{"title":"Rare Fine Arts","description":"\u003cp\u003e\u003cstrong\u003eRare Fine Arts\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"apres-le-bain-by-pierre-auguste-renoir-1","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":51805283156290,"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_c0694ae6-8780-4539-9c6b-ac2a52e7a181.png?v=1768106948"},{"product_id":"last-supper-detail-jesus-john-peter-and-judas-by-andy-warhol","title":"Last Supper Detail: Jesus, John, Peter and Judas by Andy Warhol","description":"Andy Warhol\u003cbr\u003e 1928-1987 | American \u003cbr\u003e\u003cbr\u003e \u003cem\u003eLast Supper Detail: Jesus, John, Peter and Judas\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Features stamp of Andy Warhol Art Authentication Board Inc. (en verso)\u003cbr\u003e Silkscreen on paper mounted on canvas \u003cbr\u003e\u003cbr\u003e Created by the legendary Pop artist Andy Warhol, \u003cem\u003eLast Supper Detail: Jesus, John, Peter and Judas\u003c\/em\u003e is part of the final series of the artist's illustrious career, his famed \u003cem\u003eLast Supper\u003c\/em\u003e cycle. The body of work was commissioned by his friend and art dealer, Alexandre Iolas, who challenged Warhol to create a series of works based on Leonardo da Vinci's great masterpiece \u003cem\u003eThe Last Supper\u003c\/em\u003e. The series would be shown at an exhibition in Milan at the Palazzo Stelline, located across the street from da Vinci's mural in the refectory of the Santa Maria delle Grazie. The art critic Arthur Danto describes the show, \"When [Warhol’s] Last Supper was displayed in Milan, in a kind of citywide two-man show with Leonardo, 30,000 people flocked to see it, hardly any of whom went to see the ‘other’ Last Supper... When the final multivolume Popular History of Art is published, ours will be the Age of Warhol – an unlikely giant, but a giant nonetheless.” \u003cbr\u003e\u003cbr\u003e Warhol's \u003cem\u003eLast Supper\u003c\/em\u003e cycle encompassed two distinctive series. The first included hand-painted works based on a line drawing, to which the Museum of Modern Art's \u003cem\u003eThe Last Supper\u003c\/em\u003e and the Andy Warhol Museum's \u003cem\u003eThe Last Supper \/ Be Somebody with a Body\u003c\/em\u003e belong. The second, and arguably the more important, series included silkscreens such as the present work, which Warhol derived from a black and white photograph of a widely circulated 19th-century engraving. \u003cbr\u003e\u003cbr\u003e While the majority of his \u003cem\u003eLast Supper\u003c\/em\u003e silkscreens reproduce the image of the entire mural, \u003cem\u003eLast Supper Detail: Jesus, John, Peter and Judas\u003c\/em\u003e is among the rare detail studies that are included in the series. Unlike its unabridged counterparts, the work offers a fascinating character study that pulls the viewer into the drama and intimacy of the original work. This particular composition sheds light on the relationship between Jesus and three of his most well-known apostles, John, Judas and Peter. In da Vinci's original, he captures the moment when Jesus proclaims that one among them would betray them, and here Warhol zeroes in on three of the most compelling reactions to the news. Peter, who holds a knife, wears an expression of anger that foreshadows his violent reaction in Gethsemane during the arrest of Jesus. The traitorous Judas is depicted in shadow, visibly shrinking away from his future betrayal, while John, the most beloved apostle, depicts a serenity and sadness that mimics Jesus' own expression. As a whole, Warhol's ingenious cropping offers compelling insight into the psychology of these biblical characters.  \u003cbr\u003e\u003cbr\u003e Unlike many of his other serialized works of soup cans and Marilyns, Warhol's \u003cem\u003eLast Supper Detail: Jesus, John, Peter and Judas\u003c\/em\u003e has an emotional impact that elevates it beyond Pop Art's exploration of mass production and over popularization. Perhaps the scene's intimacy derives from Warhol's nostalgia for the work; born into a Ruthenian Catholic family, Warhol grew up in a religious home where a reproduction of da Vinci's \u003cem\u003eThe Last Supper\u003c\/em\u003e graced his family's kitchen wall. With both aesthetic and sentimental ties to the image, it is little wonder that Warhol's obsession with his \u003cem\u003eLast Supper\u003c\/em\u003e cycle preoccupied the last year of his life. \u003cbr\u003e\u003cbr\u003e Andy Warhol died prematurely at the age of 58 in February 1987 following a gall bladder surgery. His series based on \u003cem\u003eThe Last Supper\u003c\/em\u003e was the last he was ever to paint. \u003cbr\u003e\u003cbr\u003e Easily recognizable as one of the most famous and influential artists of the modern era, Warhol was the most prominent member of the Pop Art movement that dominated the art scene in the mid-20th century. He was the quintessential artist of his time and place, elevating popular and commercial culture to the realms of high art. His distinctive photographic silkscreen printing is immediately recognizable, and the present example is a truly exceptional example of the art form. \u003cbr\u003e\u003cbr\u003e Circa 1986 \u003cbr\u003e\u003cbr\u003e Silkscreen: 51\" high x 40 3\/4\" wide\u003cbr\u003e Frame: 66\" high x 56\" wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e \u003cem\u003eThe World of da Vinci\u003c\/em\u003e, Ronald Reagan Presidential Library and Museum, California, May 24, 2019 – September 8, 2019 \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eAndy Warhol's Last Supper\u003c\/em\u003e, Ronald Reagan Presidential Library, 2019, by R. Swan, B. Kinch and C. Stewart, p. 101 (illustrated) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Alexandre Iolas\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans\u003cbr\u003e Private collection, United States\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805283221826,"sku":null,"price":1950000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1928_1.png?v=1768106955"},{"product_id":"the-colosseum-micromosaic-by-luigi-gallandt","title":"The Colosseum Micromosaic by Luigi Gallandt","description":"Luigi A. Gallandt\u003cbr\u003e 19th Century | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Colosseum\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Gallandt\" (lower right)\u003cbr\u003e Micromosaic with gilt wooden frame \u003cbr\u003e\u003cbr\u003e This highly important mid-19th century Roman micromosaic was crafted by the Italian artisan Luigi Gallandt. Monumental micromosaic panels of this giant scale are rare and extraordinarily valuable, and they were nearly always made either by special private commission or as papal gifts. Gallandt’s micromosaics are particularly prized for their high attention to detail and subtle handling of color. This example — a stunning veduta of the Colosseum — was once part of the famed Rosalinde and Arthur Gilbert Collection in the Victoria and Albert Museum (London). \u003cbr\u003e\u003cbr\u003e A visit to the Colosseum was central to any Grand Tour itinerary in Rome, and souvenir micromosaics of the Roman ruin were incredibly popular with 19th-century Grand Tourists. This example, however, is in a class of its own, far surpassing the concept of the Grand Tour souvenir. Absolutely monumental in size and measuring nearly 6 feet wide, it would have been a special commission for a client of particular wealth and importance. Few micromosaics of the period achieve both the size and the extraordinary artistry of the present example, which can be counted among the great masterpieces of 19th-century Roman art. \u003cbr\u003e\u003cbr\u003e It is this awe-inspiring view that visitors would have first glimpsed of the monument when approaching from the Roman Forum. The Titus fountain is depicted in front of the towering ruin, while the arch of Constantine is depicted to the right. Though two-thirds of the Colosseum has been lost to the ravages of time, Gallandt successfully captures both unspoiled and ruinous elements of the façade, evoking both the grandeur and the history of this well-known site. Contemporary figures in 19th-century dress occupy the foreground, further emphasizing the monumentality of the monument. \u003cbr\u003e\u003cbr\u003e The attention to detail and subtly of color and pattern that is achieved in the scene is unique to Gallandt. The artisan was particularly renowned for his ability to impart a realism and veracity in his works that far surpassed any other maker of his generation. Gallandt's private micromosaic workshop operated outside of the constraints of the Studio del Mosaico