the most celebrated and important painters in French Academy history. \u003cbr\u003e\u003cbr\u003e In the painting, a young girl rests on the sandy banks of a river. Just having removed her bright red stockings, which lay carelessly crumpled in a pile to her left, she meets the eyes of the viewer. Her slightly flushed cheeks contrast the softness of her pale skin, emphasizing the beauty that comes with youth. In addition to his skill at rendering the human figure, Bouguereau also demonstrates his expertise in depicting botanical figures. The rocky outcrop contrasts the sharpness of the bulrush (\u003cem\u003etypha latifolia\u003c\/em\u003e) sprouting out from the sand. Although the impossibly smooth brushwork erases Bouguereau’s hand, his technical mastery of the scene is undeniable in the varying textures of her soft skin, the coarse linen of her dress and the crisp foliage behind her. \u003cbr\u003e\u003cbr\u003e Internationally famous for his skill as a draftsman and painter of religious imagery, Bouguereau transitioned into painting genre subjects by the mid-1870s. Always keenly aware of what was trending with the art-buying public, Bourguerau became inspired by a broad cultural shift and the many summers spent in his childhood village, La Rochelle. In 1882, Bouguereau purchased a summer retreat in La Rochelle, allowing him to paint local models \u003cem\u003een plein air\u003c\/em\u003e before finishing his canvases in Paris. \u003cbr\u003e\u003cbr\u003e Unlike other artists in the 19th century who documented the arduous lives of peasants toiling in the French countryside, such as Jean-Francois Millet, Bouguereau romanticized them. The wonderment of a childhood spent in nature, running wild and free, is celebrated across Bouguereau's oeuvre, making him an exceptional commercial success in his day. Collectors on both sides of the Atlantic had to wait two to three years to purchase one of his prized paintings. In the 19th century, no American collection would have been complete without a portrait by the French Academic master. Today, his works reside in prestigious museum collections such as the Musée d'Orsay, the Metropolitan Museum of Art and the J. Paul Getty Museum. \u003cbr\u003e\u003cbr\u003e Dated 1888 \u003cbr\u003e\u003cbr\u003e Canvas: 31 7\/8“ high x 40 3\/8” wide (81.28 x 103.51 cm) Frame: 47 3\/8\" high x 56\" wide x 5\" deep (120.33 x 142.24 x 12.7 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8591.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance: \u003cbr\u003e The artist\u003cbr\u003e Joseph Barrigan, Providence, acquired directly from the above, 30 May 1888\u003cbr\u003e Dr. and Mrs. John Garry, Ipswich, MA\u003cbr\u003e Their sale; Sotheby’s, New York, 26 October 1983, lot 98\u003cbr\u003e Borghi \u0026amp; Co., New York\u003cbr\u003e Private Collection, acquired from the above circa 1985\u003cbr\u003e European Art Part I sale; Christie’s, New York, 31 October 2018\u003cbr\u003e Private Collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Paris, Cercle Artistique et Littérature, March 1888\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e C. Comte de Franqueville, Le Premier Siècle de l’Institut de France: 25 Octobre 1795-25, Octobre 1895, Paris, 1895, p. 370\u003cbr\u003e M. Vachon, \u003cem\u003eW. Bouguereau\u003c\/em\u003e, Paris, 1900, p. 156\u003cbr\u003e M.S. Walker, ‘A Summary Catalogue of the Paintings, in \u003cem\u003eWilliam Bouguereau: l’Art Pompier\u003c\/em\u003e, exh. cat., Borghi \u0026amp; Co., New York, 1991, p. 73\u003cbr\u003e D. Bartoli and F. Ross, \u003cem\u003eWilliam Bouguereau: His Life and Works\u003c\/em\u003e, New York, 2010, p. 450, pl. 296, ill.\u003cbr\u003e D. Bartoli and F. Ross, \u003cem\u003eWilliam Bouguereau: Catalogue Raisonné of his Painted Work\u003c\/em\u003e, New York, 2010, p. 246-247, no. 1888\/05, ill. ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803561886018,"sku":null,"price":2250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-8591_1_85f0bf80-4ed3-493f-b949-d40bc88ff925.png?v=1768102635"},{"product_id":"petite-mendiante-by-william-adolphe-bouguereau","title":"Petite Mendiante by William-Adolphe Bouguereau","description":"William Bouguereau\u003cbr\u003e French | 1825-1905 \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePetite Mendiante\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Little Beggar)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “W. Bouguereau 1880” (center left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e William Bouguereau's faithful images of young women as beggars, gypsies and shepherdesses are an eternal expression of the female. In this magnificent painting titled \u003cem\u003ePetite Mendiante\u003c\/em\u003e, translated as \u003cem\u003eLittle Beggar,\u003c\/em\u003e he renders a young girl, utilizing the classically inspired techniques of the French Academy. In doing so, he elevates her beyond the harshness of life to reflect her inherent beauty, regardless of her social standing. The child gazes out with an expression of wisdom far beyond her years, in front of a vast and alluring landscape of natural beauty. Bouguereau was a product of Enlightenment thinking and often used his artistic gift to bring attention to the plight of the poor. His eye for realistic detail allowed him to communicate the equality of all humanity through his stunning compositions, as illustrated by this magnificent work. \u003cbr\u003e\u003cbr\u003e Unpretentious and modest, Bouguereau became one of the most decorated artists of the 19th century. He received medals from the Salons and Universal Expositions, successive ranks in the prestigious Legion of Honor, and was the leading member of the Institute of France and President of the Society of Painters, Sculptors and Engravers. His art never deviated from the basic principles of Academic training. He so dominated the Salons of the Third Republic that the official Salon became known as \u003cem\u003eLe Salon Bouguereau\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e In addition to the accolades of the art world, Bouguereau received many commissions to decorate public buildings including the Grand Théâtre, Bordeaux and the chapels of Sainte Clothilde, Saint Vincent de Paul and Saint Augustin, Paris. He also painted decorations for private mansions of the Paris and La Rochelle property entrepreneurs. \u003cbr\u003e\u003cbr\u003e Bouguereau's paintings are immensely popular in the United States evidenced by the fact that his works are a part of many public and private collections throughout the country, including the Metropolitan Museum of Art, Museum of Fine Arts, Boston and many more. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Canvas: 46” high x 29” wide\u003cbr\u003e Frame: 58 1\/4” high x 41 1\/2” wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Goupil \u0026amp; Cie., Paris (acquired from the artist on August 3, 1880)\u003cbr\u003e William Schaus, New York\u003cbr\u003e Sale, American Art Association, Wall-Brown Collection, March 1886, lot 175\u003cbr\u003e Sale, Sotheby's NY, May 21, 1987, lot 96\u003cbr\u003e Sale, Sotheby's NY May 24, 1995, lot 138\u003cbr\u003e Private Collection, NJ\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, IL\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Charles Vendryes, \u003cem\u003eCatalogue illustre des oeuvres de W. Bouguereau\u003c\/em\u003e, Paris: editions Baschet, 1885, p. 61\u003cbr\u003e Marius Vachon, \u003cem\u003eW. Bouguereau\u003c\/em\u003e, Paris, 1900, p. 154\u003cbr\u003e Mark S. Walker, \u003cem\u003eWilliams Bouguereau: A Summary Catalogue of the Paintings\u003c\/em\u003e, NY, 1991, p. 71\u003cbr\u003e D. Bartoli, \u003cem\u003eWilliam Bouguereau: Catalogue Raisonné of the Painted Works\u003c\/em\u003e, 2010, p. 202, pl. 156","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803561984322,"sku":null,"price":2250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-8590_1_2aaba03a-c9bd-49b0-b0cb-0c0680b60560.png?v=1768102640"},{"product_id":"the-tax-collectors-attributed-to-marinus-van-reymerswaele","title":"The Tax Collectors attributed to Marinus van Reymerswaele","description":"Marinus van Reymerswaele\u003cbr\u003e c.1490 – c.1546 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Tax Collectors\u003c\/em\u003e\u003cbr\u003e 16th century\u003cbr\u003e Oil on wood panel \u003cbr\u003e\u003cbr\u003e Marinus van Reymerswaele stands among the greatest and most beloved artists of 16th-century Antwerp. Entitled \u003cem\u003eThe Tax Collectors\u003c\/em\u003e, this oil on board original exudes the technical skill and life-like vibrancy for which the artist is renowned.  \u003cbr\u003e\u003cbr\u003e In a quiet interior scene, two men sit at a green table covered in coins, jewels, and empty moneybags. While the man in the red turban-like head wrap calmly records transactions in his leger, his companion grimaces, still clutching an empty coin purse. A meticulous painter, Marinus takes care to painstakingly render each minute detail with tremendous accuracy. Marinus has precisely lined each fold in their garments and each wrinkle on the men’s faces and hands. He further demonstrates his skill by capturing the reflections of light within the reflective gemstones and brass candlestick. His treatment of the men’s faces is caricatured but still believable, setting up an excellent satire on the tax collectors. Overall, the artist has imbued the scene with a lifelike vibrancy with a bold palette and confident application of paint. For further explanation of the incredible details in this work of art, \u003ca href=\"https:\/\/msrauantiques2022.my.salesforce.com\/sfc\/p\/8c000000eEg1\/a\/Vb000000Yv2H\/VSt.9b3UYGfvaM2kT_jK2D33ojjfG7m9m_3tDKP_xVQ\" _blank\u003eplease see the pictorial key\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e The economic and cultural boom of 16th-century Antwerp effectively made the once-small Flemish city the financial center of the world. The greatest artists from all over the continent were drawn to the prosperity and sophistication of Antwerp. Without a doubt, a scene of two misers would have been immediately recognizable to a 16th-century European. The subject was one of the most popular of its time, gracing the collections of queens, kings and private citizens alike. All would have understood the image as satirical, poking fun at the two tax collectors wearing gaudy, outdated clothing with contorted faces. During this period, the citizens of Antwerp would have paid their taxes directly to the Habsburg dynasty of the Holy Roman Empire, centered in Vienna, leading to discontent among those in Flanders. The sudden advent of capitalism and urbanism stirred uncertainty among many about the world’s future. Despite these political and economic grievances, viewers could share a laugh at Marinus’s painting depicting the two men who served this oft-despised role. \u003cbr\u003e\u003cbr\u003e Marinus van Reymerswaele, Dutch by birth, spent the majority of his life living and working in Antwerp. In 1509, he registered with the Antwerp Guild of St. Luke, cementing his position within the artistic fabric of the city by producing copies of beloved artworks. Nearly 500 years later, Marinus’s works reside in museums worldwide, including the Louvre in Paris, the National Gallery in London and the Museo del Prado in Madrid. One version resides in Windsor Castle, within the King’s private quarters, and the Royal Liechtenstein collection acquired its own in 2008. It, like ours, displays the same remarkable color and expressive faces that characterize our masterpiece. Of these comparable paintings, only the Royal Liechtenstein example is equal to ours in quality and condition. \u003cbr\u003e\u003cbr\u003e Circa 1540 \u003cbr\u003e\u003cbr\u003e Panel: 42\" high x 31 3\/4\" wide Frame: 48 1\/2\" high x 38 5\/8\" wide x 3 3\/4\" deep \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5668.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Acquired by Private Collection, United Kingdom circa 1880;\u003cbr\u003e Thence by direct descent.\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803562049858,"sku":null,"price":1985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-5668_1_a057e36c-3b95-4a3b-b549-74f45ea0f0b3.png?v=1768102646"},{"product_id":"la-fille-du-pecheur-by-william-bouguereau","title":"La fille du pêcheur by William Bouguereau","description":"William-Adolphe Bouguereau\u003cbr\u003e 1825-1905 | French\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(The Fisherman’s Daughter)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “W-Bouguereau-1882” (middle right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e William Bouguereau's influence on 19th-century art is profound, earning him a cherished place in the French Academy. His frequent exhibitions at the Paris Salon led to the event being colloquially known as “Le Salon Bouguereau.” Among his numerous masterpieces, \u003cem\u003eLa fille du pêcheur\u003c\/em\u003estands out as an extraordinary work, epitomizing both the simplicity of life and the grandeur inherent in Bouguereau’s oeuvre. \u003cbr\u003e\u003cbr\u003e Bouguereau’s unparalleled ability to depict the moods and personalities of his subjects within classical settings is evident in this work. Influenced by the great Neoclassical artist Ingres, Bouguereau’s technique demonstrates an exceptional degree of finish and luminous coloration, characteristics of his prestigious education at the École Royale des Beaux-Arts. His portraits, especially those of peasant women and children, are among his most cherished works, with \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e being a particularly exquisite example. \u003cbr\u003e\u003cbr\u003e In this composition, a young girl stands against a historic column with a picturesque fishing village as her backdrop. Captured at the height of summer and her youthful vigor, she holds a basket, likely for collecting fish or other goods. Her gaze is both entrancing and coy, suggesting a moment of pure adolescent liveliness, possibly interrupted while running an errand. The intricate rendering of her dress and radiant skin, combined with her confident pose, imbues the subject with a vitality that seems to leap off the canvas. \u003cbr\u003e\u003cbr\u003e Bouguereau’s works are immensely popular among collectors worldwide and can be found in prestigious collections such as the Musée d’Orsay in Paris, the Metropolitan Museum of Art in New York and the New Orleans Museum of Art. \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e is included in the Bouguereau catalogue raisonné as 1882\/06.  \u003cbr\u003e\u003cbr\u003e Dated 1882 \u003cbr\u003e\u003cbr\u003e Canvas: 57” high x 34 1\/2” wide (133.78 x 87.62 cm)\u003cbr\u003e Framed: 67 1\/8” high x 44 3\/4” wide x 2 1\/4“ deep (170.50 x 113.67 x 5.72 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-9083.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Goupil \u0026amp; Cie, acquired directly from the artist, 1882\u003cbr\u003e Letts, Son \u0026amp; Co., acquired from above, 1882\u003cbr\u003e Galerie Goupil \u0026amp; Cie, acquired above, 1883\u003cbr\u003e William Schauss, New York, acquired from above, 1883\u003cbr\u003e Private Collection of Mrs. Mary Corliss\u003cbr\u003e Sale, American Art Association, 8 Feb 1935, lot no. 61, with illustration as Flower Girl\u003cbr\u003e Grant Art Galleries\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bougeureau's accounts, as \u003cem\u003eJeune fille appuyée sur une manne\u003c\/em\u003e\u003cbr\u003e Goupil, Boussod \u0026amp; Valadon sales register, nos. 16378 and 16520, as \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e\u003cbr\u003e Charles Vendryès, \u003cem\u003eCatalogue illustré des œuvres de W. Bouguereau\u003c\/em\u003e, Librairie d'Art, Paris, 1885, p. 63\u003cbr\u003e Amable Charles Franquet de Franqueville, \"William Bouguereau\" in \u003cem\u003eLe Premier Siècle de l'Institut de France\u003c\/em\u003e, Vol. I, J. Rothschild, Paris, 1895, p. 370 as \u003cem\u003eLa fille du pêcheur\u003c\/em\u003e\u003cbr\u003e Marius Vachon, \u003cem\u003eW. Bouguereau\u003c\/em\u003e, A. Lahure, Paris, 1900, p. 155\u003cbr\u003e Mark Steven Walker, \"A Summary Catalogue of the Paintings,\" in \u003cem\u003eWilliam Adolphe Bouguereau: L'art Pompier\u003c\/em\u003e, New York, 1991, p. 72\u003cbr\u003e Damien Bartoli and Frederick C. Ross, \u003cem\u003eWilliam Bouguereau: Catalogue Raisonné of his Painted Work\u003c\/em\u003e, New York, 2010, p. 214-15, no. 1882\/06 (illustrated)\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803562180930,"sku":null,"price":1985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-9083_1_a1e81c2b-dd97-488e-903b-ce354e50216c.png?v=1768102650"},{"product_id":"le-pre-a-eragny-automne-by-camille-pissarro","title":"Le Pré à Éragny, automne by Camille Pissarro","description":"Camille Pissarro\u003cbr\u003e 1830-1903 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe Pré à Éragny, automne\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"C. Pissarro 1885\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Few artists have shaped art history as profoundly as Camille Pissarro. Hailed as the \"Father of Impressionism,\" he earned the deep respect of his peers, driving the movement through relentless innovation. Pissarro's great Impressionist landscapes from the 1880s are among the most coveted works in his oeuvre, embodying the artist's unparalleled talent for capturing the beauty of the French countryside. This painting, \u003cem\u003eLe Pré à Éragny, automne (The meadow in Éragny, autumn)\u003c\/em\u003e, depicts one of Pissarro's most beloved landscapes with exceptional luminosity. \u003cbr\u003e\u003cbr\u003e Settling in the small Normandy village of Éragny in the spring of 1884, Pissarro found in its surrounding fields an ideal environment for his artistic ideals. Unlike the urban centers that increasingly preoccupied many of his contemporaries, Éragny offered a vision of rural bliss at a time when mechanization and modernization were rapidly transforming the French landscape. In \u003cem\u003eLe Pré à Éragny, automne\u003c\/em\u003e, Pissarro presents a bucolic scene in his signature soft palette and precise brushwork, perfectly capturing the crisp atmosphere of harvest time—free from the encroachment of urbanization. Pissarro's deep attachment to this place is evident, and Éragny would become the landscape he painted most for the rest of his life. \u003cbr\u003e\u003cbr\u003e This painting also comes with important provenance and exhibition history. It was acquired directly from the artist by the most important dealer of Impressionism, Paul Durand-Ruel, and it remained with Durand-Ruel and his family for decades until 1937. \u003cbr\u003e\u003cbr\u003e As with the greatest artists in history, the demand for Pissarro’s work remains unwavering, especially for his celebrated landscapes from the pivotal period of the 1880s. When these rare works come to market, they consistently achieve impressive sums between $2 million and $6 million. Similar landscapes by Pissarro reside in the most important museums in the world, including the Musée d'Orsay, the Metropolitan Museum of Art, the Art Institute of Chicago, the National Gallery of Art in Washington, D.C. and many more. \u003cbr\u003e\u003cbr\u003e Born in St. Thomas in the Danish West Indies, Pissarro was educated in Paris from an early age and later trained at the Académie Suisse, where he formed enduring friendships with artists including Claude Monet. Over the course of his long career, he became a central figure of Impressionism and the only artist to participate in all eight of the group’s exhibitions. His influence extended well beyond his own generation, particularly through his close relationships with Paul Cézanne and Paul Gauguin, both of whom benefited from his guidance during his years at Pontoise and Éragny. \u003cbr\u003e\u003cbr\u003e Dated 1885 \u003cbr\u003e\u003cbr\u003e Canvas: 17 3\/4\" high x 21 1\/4\" wide (45.09 x 53.98 cm)\u003cbr\u003e Frame: 27\" high x 30 1\/4\" wide x 2 3\/4\" deep (68.58 x 76.84 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-2149.