{"title":"Drawings \u0026 Pastels","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDrawings \u0026amp; Pastels\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"apres-le-bain-by-pierre-auguste-renoir","title":"Après le bain by Pierre-Auguste Renoir","description":"Pierre-Auguste Renoir\u003cbr\u003e 1841-1919 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAprès le bain\u003cbr\u003e (After the bath)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Renoir” (lower left)\u003cbr\u003e Sanguine and white chalk on Western wove paper stretched over canvas \u003cbr\u003e\u003cbr\u003e For Pierre-Auguste Renoir, Impressionism's preeminent figure painter, depicting the nude was an exercise in bringing the canvas to life. He once said, “I look at a nude, I see myriads of minuscule shades. I have to find those which will make the flesh on my canvas come to life and resonate.” This compelling portrait by Renoir entitled \u003cem\u003eAprès le bain\u003c\/em\u003e presents the nude figure of a woman in a serene, private moment, absorbed in the task of drying herself after a bath. The artist’s mastery of light and shading is incredible, achieving a sense of vitality in this otherwise ordinary scene. \u003cbr\u003e\u003cbr\u003e Renoir is celebrated for his figural work, especially his Rubenesque female nudes, however, it was not until the artist was in his forties that he depicted the nude with any frequency. In 1881, Renoir traveled to Italy, where he studied the works of the Renaissance masters and the ancient art of Pompeii and Rome. Upon his return to France, the nude became his favored subject, and he used the motif to combine the spontaneity of Impressionism with the solid modeling of classical painting. Renoir’s medium here, sanguine, a reddish-brown chalk, was used extensively in the Renaissance by Leonardo (who employed it in his sketches for the Last Supper), Michelangelo and Raphael. Its warm hue lends itself well to depicting flesh, and the chalk drawing allows for a greater focus on line, form and texture in a departure from the aspects of color and light that so often preoccupied the Impressionists. \u003cem\u003eAprès le bain\u003c\/em\u003e conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. \u003cbr\u003e\u003cbr\u003e The sitter is almost certainly Gabrielle Renard, the nanny to Renoir’s children and a frequent model for the artist. Gabrielle was the cousin of Renoir’s wife, Aline, and came to Montmartre to work for the family at the age of 16. She developed a strong bond with the family and became a favorite subject for Renoir, appearing in several of his most important works, including his 1911 \u003cem\u003eGabrielle with a Rose\u003c\/em\u003e (Musée d'Orsay). When Renoir began to suffer from severe rheumatoid arthritis that would eventually leave him unable to walk and scarcely able to grasp a paintbrush, it was Gabrielle that would assist the artist by positioning the paintbrush between his crippled fingers.  \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 when 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 on composition, lines and descriptive details, Renoir distinguished himself among his contemporaries. His intuitive use of color and expansive brushstroke, along with acute attention to his subject, have placed him among the finest painters in history. \u003cbr\u003e\u003cbr\u003e This work is accompanied by a certificate of authenticity and will be included in the forthcoming catalogue raisonné of the work of Pierre-Auguste Renoir from the Wildenstein Plattner Institute. \u003cbr\u003e\u003cbr\u003e Circa 1898 \u003cbr\u003e\u003cbr\u003e Canvas: 43 1\/2\" high x 35 1\/2\" wide (110.49 x 90.17 cm)\u003cbr\u003e Frame: 57 3\/4\" high x 49 1\/4\" wide (146.69 x 125.10 cm) \u003cbr\u003e\u003cbr\u003e \u003ca href=\"https:\/\/rau-sfimages.s3.amazonaws.com\/dossier\/Dossier_31-3793.pdf\" target=\"new\"\u003e\u003cb\u003eView the Dossier\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899)\u003cbr\u003e J. Pereire Collection, France (1966)\u003cbr\u003e Sam Salz, New York (before 1981)\u003cbr\u003e Claus Virch, Paris\u003cbr\u003e French Compagny, Inc., New York\u003cbr\u003e Larry Silverstein, New York (circa January 1987)\u003cbr\u003e Le Clos de Sierne Gallery, Geneva\u003cbr\u003e Galerie Heyram, Paris (October 1987)\u003cbr\u003e Francis Gross\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e B. Schneider, \u003cem\u003eRenoir\u003c\/em\u003e, Berlin, 1957, p. 95 (illustrated in color, p. 83)\u003cbr\u003e M. Gauthier, \u003cem\u003eRenoir\u003c\/em\u003e, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet')\u003cbr\u003e F. Fosca, \u003cem\u003eRenoir, L'homme et son obra\u003c\/em\u003e, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath')\u003cbr\u003e G.-P. and M. Dauberville, \u003cem\u003eRenoir, Catalog raisonné des tableaux, pastels, dessins et aquarelles\u003c\/em\u003e, Paris, 2010, vol. III, p. 515-516, no. 2597 (illustrated, p. 515) \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Galerie Durand-Ruel, Paris, Watercolors, Pastels and Drawings by Renoir, April 1921, p. 3, no. 53 (erroneously dated '1906' and titled 'Baigneuse s'essuie').\u003cbr\u003e Kunsthalle, Basel, Meisterzeichnungen französischer Künstler von Ingres bis Cézanne , June-August 1935, p. 30, no. 223.\u003cbr\u003e Galerie des Beaux-Arts, Paris, Exhibition of “La Gazette des Beaux-Arts”, Renoir, The sculpted work, the engraved work, watercolors and drawings, October-November 1935, p. 30, no. 22.\u003cbr\u003e Musée national d'art moderne, Paris, From Impressionism to the present day , June 1958, no. 175 (illustrated, pl. 9).\u003cbr\u003e The Metropolitan Museum of Art, New York, 1966-1973.\u003cbr\u003e The Musée d'Orsay and the Morgan Library, \u003cem\u003eRenoir Drawings\u003c\/em\u003e, Oct 17 2025-Feb 8 2026, no. 179, p. 207; will travel to Musée d'Orsay, Mar 17-Jul 5, 2026","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800552636738,"sku":null,"price":2450000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-3793_1_a6513141-097a-4021-8899-d6741668906d.png?v=1768068630"},{"product_id":"smiling-sara-in-a-big-hat-holding-her-dog-by-mary-cassatt","title":"Smiling Sara in a Big Hat Holding Her Dog by Mary Cassatt","description":"Mary Cassatt\u003cbr\u003e 1844–1926 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSmiling Sara in a Big Hat Holding Her Dog\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Mary Cassatt\" (lower right)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“I love to paint children. They are so natural and truthful. They have no arrière-pensée [ulterior motive].”\u003c\/em\u003e – Mary Cassatt \u003cbr\u003e\u003cbr\u003e Mary Cassatt is distinguished as one of the most important female painters in art history, as one of the few women and the only American to exhibit with the Impressionists. More than any of her contemporaries, she elevated the world of women into subjects of profound significance. This magnificent pastel, \u003cem\u003eSmiling Sara in a Big Hat Holding Her Dog\u003c\/em\u003e, showcases Cassatt's signature subject and her exceptional mastery of the medium. \u003cbr\u003e\u003cbr\u003e By 1906, at the peak of her fame, Mary Cassatt began frequently employing Sara, a young golden-haired girl who was quite likely the granddaughter of former French president Emile Loubet. Sara's sweet face and good-natured demeanor made her a favored model who appeared in many of Cassatt's works, including \u003cem\u003eSara in a Green Bonnet\u003c\/em\u003e at the Smithsonian of American Art Museum and a drawing titled \u003cem\u003eSara Wearing Her Bonnet and Coat\u003c\/em\u003e at the Metropolitan Museum of Art. \u003cbr\u003e\u003cbr\u003e In this work, Sara and her loyal companion are rendered in a lovely range of rosy pinks, warm yellows and brilliant blues. Cassatt's virtuosic linework adds dynamic energy