Vaticano. Situated in the center of the city near the Piazza di Spagna where most tourists stayed, Gallandt was well established and highly successful, eventually earning the titled \u003cem\u003eCavaliere\u003c\/em\u003e, the Italian equivalent of knighthood. His popularity allowed him to earn special commissions of large-scale micromosaics such as the present piece, the likes of which are rarely found on the market. \u003cbr\u003e\u003cbr\u003e Circa 1850-1875 \u003cbr\u003e\u003cbr\u003e Panel: 31 1\/8” high x 69 1\/2” wide\u003cbr\u003e Frame: 38 1\/4” high x 76 1\/2” wide \u003cbr\u003e\u003cbr\u003e Exhibited:\u003cbr\u003e Gilbert Collection, Permanent Display, Somerset House, London, 2000-2007 \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eMicromosaics: The Gilbert Collection\u003c\/em\u003e, London, 2000, by J. H. Gabriel, cat. no. 58, p. 117. \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Collection of Mrs. Loyce Mayfield, Mountain Crest, Alabama\u003cbr\u003e Sotheby-Parke-Bernet New York, The Contents of Mountain Crest, 10-11 June 1977, lot 236\u003cbr\u003e The Rosalinde and Arthur Gilbert Collection, London\u003cbr\u003e M.S. Rau, New Orleans, 2020","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805283418434,"sku":null,"price":1250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-0483_1_08da793c-518c-4fbd-ba3f-c9757d933166.png?v=1768106959"},{"product_id":"smiling-sara-in-a-big-hat-holding-her-dog-by-mary-cassatt-1","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":51805283549506,"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_6e103def-624c-4532-8869-5ba14d4e1c90.png?v=1768106964"},{"product_id":"homme-a-lagneau-mangeur-de-pasteque-et-flutiste-by-pablo-picasso-1","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":51805283647810,"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_f8118e7f-a801-4c74-9411-4b82d2682662.png?v=1768106968"},{"product_id":"nu-tenant-un-miroir-by-pablo-picasso-1","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":51805283746114,"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_bfece402-9274-41fe-a554-93c209fca747.png?v=1768106973"},{"product_id":"fruit-by-alphonse-mucha-1","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":51805283811650,"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_008694e2-ffa0-47f3-b0d7-6d773527b766.png?v=1768106980"},{"product_id":"pietre-dure-plaque-of-village-children","title":"Pietre Dure Plaque of Village Children","description":"Magnificent and colorful, this enchanting Florentine work of art is not a painting, but upon closer inspection is revealed to be a superb example of the intensive art of \u003cem\u003epietre dure\u003c\/em\u003e. Depicting a charming scene of a mother catching her children in the act of a mischievous prank. Rather than paint, this sumptuous piece uses hundreds of different kinds of polished marble and minerals to make this playful scene come to life. Each piece is carefully chosen for color and pattern, cut with the utmost precision and precisely inlaid onto a stone base, thereby creating an image of such beauty and skill as to have the perfect \u003cem\u003etrompe l'oeil\u003c\/em\u003e effect.  \u003cbr\u003e\u003cbr\u003e \u003cem\u003ePietre dure\u003c\/em\u003e, also known as \u003cem\u003epietra dura\u003c\/em\u003e, first developed in antiquity, and originally consisted of shaping stones with small saws, wires and other metal instruments and adding them to decorative objects such as vases or small sculptures. The art was revived during the Renaissance by Italian craftsmen, and the first hard-stone workshop was established by the Medici family in Florence in 1588. The art was also practiced at the courts of Naples, Madrid, Prague, Paris and elsewhere. The Italians were particularly fond of \u003cem\u003epietre dure\u003c\/em\u003e and used the technique on everything from monumental cabinets to tiny boxes. From the late 16th century, the colorful stones were arranged on furniture as landscapes and flower scenes. These items were also popular with wealthy aristocrats making their Grand Tour through Italy in the 18th and 19th centuries, who bought them in droves and even sent larger pieces home. \u003cbr\u003e\u003cbr\u003e The technique requires that fine marbles and stones be inlaid into a stone base. By using materials