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Durand-Ruel, Paris (acquired from the artist on 8 October 1886)\u003cbr\u003e Paul Durand-Ruel, Paris\u003cbr\u003e Joseph Durand-Ruel, Rome (by 1901)\u003cbr\u003e Paul Durand-Ruel, Paris (by 1937)\u003cbr\u003e M. Fleming (acquired from the above on 23 December 1937)\u003cbr\u003e Sale: Sotheby’s London, 10 December 1969, lot 27 (illustrated in colour)\u003cbr\u003e Mr. Pringle\u003cbr\u003e Mrs. E. Ives Nartholet, New York\u003cbr\u003e Private collection, USA (acquired from the above on 17 November 1971)\u003cbr\u003e Sale: Sotheby’s New York, 3 May 2005, lot 14 (illustrated in colour; consigned by the above)\u003cbr\u003e Private collection, Paris (acquired at the above)\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Galerie und Sammler, Zurich, 1938, no. 4 (illustrated)\u003cbr\u003e L-R. Pissarro and L. Venturi, Camille Pissarro, son Art son Oeuvre, vol. I, Paris, 1939, p. 176, no. 671\u003cbr\u003e L-R. Pissarro and L. Venturi, Camille Pissarro, son Art son Oeuvre, vol. II, Paris, 1939, pl. 139 (illustrated)\u003cbr\u003e J. Pissarro and C. D-R. Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Paris, 2005, p. 532, no. 812 (illustrated)  \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Brussels, Cercle des XX, Sixième Exposition annuelle des XX, 1889, no. 3\u003cbr\u003e London, Grafton Galleries, A Selection from the pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, 1905, no. 192 (lent by Durand-Ruel, Paris)\u003cbr\u003e London, Thomas Agnew \u0026amp; Son, Paintings and Drawings by Camille Pissarro, 1937, no. 35\u003cbr\u003e Zürich, Galerie Aktuaryus, Pissarro, Sisley, Renoir, 1938, no. 4 London, O’Hana Gallery, Three Generations of Pissarros, 1954, no. 9 ","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803562279234,"sku":null,"price":1885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-2149_1.png?v=1768102656"},{"product_id":"couple-sur-le-lit-by-marc-chagall","title":"Couple sur le lit by Marc Chagall","description":"Marc Chagall\u003cbr\u003e 1887-1985 | Russian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eCouple sur le lit\u003c\/em\u003e\u003cbr\u003e (Couple on bed) \u003cbr\u003e\u003cbr\u003e Signed 'Marc Chagall' (lower right)\u003cbr\u003e Oil and India ink on canvas \u003cbr\u003e\u003cbr\u003e Marc Chagall's exquisite work, \u003cem\u003eCouple sur le lit\u003c\/em\u003e, completed in 1952, epitomizes the motif of a lover's embrace—a theme recurrent and highly sought after throughout his illustrious career. Additionally, this work serves as a tribute to Chagall's native Russia, a motif that defines his oeuvre. Chagall’s works in warm, vibrant tones—specifically those rendered in reds and oranges—strongly evoke the passion of love the artist so fervently sought to portray and are among the most desirable of his works. \u003cbr\u003e\u003cbr\u003e The motif of lovers is a hallmark of Chagall’s masterpieces, often symbolizing his deep affection for his first wife, Bella Rosenfeld, and his grief upon her death in 1944. In this remarkable composition, a couple overlooks a Russian cityscape inspired by the artist's birthplace—his beloved village that was destroyed during World War II. Instead of succumbing to resentment over this and the many other tragedies he endured, Chagall employed bold, intense colors and dream-like settings to reflect the emotional turbulence of his life. After initially rejecting vibrant pink and red hues during his mourning for Bella and his displacement during the Second World War, Chagall eventually returned to these bright colors as a testament to the adversities he had overcome. This use of color solidified Chagall's reputation as a master colorist in his later works, with his red hues being among the most coveted in his palette. \u003cbr\u003e\u003cbr\u003e The beautiful female figure in this painting is bathed in warmth, and sits upright on the bed, implying her impending departure. Her companion, rendered in cool blue, reclines. His body is positioned towards her as if pleading with her to stay, likely a nod to the effects of war or, more profoundly, to life's fragility. The painting’s ability to convey universal themes of love, loss and resilience through Chagall's distinctive visual language makes it a compelling visual narrative. \u003cbr\u003e\u003cbr\u003e In his lifetime Chagall produced an incredible body of work that continues to demand the highest attention in the art community. Today, his works belong to the collections of prestigious museums across the globe including the Museum of Modern Art in New York, the Guggenheim Museum in New York, Tate Modern in London and the National Museum of Modern Art in Paris. The intense use of color and thematic depth in this painting is similar to works in the collections of top institutions, such as \u003cem\u003eLes Amants au ciel rouge\u003c\/em\u003e (Lovers in the Red Sky), 1950, at the San Francisco Museum of Modern Art. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a certificate of authenticity issued by the Comité Marc Chagall \u003cbr\u003e\u003cbr\u003e Circa 1931-1952 \u003cbr\u003e\u003cbr\u003e Canvas: 22 3\/4\" high x 20 1\/2” wide (57.79 x 52.07 cm)\u003cbr\u003e Frame: 31 3\/8\" high x 28 7\/8” wide x 1 1\/2“ deep (79.69 x 73.34 x 3.81 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8835.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803562410306,"sku":null,"price":1885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-8835_1.png?v=1768102661"},{"product_id":"young-mother-contemplating-two-embracing-children-by-william-adolphe-bouguereau","title":"Young Mother Contemplating Two Embracing Children by William-Adolphe Bouguereau","description":"William-Adolphe Bouguereau\u003cbr\u003e 1825-1905 | French\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJeune mère contemplant deux enfants qui s'embrassent\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Young Mother Contemplating Two Embracing Children)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “W-Bouguereau” (bottom right, 1861 date now obliterated)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e William Bouguereau's influence on 19th-century art is profound, earning him a cherished place in the French Academy. His frequent exhibitions at the Paris Salon led to the event being colloquially known as “Le Salon Bouguereau.” \u003cem\u003eYoung Mother Contemplating Two Embracing Children\u003c\/em\u003e stands out as an extraordinary work among his oeuvre, epitomizing the pastoral ideal and the classical grandeur inherent in Bouguereau’s oeuvre. \u003cbr\u003e\u003cbr\u003e Bouguereau’s unparalleled ability to depict the moods and personalities of his subjects within classical settings is evident in this work. Influenced by the great Neoclassical artist Ingres, Bouguereau’s technique demonstrates an exceptional degree of finish and luminous coloration, characteristics of his prestigious education at the École Royale des Beaux-Arts. His portraits, especially those of young women and cherubs in idyllic natural settings, are among his most cherished works, with this being a particularly exquisite example. \u003cbr\u003e\u003cbr\u003e In this composition, a classical beauty lounges in a mossy grove accompanied by her twin children, one fair and the other dark. Bouguereau displays his extraordinary mastery of dramatic lighting, with the mother cast in a cool shadow beneath the trees while the cherubs shine under a bright light in the foreground. The intricate rendering of the fabrics and the radiant skin of the figures imbues the scene with a luminous vitality that seems to leap off the canvas. \u003cbr\u003e\u003cbr\u003e The classical ideal and the wonderment of a childhood spent in nature are themes celebrated across Bouguereau's oeuvre, making him an exceptional commercial success in his day. Collectors on both sides of the Atlantic had to wait two to three years to purchase one of his prized paintings. In the 19th century, no American collection would have been complete without a portrait by the French Academic master. Today, his works reside in prestigious museum collections such as the Musée d'Orsay, the Metropolitan Museum of Art and the J. Paul Getty Museum. \u003cem\u003eYoung Mother Contemplating Two Embracing Children\u003c\/em\u003e is included in the Bouguereau catalogue raisonné as 1861\/03.  \u003cbr\u003e\u003cbr\u003e Dated 1861 \u003cbr\u003e\u003cbr\u003e Canvas: 32 1\/4” high x 39 3\/4” wide (81.92 x 100.97 cm)\u003cbr\u003e Framed: 49 3\/8” high x 57” wide x 6“ deep (125.41 x 144.78 x 15.24 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sold by the artist to Paul Durand-Ruel\u003cbr\u003e Private Collection of John. T. Martin, New York, before 1909\u003cbr\u003e Martin Estate sale by American Art Association of New York, 1909, lot 40 (no illustration, listed as \u003cem\u003eThe Twins\u003c\/em\u003e\u003cbr\u003e C. K. G. Billings, New York, purchased from the above\u003cbr\u003e Beverly Wilshire Hotel, Beverly Hills, CA\u003cbr\u003e Private Collection of Jozeph Szymanski, Pasadena, CA, from 1971\u003cbr\u003e Sale, Sotheby's New York, Nov. 3 1999, catalogue no. 7373, lot no. 55\u003cbr\u003e Private Collection\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Galerie Durand-Ruel stock books\u003cbr\u003e Charles Vendryès, \u003cem\u003eCatalogue illustré des œuvres de W. Bouguereau\u003c\/em\u003e, Librairie d'Art, Paris, 1885, p. 21\u003cbr\u003e Amable Charles Franquet de Franqueville, \"William Bouguereau\" in \u003cem\u003eLe Premier Siècle de l'Institut de France\u003c\/em\u003e, Vol. I, J. Rothschild, Paris, 1895, p. 370 as \u003cem\u003eJeune mère contemplant enfants\u003c\/em\u003e\u003cbr\u003e Marius Vachon, \u003cem\u003eW. Bouguereau\u003c\/em\u003e, A. Lahure, Paris, 1900, p. 147\u003cbr\u003e Mark Steven Walker, \"A Summary Catalogue of the Paintings,\" in \u003cem\u003eWilliam Adolphe Bouguereau: L'art Pompier\u003c\/em\u003e, New York, 1991, p. 66\u003cbr\u003e Damien Bartoli and Frederick C. Ross, \u003cem\u003eWilliam Bouguereau: Catalogue Raisonné of his Painted Work\u003c\/em\u003e, New York, 2010, p. 67, no. 1861\/03 (illustrated","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803562508610,"sku":null,"price":1650000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-9611_1.png?v=1768102666"},{"product_id":"violiniste-au-coq-by-marc-chagall","title":"Violiniste au coq by Marc Chagall","description":"Marc Chagall\u003cbr\u003e 1887-1985 | Russian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eVioliniste au coq\u003cbr\u003e (Violinist with a Rooster)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped with signature \"Marc Chagall\" (lower right)\u003cbr\u003e Gouache, pastel, India ink, colored pencils and graphite on paper \u003cbr\u003e\u003cbr\u003e This magnificent masterpiece by the great Marc Chagall offers a captivating glimpse into the mind of the artist. \u003cem\u003eVioliniste au coq\u003c\/em\u003e is a remarkable, large-scale gouache that unites almost all of Chagall's most iconic motifs in a touching tribute to his home. Its dreamlike composition and vibrant palette reveal why Chagall is one of art history's most celebrated giants. \u003cbr\u003e\u003cbr\u003e One of Chagall's most important symbols, a charming fiddler plays his instrument at the center of this composition. Inspired by his upbringing in the rural village of Vitebsk with his violinist uncle and a mandolin-playing brother, Chagall painted these musicians throughout his entire career. For the artist, they were spiritual guides and embodiments of the emotional power of art and music, and they frequently appear at the center of some of Chagall’s most famous paintings, including \u003cem\u003eThe Green Violinist\u003c\/em\u003e, which now belongs to the Guggenheim Museum. \u003cbr\u003e\u003cbr\u003e The brilliantly colored musician is accompanied by a wide-eyed rooster, a smiling yellow goat and rustic village buildings—more of Chagall's most famous motifs that are rooted in his childhood. This vivid cast of characters swirls around the composition with the artist's signature soft brushwork. Quintessential of Chagall's best works, the overall effect of this extraordinary painting is dreamlike and full of nostalgia and hope. \u003cbr\u003e\u003cbr\u003e Chagall’s later works are characterized by a rich use of jewel tones and bright colors and a turn toward even more personal and introspective subjects. Known especially for his bold blues, reds and yellows, Chagall employs all three to dazzling effect here in \u003cem\u003eVioliniste au coq\u003c\/em\u003e, drawing the viewer's eye to keep points of the composition. Even in the last decade of his long life, Chagall continued to paint fervently, and these works are some of the most desirable and sought-after in his oeuvre.  \u003cbr\u003e\u003cbr\u003e Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life. \u003cbr\u003e\u003cbr\u003e Chagall died at the age of 97 in Saint-Paul de Vence, France, in 1985, leaving behind an incredible body of work that continues to demand the highest attention in the art world. Today, his works belong to the collections of prestigious museums across the globe, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, Tate Modern in London and the Art Institute of Chicago. \u003cbr\u003e\u003cbr\u003e This work is accompanied by its certificate of authenticity issued by the Comité Marc Chagall. \u003cbr\u003e\u003cbr\u003e Painted 1976 \u003cbr\u003e\u003cbr\u003e Paper: 23\" high x 17 1\/2\" wide (58.42 x 44.45 cm)\u003cbr\u003e Frame: 42 3\/4\" high x 36 3\/4\" wide x 3 1\/2\" deep (108.59 x 93.35 x 8.89 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803562803522,"sku":null,"price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-2044_1.png?v=1768102672"},{"product_id":"la-neige-au-grand-lemps-by-pierre-bonnard","title":"La neige au Grand-Lemps by Pierre Bonnard","description":"Pierre Bonnard\u003cbr\u003e 1867-1947 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa neige au Grand-Lemps\u003cbr\u003e (The Snow at Grand-Lemps)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Bonnard\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Pierre Bonnard is widely celebrated as one of the greatest colorists in art history, central to the evolution of modern art. His captivating canvases are distinguished by their luminosity and chromatic complexity, and this rare winter landscape is no exception. \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e captures one of Bonnard's most beloved locales and embodies his lifelong fascination with—and mastery of—the color white. \u003cbr\u003e\u003cbr\u003e Painted in 1910, \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e reflects a pivotal moment in Bonnard’s artistic practice. As a founder of the influential group \u003cem\u003eLes Nabis\u003c\/em\u003e, Bonnard was known throughout the 1890s for his colorful, highly complex interior scenes that infused the everyday with symbolic meaning. Around 1900, Bonnard drifted away from the bustle of Paris and traveled Europe with his friend Édouard Vuillard, finding new inspiration in the idyllic landscapes of France. \u003cbr\u003e\u003cbr\u003e Unlike the Impressionists who painted \u003cem\u003een plein air\u003c\/em\u003e, Bonnard painted almost entirely from memory—and this painting evocatively depicts the scenery of his childhood in Le Grand-Lemps. This work also reveals Bonnard’s obsession with capturing the elusive brilliance of white. He composes the entire painting around this color, carefully layering hundreds of subtle hues to bring the snow, ice and winter sky shimmering to life. \u003cbr\u003e\u003cbr\u003e Bonnard's landscapes are exceptionally rare today, especially snowy scenes such as this one. With its prestigious provenance and exhibition history, this work is an exceptional, museum-caliber masterpiece. Similar landscapes by Bonnard belong to important museum collections worldwide, including the Metropolitan Museum of Art, the Tate Modern and the National Gallery of Art in Washington, D.C. The Musée Bonnard is dedicated entirely to the artist's legacy, and \u003cem\u003eLa neige au Grand-Lemps\u003c\/em\u003e was exhibited there in 2024. \u003cbr\u003e\u003cbr\u003e Born in 1867 in Fontenay-aux-Roses, Bonnard initially studied law before training as an artist at the Académie Julian and the École des Beaux-Arts. Aligning himself with the Symbolist avant-garde, he founded the important group, Les Nabis, along with Maurice Denis and Édouard Vuillard. Known for his intimate interior scenes and evocative nudes, Bonnard developed a highly sophisticated and unique color palette that earned him widespread acclaim. The artist spent his later decades in the South of France, where he continued to refine an increasingly introspective style until his death in 1947. His commitment to the subtleties of perception and color secured his position as one of the most influential figures in modern art, and his landscapes remain among the most sought-after expressions of his lifelong pursuit of visual sensation. \u003cbr\u003e\u003cbr\u003e Painted 1910 \u003cbr\u003e\u003cbr\u003e Canvas: 19 1\/2\" high x 25 1\/2\" wide (49.53 x 64.77 cm)\u003cbr\u003e Frame: 28 1\/2\" high x 34 3\/4\" wide x 3\" deep (72.39 x 88.27 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1819.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Charles Terrasse, Paris (artist's nephew), by descent from the artist\u003cbr\u003e Thence by descent\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e A. Terrasse, \u003cem\u003eBonnard\u003c\/em\u003e, Geneva, 1965, p. 51 (illustrated)\u003cbr\u003e J. \u0026amp; H. Dauberville, \u003cem\u003eBonnard, Catalogue raisonné de l'oeuvre peint\u003c\/em\u003e, vol. II, 1906-1919, Paris, 1968, no. 609, p. 200 (illustrated)\u003cbr\u003e \u003cem\u003eBonnard: The Late Paintings\u003c\/em\u003e, exhibition catalog, New York, 1984, p. 178 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Orangerie des Tuileries, \u003cem\u003eBonnard\u003c\/em\u003e, 1947, no. 44\u003cbr\u003e Edinburgh, Royal Scottish Academy, \u003cem\u003eExhibition of Paintings by Pierre Bonnard and Edouard Vuillard\u003c\/em\u003e, 1948, no. 33, p 12\u003cbr\u003e Basel, Musée des Beaux-Arts, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1955, no. 41, p. 23\u003cbr\u003e Nice, Musée de Ponchettes, \u003cem\u003eBonnard\u003c\/em\u003e, 1955, no. 14, p. 27\u003cbr\u003e Paris, Galerie Bernheim-Jeune, \u003cem\u003eHommage à Bonnard\u003c\/em\u003e, 1956, no. 18\u003cbr\u003e Munich, Haus der Kunst, Secession Gallery, \u003cem\u003eEuropaïsche Kunst\u003c\/em\u003e, 1964, no. 41\u003cbr\u003e London, Royal Academy of Arts, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966, no. 94\u003cbr\u003e Oslo, Kunstnerforbundet, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966, no. 9\u003cbr\u003e Munich, Haus der Kunst, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1966-1967, no. 59 (illustrated)\u003cbr\u003e Paris, Orangerie des Tuileries, \u003cem\u003eCentenaire de la naissance de Pierre Bonnard\u003c\/em\u003e, 1967, no. 66 (illustrated)\u003cbr\u003e Colmar, Musée d'Unterlinden, \u003cem\u003eAutour d'une acquisition, Bonnard\u003c\/em\u003e, 1982\u003cbr\u003e Paris, Galerie Schmit, \u003cem\u003ePierre Bonnard\u003c\/em\u003e, 1995, no. 22 (illustrated)\u003cbr\u003e Musée Bonnard, le Cannet, 2024\u003cbr\u003e Paris, Fondation Maeght, \u003cem\u003eBonnard \u0026amp; Matisse: A Friendship\u003c\/em\u003e, 2024","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803563131202,"sku":null,"price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1819_1_4c461d45-4ff2-4fc0-a7a4-8fb7f3733bbe.png?v=1768102676"},{"product_id":"a-pompeian-lady-by-john-william-godward","title":"A Pompeian Lady by John William Godward","description":"John William Godward\u003cbr\u003e 1861-1922 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Pompeian Lady\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"J.W. Godward 1904\" (lower right, partially covered by frame)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled \u003cem\u003eA Pompeian Lady\u003c\/em\u003e, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. \u003cbr\u003e\u003cbr\u003e Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pelt. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. \u003cbr\u003e\u003cbr\u003e Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops, was a direct reflection of this pervasive view. \u003cbr\u003e\u003cbr\u003e Godward debuted at London’s Royal Academy exhibition in 1887 at the age of only 26. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton and Sir Edward John Poynter, Godward quickly adopted, if not rivaled, their style. He envisioned similar scenes of the ancient world, seamlessly blending antiquity and beauty in breathtaking compositions and attracting fans across Europe. In 1889, he was elected to the Royal Society of British Artists, and, ten years later, Godward debuted at the Paris Salon, where again he was heaped with critical praise. However, the 20th century brought rapid artistic change, and he was faced with the painful reality that the classical world he loved was being overshadowed by modern art movements. His devotion to the classics never waned, and he moved to Rome in 1912 to surround himself with the physical remnants of the classical world, where he stayed for the major part of his remaining career. \u003cbr\u003e\u003cbr\u003e Dated 1904 \u003cbr\u003e\u003cbr\u003e Canvas: 25“ diameter, (62.87 x 63.5 cm)\u003cbr\u003e Frame: 45 3\/4” high x 44 3\/8” wide (116.21 x 112.71 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-3739.pdf%20target=\" new\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J.W. Godward: The Eclipse of Classicism, 2018, Vern Swanson, page 290, no.12 and illustrated \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Thomas McLean Gallery, London, 1904 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Thomas McLean, art dealer, London, 1904\u003cbr\u003e Purchased by Sir Alfred Bird, Tudor Grange Solihull\u003cbr\u003e Cooling Galleries, London and Toronto, Canada\u003cbr\u003e The collection of Maurice and Louella Brown, Toronto and Calgary, Canada\u003cbr\u003e By descent to Keith C. Brown and L. Joan Brown, Calgary, Alberta, 1982\u003cbr\u003e Hodgin’s Art Auctions, Calgary\u003cbr\u003e Fred and Sherry Ross, New Vernon, New Jersey\u003cbr\u003e Sotheby’s, New York\u003cbr\u003e Private collection, New Orleans\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803563262274,"sku":null,"price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-3739_1_b5c45ca2-3655-4986-b799-6ac13c4acc43.png?v=1768102680"},{"product_id":"guitare-sur-un-gueridon-by-pablo-picasso","title":"Guitare sur un guéridon by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish\u003cbr\u003e\u003cbr\u003e \u003cem\u003eGuitare sur un guéridon\u003cbr\u003e (Guitar on a pedestal)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Gouache on Western wove paper laid on board\u003cbr\u003e Signed “Picasso” (upper left) \u003cbr\u003e\u003cbr\u003e Picasso’s prolific career has been marked by many grand love affairs, both romantic, intellectual and creative. Beyond his lovers like Olga Khoklova and Dora Maar and his intellectual muses like Georges Braques and Gertrude Stein, Picasso’s greatest love and inspiration was perhaps a humble instrument: the guitar. Whether it be the \u003cem\u003eOld Guitarist\u003c\/em\u003e from his early blue period, his groundbreaking series of three-dimensional guitar sculptures from his nascent explorations in Cubism, or his \u003cem\u003eMandolin and Guitar\u003c\/em\u003e composition’s grander explorations with color and biomorphic shapes, the guitar is an elusive calling card for modern art’s greatest genius.  \u003cbr\u003e\u003cbr\u003e In \u003cem\u003eGuitare sur un guéridon\u003c\/em\u003e, Picasso intertwines his signature guitar and a bowl of fruit. These two elements are playfully brought together and skillfully anchored on the tabletop by a square positioned at the center of the composition. The result is a captivating and harmonious arrangement that showcases Picasso's artistic ingenuity in blending these everyday objects into a visually striking and cohesive composition.  \u003cbr\u003e\u003cbr\u003e This rare gouache was created during the pivotal summer of 1920. During this time, Picasso lived in Juan-les-Pins, a small coastal resort town in the South of France away from the confines of the city and the fallout of World War I. With this newfound freedom, Picasso entered an exciting and innovative creative period and began to interrogate the connections between Neoclassicism and Cubism. \u003cbr\u003e\u003cbr\u003e Picasso created a series of gouache paintings characterized by their flat, geometric nature, sinuous contours and strikingly vivid colors. Though not a complete departure from his previous Cubist works, this series showcased the influence of the Surrealists, especially the biomorphic subconscious explorations of Joan Miró, upon Picasso’s oeuvre. While the breadth of his creativity grew, he returned back to a familiar motif — the guitar — with a renewed sense of vigor and excitement.  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eGuitare sur un guéridon’s\u003c\/em\u003e undulating lines and biomorphic appeal bring Picasso's preoccupation with the guitar into deeper focus. The sinuous lines of guitar mirror the sensuous lines of the female form — the other most prevalent subject in Picasso's oeuvre. This beautiful and colorful gouache work illustrates the seminal movement in Picasso's oeuvre from Analytic Cubism toward the evolved sensual, biomorphic style that would characterize Picasso's later works. Similar gouaches from this time can be found in the permanent collections of the Solomon R. Guggenheim Museum in New York and the National Gallery of Art in Washington DC. \u003cbr\u003e\u003cbr\u003e Born in 1881 in Málaga, Spain, Picasso spent his childhood studying drawing and painting under his father, Jose Ruíz, who taught at the local art school. Picasso spent a year at the Academy of Arts in Madrid, before traveling to Paris in 1900. Landing in the center of the European art world, Picasso began to mingle in the company of other artists, quickly establishing himself as a critical figure in the thriving Parisian art scene. Critics have often divided Picasso’s artistic output into distinct phases based on his color scheme and style of painting. It was around 1907 that Picasso became very influenced by African masks and art which began making their way into Parisian museums following the expansion of the French Empire into Africa. The faces and simplified, angular planes of the women in Picasso’s \u003cem\u003eLes Demoiselles d’Avignon\u003c\/em\u003e clearly derive their style from African masks and sculptures, and this painting is often heralded as the beginning of Cubism. Pushing the boundaries of his own creativity throughout his long career, Picasso devoted himself to artistic production. The result was one of the richest and most important oeuvres in art history. \u003cbr\u003e\u003cbr\u003e Dated 1920 \u003cbr\u003e\u003cbr\u003e Paper: 11” high by 8 1\/4” wide (27.94 x 20.64 cm)\u003cbr\u003e Frame: 22 5\/8\" high by 19 5\/8\" wide by 1 1\/2\" deep (57.15 x 49.85 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-7796.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Long Island Collections: May 12-August 4, 2002\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, European Art Between World Wars: May 9-August 1, 2004\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Picasso: February 20-April 17, 2005\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Picasso and the School of Paris: Nov. 19, 2006-Feb. 4, 2007\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, The Jazz Age: March 23-July 8, 2018\u003cbr\u003e Roslyn Harbor, New York, The Manes Art \u0026amp; Education Center, Nassau County Museum of Art, Selections from the Collection of Dr. Harvey Manes, January 19 - May 12, 2019 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003ePablo Picasso: Supplement aux Annies 1920-1929\u003cem\u003e, Vol. 30, Paris, 1975, by Christian Zervos, p. 30, no. 73 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Justin K. Tannhauser, New York\u003cbr\u003e Galerie Beyeler, Basel, Switzerland\u003cbr\u003e Sale: Sotheby’s, New York, May 16,1984, lot 134\u003cbr\u003e Sale: Sotheby's New York, November 4, 1993\u003cbr\u003e Private Collection, New York\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e\u003c\/em\u003e\u003c\/em\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803563458882,"sku":null,"price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-7796_1.png?v=1768102686"},{"product_id":"the-garden-near-cailhau-by-achille-lauge","title":"The Garden Near Cailhau by Achille Laugé","description":"Achille Laugé\u003cbr\u003e 1861-1944 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"A. Laugé 96\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e “Laugé’s art is one of great sensitivity and controlled reason; he is a master of light.” — Antoine Bourdelle, French Artist, Esteemed Peer, June 1927 \u003cbr\u003e\u003cbr\u003e This incredible work by Achille Laugé entitled \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e showcases the masterful artist at his very best. During his lifetime, Achille Laugé was celebrated by his peers and the public alike for producing dazzling works with subtly divided southern light, pure tones and rigorous geometry. His reputation continued to grow after his death, and today the art market recognizes him as a master of Neo-Impressionism. Though his command of the pointillist and divisionist styles often draws comparison to his Neo-Impressionist peers like Seurat and Signac, Laugé approached the style with his own unique sensibility. Laugé‘s oeuvre showcases his taste for monumental, static art emphasizing rhythm, line and purity. More personally, Laugé was deeply inspired by his hometown's natural beauty and familiarity. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Garden Near Cailhau\u003c\/em\u003e depicts a quintessential scene from the artist — a touching tribute to his beloved home. Featuring a road flanked by trees and bathed in sunlight, the flowering trees that line the path merge with the pointillist dots to create a stunning visual effect. The tree-lined path recedes into the distance towards the commune of Cailhau on top of a hill. The composition masterfully combines all the principles of divisionism while staying true to Laugé’s roots. Marked by a luminous color palette and a robust paint application that causes the scene to emerge in three dimensions, it is among the finest of Laugé’s output, and the canvas remains in its original unlined state in perfect condition. \u003cbr\u003e\u003cbr\u003e The son of a farmer, Achille Laugé initially opted for a career as a pharmacist before giving up his studies to enroll at the Toulouse School of Fine Arts in 1876. During his apprenticeship, he met Antoine Bourdelle, Henri Martin and Henri Marre, who encouraged him to go to Paris in 1882 to study at the École des Beaux-Arts. It was in Paris in the early 1890s that Laugé discovered the paintings of Seurat and Signac. \u003cbr\u003e\u003cbr\u003e He was encouraged by Bourdelle, who told him, \"You bring a very personal vision, a great deal of serene logic and a beautiful gift of unity in the love of the luminous air that reigns even in your shadows\" — very high praise from a peer! After his sojourn to Paris, Laugé returned to his childhood home of Cailhau near Carcassonne in the Aude, establishing himself permanently in somewhat relative isolation and only exhibiting on the rare occasion at the Salon des Indépendants in Paris. It was within this strategic isolation that the artist refined his point of view and honed his individual stylistic language. \u003cbr\u003e\u003cbr\u003e Born in 1861 to wealthy farmers, he moved to Toulouse at the age of 17 to study pharmacy. At this time, he also enrolled part-time at the school of the Beaux-Arts, where he befriended the artist Bourdelle. Three years later, he moved to Paris, where he studied under the famous masters Alexandre Cabanel and Aristide Maillol, making his debut at the Salon in 1884. Like many other artists of his generation, Laugé eventually rejected the conservative ideals of this teacher, falling under the Post-Impressionist influence of Georges Seurat. By 1888, his landscapes became assiduous experiments in complementary colors and light on canvas. He exhibited three paintings at the \u003cem\u003e Salon des Indépendants\u003c\/em\u003e in 1894, as well as with the Nabis that same year. In addition, Laugé held several one-man shows in Paris, Toulouse and Perpignan from 1907 to 1930. \u003cbr\u003e\u003cbr\u003e It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896, Laugé composed his pictures with small points of color. At the end of the century, he abandoned the dots and dabs and painted his landscapes, portraits and still-lifes with thin, systematically placed strokes resembling crosshatching. After 1905, he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the effect of southern light. Today, his exceptional works can be found at the Museum of Fine Arts, Houston and museums throughout France, including the Musée d'Orsay in Paris. \u003cbr\u003e\u003cbr\u003e Dated 1896 \u003cbr\u003e\u003cbr\u003e Canvas: 25 1\/2\" high x 32\" wide (64.77 x 81.28 cm)\u003cbr\u003e Frame: 31 1\/2\" high x 37 7\/8\" wide (80.01 cm x 96.2 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8276.