to certain parts of the composition and lush softness to others, especially Sara's face and hair. Radiating a charming vivacity and intimate warmth, this work embodies Cassatt's understanding of childhood innocence and her belief in the compelling individualism of women and girls. \u003cbr\u003e\u003cbr\u003e Cassatt’s pastel work, inspired by her friend Edgar Degas, allowed her to layer color rapidly while capturing the fleeting nuances of expression. “I saw art then as I wanted to see it,” she once recalled after encountering Degas’s pastels in a Paris shop window. From the 1890s onward, pastel became her dominant medium, and by the early 20th century, she had fully harnessed its potential for expressiveness and luminosity. Pastel would ultimately emerge as the medium for which she achieved her greatest fame. \u003cbr\u003e\u003cbr\u003e Born in 1844 near Pittsburgh, Mary Cassatt spent most of her life in France. She is likely the most important person in exposing the Impressionist movement to the Americas. Cassatt exhibited at the Salon and was invited by Edgar Degas in 1877 to join the Impressionist exhibitions, participating in 1879–81 and 1886 as the lone American in the group. Today, Cassatt remains one of the most towering female figures in art history, and her works are highly coveted by prestigious institutions and collectors. Major retrospective exhibitions of her work, both oil paintings and works on paper alike, have been held at the Musée d’Orsay, and the major 2024-25 exhibition organized by the Philadelphia Museum of Art and the Fine Arts Museums of San Francisco, \u003cem\u003eMary Cassatt at Work\u003c\/em\u003e. Importantly, a counter-proof of our pastel is part of the collection of the Pennsylvania Academy of the Fine Arts. \u003cbr\u003e\u003cbr\u003e This work is included as no. 447 in the Cassatt Committee's revision of Adelyn Dohme Breeskin's catalogue raisonné of the works of Mary Cassatt. \u003cbr\u003e\u003cbr\u003e Circa 1906-07 \u003cbr\u003e\u003cbr\u003e Paper: 21 1\/4\" high x 16\" wide (56.52 x 40.64 cm)\u003cbr\u003e Frame: 34 5\/8\" high x 26 3\/8\" wide x 2 3\/4\" deep (87.95 x 66.99 x 6.99 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e (probably) Ambrose Vollard, Paris\u003cbr\u003e Raoul Bouchara, Paris (acquired circa 1935)\u003cbr\u003e Acquired by descent from the above\u003cbr\u003e Private collection, United States \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Daniel Catton Rich, \u003cem\u003eCatalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture and Drawing\u003c\/em\u003e, Chicago, 1938, p. 56\u003cbr\u003e Adelyn Dohme Breeskin, \u003cem\u003eMary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings\u003c\/em\u003e, Washington, D.C., 1970, no. 373, p. 156, illustrated\u003cbr\u003e Exhibition catalog, \u003cem\u003eMary Cassatt: Modern Woman\u003c\/em\u003e, 1998, p. 226","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800552866114,"sku":null,"price":885000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1343_1_cc600992-ec7a-42ad-a5d0-0f96e13dc20b.png?v=1768068637"},{"product_id":"homme-a-lagneau-mangeur-de-pasteque-et-flutiste-by-pablo-picasso","title":"Homme à l'agneau, mangeur de pastèque et flûtiste by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003cbr\u003e (Man with Lamb, Watermelon Eater and Flautist)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed, dated and numbered “Picasso \/ 3.2.67 \/ II” (upper right)\u003cbr\u003e Crayon on paper \u003cbr\u003e\u003cbr\u003e Hailed among the fathers of modern art, Pablo Picasso possessed a seemingly endless supply of creativity that allowed him to master nearly every genre and style. Though he constantly reinvented himself as an artist, his compositions are always distinctively “Picasso” with their playful lines and imaginative figures. \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003c\/em\u003e reflects his unique artistic signature; rendered in just a few sparing lines, his subjects nevertheless convey a myriad of themes and art historical references. It is this complexity and ingenious artistry that places Picasso among the most renowned masters in the whole of art history. \u003cbr\u003e\u003cbr\u003e Composed in 1967, \u003cem\u003eHomme à l'agneau, mangeur de pastèque et flûtiste\u003c\/em\u003e was part of a playful series of drawings on the subject of Bacchus and bacchanalian pursuits. Here, he captures the god Bacchus himself eating a watermelon with relish; the watermelon was a favored motif of the artist, first appearing in his seminal \u003cem\u003eDemoiselles d'Avignon\u003c\/em\u003e of 1907 (Museum of Modern Art) and frequently re-appearing as a symbol for summer, heat and sensuality. Bacchus himself recalls the artistic legacy of Caravaggio, revealing the depth of Picasso's link to the Spanish Baroque tradition. \u003cbr\u003e\u003cbr\u003e The influence of the brothers Le Nain is also felt in the work. The three brothers, who were active in Paris during the 1630s and 1640s, were renowned for their poignant images of peasants surrounded by farm animals and playing musical instruments such as the flute. Picasso is known to have owned at least one painting by the brothers, whose work he referenced frequently throughout his career. \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. It was around 1907 that Picasso became very influenced by African masks and art that had begun making its 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\u003eDemoiselles 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 This work is accompanied by a letter of authenticity signed by the artist’s son, Claude Ruiz-Picasso. \u003cbr\u003e\u003cbr\u003e Executed on 3 February 1967 \u003cbr\u003e\u003cbr\u003e Paper: 19\" high x 25\" wide\u003cbr\u003e Frame: 32\" high x 37 3\/4\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Louise Leiris, Paris\u003cbr\u003e Private Collection (acquired by the above in 1968; sale: Christie's, New York, 10th May 2001, lot 149)\u003cbr\u003e Sotheby's London: Thursday, June 25, 2009 [Lot 00169]\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e Charles Feld, \u003cem\u003ePicasso, Dessins 27.3.66-15.3.68,\u003c\/em\u003e Paris, 1969, no. 92 (illustrated) Christian Zervos, \u003cem\u003ePablo Picasso, Oeuvres de 1967 et 1968\u003c\/em\u003e, Paris, 1973, vol. XXVII, no. 435 (illustrated)\u003cbr\u003e The Picasso Project, \u003cem\u003ePicasso's Paintings, Watercolors, Drawings and Sculpture, the Sixties II 1964-1967\u003c\/em\u003e, San Francisco, 2002, no.67-041, (illustrated)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800552931650,"sku":null,"price":648500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-3820_1_9815f76a-4433-4957-b462-79ab9ebcbbe5.png?v=1768068641"},{"product_id":"nu-tenant-un-miroir-by-pablo-picasso","title":"Nu tenant un miroir by Pablo Picasso","description":"Pablo Picasso\u003cbr\u003e 1881-1973 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu tenant un miroir\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Nude holding a mirror)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Picasso\" (lower right)\u003cbr\u003e Pen and ink on paper \u003cbr\u003e\u003cbr\u003e Pablo Picasso's Rose Period is among the most iconic bodies of work in art history. This beautiful drawing, entitled \u003cem\u003eNu tenant un miroir\u003c\/em\u003e, exemplifies the refined elegance and simplicity that characterized this pivotal period and laid the foundation for his visionary career. Picasso's Rose Period works are highly rare and coveted by collectors, making this ink drawing an extraordinary treasure of modern art. \u003cbr\u003e\u003cbr\u003e Created in 1906, \u003cem\u003eNu tenant un miroir\u003c\/em\u003e captures the artist's companion Fernande Olivier with remarkable minimalism, demonstrating Picasso's extraordinary ability to convey form and emotion through a few precise, self-assured gestures. This drawing served as the foundation for Picasso's monumental oil painting, \u003cem\u003eLa Toilette\u003c\/em\u003e, now in the permanent collection of the Buffalo AKG Museum. In the drawing, Picasso synthesizes the dual vision of Fernande's personality—combining the nude figure and the mirror holder into one person, which he would later split in two in the final painting. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu tenant un miroir\u003c\/em\u003e also reveals Picasso's growing interest in classical antiquity, with unmistakable references to Roman and Egyptian artistic traditions. The figure exists in an undefined space, creating a sense of timelessness and eternity. Through masterful restraint, Picasso achieves a composition that is simultaneously ancient and thoroughly modern, balancing naturalistic representation with elements of abstraction. \u003cbr\u003e\u003cbr\u003e The summer of 1906 marked a transformative period in Picasso's artistic development. Having relocated from his native Spain to Paris in 1904, Picasso and Fernande temporarily retreated to the remote Spanish village of Gósol in the Pyrenees. This rural sojourn provided Picasso with the solitude and focus to refine his artistic direction, resulting in works of remarkable clarity and purpose such as this one. \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 epicenter 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. Works from his pivotal Rose Period are especially prized by collectors and institutions for their historical significance and aesthetic sophistication. Comparable drawings from this critical year can be found in prestigious collections worldwide, including the Musée Picasso in Paris, the Metropolitan Museum of Art in New York and the National Gallery of Art in Washington, D.C. \u003cbr\u003e\u003cbr\u003e Created 1906 \u003cbr\u003e\u003cbr\u003e Canvas: 9 3\/4\" high x 6 1\/2\" wide (24.77 x 16.51 cm)\u003cbr\u003e Framed: 21 1\/2\" high x 17 3\/8\" wide x 1 3\/4\" deep (54.61 x 44.01 x 4.45 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Gustave \u0026amp; Leon Bollag Collection, Zurich\u003cbr\u003e Sale, Galerie Bollag, Zurich, 3rd April 1925, lot 167\u003cbr\u003e Constance Charlotte Bailward, United Kingdom, acquired during the 1920s\u003cbr\u003e Thence by descent\u003cbr\u003e Private Collection, California \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Pierre Daix, \u003cem\u003ePicasso 1900-1906: Catalogue raisonne l'oeuvre peint\u003c\/em\u003e, Paris, 1966, no. XV.29, illustrated p. 300\u003cbr\u003e Christian Zervos, \u003cem\u003ePablo Picasso, Supplement aux annees de 1903-1906\u003c\/em\u003e, Paris, 1970, vol. XXII, no. 430, illustrated p. 151\u003cbr\u003e Alberto Moravia, \u003cem\u003eL'opera completa di Picasso blu e rosa\u003c\/em\u003e, Milano, 1979, no. 270A, illustrated p. 109\u003cbr\u003e Joseph Palau i Fabre, \u003cem\u003ePicasso Vivo (1881-1907)\u003c\/em\u003e, Barcelona, 1980, no. 1242, illustrated p. 448\u003cbr\u003e \u003cem\u003eLe miroir noir, Picasso, sources photographiques 1900-1928\u003c\/em\u003e (exhibition catalogue), Musée Picasso, Paris, 1997, fig. 45, illustrated p. 58","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800552997186,"sku":null,"price":248500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0866_1_8b489550-7c24-4851-9b0c-6a6dd49f5e51.png?v=1768068647"},{"product_id":"fruit-by-alphonse-mucha","title":"Fruit by Alphonse Mucha","description":"Alphonse Mucha\u003cbr\u003e 1860-1939 | Czech \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFruit\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Mucha\" (lower left)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e \u003cem\u003e\"Art only exists to communicate a spiritual message.\" —Alphonse Mucha\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Alphonse Mucha's distinctive aesthetic defined the Art Nouveau movement and elevated commercial art to a recognized form of high artistic expression. Through his dynamic posters and illustrations, Mucha captured the cultural zeitgeist of the Belle Époque and established stylistic innovations that continue to resonate in contemporary visual culture. This pastel exemplifies his revolutionary vision and reveals the genesis of one of his celebrated poster designs, entitled \u003cem\u003eFruit\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Mucha’s preliminary pastels for his posters hold particular significance within his oeuvre. As art historian Anna Dvorak observes, “His preparatory works reveal the intellectual rigor behind his seemingly effortless compositions.” This work highlights his captivating creative process while also standing as a complete and compelling composition in its own right. The female figure is rendered in a luminous palette of azure blues, coral pinks and golden flesh tones, her presence both serene and sensuous. The plate of fruit she holds symbolizes abundance and sensuality. Mucha’s signature sinuous lines sweep across the composition with the rhythmic beauty that brought him international acclaim. \u003cbr\u003e\u003cbr\u003e Created at the height of his career in 1897, this pastel coincides with Mucha’s collaboration with the famed actress Sarah Bernhardt. Their artistic exchange helped refine his vision, and the figure’s dreamy expression, youthful visage and flowing hair adorned with blossoms reflect the feminine archetype he developed during this formative period—motifs that would come to define his mature style and propel him to international fame. \u003cbr\u003e\u003cbr\u003e Born in Moravia (now the Czech Republic), Alphonse Mucha rose from modest origins to become one of the most influential visual artists of the late 19th and early 20th centuries. His formal training began at the Munich Academy of Fine Arts and continued in Paris, where a commission to design a poster for the legendary Sarah Bernhardt in 1894 became a watershed moment in his career. That collaboration transformed Mucha from an obscure illustrator into the defining aesthetic voice of Art Nouveau. His prolific output extended beyond posters to include jewelry design, architectural ornamentation, theater sets and monumental murals. \u003cbr\u003e\u003cbr\u003e After returning to his homeland in 1910, Mucha turned to projects celebrating Slavic heritage and national identity, producing works of cultural significance during a period of Czech political awakening. His influence endured through the psychedelic revival of the 1960s and continues today, with recent exhibitions at the Phillips Collection and the Virginia Museum of Fine Arts. This pastel, an important example of his preparatory work, was exhibited at the J. Paul Getty Museum in both 2012 and 2015. A museum dedicated to Mucha’s legacy stands in Prague, and his work is held in major collections including the Metropolitan Museum of Art, the Museum of Modern Art in New York and the Art Institute of Chicago, among many others. \u003cbr\u003e\u003cbr\u003e The authenticity of this work has been confirmed by John Mucha of the Mucha Foundation. \u003cbr\u003e\u003cbr\u003e Circa 1897 \u003cbr\u003e\u003cbr\u003e Paper: 27 3\/4\" high x 16 3\/4\" wide (70.49 x 42.55 cm)\u003cbr\u003e Frame: 37 3\/8\" high x 26\" wide x 1 1\/8\" deep (94.93 x 66.04 x 2.86 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Galerie Art Praha, Prague\u003cbr\u003e Purchased by Hascoe Family from the above on 15 January 2005\u003cbr\u003e Private Collection, California \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e J. Paul Getty Museum, \u003cem\u003eSelected Works by Contemporaries of Gustav Klimt\u003c\/em\u003e, June 9 - September 23, 2012\u003cbr\u003e J. Paul Getty Museum, \u003cem\u003eZeitgeist: Art from the Germanic World, 1800-1900\u003c\/em\u003e, February 10 - May 17, 