of varying colors, artisans were able to create patterns and pictures in much the same manner as a mosaic. The technique was expensive, requiring not only precious materials but also highly skilled craftsmen. As a result, many works were completed using imitation marble and are known as \u003cem\u003escagliola\u003c\/em\u003e. True marble and stone \u003cem\u003epietre dure\u003c\/em\u003e works such as this are very rare and highly collectible. \u003cbr\u003e\u003cbr\u003e Signed \"M Zaccagnini\" (lower right) \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Plaque: 17\" high x 22 1\/4\" wide (43.18 x 56.52 cm)\u003cbr\u003e Frame: 22\" high x 27 1\/8\" wide (55.88 x 68.9 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805283877186,"sku":null,"price":98500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-8540_1_eff4fe74-cc24-410c-9fd8-2b9521843bed.png?v=1768106984"},{"product_id":"nude-with-shadow-by-henri-matisse-1","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":51805283942722,"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_125d3d9d-75e8-41aa-8d3f-e1a8ee6bff0d.png?v=1768407556"},{"product_id":"charcoal-portrait-of-sir-winston-churchill-circa-1936","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":51805284073794,"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_6af09919-3f6d-4aa5-b5f5-6ab5da99664f.png?v=1768407555"},{"product_id":"four-of-wands-by-salvador-dali","title":"Four of Wands by Salvador Dalí","description":"Salvador Dalí\u003cbr\u003e 1904-1989 | Spanish \u003cbr\u003e\u003cbr\u003e \u003cem\u003eFour of Wands\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"Dalí\" (lower center)\u003cbr\u003e Gouache on photographic background \u003cbr\u003e\u003cbr\u003e From Salvador Dalí's celebrated tarot series, \u003cem\u003eFour of Wands\u003c\/em\u003e represents a masterful fusion of the artist's surrealist vision with centuries-old symbolic tradition. This extraordinary gouache on photographic paper exemplifies Dalí's ability to transform mystical iconography through his distinctive visual language. The original commission for the design came from Albert Broccoli, the producer of the James Bond film \u003cem\u003eLive and Let Die,\u003c\/em\u003e who sought a tarot card deck to use in the film. Though the contractual deal eventually fell through, Dalí continued the project of his own accord, largely thanks to the inspiration of his wife Gala, who had an interest in mysticism \u003cbr\u003e\u003cbr\u003e Dalí's interpretation of the Four of Wands card showcases his virtuosic command of artistic technique, with applied gouache creating an otherworldly atmosphere. The central theatrical scene depicts elegantly dressed figures in period dress that evoke both celebration and mystery. Four vibrant green wands frame the composition, adorned with flowing banners and foliage. Above, a decorative cartouche bears symbolic text, while the base features an ornate table with delicate floral motifs.  \u003cbr\u003e\u003cbr\u003e Born in Catalonia in 1904, Dalí was formally educated in the fine arts in Madrid, particularly falling under the influence of the Impressionists and the Renaissance masters. At a young age, he became associated with the Madrid avant-garde group Ultra, though he eventually became more acquainted with other movements such as Cubism, Dada and Futurism. By the late 1920s, his mature Surrealist style had already begun to emerge, and in 1929, he officially burst onto the avant-garde art scene with his \u003cem\u003eUn Chien Andalou\u003c\/em\u003e, a short film he made with Spanish director Luis Buñuel. \u003cbr\u003e\u003cbr\u003e Today, he is remembered as one of the most legendary and significant contributors to Surrealism. His \u003cem\u003ePersistence of Memory\u003c\/em\u003e, with its melting clocks, is arguably the most recognizable painting of the movement. Two museums—one in St. Petersburg, Florida and another in Catalonia—are entirely devoted to his oeuvre; other important works by the artist can be found in the Museum of Modern Art (New York), the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Philadelphia Museum of Art and the National Gallery of Art (Washington, D.C.), among many others. \u003cbr\u003e\u003cbr\u003e Circa 1970s \u003cbr\u003e\u003cbr\u003e Paper: 12\" high x 9 1\/8\" wide (30.48 x 