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Acquired directly from the artist\u003cbr\u003e Private Collection\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803563589954,"sku":null,"price":985000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-8276_1_996d3c7c-7c75-4ce6-8be1-6ccfd1983cd2.png?v=1768102691"},{"product_id":"port-du-croisic-by-jean-metzinger","title":"Port du Croisic by Jean Metzinger","description":"Jean Metzinger\u003cbr\u003e 1883-1956 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePort du Croisic\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"J. Metzinger\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptional painting by the celebrated French artist Jean Metzinger is a rare example of his Pointillist style. Depicting his most coveted subject, \u003cem\u003ePort du Croisic\u003c\/em\u003e is a shimmering Mediterranean scene full of radiance and colorful depth. Created during a pivotal moment in the early 20th century, this work embodies the technical precision and intellectual rigor that distinguished Metzinger as one of the most original visionaries of modern art. \u003cbr\u003e\u003cbr\u003e In \u003cem\u003ePort du Croisic\u003c\/em\u003e, Metzinger’s mastery of Pointillism reaches its fullest expression. Every meticulous brushstroke contributes to the atmospheric harmony of morning light, where sea, sky and sailboats merge through a symphony of optical vibration. Inspired by Seurat and Signac, Metzinger absorbed and advanced the innovations of their Divisionist techniques, reinvigorating the style with new vitality after Seurat's death in 1891. His interest in mathematics and optics allowed him to transform the mosaic-like application of pure color into a tool for expressive abstraction.  \u003cbr\u003e\u003cbr\u003e Metzinger was born in Nantes in 1883 and trained at the École des Beaux-Arts in his native city before moving to Paris, where he became a central figure in the avant-garde. Drawn to Neo-Impressionism, he developed a distinct variation characterized by sharp brushwork and an architectural style of composition. His rare Pointillist works, such as \u003cem\u003ePort du Croisic\u003c\/em\u003e are testaments to his groundbreaking belief that color and structure could coexist in perfect equilibrium—an idea that would underpin his later contributions to Cubism. \u003cbr\u003e\u003cbr\u003e Exhibited at the Salon des Indépendants in 1905, Metzinger considered this work one of his Pointillist masterpieces, holding it in his personal collection for years before gifting it to his dear friend. Comparable works from this pivotal period are held in major institutions, including the Minneapolis Institute of Art, the Musée des Beaux-Arts de Nantes, the Kröller-Müller Museum and the Musée d’Art moderne de Troyes. \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1703.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Painted in 1905 \u003cbr\u003e\u003cbr\u003e Canvas: 24 3\/4\" high x 35 1\/2\" wide (62.79 x 90.17 cm)\u003cbr\u003e Frame: 35 1\/4\" high x 43 3\/4\" wide x 2\" deep (89.54 x 111.13 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Monsieur Bertet, Marseille, a gift from the artist\u003cbr\u003e Rose Saporte-Bertet, Marseille, a gift from the above\u003cbr\u003e Private Collection, a gift from the above in 1953\u003cbr\u003e Private Collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e This work will be included in the forthcoming catalogue raisonne, no. AM-05-004 \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Paris, Grande Serre de l'Alma, Cours-la-Reine, \u003cem\u003e21e Salon des Indépendants\u003c\/em\u003e, March-April 1905, p. 172, no. 2902\u003cbr\u003e (possibly) Paris, Galerie Berthe Weill, \u003cem\u003eExposition de peintures\u003c\/em\u003e, November-December 1905, no. 51 (titled Marine (Le Croisic)\u003cbr\u003e Paris, L'Adresse Musée de la Poste and Paris, Musée de Lodève, \u003cem\u003eGleizes, Metzinger, du Cubisme et après\u003c\/em\u003e, May 2012-November 2013 (illustrated in color, p. 57)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803563721026,"sku":null,"price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1703_1.png?v=1768102696"},{"product_id":"portrait-of-emilienne-le-roy-by-giovanni-boldini","title":"Portrait of Emilienne Le Roy by Giovanni Boldini","description":"Giovanni Boldini\u003cbr\u003e 1842-1931 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Emilienne Le Roy\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A dazzling display of Giovanni Boldini’s signature style, \u003cem\u003ePortrait of Emilienne Le Roy\u003c\/em\u003e captures the essence of Belle Époque elegance. Boldini, known as the “Master of the Swish,” infused his portraits with movement, vitality and an unparalleled sense of grandeur. Painted in 1913, this portrait embodies the grace and dynamism that made Boldini the most sought-after portraitist in Parisian high society. \u003cbr\u003e\u003cbr\u003e Rendered in Boldini’s unmistakable fluid strokes, the portrait pulses with energy, as though caught in a fleeting moment of motion. His characteristic loose, swirling brushwork lends an ethereal quality, while the play of light across the figure enhances Le Roy’s presence. Her elegant pose, draped in flowing fabrics, epitomizes the aristocratic glamour of pre-war Paris. Boldini’s ability to merge realism with impressionistic dynamism is fully realized in this composition, showcasing why his work remains unparalleled in the canon of portraiture. \u003cbr\u003e\u003cbr\u003e Boldini was the premier portraitist of the Belle Époque, capturing the era’s most famous figures, from the Marchesa Casati to the Duchess of Marlborough. Emilienne Le Roy (1894–1980) was among the select Parisian socialites who vied for the privilege of sitting for him. His portraits, treasured for their vivacious energy and modern spirit, have been collected by the world’s most prestigious museums, including the Boldini Museum in Ferrara, the Metropolitan Museum of Art, the Art Institute of Chicago and the Petit Palais in Paris, which recently hosted a major retrospective of his work. \u003cbr\u003e\u003cbr\u003e Painted 1913 \u003cbr\u003e\u003cbr\u003e Canvas: 37 5\/8\" high x 27 3\/4\" wide (9557 x 70.49 cm)\u003cbr\u003e Framed: 47 1\/4\" high x 37 1\/2\" wide x 3\" deep (120.02 x 95.25 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0364.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e C.L. Ragghianti, E. Camesasca, \u003cem\u003eL'Opera completa di Boldini, Rizzoli Editore\u003c\/em\u003e, Milan, 1970, no. 512, reproduced in black and white, p. 128.\u003cbr\u003e T. Panconi, \u003cem\u003eGiovanni Boldini. The complete work\u003c\/em\u003e (General catalogue raisonné), Edifir, Florence 2002, p. 551\u003cbr\u003e P. Dini, F. Dini, \u003cem\u003eGiovanni Boldini. 1842-1931. Catalogue raisonné\u003c\/em\u003e, Allemandi, Turin 2002, vol. IV, p. 546, n. 1058\u003cbr\u003e Giovanni Boldini. \u003cem\u003eGeneral catalogue from the Boldini archives\u003c\/em\u003e, edited by B. Doria, Rizzoli, Milan 2000, n. 620 \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Boldini: The Genius of Line, the Magic of Color, Campobasso, November 27, 2021 – April 18, 2022\u003cbr\u003e Femme Fatale: The Female Figure in the Belle Époque, Between Archetype and Emancipation, Montichiari, November–December 2022 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Artist’s studio (inventory no. 29T)\u003cbr\u003e Emilia Cardona Boldini (widow of the artist)\u003cbr\u003e Tino Rossi\u003cbr\u003e Private collection, Milan\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803563786562,"sku":null,"price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0364_1.png?v=1768102700"},{"product_id":"tender-years-moth-holes-by-norman-rockwell","title":"Tender Years: Moth Holes by Norman Rockwell","description":"Norman Rockwell\u003cbr\u003e 1894-1978 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTender Years: Moth Holes\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Norman Rockwell\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e From Norman Rockwell's acclaimed \u003cem\u003eFour Seasons\u003c\/em\u003e calendar series for Brown \u0026amp; Bigelow, \u003cem\u003eTender Years: Moth Holes\u003c\/em\u003e represents the artist's masterful exploration of mature American relationships and his unparalleled ability to transform ordinary domestic moments into profound artistic narratives. This 1957 painting displays Rockwell's sentimental commitment to celebrating the \"charms and comforts of maturity\" during an era obsessed with youth. \u003cbr\u003e\u003cbr\u003e The composition presents a couple discovering the unfortunate fate of their stored seasonal clothing, with the husband displaying his moth-riddled red long underwear while his wife examines the damage with resigned familiarity. Rockwell's meticulous attention to detail manifests in every element: the weathered wooden trunk with its brass fittings, the scattered moths dancing above the scene, the couple's expressive faces and the comfortable acceptance that comes with decades of shared domestic trials. The careful rendering of textures—from the soft wool of the sweaters to the worn leather of the trunk—demonstrates Rockwell's technical virtuosity at every turn. \u003cbr\u003e\u003cbr\u003e Norman Rockwell stands as America's most beloved illustrator, whose work transcended commercial art to become a defining visual narrative of 20th-century American life. His Brown \u0026amp; Bigelow calendar series (1948-1964) ranks alongside his Saturday Evening Post covers as works that elevated him from celebrated illustrator to national institution. Rockwell's extraordinary ability to find profound meaning in everyday moments earned him the Presidential Medal of Freedom in 1977, the highest civilian honor bestowed upon American citizens. His art, characterized by meticulous detail and emotional depth, captures the essence of the American spirit with an authenticity that continues to resonate across generations. Museums worldwide, including the Norman Rockwell Museum in Stockbridge, Massachusetts, preserve and celebrate his legacy as an artist who documented American values, aspirations and the tender moments that unite us all. \u003cbr\u003e\u003cbr\u003e Painted 1957 \u003cbr\u003e\u003cbr\u003e Canvas: 17 1\/2\" high x 17 1\/2\" wide (44.45 x 44.45 cm)\u003cbr\u003e Frame: 26 1\/8\" high x 26 1\/8\" wide (66.36 x 66.36 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Judy Goffman Fine Art, New York\u003cbr\u003e Illustration House, New York\u003cbr\u003e Private collection, Florida\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, vol. I, Stockbridge, 1986, no. A151, p. 353, illustrated in color","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803563917634,"sku":null,"price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1342_1.png?v=1768102705"},{"product_id":"at-the-mirror-by-frederick-carl-frieseke","title":"At the Mirror by Frederick Carl Frieseke","description":"Frederick Carl Frieseke\u003cbr\u003e 1874-1939 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAt the Mirror\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"F.C. Frieseke\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Part of the second generation of modern American painters to study in Giverny, Frederick Carl Frieseke is among the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. \u003cem\u003eAt the Mirror\u003c\/em\u003e is a charming example of the latter, and it is masterfully executed with the artist's deft handling of color. \u003cbr\u003e\u003cbr\u003e The work demonstrates the artist's remarkable eye for composition; the mirror (with its reflection) divides the canvas horizontally, offering a view of the front and back of the artist's model as she removes her robe. The result is a work that feels both intimate and voyeuristic, allowing the viewer a glimpse into this private space. The soft familiarity of the work is enhanced by the painter’s characteristic limitation of palette, which has been pared down to a series of pale greens, blues and violets that are only occasionally offset by hints of orange, yellow and red in the wallpaper and flowers. All of his distinctive artistic devices come together in \u003cem\u003eAt the Mirror\u003c\/em\u003e, resulting in a highly successful and balanced composition.  \u003cbr\u003e\u003cbr\u003e Executed in 1922, the work embodies Frieseke's mature impressionist style. After spending nearly two decades in the artist's colony at Giverny, Frieseke moved to a farm in Normandy in 1920, and his art of this period concentrated almost solely on the female figure. \u003cem\u003eAt the Mirror\u003c\/em\u003e exemplifies his output of this age. The quietude of the room and the tranquility of the model are poignantly recorded by Frieseke, resulting in an idyllic image that approaches its subject in its most picturesque form. As a whole, the work demonstrates Frieseke's skillful use of impressionistic brushwork and diffuse light.  \u003cbr\u003e\u003cbr\u003e Born in Michigan in 1874, Frieseke studied his craft at the School of the Art Institute of Chicago. After briefly studying in New York, he moved to Paris in 1897 like many artists of his generation. There, he studied at the Académie Julian, where he worked under Benjamin Constant and Jean-Paul Laurens. In the ensuing years, he began to paint the intimate views of women in their boudoirs that would come to dominate his output throughout his career. \u003cbr\u003e\u003cbr\u003e Frieseke first visited the artist colony in Giverny in 1900, and just five years later, he would settle there. The work he created while in Giverny was among the most significant of his career. He and his wife frequently visited Claude Monet, who was a close neighbor, though they more commonly discussed gardens than their artwork. In 1920, Frieseke was appointed a Chevalier of the Legion of Honor, a remarkable achievement for an American painter. Today, his works can be found in museums around the world, including the Detroit Institute of the Arts, the Minneapolis Institute of Arts, the Museum of Fine Arts (Houston) and the Thyssen-Bornemisza Museum (Madrid). \u003cbr\u003e\u003cbr\u003e This work will be included in the forthcoming catalogue raisonné of Frieseke's work being compiled by Nicholas Kilmer, the artist's grandson. \u003cbr\u003e\u003cbr\u003e Circa 1922 \u003cbr\u003e\u003cbr\u003e Canvas: 32 3\/4\" high x 32 1\/4\" wide\u003cbr\u003e Frame: 43\" high x 42 1\/2\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Macbeth Gallery, New York\u003cbr\u003e Sotheby's New York, May 25, 1988, Lot 194\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564048706,"sku":null,"price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-2880_1.png?v=1768102710"},{"product_id":"the-bather-by-childe-hassam","title":"The Bather by Childe Hassam","description":"Childe Hassam\u003cbr\u003e 1859-1935 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Bather\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated “Childe Hassam” (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Considered by many to be America’s foremost Impressionist painter, Childe Hassam composed his tranquil and intimate oil on canvas The Bather in the early years of the 20th century. The creation of the artwork aligns with a period of Hassam’s career where the artist’s palette was transforming, matching ever closer with the pale and pastel hues of French Impressionists like Claude Monet. Even the subject — his wife going swimming — represents a greater alignment with the Impressionist project as showing nature at its best. With Hassam’s signature brushwork and attention to color, \u003cem\u003eThe Bather\u003c\/em\u003e serves as a dream-like vision, serene and sensuous, of a young woman bathing in a lush forest. \u003cbr\u003e\u003cbr\u003e While the artist's skill for landscape painting is on display, it is Hassam's command of form, light and color that brings this canvas to life. He creates a captivating composition, placing the nude subject in the bottom left of the canvas. The soft, undulating curves of the woman's body in contrapposto and the glow of her fair skin are balanced by the strong verticals and deep earth tones of the tall trees to her right. Hassam delicately frames the nude in the vivid blues of the distant water, building luminous color that further draws the viewer’s eye and results in a somewhat voyeuristic appeal — endowing his nude with both a natural innocence and an intentional sensuality. \u003cbr\u003e\u003cbr\u003e Born in Dorchester, Massachusetts, Childe Hassam began his artistic career as a freelance illustrator, working for national publications such as \u003cem\u003eHarper’s Weekly\u003c\/em\u003e, \u003cem\u003eScribner’s Monthly\u003c\/em\u003e, and \u003cem\u003eThe Century\u003c\/em\u003e. His first solo exhibition of watercolors took place in Boston in 1883, and he quickly catapulted onto the international scene, winning a bronze medal at the Exposition Universelle in Paris in 1889. The year before the present work was created, he received the Webb Prize from the Society of American Artists for another landscape painted at Gloucester. Hassam would receive numerous other awards throughout his career, most notably the Gold Medal for Distinguished Services to Fine Art from the American Dealers Association. A true master, Hassam depicted a way of life characteristic of both American and French society, and his work elucidates a critical chapter in American art history. Today, his work resides in the Oval Office of the White House and in numerous important museums, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington, DC and the Museum of Fine Arts in Boston, among others.  \u003cbr\u003e\u003cbr\u003e This painting will be included in Stuart P. Feld's and Kathleen M. Burnside's forthcoming \u003cem\u003ecatalogue raisonné\u003c\/em\u003e of the artist's work.  \u003cbr\u003e\u003cbr\u003e Circa 1905 \u003cbr\u003e\u003cbr\u003e Canvas: 24 1\/2“ high x 20 1\/8” wide (62.23 x 51.12 cm)\u003cbr\u003e Frame: 35 7\/8“ high x 31 1\/4” wide x 3 1\/4“ deep (91.12 cm x 79.38 cm x 8.26 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-6184.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection of William Young Marsh, Esq., Williamstown, Massachusetts.\u003cbr\u003e Private Collection, Montreal, Canada.\u003cbr\u003e Walter Klinkhoff Gallery, Montreal, Canada.\u003cbr\u003e Private Collection, Palm Beach, Florida.\u003cbr\u003e Christie’s, New York, 23 May 1996, lot 79, sold by the above.\u003cbr\u003e Private Collection.\u003cbr\u003e M.S. Rau, New Orleans.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564114242,"sku":null,"price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6184_1.png?v=1768102714"},{"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":51803564179778,"sku":null,"price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/30-4811_1_3176de37-9d57-49ae-922d-865c6a625316.png?v=1768102722"},{"product_id":"marschlandschaft-mit-drei-hausern-by-emil-nolde","title":"Marschlandschaft (mit drei Häusern) by Emil Nolde","description":"Emil Nolde \u003cbr\u003e 1867-1956 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMarschlandschaft (mit drei Häusern)\u003cbr\u003e Marshland (With Three Houses)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Nolde” (lower right)\u003cbr\u003e Watercolor on Japan paper \u003cbr\u003e\u003cbr\u003e A work of engaging richness and emotion, \u003cem\u003eMarschlandschaft (mit drei Häusern)\u003c\/em\u003e invites the viewer directly into the heart of the intuitive, poetic world of Emil Nolde. An essential figure in the German avant-garde, Nolde’s highly modern oeuvre stands as an important precursor to the Abstract Expressionists of the mid-20th century. With its vivid colors and emotional intensity, the present work is exemplary of his output, containing all of the best characteristics of his mature style. \u003cbr\u003e\u003cbr\u003e Brilliant, amorphous fields of color suggest the vast, marshy landscape of Nolde’s native Schleswig-Holstein region near the German-Danish border. The artist’s application of paint is powerful and dramatic, conveying with a few brushstrokes the impression of passing storm clouds, allowing light and sky to peek through and illuminate the colors of his landscape. A sense of fluidity and immediacy were of great importance to Nolde. He once said, “I try to avoid all thinking. A vague concept of color and luminosity suffices, and the picture evolves during the act of painting.” The flow and spontaneity of watercolor lent themselves well to Nolde’s creative approach, and he achieved a vibrancy in the medium that is unsurpassed. \u003cbr\u003e\u003cbr\u003e Nolde is considered one of the most important exponents of German Expressionism and was one of the most prominent representatives of the avant-garde in Germany. His participation in the seminal group Die Brücke (The Bridge) links him to one of the earliest artists' associations which had a crucial impact on the development of modern art. His interplay of color and form set him apart from his contemporaries, and his work is recognized as a monumental step toward modernism. \u003cbr\u003e\u003cbr\u003e However, Nolde’s work was derided in his day by the Nazi regime in Germany, and he was forbidden from painting. Deemed too “decadent,” 33 of his works were displayed in the infamous \u003cem\u003eEntartete Kunst\u003c\/em\u003e, Degenerate Art Exhibition in Munich in 1937, labeling the artist's works as a “threat” to Germany. The Nazi Party destroyed hundreds of Nolde's works and confiscated over one thousand more — the greatest number of any artist — highlighting the rarity of the present composition. \u003cbr\u003e\u003cbr\u003e Throughout his career, Nolde received numerous awards, including the Print Prize of the XXVL Venice Biennale and the Order “Pour le mérite,” the highest achievement for German arts and sciences. Nolde's auction history has also been triumphant. In 2021, a similar watercolor by Nolde sold at Sotheby's London for over $1,000,000, setting a record for the artist. Today, Nolde's works are held in important museum collections internationally, including in the \u003ca href=\"https:\/\/rauantiques.my.salesforce.com\/sfc\/p\/A0000000JY02\/a\/8X000000MkWU\/y42fae8P6suUKCBWCCmE7qUnECgWydZJ_H5tbZbwQPQ\" target=\"_blank\"\u003eArt Institute of Chicago and the Museo Nacional Thyssen-Bornemisza\u003c\/a\u003e. \u003cbr\u003e\u003cbr\u003e Circa 1920 \u003cbr\u003e\u003cbr\u003e Paper: 13 1\/2\" high x 18 1\/2\" wide (34.29 x 46.99 cm)\u003cbr\u003e Frame: 25 5\/8\" high x 30\" wide x 1 3\/8\" deep (65.09 x 76.2 x 3.49 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-5395.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Germany, a gift from the artist\u003cbr\u003e Thence by descent\u003cbr\u003e Sale, Christie's, London, 1 December 1987, lot 355.\u003cbr\u003e Anonymous sale, Hauswedell \u0026amp; Nolte, Hamburg, 12 June 1999, lot 2052.\u003cbr\u003e Galerie Neher, Essen.\u003cbr\u003e Private collection, Germany. \u003cbr\u003e M.S. Rau, New Orleans. \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Balingen, Stadthalle, \u003cem\u003eEmil Nolde, Weltsicht, Farbe Phantasie\u003c\/em\u003e, 2008, p. 132 (illustrated).","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564310850,"sku":null,"price":785000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-5395_1.png?v=1768102726"},{"product_id":"juan-rodriguez-conejo-by-fernando-botero","title":"Juan Rodriguez Conejo by Fernando Botero","description":"Fernando Botero\u003cbr\u003e 1932-2023 | Colombian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJuan Rodriguez \"Conejo\"\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Botero 88\" (upper right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Exemplifying Fernando Botero's distinctive visual language and mastery of form, \u003cem\u003eJuan Rodriguez \"Conejo\"\u003c\/em\u003e captures the Colombian master's enduring fascination with bullfighting in this intimate and delightful composition. This work belongs to Botero's most celebrated and coveted bullfighting series, created at the height of his international acclaim when his volumetric style had achieved worldwide recognition. The painting presents a compelling study of character and tradition, rendered with the technical virtuosity that established Botero as one of Latin America's most internationally acclaimed artists. \u003cbr\u003e\u003cbr\u003e Botero transforms the traditional matador portrait through his signature approach to proportion and form, presenting Rodriguez in his elaborate golden traje de luces against a rich landscape backdrop. The figure's robust presence fills the canvas, his voluminous form rendered with meticulous attention to surface textures and decorative details. Golden embroidery catches the light across the bullfighter's ceremonial costume, while his direct gaze creates an immediate connection with the viewer. The artist's masterful handling of flesh tones and fabric demonstrates his classical training, while the exaggerated proportions reveal his revolutionary approach to figuration. Behind the matador, an orange tree heavy with fruit, one of Botero's most beloved symbols, serves as a nod to Colombia's lush landscape. \u003cbr\u003e\u003cbr\u003e Botero's artistic development reflects his unique position bridging Latin American and European traditions. Initially trained as a bullfighter before discovering his artistic calling, he brought intimate knowledge of this world to his canvases throughout his career. His classical education under Roberto Longhi, the distinguished Italian Renaissance scholar, combined with exposure to Mexican muralism during his formative years in Mexico City, created a distinctive synthesis of influences. This fusion of Western academic tradition with Latin American sensibilities positioned Botero as a singular voice in contemporary art, achieving unprecedented international recognition for a Latin American artist of his generation. His works entered the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York, while an entire museum in Bogotá celebrates his contributions to contemporary art. \u003cbr\u003e\u003cbr\u003e This portrait appears in the definitive catalogue raisonné by E.J. Sullivan and J.M. Tasset and has received extensive scholarly attention in four major monographs dedicated to Botero's bullfighting works. The composition was featured in a significant international touring exhibition that traveled across three continents, including prestigious venues in Venezuela, Mexico, Spain and France, culminating in the celebrated 1992 exhibition at the Grand Palais in Paris. \u003cbr\u003e\u003cbr\u003e Painted 1988 \u003cbr\u003e\u003cbr\u003e Canvas: 17 1\/4\" high x 15\" wide (43.82 x 38.1 cm)\u003cbr\u003e Frame: 25\" high x 22 1\/2\" wide x 2\" deep (63.5 x 57.15 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Hopkins, Paris\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Coro, Venezuela, Museo de Arte, January-February 1989\u003cbr\u003e Caracas, Museo de Arte Contemporáneo, April 1989\u003cbr\u003e Mexico City, Museo de Arte Contemporáneo Internacional Rufino Tamayo, Botero, La Corrida, May-August 1989, no. 37, p. 69 (illustrated in color)\u003cbr\u003e Sevilla, Hospital de los Venerables Sacerdotes, Botero, La Corrida, March-April 1992, p. 42 (illustrated in color)\u003cbr\u003e Paris, Grand Palais, Botero aux Champs Elysées, La Corrida au Grand Palais, November 1992, p. 25 (illustrated in color)\u003cbr\u003e Bogota, Banco de la República, Botero, La Corrida, February-March 1993, no. 20, p. 36 (illustrated in color)\u003cbr\u003e Paris, Galerie Hopkins-Thomas-Custot, Fernando Botero, Petits formats, March-July 2001, no. 4, p. 23 (illustrated in color) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e J.M. Bonald, Botero, La Corrida, 1989, p. 92 (illustrated in color)\u003cbr\u003e J.M. Bonald, Botero, La Corrida, 1990, p. 92 (illustrated in color)\u003cbr\u003e J.M. Bonald, Botero, The Bullfight, 1990, p. 92 (illustrated in color)\u003cbr\u003e E.J. Sullivan \u0026amp; J.M. Tasset, Fernando Botero: Monograph \u0026amp; Catalogue Raisonné, Paintings, 1975-1990, 2000, no. 1988\/17, p. 432 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564376386,"sku":null,"price":698500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1101_1.png?v=1768102731"},{"product_id":"blackstone-cigars-by-norman-rockwell","title":"Blackstone Cigars by Norman Rockwell","description":"Norman Rockwell \u003cbr\u003e 1894-1978 | American  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBlackstone Cigars\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas  \u003cbr\u003e\u003cbr\u003e A charming relic of a bygone era, this rare oil is the work of the inimitable American illustrator, Norman Rockwell. The iconic artist’s ability to render the details and nuances of everyday life is on full display in this original advertisement, which features a businessman enjoying a Blackstone cigar while dictating to his secretary. Executed by Rockwell in 1921, the work was a special commission for a billboard campaign by the American cigar manufacturer Waitt \u0026amp; Bond. They were so pleased with the work that the company commissioned two additional billboard designs from Rockwell, a hunting scene in 1922 and a fishing scene in 1923. \u003cbr\u003e\u003cbr\u003e Rockwell's ability to capture the character of the nation was prized not only by magazine art editors but also by advertisers. Nearly all major companies of the day called upon Rockwell for his outstanding compositions, including Jell-O, Coca-Cola, General Motors, Ford, Post Cereals, and the U.S. Army, while his works continued to grace the covers of publications such as \u003cem\u003eLiterary Digest\u003c\/em\u003e, \u003cem\u003eLife\u003c\/em\u003e, \u003cem\u003eCountry Gentleman\u003c\/em\u003e, \u003cem\u003eLook\u003c\/em\u003e and the iconic \u003cem\u003eSaturday Evening Post\u003c\/em\u003e. Taken together, his many paintings capture the essence of the American spirit. “I paint life as I would like it to be,” Rockwell once said. Nostalgic and idealistic, his paintings evoke the hopes and aspirations of the entire nation. As filmmaker Steven Spielberg once said, “Rockwell painted the American dream – better than anyone.” \u003cbr\u003e\u003cbr\u003e Norman Rockwell led a very long and incredibly successful career as an artist. His first commission was painted when he was only 16 years old, and his irresistible paintings of American life made him the foremost American illustrator of the 20th century. While history was in the making all around him, Rockwell chose to fill his canvases with the small details and nuances of ordinary people in everyday life. His distinguished career earned him the Presidential Medal of Freedom in 1977, the highest honor bestowed upon an American civilian. \u003cbr\u003e\u003cbr\u003e Circa 1921 \u003cbr\u003e\u003cbr\u003e Canvas: 16 3\/4\" high x 36 3\/4\" wide\u003cbr\u003e Frame: 22 7\/8\" high x 43\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Sale, Illustration House NYC, Auction of Illustration Art, 21 May 2005, lot 9\u003cbr\u003e The Illustrated Gallery, 2005-2017\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private Collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564441922,"sku":null,"price":698500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-3782_1_6e509485-b560-4941-8d58-9aaa0aa827f3.png?v=1768102735"},{"product_id":"young-woman-in-interior-by-richard-e-miller","title":"Young Woman in Interior by Richard E. Miller","description":"Richard E. Miller\u003cbr\u003e 1875-1943 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eYoung Woman in Interior\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Miller\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Richard E. Miller's \u003cem\u003eYoung Woman in Interior\u003c\/em\u003e exemplifies the artist's exceptional mastery of light, color and feminine beauty that established him as one of the most significant American artists of the early 20th century. This captivating work transports viewers to an intimate domestic scene where a young woman, seated at a window overlooking her garden, delicately stirs her tea in a moment of quiet contemplation. \u003cbr\u003e\u003cbr\u003e This colorful composition demonstrates Miller's sophisticated technique through its masterful contrasts—the sweeping folds of the subject's dark skirt juxtaposed against the sunlit foliage beyond the window, the luminous rendering of her smooth hands and bare shoulders against the energetic brushwork of her garments. These elements create a visual symphony that captures the fleeting quality of light and atmosphere so prized by the Impressionists. \u003cbr\u003e\u003cbr\u003e Miller developed his distinctive artistic voice during his time in Paris at the end of the 19th century, where he was immersed in the vibrant artistic circles of the period. Unlike many American artists who merely adopted European styles, Miller cultivated a personal approach to Impressionism that would define his oeuvre. This evolution reached its peak when he settled in Giverny, France—the legendary artist colony where Claude Monet and numerous other luminaries lived and worked. It was amid this creative community of the \"Giverny Luminists\" where Miller refined his signature subject: young beauties in light-filled domestic settings, like this work. \u003cbr\u003e\u003cbr\u003e Born in St. Louis, Missouri, Richard Edward Miller emerged as one of America's most significant Impressionist painters through his extraordinary sensitivity to light and feminine beauty. After training at Washington University's School of Fine Arts, Miller moved to Paris for nearly fifteen years, where his technical virtuosity earned him acceptance at the prestigious Paris Salon by 1901, and eventually to Giverny where his mature style fully