2015","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800553128258,"sku":null,"price":245000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0867_1.png?v=1768068652"},{"product_id":"nude-with-shadow-by-henri-matisse","title":"Nude with Shadow by Henri Matisse","description":"Henri Matisse\u003cbr\u003e 1869–1954 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu avec ombre\u003cbr\u003e (Nude with Shadow)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Stamped with initials \"HM\" (lower left)\u003cbr\u003e Pen and India ink with pencil on paper \u003cbr\u003e\u003cbr\u003e Executed during the artist’s pivotal Nice period, \u003cem\u003eNude with Shadow\u003c\/em\u003e is an exceptional example of Henri Matisse’s mastery of line, rhythm and form. Drawn in 1927, this sensuous and concise rendering of the female figure distills Matisse’s revolutionary artistic philosophy into its most essential visual language. \u003cbr\u003e\u003cbr\u003e Rendered in an elegantly fluid line, the nude figure, Matisse’s most revered and favored muse, reclines in profile. Her arms are resting behind her head, and her knees are gently bent. Matisse makes deliberate choices in what to reveal and what to abstract, conveying the fullness of form with sparing marks. Beneath the bold ink outline, an echo of the same pose appears in pencil, the “shadow” referenced in the title. The sitter’s pose, inspired by Michelangelo’s \u003cem\u003eNight,\u003c\/em\u003e became an enduring subject for Matisse across media, from drawing and painting to sculpture and print. \u003cbr\u003e\u003cbr\u003e Throughout his long career, Matisse returned again and again to the female nude as a well of artistic experimentation. By 1917, he had relocated to the Mediterranean city of Nice, where light and leisure informed a more sensual and luminous style. There, he honed a vibrant palette and simplified contour lines, influenced by both classical tradition and the decorative arts. The 1920s and 1930s marked a particularly fertile period for his explorations of the reclining odalisque figure. Masterful drawings similar to \u003cem\u003eNude with Shadow\u003c\/em\u003e are held in the world's leading institutions, including the Museum of Modern Art, the Art Institute of Chicago and the Musée Matisse in Nice. \u003cbr\u003e\u003cbr\u003e Wanda de Guébriant has confirmed the authenticity of this work. \u003cbr\u003e\u003cbr\u003e Executed 1927 \u003cbr\u003e\u003cbr\u003e Paper: 9 1\/4\" high x 12 3\/8\" wide (23.50 x 31.43 cm)\u003cbr\u003e Framed: 19 3\/4\" high x 22 1\/2\" wide (50.17 x 57.15 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Estate of the artist\u003cbr\u003e Pierre Matisse, New York (by descent from the above)\u003cbr\u003e Pierre-Noël Matisse, Paris (by descent from the above)\u003cbr\u003e Private Collection (by descent from the above)\u003cbr\u003e Private Collection, California\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800553193794,"sku":null,"price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1371_1.png?v=1768068658"},{"product_id":"charcoal-portrait-of-sir-winston-churchill-circa-1935","title":"Charcoal Portrait of Sir Winston Churchill, Circa 1935","description":"Portrait of Sir Winston Churchill\u003cbr\u003e English I 1874-1965 \u003cbr\u003e\u003cbr\u003e Charcoal on paper\u003cbr\u003e Signed lower right (indiscernible) \u003cbr\u003e\u003cbr\u003e This lifetime charcoal portrait of Winston Churchill, dating to around 1935, is a remarkable and rare find. Drawn by an artist who spent time with Churchill during his \"Wilderness Years,\" it represents an extraordinary opportunity for collectors. With his resolute expression and signature hat, this emotive drawing was clearly done by the hand of someone who knew Churchill during the trying and formative years before World War II.  \u003cbr\u003e\u003cbr\u003e The Wilderness Years (1929-1939) marked a period when Churchill, out of government, found himself sidelined in British politics due to his early warnings about Nazi Germany. During this time, Churchill dedicated himself to writing, delivering speeches and persistently warning Parliament and the public of the growing threat from Hitler. Though marginalized, his prescient views would ultimately lead to his rise as Britain’s Prime Minister during WWII. \u003cbr\u003e\u003cbr\u003e Churchill turned to painting and drawing during these years—a pastime that became essential to his well-being, helping him cope with political isolation and later the immense pressures of wartime leadership. Encouraged by influential artist friends, Churchill embraced plein air painting, gathering techniques and friendships that enriched his work. This 1935 charcoal sketch, likely drawn by one of these artist contemporaries, embodies both the friendship and creative influence that shaped Churchill. \u003cbr\u003e\u003cbr\u003e The circa date of this drawing is unmistakably signaled by Churchill’s signature Homburg hat, a dark gray hat with a curled brim and center crease, which became synonymous with his public image throughout the 1930s and was worn by the icon while painting. While the artist’s signature remains enigmatic—despite extensive efforts by art historians to identify it—it presents a captivating research opportunity for a connoisseur familiar with Churchill’s fascinating social circles. \u003cbr\u003e\u003cbr\u003e Circa 1935 \u003cbr\u003e\u003cbr\u003e Paper: 15\" high x 11 1\/2\" wide (38.10 x 28.21 cm)\u003cbr\u003e Frame: 25\" high x 20 3\/4\" wide x 1 3\/4\" deep (63.50 x 52.71 x 4.45 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800553390402,"sku":null,"price":88500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0187_1_beb372c0-55f7-4449-92ea-f8ac550338d3.png?v=1768068663"},{"product_id":"a-study-of-two-models-by-sir-william-russell-flint","title":"A Study of Two Models by Sir William Russell Flint","description":"Sir William Russell Flint, R.A., P.R.W.S. 1880-1969 | Scottish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eA Study of Two Models\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"WRussell Flint\" (bottom right)\u003cbr colored chalks on buff paper\u003e\u003cbr\u003e Ethereal and sensual, Sir William Russell Flint's \u003cem\u003eStudy of Two Models\u003c\/em\u003e highlights the artist's skillful mastery in capturing the female form. One of the most celebrated watercolorists of the 20th century, Flint enjoyed considerable success during his lifetime, and today his lasting reputation is tied to his remarkable talent for portraying women, like the two models featured here. This study gives an alluring view of the artist's process in rendering his famous nude watercolors. \u003cbr\u003e\u003cbr\u003e Though six figures are visible in this study, Flint was working with only two models, each of which has been rendered in a different color: red or black chalk. The artist captured both women in a variety of poses and angles, paying meticulous attention to their facial expressions and the drapery of their clothing. A semi-nude woman lays across the foreground with her hair flowing above her head, and Flint has masterfully captured her wistful expression with a few deft strokes of chalk. \u003cbr\u003e\u003cbr\u003e Born in Edinburgh, Flint began his artistic training at the age of 14 when he embarked upon a six-year apprenticeship as a lithographic draughtsman. In 1903 he joined The Illustrated London News, earning him a reputation as a gifted illustrator. After serving in World War I, Flint devoted his time to painting, and soon became an Associate Member of the Royal Academy in 1924. In a career spanning 70 years, it would be his treatment of the female figure that was considered most masterful. He was honored in 1962 by the Royal Academy with a retrospective exhibition of his works - the highest such recognition an artist can achieve during his lifetime. \u003cbr\u003e\u003cbr\u003e 20th century \u003cbr\u003e\u003cbr\u003e Unframed: 17\" high x 34½\" wide Framed: 