23.18 cm)\u003cbr\u003e Frame: 29 1\/4\" high x 25 3\/4\" wide x 1 1\/2\" deep (74.30 x 65.41 x 3.81 cm)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805284139330,"sku":null,"price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1419_1_85eb018e-b7dd-4461-8f5f-6601287338bd.png?v=1768407539"},{"product_id":"jan-cornelis-sylvius-preacher-by-rembrandt-van-rijn","title":"Jan Cornelis Sylvius, Preacher by Rembrandt Van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606–1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eJan Cornelis Sylvius, Preacher\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e New Hollstein Dutch and Flemish (Rembrandt) 235, state 2\/2\u003cbr\u003e Bartsch 280\u003cbr\u003e Printed by Rembrandt\u003cbr\u003e Signed and dated \"Rembrandt 1646\" (top center)\u003cbr\u003e Etching on paper \u003cbr\u003e\u003cbr\u003e Renowned among the Old Masters, the Dutch artist Rembrandt van Rijn is widely regarded as the greatest etcher in the history of art. As the foremost Dutch printmaker, his body of work includes nearly 300 authenticated prints, distinguished by groundbreaking techniques that redefined the medium. This remarkable 1646 etching was printed by Rembrandt himself and captures the esteemed Dutch minister Johannes Cornelis Sylvius seated at his desk, holding a closed book in one hand and gesturing thoughtfully with the other. \u003cbr\u003e\u003cbr\u003e A luminous and lifelike portrayal, the oval-framed composition underscores Rembrandt’s mastery of etching, with his characteristic ability to bring a subject to life through dramatic contrasts and meticulous detail. The expert shadowing of Sylvius's extended right hand makes it appear to reach beyond the surface of the paper. The surrounding Latin inscriptions celebrate Sylvius’s eloquence, piety and steadfast dedication to his pastoral duties. The lengthy text below the image, composed by poets Caspar Barlaeus and Petrus Sylvius, extols his spiritual leadership, virtuous life and profound impact on the communities he served across Friesland and Amsterdam. See translations below. \u003cbr\u003e\u003cbr\u003e The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. \u003cbr\u003e\u003cbr\u003e Now considered one of the greatest artists of all time, almost every major institution has examples of his etchings. Additional second-state etchings of this portrait reside in esteemed collections worldwide, including the Metropolitan Museum of Art, the National Galleries of Scotland, the Cleveland Museum of Art, the Philadelphia Museum of Art and the Art Institute of Chicago, among others. \u003cbr\u003e\u003cbr\u003e Dated 1646 \u003cbr\u003e\u003cbr\u003e Etching: 11\" high x 7 1\/2\" wide (27.94 x 19.05 cm)\u003cbr\u003e Frame: 19 1\/2\" high x 15 1\/2\" wide x 1 1\/8\" deep (49.53 x 39.37 x 2.86 cm) \u003cbr\u003e\u003cbr\u003e Inscription:\u003cbr\u003e Below the image, 16 lines of Latin text by Caspar Barlaeus and Petrus Sylvius:\u003cbr\u003e \"His eloquence taught adoration of Christ,\u003cbr\u003e And revealed to the people the true way to the heavens.\u003cbr\u003e Such was the face of Sylvius; we heard him\u003cbr\u003e Speak to these citizens of Amsterdam with his voice.\u003cbr\u003e He gave instruction to the Frisians: piety\u003cbr\u003e And religion long stood protected by his stern defense.\u003cbr\u003e His venerable age shone with its virtues,\u003cbr\u003e And weary old age rendered learned men.\u003cbr\u003e A lover of simplicity, he scorned the pretense of outward appearance,\u003cbr\u003e Nor did he wish to please good men merely with his looks.\u003cbr\u003e Thus he determined: Jesus is better taught by life,\u003cbr\u003e And the thunder of words is less effective.\u003cbr\u003e Amsterdam, remember him who has passed,\u003cbr\u003e Who shaped this city with his morals,\u003cbr\u003e He shone here by the very presence of God himself.“\u003cbr\u003e — C. Barlaeus \u003cbr\u003e\u003cbr\u003e \"No longer do I extol his virtues,\u003cbr\u003e Which I admire and vainly pursue in verse.\"\u003cbr\u003e — P. S. \u003cbr\u003e\u003cbr\u003e Around the oval:\u003cbr\u003e \"Christ is my hope. Johannes Cornelij Sylvius. From Amsterdam, having served as minister of the Word of God for 45 years and 6 months, in Friesland at Tyemarum and Phridgum for 4 years, at Balk and Harich for a single year, in Minnertsga for 4 years, at Slot for 6 years, and in Amsterdam for 28 years and 6 months, where he died in the year 1638, November 19th, aged 74 years.