flourished. Following his return to America during World War I, he taught at the Pennsylvania Academy of Fine Arts before settling in Provincetown, Massachusetts, garnering numerous accolades including gold medals at the St. Louis Universal Exposition (1904) and Panama-Pacific International Exposition (1915). Today, his works grace the permanent collections of prestigious institutions, including the Metropolitan Museum of Art, the Art Institute of Chicago and the Smithsonian American Art Museum. \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/landing.rauantiques.com\/miller-insights\/\"\u003e\u003cb\u003eSee auction comparables and market data\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Circa 1910-11 \u003cbr\u003e\u003cbr\u003e Canvas: 35 5\/8\" high x 28 1\/4\" wide (90.49 x 71.76 cm)\u003cbr\u003e Frame: 45 5\/8\" high x 38 1\/4\" wide x 2 3\/4\" deep (115.89 x 97.16 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of the artist\u003cbr\u003e Alexander M. Hudnut, acquired from the above\u003cbr\u003e Walter P. Chrysler Jr., New York, Chrysler Museum of Art, Provincetown, MA, 1966\u003cbr\u003e Hirschl \u0026amp; Adler Galleries, New York, 1980\u003cbr\u003e Brand Galleries, San Francisco\u003cbr\u003e Private Collection, acquired from the above, 1982\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e (Possibly) New York, Macbeth Gallery, \u003cem\u003eExhibition of Paintings by Richard E. Miller\u003c\/em\u003e, April 1-20, 1912, no. 4 (as \u003cem\u003eA Dish of Tea\u003c\/em\u003e)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564507458,"sku":null,"price":685000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0773_1_ca32cd0d-bd31-4d30-9718-dc84aa5255dd.png?v=1768102741"},{"product_id":"illuminated-manuscript-painting","title":"Illuminated Manuscript Painting","description":"Extraordinary in its beauty and rarity, this early 16th-century painting of an illuminated manuscript showcases a masterful \u003cem\u003etrompe l’oeil\u003c\/em\u003e effect. Among the finest of only 17 known works of its kind, the oil on panel is both rare and captivating. With illusory pages that appear to leap from the panel, this virtuosic painting of a hand-colored book suspended into space is exceptional. \u003cbr\u003e\u003cbr\u003e Created more than four centuries ago, the composition evokes a strong sense of realism. Executed by a masterful Northern Renaissance artist perhaps of the German school, the illuminated manuscript pictured shows the astonishing splendor of the historical books of the period. Sumptuously decorated with scrolling floral motifs in the margins, the manuscript appears before a deep black background, heightening the \u003cem\u003etrompe l’oeil\u003c\/em\u003e illusion of depth through its strong contrast and the naturalistic shadows falling across the fluttering pages. It has been said that of the 17 known versions of this composition, ours stands alone in its precision in both perspective and the play of light and shadow. \u003cbr\u003e\u003cbr\u003e The visible folios feature choral arrangements and other texts, indicating the pictured manuscript likely served a role in the celebration of church services. In fact, other examples of manuscript paintings from the period were used to serve as placeholders for the missals, lectionaries and breviaries when they were stored away following worship. The famed choral lectern from the Olivetan monastery of Santa Maria in Organo, Verona offers an example of how such paintings were displayed in churches.  \u003cbr\u003e\u003cbr\u003e While there is no doubt some of these extraordinary works of art were intended for use in churches, scholars believe that oil paintings of illuminated manuscripts were also commissioned by elite and scholarly 16th-century collectors. The advent and widespread use of the printing press transformed the social fabric of Europe at the turn of the 16th century, and the production of printed books was far less laborious and time-consuming than painstakingly hand-painting and illuminating manuscripts. By the time this panel was painted in the first half of the 16th century, illuminated manuscripts — already highly valuable and exclusive for the elite — were becoming obsolete. The wealthy patron of these paintings was almost certainly someone who valued knowledge and sought to preserve the hand-wrought artistry of those captivating early manuscripts. \u003cbr\u003e\u003cbr\u003e The other few German school manuscript paintings reside in private and public collections around the globe, including the impressive collections of Eltz Castle in Germany and Ambras Castle in Austria.  \u003cbr\u003e\u003cbr\u003e Painted in the early 16th century \u003cbr\u003e\u003cbr\u003e Panel: 18\" high x 20 1\/4\" wide\u003cbr\u003e Frame: 25\" high x 27 5\/8\" wide x 2 1\/4\" deep \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Flassans-sur-Issole, France, Exposition Peyrassol, April 1-November 1, 2022 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Germany\u003cbr\u003e Private collection, Geneva\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564572994,"sku":null,"price":648500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6844_1_14b49e78-bfd8-4b51-ac79-86de89ac7168.png?v=1768102745"},{"product_id":"tonnelle-nord-ouest-au-parc-de-marquayrol-la-pergola-by-henri-martin","title":"Tonnelle nord-ouest au Parc de Marquayrol (La Pergola) by Henri Martin","description":"Henri Martin\u003cbr\u003e French | 1860-1943 \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTonnelle nord-ouest au Parc de Marquayrol (La Pergola)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Henri Martin” (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A dazzling display of color and texture, Henri Martin's \u003cem\u003eTonnelle nord-ouest au Parc de Marquayrol (La Pergola)\u003c\/em\u003e celebrates the natural beauty of the artist’s sprawling 17th-century estate perched upon a hill overlooking the village of Labastine-du-Vert. The famed Post-Impressionist painter created many impressive works during his illustrious career, but the paintings of his beloved garden at Marquayrol remain among the most cherished by museums and collectors, and this example is among the finest of these compositions. \u003cbr\u003e\u003cbr\u003e An Italianate garden sits at the heart of Marquayrol, complete with cypress-lined paths and a circular pool adorned with geraniums. Painted in 1925, this work takes the viewer behind the walls of Martin’s garden, revealing its pièce de résistance: a stately yet romantic pergola strewn with flowering foliage. A towel lies beneath the luxuriant umbrella of blooms, and Martin paints a still-life tableau of a water pitcher, glass and bowl of fruit amidst the dense thickets of plants, juxtaposing peaceful accoutrements of domestic life with the powerful beauty of untamed nature. \u003cbr\u003e\u003cbr\u003e Even so, elements of the garden remain elegantly manicured. A warm sill along the top of the bench provides space for a myriad of potted plants to flower in the sunlight. Even the central pergola itself, which showcases the sheer strength of nature with its profusion of blooms, still carries the touch of the gardener who trains each branch and leaf to fall in the most graceful and beautiful way.  \u003cbr\u003e\u003cbr\u003e Henri Martin began his artistic studies at the École des Beaux-Arts in Toulouse. In 1879, he moved to Paris to study under Jean Paul Laurens, and his early academic style earned him a medal from the conservative Paris Salon at the age of 23. Shortly after, Martin was awarded a trip to Italy, which profoundly affected his artistic development. While studying the works of the Italian masters Giotto and Masaccio, Martin acquired a new perspective on light, leading him to abandon his classical training and fall under the influence of the Impressionists. \u003cbr\u003e\u003cbr\u003e Utilizing and experimenting with various impressionist techniques, Martin created important and well-received Symbolist and Pointillist paintings. His work was so admired that it earned him the Grand Prize at the Paris Exposition Universelle in 1900. Martin remained an independent artist, refusing numerous contracts from successful Paris dealers. His works can be found in museums around the world including the Musée d’Orsay and the Palais des Beaux-Arts in Paris. Martin’s pergola was one of his favorite subjects to paint, and he captured the lush structure from several angles across the seasons. The artist's pergola paintings have fetched some of the highest auction records for the esteemed artist, and remain valuable additions to the most esteemed collections. \u003cbr\u003e\u003cbr\u003e Cyrille Martin has confirmed the authenticity of this work. \u003cbr\u003e\u003cbr\u003e Circa 1925 \u003cbr\u003e\u003cbr\u003e Canvas: 30” high x 36 1\/2” wide (76.20 x 92.71 cm)\u003cbr\u003e Frame: 38 1\/2” high x 44 3\/8” wide x 3 1\/2\" deep (97.79 x 112.71 x 8.89 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-8010.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Anonymous sale, Christie's, New York, 6 May 1998, lot 169\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564638530,"sku":null,"price":550000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-8010_1_a3bfa3fd-10ff-47c9-a450-8fc2b3311ee3.png?v=1768102749"},{"product_id":"football-by-feodor-ivanovich-zakharov","title":"Football by Feodor Ivanovich Zakharov","description":"Feodor Ivanovich Zakharov\u003cbr\u003e 1882-1967 | Russian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFootball\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed in Cyrillic “F. Zakharov” (lower right) and signed again and inscribed “Feodor Zakharov\/Football” (en verso)\u003cbr\u003e Oil on card laid down on panel \u003cbr\u003e\u003cbr\u003e This exceptionally rare early work by the celebrated portraitist Feodor Ivanovich Zakharov represents the rare opportunity to own a piece of both art historical and cultural significance. Undoubtedly, football is the most beloved sport in the world, commanding the attention of billions of enthusiasts worldwide. However, the sport has seldom been chosen as a subject for fine art, particularly in its early days. Entitled \u003cem\u003eFootball\u003c\/em\u003e, this dynamic oil, which was once owned by the North Carolina Museum of Art, is one of a select few that highlights the excitement of this international pastime. \u003cbr\u003e\u003cbr\u003e The ambitious composition is highly unusual for the artist, who is particularly known for the highly popular portraits of New York society that dominated his later output. Instead, \u003cem\u003eFootball\u003c\/em\u003e offers a glimpse into Zakharov's early experimentation with reflections, light and shadows. In the present work, the technique contributes to the fervor of the game, which is further intensified by the highly saturated patches of orange-red on the players' uniforms and in the packed spectator-stands behind them. Overall, the effect is impressive and dynamic, bringing the atmosphere of the match to life. \u003cbr\u003e\u003cbr\u003e Zakharov painted the work around 1912, which was an historic year for Russian football. The establishment of the Football Union of Russia took place that year, and a number of teams had emerged, including OLLS Moscow (known today as CSKA Moscow). It is possible they are one of the teams depicted here, as they played in distinctive red and blue stripped uniforms. For the first time, Russia also sent a football team to the Olympic Games in Stockholm, where they played teams from Finland, Germany, Hungary and Norway. In this context, \u003cem\u003eFootball\u003c\/em\u003e represents a significant step taken in the history of Russian sport, and also the country’s emergence onto the world stage. \u003cbr\u003e\u003cbr\u003e Born in Astrakhan in 1882, Feodor Zakharov studied at the Moscow School of Painting, Sculpture and Architecture from 1910 until 1916. He began to exhibit as early as 1911, an amazing accomplishment for a young artist. He was invited to be an exhibitor and member of the committee organizing the \u003cem\u003eRussian Art Exhibition\u003c\/em\u003e planned for New York City in 1924. \u003cem\u003eFootball\u003c\/em\u003e was among the few compositions the artist leant for the exhibition, representing his entrée into New York society. Like many other émigrés who escaped the Russian Revolution, Zakharov subsequently settled in New York, where he opened a studio in Central Park South in 1932. \u003cbr\u003e\u003cbr\u003e His paintings soon gained a significant following among affluent society. He received a number of commissions from important patrons, including Mrs. Woodrow Wilson, Mrs. Calvin Coolidge and philanthropist Charles R. Crane. Zakharov exhibited both as a solo artist in cities such as Paris, New York and Philadelphia, and contributed to the \u003cem\u003eInternational Exhibition of Modern Art\u003c\/em\u003e held at the Carnegie Institute of Pittsburgh. Enjoying such great success in America, Zakharov thrived as a society portraitist in New York and never return to Russia. He won a number of prizes, and today, his work is exhibited at in number of prestigious collections all over the world, including the Smithsonian Museum of American Art. \u003cbr\u003e\u003cbr\u003e Circa 1912 \u003cbr\u003e\u003cbr\u003e Panel: 27” high x 36 1\/2” wide\u003cbr\u003e Frame: 37 7\/8” high x 47 1\/4” wide \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e \u003cem\u003eThe Russian Art Exhibition\u003c\/em\u003e, 1924, New York, Grand Central Palace\u003cbr\u003e \u003cem\u003eSesqui-Centennial International Exposition\u003c\/em\u003e, 1926, Philadelphia, Department of Fine Arts\u003cbr\u003e \u003cem\u003eFeodor Zakharov: A Retrospective Exhibition\u003c\/em\u003e, 1965, Raleigh, North Carolina Museum of Art \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e \u003cem\u003eFeodor Zakharov: A Retrospective Exhibition\u003c\/em\u003e, 1965, Raleigh, North Carolina Museum of Art, p. 9, no. 3 (illustrated) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The artist, at least until 1965\u003cbr\u003e Elsie and George Kramer, New York\u003cbr\u003e North Carolina Museum of Fine Art, Raleigh, NC\u003cbr\u003e Private collection, London\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564704066,"sku":null,"price":495000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/29-6396_1_1251e0bc-987a-4ccb-ad2d-40db0bb92cad.png?v=1768102755"},{"product_id":"autumn-garden-walk-by-john-atkinson-grimshaw","title":"Autumn Garden Walk by John Atkinson Grimshaw","description":"John Atkinson Grimshaw\u003cbr\u003e 1836-1893 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAutumn Garden Walk\u003c\/em\u003e  \u003cbr\u003e\u003cbr\u003e Signed and dated \"Atkinson Grimshaw 1879-80\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e The golden-red glow of the autumnal sun illuminates this countryside scene by British painter John Atkinson Grimshaw. Showcasing the celebrated painter’s mastery of light and atmosphere, the oil is a captivating example of Grimshaw's meticulously rendered evening subjects. While the majority of the artist’s works depict moon-washed cities and the fishing villages of Britain, the location of this piece is the British countryside, giving it a sense of romance that would have resonated with its Victorian audience. \u003cbr\u003e\u003cbr\u003e Born in Leeds the son of an ex-policeman, Grimshaw began painting while he was employed as a clerk for the Great Northern Railway. In 1861 he left his job to pursue a career as a full-time artist. By 1870, he was successful enough to rent Knostrop Hall, a 17th-century mansion near Temple Newsam, which is featured in many of his paintings. His continued success enabled Grimshaw to build a house in Scarborough and to rent a studio in Chelsea. \u003cbr\u003e\u003cbr\u003e His early paintings of still lifes and local landscapes were executed with a precision reminiscent of the Pre-Raphaelite Brotherhood’s ideals. Later in his career, he turned his attention to moonlit urban scenes. He was fascinated by the relatively new art of photography and often used a camera obscura in developing his compositions. He strove relentlessly to perfect his own very individual vision. John Atkinson Grimshaw died on October 31, 1893, leaving three sons, Arthur, Louis and Wilfred, and a daughter, Elaine, who also became artists. Grimshaw’s work can now be seen in galleries all over the world including the Tate Gallery in London and the Leeds Museum.