24\" high x 39¾\" wide \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e The Fine Art Society, London, by May 1958\u003cbr\u003e Sale: Sotheby's, London, 10 November 1981, lot 123\u003cbr\u003e Richard Green, London\u003cbr\u003e Private Collection, Germany\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800554275138,"sku":null,"price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-5745_1_ef82deb7-2181-48ce-b098-4821270705fe.png?v=1768068667"},{"product_id":"abraham-casting-out-hagar-and-ishmael-by-rembrandt-van-rijn","title":"Abraham Casting Out Hagar and Ishmael by Rembrandt van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606-1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eAbraham Casting Out Hagar and Ishmael\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed and dated \"Rembrandt f. 1637\" (upper right)\u003cbr\u003e State one of one\u003cbr\u003e Etching with touches of drypoint \u003cbr\u003e\u003cbr\u003e This masterful etching by Rembrandt van Rijn captures one of the Old Testament's most emotionally charged narratives with the psychological depth and technical brilliance that define the artist's greatest works. Created during Rembrandt's most productive period, this 1637 composition demonstrates the Dutch master's unparalleled ability to transform biblical text into a narrative of extraordinary human complexity. \u003cbr\u003e\u003cbr\u003e Rembrandt's compositional genius is evident in every element of this dramatic scene. The imposing figure of Abraham dominates the center, his body conveying profound internal conflict as he stands between his two families. His weight shifts toward Hagar and Ishmael on his left foot while his right foot pulls him back toward the house, symbolizing his torn loyalties. Sarah and Isaac stand in the doorway, their expressions suggesting satisfaction with the banishment. Rembrandt's addition of a quiver of arrows on the boy's back subtly references Genesis 21:20, foreshadowing Ishmael's future as a skilled archer in the wilderness. \u003cbr\u003e\u003cbr\u003e Rembrandt van Rijn remains the most celebrated artist of the Dutch Golden Age and one of history's greatest printmakers. His etchings revolutionized the medium through innovative techniques and unprecedented psychological insight, elevating printmaking to the level of his celebrated paintings. Working primarily in Amsterdam, Rembrandt produced approximately 290 etchings throughout his career, each demonstrating his mastery of light, shadow and human emotion. His biblical scenes, in particular, transformed religious narrative into intensely personal human drama, influencing generations of artists who followed. Today, other examples of this etching are held in the world's most prestigious collections, including the Metropolitan Museum of Art, the Art Institute of Chicago, the Getty Museum and many others. \u003cbr\u003e\u003cbr\u003e Created 1637 \u003cbr\u003e\u003cbr\u003e Paper: 5\" high x 3 7\/8\" wide (12.70 x 9.84 cm)\u003cbr\u003e Frame: 20 1\/4\" high x 16 1\/4\" wide x 1\" deep (51.44 x 41.28 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private German collection\u003cbr\u003e Private Dutch collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch 30\u003cbr\u003e White-Boon 30\u003cbr\u003e The New Hollstein Dutch 166, only state\u003cbr\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800554373442,"sku":null,"price":58500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1455_1.png?v=1768068672"},{"product_id":"venice-by-wolf-kahn","title":"Venice by Wolf Kahn","description":"Wolf Kahn\u003cbr\u003e 1927-2020 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eVenice\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"W Kahn\" (lower right)\u003cbr\u003e Pastel on paper \u003cbr\u003e\u003cbr\u003e An exceptionally rare early work by one of America’s preeminent colorists, this pastel captures Wolf Kahn at his best. This luminous work exemplifies both Kahn's masterful command of the medium and his signature synthesis of realism and abstraction. Created during his formative sojourn in Venice with his wife, painter Emily Mason, \u003cem\u003eVenice\u003c\/em\u003e represents the foundation of Kahn’s lifelong fascination with the visual and metaphorical possibilities of water. \u003cbr\u003e\u003cbr\u003e Rendered from his studio overlooking the Grand Canal, this pastel depicts the city’s iconic waterway through a modernist lens. While the famed bell tower of St. Mark’s and a passing ferry anchor the scene, Kahn creates a vibrant flurry of light and motion with his energetic linework and radiant palette. Layers of pastel imbue the scene with an atmospheric “fog” effect that would later define his mature style. The work’s shimmering hues—at once spontaneous and deliberate—reflect Kahn’s poetic quest to convey the sensation of freedom within landscape. \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 Museum of Modern Art, the Whitney Museum of American Art, the Museum of Fine Arts, Boston and the Smithsonian American Art Museum. Important surveys of his pastels have been held at important institutions, and this work has been requested for the Peabody Essex Museum's upcoming exhibition, \u003cem\u003eWolf Kahn: The Colors of Water\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Circa 1957 \u003cbr\u003e\u003cbr\u003e Paper: 18\" high x 23 1\/2\" wide (45.72 x 59.69 cm)\u003cbr\u003e Frame: 28 3\/4\" high x 34 3\/4\" wide x 1 1\/2\" deep (73.03 x 88.27 x 3.81 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Grace Borgenicht Gallery, New York (probably)\u003cbr\u003e Private Collection, New York, acquired directly from the above, circa 1965\u003cbr\u003e By descent from the above\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e This work will be included in the Wolf Kahn Foundation’s catalogue raisonne project of the artist’s work as no. WK.1957.10439.P and is accompanied by a letter of acceptance issued by the Wolf Kahn Foundation","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800554438978,"sku":null,"price":49850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1610_1_96dca15e-c2ad-447b-8df6-ab7202c24918.png?v=1768068677"},{"product_id":"l-heure-du-gouter-by-jules-emile-saintin","title":"L’Heure du goûter! by Jules-Émile Saintin","description":"Jules-Émile Saintin\u003cbr\u003e 1829-1894 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eL’Heure du goûter!\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(Snack Time!)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Jules-Émile Saintin\" (lower right)\u003cbr\u003e Charcoal and white chalk on paper \u003cbr\u003e\u003cbr\u003e A tender moment unfolds as a young girl leans over her bowl of soup, savoring her midday snack with focus and delight. Her spoon rests beside a slice of bread on the polished tabletop, while a cup, perhaps filled with tea or chocolate, and a second piece of bread complete the simple yet cozy scene. Nearby, her stuffed toy lies temporarily forgotten atop a shawl, hinting at the world of play just briefly paused. \u003cbr\u003e\u003cbr\u003e The setting is intricately detailed. The dining room showcases a marble fireplace adorned with a clock, fine porcelain and delicate cups. Saintin’s composition captures the quiet grace of the moment as well as the interplay of light and texture, skillfully rendered using only charcoal and white chalk. His ability to infuse luminosity into a monochrome drawing speaks to his refined technique and observational sensitivity. This work resonates with Saintin’s charming studies of children during his American period, such as \u003cem\u003eA Little Girl Dozing Over Her Drawing\u003c\/em\u003e (possibly a portrait of Jennie Walters), now in the Walters Art Museum in Baltimore. \u003cbr\u003e\u003cbr\u003e Born in 1829 in Lemé, Saintin began painting at age 11 and was admitted to the Académie des Beaux-Arts in Paris by 16. Trained under Martin Drölling and Édouard Picot, he became an accomplished portraitist and debuted at the Salon des Artistes Français in 1848, earning several medals. \u003cbr\u003e\u003cbr\u003e In 1853, he moved to New York to work in a photography studio, soon dedicating himself fully to painting. He exhibited regularly at the National Academy of Design—becoming a member in 1858—and gained a strong reputation for his portraits of American elites, as well as for his depictions of landscapes and Native American clothing. \u003cbr\u003e\u003cbr\u003e Returning to France in 1860, Saintin continued to paint prominent sitters, including Princess Mathilde. Encouraged by his friend Paul Baudry, he also explored intimate genre scenes such as \u003cem\u003eL’Heure du goûter!