\" \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, United States\u003cbr\u003e Private Collection, The Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch, Catalogue Raisonné of the Works of the Principal Dutch and Flemish Painters, 280\u003cbr\u003e Erik Hinterding, Jacob Rutgers, and Ger Luijten, New Hollstein: Rembrandt, Vol. I, cat. no. 142","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805284204866,"sku":null,"price":78500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0479_1_5462278b-d19e-4329-964f-af9291033835.png?v=1768407537"},{"product_id":"saint-mary-magdalene-on-alabaster-with-pietre-dure-frame","title":"Saint Mary Magdalene on Alabaster with Pietre Dure Frame","description":"This incredibly rare 17th-century oil on alabaster depicts the Saint Mary Magdalene, rendered after Italian Baroque painter Guido Reni’s masterpiece of the same name. Saint Mary Magdalene gazes upward towards the heavens in a penitent pose, as two putti-like cherubs float above. Depicted with luxurious, long hair draped over her body — symbolizing the saint’s inherent sensuality — her outstretched hand rests on the iconic skull that faithfully accompanies her likeness in religious art. Surrounding this magnificent painting are superb pietre dure hardstone inlays of jasper, agate and lapis lazuli, mingled with Roman silver on an ebonized wood frame. \u003cbr\u003e\u003cbr\u003e One of his most popular subjects in the 1620s and 1630s, Mary Magdalene was something of an iconographic specialty for Reni, who executed various versions to please a public that prized them and continually requested them. Reni’s original 1633 Saint Mary Magdalene canvas on which this oil on alabaster is based was painted for Cardinal Antonio Santacroce and now resides in the Galleria Nazionale d'Arte Antica in Rome. A similar, smaller oil on canvas depicting Mary Magdalene predates this original to 1627 and was formerly housed in the Barberini collection in Rome. \u003cbr\u003e\u003cbr\u003e Guido Reni was born in Bologna in 1575 and rose to be the most famous Italian painter of his generation. Though considered a master of the Baroque, Reni’s work showcases a singular classical style that made an indelible mark on the course of art. Active in Rome, Naples and his native Bologna, he became the dominant figure in the Bolognese School that emerged under the influence of early-Baroque master painter and printmaker Carracci. Through his career, Reni collected a robust roster of patrons who were Cardinals and other wealthy clergy of the Vatican papacy. Thus, the Baroque artist is best known for his prolific oeuvre of religious works, though he also had an affinity for mythological and allegorical subjects. His oils and frescoes can be found in the basilicas, churches and palaces of Rome, Naples and Bologna, including the Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. \u003cbr\u003e\u003cbr\u003e Italian, 17th Century \u003cbr\u003e\u003cbr\u003e Frame: 13 3\/4” high x 12 3\/4” wide \u003cbr\u003e\u003cbr\u003e References:\u003cbr\u003e \u003cem\u003eGuido Reni: L'Opera Completa\u003c\/em\u003e, Novara 1988, by S. Pepper, pp. 335-36, cat. no. 28 (illustrated) \n","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805284270402,"sku":null,"price":74500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-0484_1_4f20042b-24eb-46a4-b6ad-68a37d24ac56.png?v=1768407535"},{"product_id":"a-study-of-two-models-by-sir-william-russell-flint-1","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":51805284335938,"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_a735b8a3-91a4-40a6-840e-9cd8311ef44e.png?v=1768407512"},{"product_id":"temple-of-vespasian-and-titus-roman-micromosaic","title":"Temple of Vespasian and Titus Roman Micromosaic","description":"The ruins of the ancient Roman Temple of Vespasian and Titus are the subject of this Italian micromosaic. Crafted in intricate detail, the scene is composed of thousands of tiny glass tiles that have been painstakingly chosen and placed to create a painting-like effect. A bucolic landscape surrounds the ruins, lending a sense of romance to the scene that is further enhanced by the presence