\u003cbr\u003e\u003cbr\u003e Canvas: 20” high x 30” wide\u003cbr\u003e Frame: 33 1\/2” high x 43 1\/2” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564769602,"sku":null,"price":445000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/30-6163_1.png?v=1768102760"},{"product_id":"praying-for-victory-by-rudolf-ernst","title":"Praying for Victory by Rudolf Ernst","description":"Rudolf Ernst\u003cbr\u003e 1854-1932 | Austrian \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePraying for Victory\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “R. Ernst” (lower left)\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e Austro-French Orientalist painter Rudolf Ernst showcases his virtuoso for the genre in this skillfully executed oil on panel, entitled \u003cem\u003ePraying for Victory\u003c\/em\u003e. Few artists have captured the mystique and opulence of the Near East as expertly as Ernst, and his mesmerizing, jewel-like works capture the vibrant cultures and rich narratives of faraway locales. \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePraying for Victory\u003c\/em\u003e transports the viewer into a grand interior reminiscent of the monumental Alhambra Palace in Granada. A sumptuously dressed figure stands in silence in front of his armor and weapons, wishing for success in an upcoming battle. His wealth and high status are clearly indicated by his elaborately draped garments, including the deep red and gold-embroidered \u003cem\u003eabaya\u003c\/em\u003e. Evoking emotion through meticulous detail and atmosphere, Ernst perfectly captures the symbols of a warrior’s resolve and the weighty significance of the moment. \u003cbr\u003e\u003cbr\u003e Ernst was born in Vienna to architectural painter Leopold Ernst. He began his artistic training at the Vienna Academy before settling in France, where he began exhibiting his paintings at the Salon des Artistes Français. Ernst first became interested in Orientalist themes in the 1880s following his travels through Moorish Spain, Constantinople, Tunis, Egypt and Morocco. He was enamored with the cultures and aesthetics of these destinations, incorporating them into his artworks and his personal life. He decorated his home in Fontenay-aux-Roses, France in the Ottoman taste and is even said to have painted while wearing a tarboosh, an Eastern tasseled cap. During his lifetime, Ernst created works for many high-profile patrons in France and especially in Turkey, and today his works belong to prestigious institutions such as the Dahesh Museum of Art in New York and the Fine Arts Museums of San Francisco. \u003cbr\u003e\u003cbr\u003e Late 19th Century \u003cbr\u003e\u003cbr\u003e Panel: 31 1\/4\" high x 24 1\/4\" wide (108.59 x 90.17 cm)\u003cbr\u003e Frame: 42 3\/4\" high x 35 1\/2\" wide x 3\" deep (79.38 x 61.60 x 7.62 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, California, since 1985\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564835138,"sku":null,"price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-9701_1_afb81c1a-8b88-409f-8bf8-f2930465d568.png?v=1768102765"},{"product_id":"mercado-de-flores-mujer-cargando-un-nino-by-diego-rivera","title":"Mercado de flores (Mujer cargando un\r\nniño) by Diego Rivera","description":"Diego Rivera\u003cbr\u003e 1886-1957 | Mexican \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMercado de flores (Mujer cargando un niño)\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eFlower Market: Woman carrying a boy\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed and dated \"Diego Rivera 1951\" (lower right)\u003cbr\u003e Watercolor and ink on paper \u003cbr\u003e\u003cbr\u003e This exceptional painting, \u003cem\u003eMercado de flores (Mujer cargando un niño)\u003c\/em\u003e, embodies Diego Rivera's brilliance, capturing his signature subject in vibrant watercolor. With its radiant palette and bold line work, this painting captures Rivera at the height of his international fame and has a surprising connection to Baseball Hall of Fame legend, Waite \"Schoolboy\" Hoyt.  \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMercado de flores\u003c\/em\u003e is a never-before-seen masterclass in watercolor, showcasing the electric color and dynamic composition that are the hallmarks of Rivera’s celebrated style. The women are vendors at a vibrant flower market, an important motif that Rivera painted often to celebrate the Aztec history of Mexico City. With the charming moment between mother and son at the center, this painting embodies Rivera's ability to transform an intimate moment into a powerful statement about dignity, labor and Mexican identity.  \u003cbr\u003e\u003cbr\u003e Painted in 1951, this work was gifted by Rivera to Waite Hoyt as a token of their friendship, and it has remained in the Hoyt family ever since. Rivera and Hoyt met in 1932, while Rivera was in New York working on his infamous \"Man at the Crossroads\" mural commission for Nelson Rockefeller and while Hoyt was pitching for the Brooklyn Dodgers. Hoyt was already famous as the starting pitcher for the greatest baseball team of all time—the 1927 New York Yankees—alongside Babe Ruth and Lou Gehrig. \u003cbr\u003e\u003cbr\u003e According to family lore, Rivera and Hoyt initially bonded over their shared love of art and baseball, and Hoyt gave Rivera tickets to a Dodgers game. Years later, in 1951, Rivera thanked Hoyt by gifting him this very watercolor. Hoyt had begun painting in the early 1950s, so perhaps it was also a gesture of encouragement and camaraderie from Rivera.  \u003cbr\u003e\u003cbr\u003e Born in Guanajuato City, Mexico, in 1886, Diego Rivera showed a talent for drawing at a very young age. He moved to Paris in 1907 to live and work with the great gathering of artists in Montparnasse. There, he was exposed to the burgeoning of Cubism, and his work fully embraced this new school of thought. In 1921, Rivera returned to Mexico, where he undertook government-sponsored murals that reflected his political perspective in historical contexts. By the time this watercolor was painted in 1951, Rivera had completed major murals across Mexico and the United States, making him one of the most famous artists in the world. \u003cbr\u003e\u003cbr\u003e Rivera's importance has only grown with time, and his market continues to demand millions at auction today. Many of the world's most important museums hold his paintings, including the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Dallas Museum of Artand the Museo Nacional de Arte in Mexico City. In 1964, the Mexican government established export regulations to protect Rivera's artworks and keep them in the country, designating them as “artistic monuments” that are now extremely difficult to come by outside of Mexico. \u003cbr\u003e\u003cbr\u003e Dated 1951 \u003cbr\u003e\u003cbr\u003e Paper: 21 1\/4\" high x 26 1\/2\" wide (53.98 x 67.31 cm)\u003cbr\u003e Frame: 32 1\/4\" high x 38\" wide x 1\" deep (81.92 x 96.52 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-1121.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Waite Hoyt, New York, acquired from the artist circa 1951\u003cbr\u003e By descent from the above\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Consejo Nacional para la Cultura y las Artes, Instituto Nacional de Bellas Artes, \u003cem\u003eDiego Rivera: Catálogo General de Obra de Caballete\u003c\/em\u003e, Mexico, 1989, no. 2021, p. 263, illustrated","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564900674,"sku":null,"price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1121_1.png?v=1768102769"},{"product_id":"untitled-by-sam-francis","title":"Untitled by Sam Francis","description":"Sam Francis\u003cbr\u003e 1923-1994 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eUntitled\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Sam Francis 1965\" (en verso)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This striking painting hails from the renowned \u003cem\u003eEdge Paintings\u003c\/em\u003e series by important Abstract Expressionist Sam Francis. \u003cem\u003eUntitled\u003c\/em\u003e was created in 1965, a pivotal period in his career during which Francis shifted his focus to the dynamic interplay between the canvas’s center and its edges. This work stands as a powerful reflection of Francis’s exploration of space, light and color—elements that became hallmarks of his vast body of work that was pivotal in defining the legacy of American abstraction. \u003cbr\u003e\u003cbr\u003e This mesmerizing work displays Francis's signature technique of juxtaposing vibrant, painterly washes of color against vast expanses of white. While the center of the canvas remains almost completely empty save for incidental splatters of paint, the edges are alive with bursts of saturated primary hues, creating a tension between the void at the center and the colorful borders. This structural contrast encourages the viewer to contemplate the delicate balance between fullness and emptiness, between color and space. In this composition, Francis invites us into an experience where the boundaries become as vital as the space they frame. \u003cbr\u003e\u003cbr\u003e A giant of the Abstract Expressionist movement and true cosmopolitan artist, Francis was deeply influenced by his international experiences. During the 1950s and 1960s, he traveled extensively, establishing studios in Los Angeles, Paris and Tokyo, each of which informed his artistic vision. The \u003cem\u003eEdge Paintings\u003c\/em\u003e series, to which this work belongs, was deeply influenced by his time in Japan, where he became captivated by the interplay of empty space and form seen in traditional Japanese aesthetics. \u003cbr\u003e\u003cbr\u003e Sam Francis’s life was as vibrant and varied as his paintings. Born in San Mateo, California, in 1923, his journey as an artist began under extraordinary circumstances. After being diagnosed with spinal tuberculosis in his 20s, Francis spent three years encased in a full-body cast. It was during this time of immobility that he taught himself to paint, launching a prolific career that spanned over five decades. Known for his large-scale, color-drenched canvases, Francis became one of the most successful painters of his time, starring in over 100 solo exhibitions and commanding the highest prices of any living painter in the late 1950s to mid-1960s. \u003cbr\u003e\u003cbr\u003e Today his works can be seen in the most important public collections of modern of art, including the Museum of Modern Art in New York, the Centre Pompidou in Paris and the Tate in London. His legacy extends beyond the canvas: he founded a publishing company, a holistic medical research center, and even a wind energy company that is still operational today. When he passed in 1994, Francis left behind not only a staggering body of more than 10,000 works but also a lasting impact on both the art world and the broader cultural landscape. \u003cbr\u003e\u003cbr\u003e Dated 1965 \u003cbr\u003e\u003cbr\u003e Canvas: 54\" high x 25 1\/8\" wide (137.16 x 63.82 cm)\u003cbr\u003e Frame: 56 3\/8\" high x 27 3\/8\" wide x 2 7\/8\" deep (143.19 x 69.53 x 7.30 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Studio Sam Francis, Santa Monica\u003cbr\u003e Private collection, Bern, acquired directly from above\u003cbr\u003e Private Collection, The Netherlands \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Debra Burchett-Lere, \u003cem\u003eSam Francis: Catalogue raisonné of Canvas and Panel Paintings, 1946-1994\u003c\/em\u003e, no. 411 (Francis Archive SFP65-68) \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e Dublin 1967, Royal Dublin Society, \u003cem\u003eROSC '67: The Poetry of Vision - An International Exhibition of Modern Painting and Ancient Celtic Art\u003c\/em\u003e, cat. no. 40 (illustrated)\u003cbr\u003e Davos 1999, Kirchner Museum, \u003cem\u003eWerke aus einer Privatsammlung\u003c\/em\u003e, cat. no. 160 (illustrated)\u003cbr\u003e Bern 2006, Kunstmuseum, \u003cem\u003eSam Francis und Bern\u003c\/em\u003e, p. 101 (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803564966210,"sku":null,"price":398500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0056_1.png?v=1768102774"},{"product_id":"sixteen-ducks-in-the-evening-by-alexander-koester","title":"Sixteen Ducks in the Evening by Alexander Koester","description":"Alexander Koester\u003cbr\u003e 1864-1932 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSixteen Ducks in the Evening (Sechzehn Enten in Abendstimmung)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"A KOESTER\" (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Epitomizing the mastery of Germany's preeminent animal painter, \u003cem\u003eSixteen Ducks in the Evening (Sechzehn Enten in Abendstimmung)\u003c\/em\u003e showcases Alexander Koester's virtuosic ability to capture both the animated spirit of his avian subjects and the atmospheric play of light upon water. This monumental composition stands as one of the artist's largest and most complex works ever created, featuring an unprecedented sixteen ducks in a single scene. The ambitious scale demonstrates Koester's characteristic impressionistic brushwork and remarkable command of color that earned him international acclaim and the nickname \"Duck-Koester.\" \u003cbr\u003e\u003cbr\u003e The painting presents a dynamic scene of sixteen ducks and drakes congregating in shimmering waters, their bodies creating ripples that catch the fading light of day. Koester's technical brilliance is evident in his treatment of the water's surface, where free, confident brushstrokes convey both reflection and movement. The artist employs a sophisticated palette dominated by rich browns and blues in the water, contrasted against the luminous white plumage of the ducks, heightened by touches of emerald and auburn. This juxtaposition creates a visual rhythm across the canvas that draws the viewer into the composition. \u003cbr\u003e\u003cbr\u003e Alexander Koester initially trained as a pharmacist before pursuing his artistic calling at the Karlsruhe Art Academy under masters Carl Hoff and Claus Meyer. His career underwent a transformative shift in 1896 when he settled in Klausen, South Tyrol, where he developed his lifelong fascination with ducks. This specialization brought him extraordinary success during his lifetime, including gold medals at the Große Berliner Kunstausstellung in 1902 and the St. Louis World's Fair in 1904. One of his duck paintings was even acquired by Kaiser Wilhelm II in 1900. Koester's unique approach merged traditional animal painting with impressionist techniques, focusing particularly on capturing ephemeral light effects on water and plumage. Though he later expanded his repertoire to include landscapes and floral still lifes after relocating to Dießen am Ammersee in 1915, ducks remained his signature subject throughout his career. Today, his works are held in prestigious collections, including the Neue Pinakothek in Munich. \u003cbr\u003e\u003cbr\u003e Painted circa 1900 \u003cbr\u003e\u003cbr\u003e Canvas: 29 7\/8\" high x 54 1\/2\" wide (75.88 × 138.43 cm)\u003cbr\u003e Frame: 42 1\/4\" high x 67 3\/8\" wide x 2 1\/2\" deep (107.32 × 171.13 x 6.35 cm)\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e European private collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803565031746,"sku":null,"price":358500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0987_1.png?v=1768102779"},{"product_id":"virgin-and-child-with-the-infant-saint-john-by-domenico-puligo","title":"Virgin and Child with the Infant Saint John by Domenico Puligo","description":"Domenico Puligo\u003cbr\u003e 1492-1527 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eVirgin and Child with the Infant Saint John\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on panel \u003cbr\u003e\u003cbr\u003e A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art in New York, Museo del Prado in Madrid, Palazzo Borghese in Rome and Palazzo Pitti in Florence, among many others. \u003cbr\u003e\u003cbr\u003e Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color are remarkable. The Virgin Mary’s crimson dress displays an impressive level of chiaroscuro, ranging from deep burgundy to vibrant pink. It is perfectly juxtaposed against the dark greens and purples of her mantle. Apart from the two holy children, the remainder of the painting offers a view of a vast landscape, executed in various shades of blues and greens. \u003cbr\u003e\u003cbr\u003e Puligo has perfected the soft sfumato effect; combined with his exaggerated, yet elegant distortion of his figures, his \u003cem\u003eVirgin and Child with the Infant Saint John\u003c\/em\u003e embodies the Mannerist idiom. The 16th-century art form emerged during the Late Renaissance. Whereas painters of the High Renaissance sought to achieve harmonious ideals and perfect proportions, the Mannerists created compositions that evoked drama through elongated limbs, strained poses, and vivid colors. Like other Mannerists of his generation, Puligo’s compositions are imbued with emotion and sentimentality rather than naturalism and perfect perspective. The style is well suited to the Virgin and Child trope, lending a motherly tenderness to Puligo’s devotional works. \u003cbr\u003e\u003cbr\u003e Domenico Puligo was born in Florence into a family of blacksmiths, though little else is known of his early life. He trained under Ridolfo Ghirlandaio, and briefly worked under Andrea del Sarto, who became a profound influence on the young painter. The majority of Puligo’s output was focused on medium-sized religious paintings such as the present work, which he composed as special commissions for his client’s private devotion. A small group of altarpieces and a number of commissioned portraits have also been attributed to the artist. His oeuvre, however, is small, as he died at the young age of 35 after contracting the plague. Today, the majority of his works are found only in museum collections. It is incredibly rare to come across such a fine example as this on the market. \u003cbr\u003e\u003cbr\u003e Circa 1515 \u003cbr\u003e\u003cbr\u003e Panel: 33 1\/2” high x 25” wide\u003cbr\u003e Frame: 50 1\/8\" high x 40 3\/8\" wide \n Provenance: Sotheby's London, Old Master Paintings Auction July 3, 1991, Lot #221 Private Collection, Turin, Italy","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803565130050,"sku":null,"price":345000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/30-8679_1.png?v=1768102784"},{"product_id":"kronen-narr-by-paul-klee","title":"Kronen-Narr by Paul Klee","description":"Paul Klee\u003cbr\u003e 1879-1940 | Swiss-German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eKronen-Narr\u003cbr\u003e (Crown Fool)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Klee\" (lower right)\u003cbr\u003e Gouache and ink on newsprint on cardboard \u003cbr\u003e\u003cbr\u003e One of the most important artists of the 20th century, Paul Klee's revolutionary compositions defied easy categorization. His paintings blended abstraction, personal and historical narratives into works that transformed the history of modern art. This striking 1938 gouache, entitled \u003cem\u003eKronen-Narr (Crowned Fool)\u003c\/em\u003e, is an exceptional example of Klee's masterful technique and unique vision. \u003cbr\u003e\u003cbr\u003e Rendered in gouache and ink on newsprint, the crowned figure hovers over fragments of contemporary headlines—a bold juxtaposition of whimsical imagery and the era's turbulence in Europe. The fool’s elongated form and angular crown recall medieval jesters, while his bright palette and graphic precision imbue the figure with both humor and profound weight. Bright and playful, the composition demonstrates Klee's genius for balancing serious political commentary and delightful works of art. \u003cbr\u003e\u003cbr\u003e Born in Switzerland in 1879, Klee began his studies in both art and music before dedicating himself fully to painting. His practice was transformed during a 1914 journey to Tunisia, where the intensity of the North African light awakened his celebrated approach to color. By 1915 he had abandoned representational painting, choosing instead to create compositions from imagination, memory and musical rhythm. \u003cbr\u003e\u003cbr\u003e His influence extended beyond his own practice to his role as a Bauhaus teacher alongside Wassily Kandinsky, where he articulated theories of color and form that shaped the trajectory of modern abstraction. Even after his exile from Germany in 1933, Klee continued to innovate, producing a remarkable body of work despite his declining health. \u003cem\u003eKronen-Narr\u003c\/em\u003e belongs to this final period, when the artist’s imagery grew sharper and more symbolic, distilling complex themes into deceptively simple forms. Today, works of this caliber belong to the world's leading institutions, including the Museum of Modern Art, Tate Modern, the Centre Pompidou and the San Francisco Museum of Modern Art. \u003cbr\u003e\u003cbr\u003e Dated 1938 \u003cbr\u003e\u003cbr\u003e Paper: 24 3\/8\" high x 15 3\/8\" wide (61.91 x 39.05 cm)\u003cbr\u003e Frame: 33 1\/4\" high x 24 1\/4\" wide x 2 1\/2\" deep (84.46 x 61.60 x 6.35 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Hans and Erika Meyer-Bentelli, Bern until 1955\u003cbr\u003e Berggruen \u0026amp; Cie, Paris, 1955-58\u003cbr\u003e Saidenberg Gallery, Inc., New York, 1958-59\u003cbr\u003e James Wise, Geneva, New York and Nice from 1959\u003cbr\u003e Nahum Goldman, Jerusalem until 1983\u003cbr\u003e The Collection of Sidney Rothberg, Philadelphia, Pennsylvania\u003cbr\u003e Private collection, The Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Paul Klee Foundation, Kunstmuseum Bern, \u003cem\u003ePaul Klee: Catalogue Raisonné\u003c\/em\u003e, Band 7, 1934-1938, Thames and Hudson, London, 1998-2004, p. 344, n° 7250 (illustrated) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Amsterdam and Brussels, Stedelijk Museum and Palais de Beaux-Arts, \u003cem\u003ePaul Klee\u003c\/em\u003e, 1957, no. 97a","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803565195586,"sku":null,"price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1460_1.png?v=1768102789"},{"product_id":"portrait-of-benjamin-franklin-attributed-to-mason-chamberlin","title":"Portrait of Benjamin Franklin attributed to Mason Chamberlin","description":"Attributed to Mason Chamberlin\u003cbr\u003e 1729-1787 | British \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePortrait of Benjamin Franklin\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e This exceptional portrait of Benjamin Franklin represents one of the most significant rediscoveries in American portraiture history, attributed to the renowned British artist Mason Chamberlin and dating to circa 1775. Among only 36 known oil portraits documenting Franklin's celebrated life, this work captures the statesman during his final diplomatic mission to London, depicting him in his characteristic brown suit and powdered wig before he abandoned such formal attire in 1776. The portrait's provenance and historical context make it an extraordinarily rare treasure from the founding era of American independence. \u003cbr\u003e\u003cbr\u003e The composition presents Franklin seated at his study table in the identical setting Chamberlin employed for his acclaimed 1762 portrait, now housed in the Philadelphia Museum of Art. The artist masterfully captures the thirteen years that had elapsed between sittings, incorporating Franklin's additional wrinkles and the spectacles placed near an open book that reflect his matured wisdom as a diplomat. The brushwork demonstrates Chamberlin's characteristic refined technique, with the subject's contemplative expression conveying both intellectual gravitas and the weight of his diplomatic responsibilities during this pivotal moment in Anglo-American relations. \u003cbr\u003e\u003cbr\u003e Mason Chamberlin established himself as one of London's most sought-after portraitists during the Georgian era, serving as a founding member of the Royal Academy of Arts in 1768. His 1762 portrait of Franklin, which depicted the polymath surrounded by his scientific instruments, became one of the most iconic representations of the American philosopher and was reproduced as woodcuts that Franklin himself distributed to friends. Chamberlin's ability to capture both physical likeness and psychological depth made him the preferred choice for prominent figures of his era, including members of the British aristocracy and distinguished visitors to London. \u003cbr\u003e\u003cbr\u003e The painting's fascinating provenance includes more than a century in Italian collections, where it was mistakenly attributed to Pietro Longhi by art historian Giuseppe Fiocco in the early 20th century. However, the brushwork, canvas and painting technique are unmistakably 18th-century English, consistent with Chamberlin's documented methods. The historical timing supports the attribution, as Franklin arrived in London in 1774 for his final diplomatic mission and fled in 1775 to avoid arrest, which would explain why he never retrieved this completed portrait from the artist's studio. \u003cbr\u003e\u003cbr\u003e Circa 1775 \u003cbr\u003e\u003cbr\u003e Canvas: 45 3\/8\" high x 39 1\/8\" wide (115.25 x 99.38 cm)\u003cbr\u003e Frame: 54\" high x 47 7\/8\" wide (137.16 x 121.60 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Italy\u003cbr\u003e Collection of Don Ermanno Volta (1925-2016)\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803565261122,"sku":null,"price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-8971_1_f84b4305-cccc-488d-9de9-374faa00b13a.png?v=1768102795"},{"product_id":"le-port-de-marseille-le-quai-et-les-cargos-by-henri-martin","title":"Le port de Marseille, le quai et les cargos by Henri Martin","description":"Henri Martin\u003cbr\u003e 1860-1943 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLe port de Marseille, le quai et les cargos\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed Henri Martin (lower left)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e Exemplifying the masterful synthesis of Post-Impressionist technique with classical compositional precision, Henri Martin's \u003cem\u003eLe port de Marseille, le quai et les cargos\u003c\/em\u003e presents a vibrant panorama of industrial maritime life. This captivating harbor scene demonstrates Martin's virtuosic ability to translate atmospheric conditions into luminous color relationships that capture both place and moment with remarkable authenticity. \u003cbr\u003e\u003cbr\u003e The composition features a sturdy quayside anchoring the foreground while cargo vessels create rhythmic vertical elements against the expansive Mediterranean horizon. Martin's characteristic brushwork—comprised of distinct strokes that allow colors to blend at viewing distance—creates a shimmering effect that perfectly evokes the interaction of light, water and industrial architecture. The artist's extraordinary command of color is evident in his nuanced transitions between the blue waters, rust-colored vessels and golden architecture that frames the bustling port. \u003cbr\u003e\u003cbr\u003e Henri Martin began his formal artistic training at the École des Beaux-Arts in Toulouse before relocating to Paris in 1879 to study under academic painter Jean-Paul Laurens. His early adherence to conventional academic principles brought him recognition from the Paris Salon at the remarkably young age of 23. Following this early success, Martin was awarded a state-sponsored journey to Italy—an experience that would fundamentally transform his artistic vision. His encounters with the frescoes of early Renaissance masters Giotto and Masaccio prompted a profound reconsideration of light's expressive potential, catalyzing his gradual movement away from academic conventions toward the more progressive techniques of Impressionism.  \u003cbr\u003e\u003cbr\u003e Throughout his career, Martin experimented with various avant-garde pictorial strategies, producing significant works that incorporated elements of Divisionism, Symbolism and Pointillism while maintaining his distinctive artistic voice. His technical innovations and compositional sophistication earned him the Grand Prize at the 1900 Paris Exposition Universelle—confirmation of his established importance within the European art world. Today, Martin's works are represented in prestigious museum collections worldwide, including the Musée d'Orsay and the Palais des Beaux-Arts in Paris. \u003cbr\u003e\u003cbr\u003e This work has remained within the artist's family collection since its creation and was displayed at the Musée Henri Martin in Cahors during the significant 1993 retrospective exhibition. It will also be included in the definitive catalogue raisonné by Marie-Anne Destrebecq-Martin. \u003cbr\u003e\u003cbr\u003e Circa 1930 \u003cbr\u003e\u003cbr\u003e Canvas: 30\" high x 25\" wide (76.20 x 63.50 cm)\u003cbr\u003e Frame: 38 3\/4\" high x 31 3\/4\" wide x 2\" deep (98.43 x 80.65 x 5.00 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_32-0726.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Family of the artist, by descent\u003cbr\u003e Private collection, Marseille\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Henri Martin, Musée Henri Martin, Cahors, then Capitole, Toulouse, September 14 – October 29, 1993. Reproduced in the exhibition catalog on p. 93, no. 86.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803565326658,"sku":null,"price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0726_1.png?v=1768102799"},{"product_id":"young-girl-from-tetouan-morocco-by-charles-landelle","title":"Young Girl From Tetouan, Morocco by Charles Landelle","description":"Charles Landelle\u003cbr\u003e 1821-1908 | French \u003cbr\u003e\u003cbr\u003e Young girl from Tetouan, Morocco \u003cbr\u003e\u003cbr\u003e Signed (center right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e In this important oil on canvas, French Orientalist painter Charles Landelle captures the engaging visage of a young Moroccan woman in a moment of tranquil contemplation. Seated on the floor of what is almost certainly an opulent \u003cem\u003eriad\u003c\/em\u003e, the young woman wears an intricately embroidered Moroccan kaftan and headdress. The sumptuous patterns on the floor and in the background lend an additional warmth to the strikingly vivid red hues which dominate the composition and are a hallmark of Landelle’s work. \u003cbr\u003e\u003cbr\u003e The symbol behind the young woman is the Islamic Seal of Solomon. Solomon is frequently mentioned in the Qur’an, with many descriptions of his esoteric knowledge granted by God. A talismanic scroll from the Islamic world bearing this symbol resides at the Metropolitan Museum of Art in New York. While Islam was the dominant religion in Morocco in the 19th century, there was also a large Jewish population. Though the woman’s faith is uncertain, there is no question about her transcendent, captivating beauty, which is one of the most remarkable features of this painting. \u003cbr\u003e\u003cbr\u003e Charles Landelle was born in 1821 in Laval, France. He studied under the supervision of the painters Paul Delaroche and Ary Scheffer at the School of Fine Arts in Paris and began exhibiting at the Paris Salon in 1841 with religious works and portraits that found great success among critics and visitors. Noticed by King Louis-Philippe, he won a third-class medal in 1842 and a first-class one in 1848. Four years later, Napoleon III purchased two pieces and appointed him Knight of the Légion of Honor. He also won a medal at the 1855’s Universal Exhibition and in Philadelphia in 1876. \u003cbr\u003e\u003cbr\u003e Landelle’s career took a turning point in 1866 with a trip to Morocco. Infatuation with the warm colors he encountered inspired the trend toward Orientalism in his work. Fascinated by these brand new landscapes, the artist traveled across Egypt and the Nile in 1875, then traveled to Algeria in 1880 with his son Georges, also a painter. From 1881 to 1892, he spent winters in Algeria, sharing his love for the country with Pierre-Auguste Renoir and Paul Leroy. An active member of the Society of French Orientalist Painters, he participated in the creation of the Fine Art Museum of Laval, thanks to his donation of some of his works as well as ancient paintings. At the peak of his fame, he opened the museum in 1895 alongside French president Félix Faure. \u003cbr\u003e\u003cbr\u003e Landelle’s works are well-represented in museums such as the Musée d’Orsay in Paris, the Palace of Versailles, and the Musée de Grenoble in Grenoble, France. A very similar painting by Landelle titled \u003cem\u003eAn Armenian Woman\u003c\/em\u003e resides at the Wallace Collection in London. \u003cbr\u003e\u003cbr\u003e Mid-to-late 19th century \u003cbr\u003e\u003cbr\u003e Canvas: 53 1\/4\" high x 39 1\/4\" wide\u003cbr\u003e Frame: 64 1\/4\" high x 51 1\/8\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Japan\u003cbr\u003e Private collection, France\u003cbr\u003e M.S. Rau, New Orleans \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803565392194,"sku":null,"price":298500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-4686_1_0d5145a2-c3d3-4ed7-8bda-f4ed7868368e.png?v=1768102805"},{"product_id":"a-spot-of-grass-by-wolf-kahn","title":"A Spot of Grass by Wolf Kahn","description":"Wolf Kahn\u003cbr\u003e 1927-2020 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Spot of Grass\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"W Kahn\" (lower right)\u003cbr\u003e Oil on canvas \u003cbr\u003e\u003cbr\u003e A masterwork of modern American landscape painting, \u003cem\u003eA Spot of Grass\u003c\/em\u003e exemplifies Wolf Kahn's revolutionary approach to color field painting and his ability to beautifully blend abstraction and realism in his depictions of the natural world. Created in 1988 during the height of the artist's mature period, this luminous canvas is one of Kahn's best, demonstrating his singular talent for merging European modernism with American landscape traditions. \u003cbr\u003e\u003cbr\u003e The composition presents a forest interior rendered in Kahn's signature palette of radiant purples, peaches, lavenders and subtle greens that seem to glow from within. Tree trunks tower across the canvas, their forms simplified yet powerful against the soft, pale orange forest floor. The artist's signature \"foggy\" effect is on full display here, with the warm gold of filtered sunlight penetrating the violet forest canopy. The titular \"spot of grass\" appears as a patch of luminous green that punctuates the forest floor, providing a burst of color as well as a metaphorical narrative to the painting. \u003cbr\u003e\u003cbr\u003e Wolf Kahn stands among the most significant American landscape painters of the late 20th century, celebrated for his unique synthesis of Abstract Expressionist color theory with plein air observation. Born in Germany and emigrating to America as a child, Kahn studied under Hans Hofmann, whose teachings on color relationships profoundly influenced his artistic development. Throughout his prolific career spanning over six decades, Kahn developed a distinctive visual language that captured the essential character of American landscapes through bold chromatic harmonies rather than literal representation. His works are held in the collections of major museums including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Fine Arts, Boston and the Smithsonian American Art Museum.  \u003cbr\u003e\u003cbr\u003e Dated 1988 (en verso) \u003cbr\u003e\u003cbr\u003e Canvas: 33 5\/8\" high x 53 1\/2\" wide (85.41 x 135.89 cm)\u003cbr\u003e Frame: 40“ high x 60” wide x 1 1\/4“ deep (101.60 x 152.40 x 3.18 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Lillian Kornbluth Gallery, Fair Lawn, New Jersey (acquired in 1988)\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51803565457730,"sku":null,"price":288500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1111_1.png?v=1768102809"}],"url":"https:\/\/www.bullvendors19.com\/ar\/collections\/luxury-paintings.oembed?page=5","provider":"Bull Vendors 19","version":"1.0","type":"link"}