\u003c\/em\u003e, which showcases his remarkable ability to capture fleeting, everyday moments. In 1876, he was appointed commissioner of the World’s Fair in Philadelphia and was awarded the Legion of Honor upon his return to France. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Paper: 18 1\/4“ high by 14 1\/2” wide (46.36 x 36.83 cm)\u003cbr\u003e Framed: 30 3\/8“ high by 25 7\/8“ wide by 2\" deep (77.15 x 65.72 x 5.08 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Paris\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800554504514,"sku":null,"price":44500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0865_1.png?v=1768068682"},{"product_id":"winter-shadows-new-york-by-stefan-bleekrode","title":"Winter Shadows, New York by Stefan Bleekrode","description":"Stefan Bleekrode\u003cbr\u003e b.1986 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eWinter Shadows, New York\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Black ink and watercolor on paper\u003cbr\u003e Signed and dated \"S. Bleekrode '18-'20\" (upper right) \u003cbr\u003e\u003cbr\u003e This birds-eye view of New York City was composed by the celebrated Dutch artist Stefan Bleekrode. Executed with an exquisite level of detail on an impressive scale, the work is a study in perspective and light, deftly using only shades of gray. Bleekrode captures the city near dusk, lit at a dramatic angle and casting long shadows over the landscape. Unlike any other artist of our age, Bleekrode offers a fascinating rumination on architecture and the urban space with a veracity and intricacy that few other artists could achieve. \u003cem\u003eWinter Shadows, New York\u003c\/em\u003e is a truly exceptional example of his highly original compositions. \u003cbr\u003e\u003cbr\u003e The Dutch artist was born in 1986 and only recently pursued a full-time career as an artist. As a child around the age of 10, Bleekrode began his pursuit of perfecting the cityscape, creating birds-eye perspective drawings of architecture in pencil. In 2002, he traded pencil for ink, and around that same time fell under the influence of the works of American artist Edward Hopper. Hopper's desolate and thought-provoking artworks inspired Bleekrode's first full-scale cityscape. Shortly thereafter, he quickly gained renown for the exceptional level of detail and fascinating perspective imparted in his works. \u003cbr\u003e\u003cbr\u003e Dated 2018-20 \u003cbr\u003e\u003cbr\u003e Paper: 22 1\/4\" high x 26 3\/4\" wide\u003cbr\u003e Frame: 33\" high x 36 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800554570050,"sku":null,"price":42500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-5339_1.png?v=1768068686"},{"product_id":"thinking-by-tamara-de-lempicka","title":"Thinking by Tamara de Lempicka","description":"Tamara De Lempicka\u003cbr\u003e 1898-1980 | Polish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThinking\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Lempicka”(bottom right)\u003cbr\u003e Pencil on paper \u003cbr\u003e\u003cbr\u003e This enchanting pencil on paper by Tamara de Lempicka radiates Art Deco's signature blend of elegance and modernity, a movement that Lempicka defined in her esteemed career. This composition, entitled \u003cem\u003eThinking\u003c\/em\u003e, displays Lempicka’s superb draftsmanship and her talent for capturing the essence of alluring femininity. \u003cbr\u003e\u003cbr\u003e With fluid lines and bold minimalism, Lempicka confidently portrays a woman deeply immersed in thought while in a languid seated pose. Even without the facial features, Lempicka evokes a sense of introspection and sensuality, emphasizing the contours of the body to convey the subject's emotional depth and physical presence. Her talent seamlessly merges various modern art movements and design principles, capturing the streamlined sophistication of modern architecture with the more avant-garde nature of her fellow painters. This anonymous nude offers a rare glimpse into Lempicka’s unique vision as well as her fascinating artistic process.  \u003cbr\u003e\u003cbr\u003e Born in Poland in 1898, Lempicka’s life was marked by constant movement. At the beginning of the Russian Revolution, Tamara’s life was turned upside down, and she fled to Paris, where she found refuge for twenty years. Building on a love of art that began during a visit to Italy in her youth, Lempicka enrolled in Académie de la Grande Chaumière in Paris to study painting. Under the mentorship of famed avant-garde artists Maurice Denis and André Lhote, who introduced her to Cubism, Lempicka began exhibiting avant-garde art in Parisian salons in 1922. Lempicka won first prize at the Exposition Internationale des Beaux-Arts in 1927 with her iconic Cubist-Art Deco style, a year before this drawing was made. \u003cbr\u003e\u003cbr\u003e With a resurgence of appreciation for the Art Deco period beginning in the 1960s, combined with the upcoming first major museum retrospective exhibition of her work in the United States at the de Young in San Francisco, Lempicka’s work is reaching new heights of acclaim in recent decades. Much of her work resides in collections worldwide, including the Metropolitan Museum of Art, the Musée des Beaux-Arts du Havre and the National Museum Warsaw, to name a few. Not only did Lempicka flout gender expectations by establishing a successful career as a fine artist and defying traditional artistic trends, but she also created a distinctive genre found only in her oeuvre.  \u003cbr\u003e\u003cbr\u003e Circa 1928 \u003cbr\u003e\u003cbr\u003e Paper: 9 7\/8\" high x 7 3\/4\" wide (25.08 x 19.69 cm)\u003cbr\u003e Frame: 17 3\/4\" high x 15\" wide x 1 1\/8\" deep (43.82 x 38.10 x 2.86 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e By descent, from the artist","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800554668354,"sku":null,"price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-9609_1.png?v=1768068692"},{"product_id":"smiling-nude-by-tamara-de-lempicka","title":"Smiling Nude by Tamara de Lempicka","description":"Tamara de Lempicka\u003cbr\u003e 1898-1980 | Polish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eSmiling Nude\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Lempicka”(bottom right)\u003cbr\u003e Pencil on paper \u003cbr\u003e\u003cbr\u003e “Everything that I did was never done like the others were doing... I wanted to do what I want.” - Tamara de Lempicka \u003cbr\u003e\u003cbr\u003e This captivating pencil on paper by Tamara de Lempicka captures the artist's exceptional draftsmanship in all its glory. This work, entitled \u003cem\u003eSmiling Nude\u003c\/em\u003e, evokes Lempicka's signature blend of elegance and modernity that was quintessentially Art Deco, a movement that Lempicka defined in her artistic career. \u003cbr\u003e\u003cbr\u003e With confident and fluid lines, Lempicka beautifully portrays a woman with the classic 1920s flapper hairstyle in a languid pose. This drawing is unique for its facial details, such as the wide eyes and slightly upturned mouth, which Lempicka most often left out of her fast-paced drawings. Her talent seamlessly merges various modern art movements and design principles, capturing the streamlined sophistication of modern architecture with the more avant-garde nature of her fellow painters. This anonymous nude offers a rare glimpse into the acclaimed artist's inner world and witness her fascinating artistic process.  \u003cbr\u003e\u003cbr\u003e Born in Poland in 1898, Lempicka’s life was marked by constant movement. At the beginning of the Russian Revolution, Tamara’s life was turned upside down, and her family fled to Paris, where they found refuge for twenty years. Building on a love of art that began during a visit to Italy in her youth, Lempicka enrolled in Académie de la Grande Chaumière in Paris to study painting. Under the mentorship of famed avant-garde artists Maurice Denis and André Lhote, who introduced her to Cubism, Lempicka began exhibiting avant-garde art in Parisian salons in 1922. Lempicka won first prize at the Exposition Internationale des Beaux-Arts in 1927 with her iconic Cubist-Art Deco style, a year before this drawing was made. \u003cbr\u003e\u003cbr\u003e With a resurgence of appreciation for the Art Deco period beginning in the 1960s, combined with the upcoming first major museum retrospective exhibition of her work in the United States at the de Young in San Francisco, Lempicka’s work is reaching new heights of acclaim in recent decades. Much of her work resides in collections worldwide, including the Metropolitan Museum of Art, the Musée des Beaux-Arts du Havre and the National Museum Warsaw, to name a few. Not only did Lempicka flout gender expectations by establishing a successful career as a fine artist and defying traditional artistic trends, but she also created a unique genre found only in her oeuvre.  \u003cbr\u003e\u003cbr\u003e Circa 1928 \u003cbr\u003e\u003cbr\u003e Paper: 7 3\/4\" high x 10 3\/8\" wide (19.69 x 26.35 cm)\u003cbr\u003e Frame: 15\" high x 17 3\/4\" wide x 1 1\/4\" deep (38.10 x 45.09 x 3.18 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e By descent, from the artist","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800554930498,"sku":null,"price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-9608_1_71a58994-b06e-4d97-a2bc-94ecc76c3716.png?v=1768068697"},{"product_id":"nu-allonge-avec-bracelet-by-tamara-de-lempicka","title":"Nu allongé avec bracelet by Tamara de Lempicka","description":"Tamara De Lempicka\u003cbr\u003e 1898-1980 | Polish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNu allongé avec bracelet\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eNude lying down with bracelet\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “Lempicka”(bottom right)\u003cbr\u003e Pencil on paper \u003cbr\u003e\u003cbr\u003e This exquisite pencil on paper by Tamara de Lempicka radiates Art Deco's signature blend of elegance and modernity, a movement that Lempicka defined in her trailblazing career. This nude drawing of a woman, elegant in its minimalism and fluidity, exemplifies Lempicka’s superb draftsmanship and compositional finesse. \u003cbr\u003e\u003cbr\u003e With a few deft strokes, she confidently portrays her subject in a languid pose, with delicate bracelets gracing her wrists. Her model represents the popular ‘20s aesthetic, featuring the classic Flapper bob hairstyle. Unique, semi-erased lines are visible beneath the completed drawing, showcasing the experimental nature of Lempicka’s process. Her talent seamlessly merges various modern art movements and design principles, capturing the streamlined sophistication of modern architecture with the more avant-garde nature of her fellow painters. Best known for her paintings of stylish women, this anonymous nude offers the rare opportunity to peek behind the curtain to see the working process of one of the 20th century’s most glamorous artists. \u003cbr\u003e\u003cbr\u003e Born in Poland in 1898, Lempicka’s life was marked by constant movement. At the beginning of the Russian Revolution, Tamara’s life was turned upside down, and her family found refuge in Paris, where she lived for twenty years. Building on a love of art that began during a visit to Italy in her youth, Lempicka enrolled in Académie de la Grande Chaumière in Paris to study painting. Under the mentorship of famed avant-garde artists Maurice Denis and André Lhote, who introduced her to Cubism, Lempicka began exhibiting avant-garde art in Parisian salons in 1922. Lempicka won first prize at the Exposition Internationale des Beaux-Arts in 1927 with her iconic Cubist-Art Deco style, a year before this drawing was made. \u003cbr\u003e\u003cbr\u003e With a resurgence of appreciation for the Art Deco period beginning in the 1960s, combined with the upcoming first major museum retrospective exhibition of her work in the United States at the de Young in San Francisco, Lempicka’s work is reaching new heights of acclaim in recent decades. Much of her work resides in collections worldwide, including the Metropolitan Museum of Art, the Musée des Beaux-Arts du Havre, and the National Museum Warsaw, to name a few. Not only did Lempicka flout gender expectations by establishing a successful career as a fine artist and defying traditional artistic trends, but she also created a unique genre found only in her oeuvre. \u003cbr\u003e\u003cbr\u003e Circa 1928 \u003cbr\u003e\u003cbr\u003e Paper: 10 3\/8\" high x 16 1\/2\" wide (26.35 x 41.91 cm)\u003cbr\u003e Frame: 18\" high x 24 3\/8\" wide x 7\/8\" deep (45.72 x 61.91 x 2.22 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e By descent, from the artist","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800554996034,"sku":null,"price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-9607_1_b1ce96e7-1a53-43ab-a353-a310bd7f1b18.png?v=1768068701"},{"product_id":"la-plage-a-pornichet-by-h-claude-pissarro","title":"La Plage à Pornichet by H. Claude Pissarro","description":"Hugues Claude Pissarro\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLa plage à Pornichet\u003c\/em\u003e\u003cbr\u003e \u003cem\u003e(The beach at Pornichet)\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “H. Claude Pissarro” (lower right)\u003cbr\u003e Pastel on card \u003cbr\u003e\u003cbr\u003e French artist H. Claude Pissarro utilizes his signature pastels to render the picturesque seaside of the beautiful French coastal town of Pornichet. Captured in a captivating variety of vivid pigments, Pissarro draws tall beach grasses, shady cabanas and casual beachgoers with red-roofed structures and the boundless coast in the distance. This sunny summertime seaside composition perfectly showcases Pissarro's incredible mastery over the medium of pastel and his unique and at times nostalgic artistic point of view. \u003cbr\u003e\u003cbr\u003e Hailing from a long lineage of artists, including Impressionist Camille Pissarro, Pissarro's artistic talents were cultivated at an early age. He exhibited his first works at the young age of 14 and later studied in Paris at the École du Louvre and École Normale Supérieure. A 1959 White House commission to paint the portrait of President Eisenhower cemented his reputation as an artist of renown, and his work has since been featured in important exhibitions throughout Europe and the United States. While his style has evolved throughout his career, he is best known for his energetic pastel compositions. H. Claude Pissarro’s works have been exhibited and collected throughout the world, and they remain highly coveted for their intimate size and relatable subject matter.  \u003cbr\u003e\u003cbr\u003e Card: 14\" high x 20\" wide\u003cbr\u003e Frame: 24 1\/2\" high x 29 1\/2\" wide x 1 1\/4\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800555356482,"sku":null,"price":28500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-7114_1_c555be60-c93d-44ed-b1a9-c8cd4165fe30.png?v=1768068706"},{"product_id":"dimanche-au-champ-de-course-by-h-claude-pissarro","title":"Dimanche au champ de course by H. Claude Pissarro","description":"Hugues Claude Pissarro\u003cbr\u003e b.1935 | French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eDimanche au champ de course (Deauville)\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eSunday at the Racetrack\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “H. Claude Pissarro” (lower left)\u003cbr\u003e Pastel on card \u003cbr\u003e\u003cbr\u003e French artist Hugues Claude Pissarro offers a unique perspective of the racetrack in Deauville in this exceptional pastel. The spectators are as much his subject as the sport in this artistic tribute to a leisurely Sunday at the tracks. Following the impressionist tradition of his father and grandfather before him, Pissarro infuses this pastel with dynamic light and vibrant colors. Entitled \u003cem\u003eDimanche au Champ de Course (Deauville)\u003c\/em\u003e, it showcases the artist's highly distinctive and sophisticated style. \u003cbr\u003e\u003cbr\u003e Hailing from a long lineage of painters, Pissarro's artistic talents were cultivated at an early age. He exhibited his first works at the young age of 14 and later studied in Paris at the École du Louvre and École Normale Supérieure. A 1959 White House commission to paint the portrait of President Eisenhower cemented his reputation as an artist of renown, and his work has since been featured in important exhibitions throughout Europe and the United States. While his style has evolved throughout his career, he is best known for his brightly colored works such as the present piece. \u003cbr\u003e\u003cbr\u003e The painting is accompanied by a certificate of authenticity signed by the artist. \u003cbr\u003e\u003cbr\u003e Card: 14\" high x 19 1\/2\" wide\u003cbr\u003e Frame: 19 7\/8\" high\" x 25 1\/2\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800555422018,"sku":null,"price":22500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-0882_1.png?v=1768068710"},{"product_id":"tete-de-mannequin-by-erte","title":"Tête de mannequin by Erté","description":"Erté (Romain de Tirtoff)\u003cbr\u003e 1892-1990 | Russian-French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eTête de mannequin\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Erté” (lower right)\u003cbr\u003e Inscribed “No. 1744 \/ Deuxième aspect de la tête de mannequin # 1742\" (en verso)\u003cbr\u003e Silver and black pencil on paper \u003cbr\u003e\u003cbr\u003e Erté’s \u003cem\u003eTête de mannequin\u003c\/em\u003e offers a tantalizing glimpse of the artist's ability to push the boundaries of fashion through cosmetics. Erté renders the figure's multihued hair with a unique spotted pattern, accented by the metallic shine of his silver pencil. Quintessentially modern, Erté finishes the composition with bold strokes to accentuate the figure's eyes and eyebrows. \u003cbr\u003e\u003cbr\u003e Paris in the Art Deco era stood at the crossroads of tradition and modernity, establishing itself as a global epicenter of art, literature and intellectual thought. Amidst the echoes of World War I, avant-garde movements like Surrealism and Cubism intermingled with jazz melodies wafting through the city’s smoky salons. As cocktails flowed, intellectuals, writers and artists from around the world found themselves drawn to the cosmopolitan allure of Paris. Erté, with his revolutionary costuming and otherworldly sets, was perfectly poised to unleash his creativity. He worked with many of the city’s premier entertainment venues, and his striking visuals, full of bold patterns and vibrant colors, came to define the modernity of the era. \u003cbr\u003e\u003cbr\u003e Russian-French visionary Romain de Tirtoff (1892-1990), popularly known as Erté, began his artistic journey in the culturally rich city of St. Petersburg, where he developed an early fondness for ballet and theatrical performances. He moved to Paris in 1912 to study architecture, and quickly found his creative niche in crafting fantastical costumes for the city’s bustling nightlife. Erté‘s expertise, refined under the guidance of the famed Paul Poiret, captured the attention of \u003cem\u003eHarper’s Bazaar\u003c\/em\u003e, marking the beginning of a significant partnership that spanned from 1915 to 1936. The artist also designed sets for notable cinematic masterpieces including \u003cem\u003eBen Hur\u003c\/em\u003e and \u003cem\u003eLa Bohème\u003c\/em\u003e, and created sets and costumes for cabarets, operas and other performances at the Folies-Bergères, Bal Tabarin, the Théâtre du Bataclan and Le Casino de Paris. Erté was a trailblazer whose colorful creations shaped the groundbreaking Art Deco era more than any other, leaving an indelible mark on the history of art and design. His artworks reside in prestigious museum collections worldwide, including the Metropolitan Museum of Art in New York, the Victoria \u0026amp; Albert Museum in London and the Los Angeles County Museum of Art. \u003cbr\u003e\u003cbr\u003e Circa 1930 \u003cbr\u003e\u003cbr\u003e Paper: 8\" high x 6 1\/2\" wide\u003cbr\u003e Frame: 17 1\/4\" high x 14\" wide x 5\/8\" deep \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private collection, Paris\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Exhibitions:\u003cbr\u003e M.S. Rau, New Orleans, \u003cem\u003eErté and the Era of Art Deco\u003c\/em\u003e, October 14, 2023 - January 3, 2024","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800555487554,"sku":null,"price":14850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-7598_1_c5e9479e-9b43-4399-9126-65d9827b8fc9.png?v=1768068715"},{"product_id":"caricatures-of-queen-victoria-and-edward-vii-by-sir-leslie-matthew-ward-spy","title":"Caricatures of Queen Victoria and Edward VII by Sir Leslie Matthew Ward (Spy)","description":"Sir Leslie Matthew Ward (aka Spy)\u003cbr\u003e 1851-1922 | British \u003cbr\u003e\u003cbr\u003e Caricatures of Queen Victoria and Edward VII \u003cbr\u003e\u003cbr\u003e Charcoal on paper \u003cbr\u003e\u003cbr\u003e These satirical caricatures of Queen Victoria and Edward VII offer an amusing glimpse into the mind of famed British cartoonist Sir Leslie Matthew Ward, who frequently published his drawings in \u003cem\u003eVanity Fair\u003c\/em\u003e under the pseudonym \"Spy.\" Ward established his moniker through secretly observing his subjects and capturing them from a distance with varying degrees of flattery or uncouthness. Ward drew 1,325 cartoons for \u003cem\u003eVanity Fair\u003c\/em\u003e between 1873 and 1911. While some critics found Ward’s depictions of royalty and other high-ranking society members to be overly flattering and sympathetic, these rare sketches reveal a more critical yet playful point of view. Here, Ward abstractly sketches his subjects, Queen Victoria and Edward VII, in profile, rendered not as monarchs but rather as mice. Spy utilized spare lines to draw identifiable attributes, like the queen’s veiled crown, but emphasizes the two figures’ anthropomorphic qualities including raised paws and long tails. \u003cbr\u003e\u003cbr\u003e While Spy eventually became a member of the society circles immortalized in his cartoons, moving from satirical caricature to what he termed \"characteristic portraits,\" these rare sketches reveal that the artist’s irreverent humor remained. These two sketches are perfectly preserved and framed together with an identification plaque. \u003cbr\u003e\u003cbr\u003e Circa 1900 \u003cbr\u003e\u003cbr\u003e Drawings:\u003cbr\u003e Queen Victoria: 4 3\/4\" high x 5 1\/2\" wide\u003cbr\u003e Edward VII: 5 5\/8\" high x 4 3\/4\" wide\u003cbr\u003e Framed: 15 1\/8\" high x 10 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51800556798274,"sku":null,"price":4450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6072_1.png?v=1768068721"}],"url":"https:\/\/www.bullvendors19.com\/de\/collections\/drawings-pastels.oembed","provider":"Bull Vendors 19","version":"1.0","type":"link"}