of a mother and child seated near the temple's columns. It is an extraordinary example of this ancient art form that experienced a surge in popularity in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Vespasian was the Roman Emperor from 69 AD to 79 AD and the founder of the Flavian dynasty, which ruled the empire for 25 years. This temple was constructed to honor Vespasian and his older son and successor Titus (ruled 79-81 AD); it was completed by Titus’ brother, Domitian, around 87 AD. Titus and Vespasian were each deified through the ceremony of apotheosis. Thus, tradition dictated that they be honored by Roman citizens and subjects as Roman deities. This imperial worship was as much a sign of allegiance to the emperor of Rome as it was a formal religion. \u003cbr\u003e\u003cbr\u003e The temple suffered significant damage during medieval times, particularly circa 1300 under Pope Boniface VIII and in Pope Nicholas V's remodeling of the Forum. All that survives today is the podium's core, parts of the inner chamber, and the three Corinthian columns depicted in this classic micromosaic. The architrave surmounting the capitals displays the last few letters of an inscription, [R]ESTITVER[UNT] (meaning \"they restored\"), commemorating the restoration of the temple by Septimius Severus and his son, Caracalla, around 200 AD.  \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Micromosaic: 10 1\/2\" high x 12 5\/8\" wide\u003cbr\u003e Frame: 12 1\/2\" high x 14 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805284499778,"sku":null,"price":68500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-3659_1_e092fe46-2a41-4c61-9312-cfd02bf38ccd.png?v=1768407511"},{"product_id":"beggar-seated-on-a-bank-by-rembrandt-van-rijn","title":"Beggar Seated on a Bank by Rembrandt van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606-1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBeggar Seated on a Bank\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Etching on paper\u003cbr\u003e New Hollstein's first state of two\u003cbr\u003e Signed and dated \"RHL 1630\" (lower center) \u003cbr\u003e\u003cbr\u003e This remarkable 1630 etching represents one of Rembrandt's most intriguing autobiographical works, where the young master transforms himself into a street beggar with extraordinary form. Created when Rembrandt was only twenty-four and still establishing his career, this compelling composition demonstrates both his technical mastery of etching and his fearless approach to self-examination. \u003cbr\u003e\u003cbr\u003e The composition presents a figure in ragged clothing and scraggly beard, his hand extended in supplication, yet the features are unmistakably those of the young Rembrandt himself. The artist's contracted brow and open mouth mirror expressions found in his contemporary self-portraits, particularly the \u003cem\u003eSelf Portrait Open Mouthed, as if Shouting\u003c\/em\u003e from the same year. The etching technique demonstrates Rembrandt's growing mastery of the medium, with delicate line work capturing both the texture of worn fabric and the psychological intensity of the subject's expression. \u003cbr\u003e\u003cbr\u003e The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and was then enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. \u003cbr\u003e\u003cbr\u003e Now considered one of the greatest artists of all time, almost every major institution has examples of his etchings. Additional second-state etchings of this portrait reside in esteemed collections worldwide, including the National Gallery of Art, the Art Institute of Chicago, the Princeton Art Museum and more. \u003cbr\u003e\u003cbr\u003e Created 1630 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Ex collection Roltz, inscribed and dated in pen and ink verso 1693\u003cbr\u003e Colnaghi, London\u003cbr\u003e Arthur H. Harlow \u0026amp; Co., New York\u003cbr\u003e Private collection, The Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch 174\u003cbr\u003e White\/Boon 174\u003cbr\u003e The New Hollstein Dutch 50\u003cbr\u003e Holm Bevers\/Peter Schatborn\/Barbara Welzel, \u003cem\u003eRembrandt: the Master \u0026amp; his Workshop\u003c\/em\u003e, Yale University Press, New Haven \u0026amp; London, 1991, fig. 3a, p. 174\u003cbr\u003e Christopher White \u0026amp; Quentin Buvelot, \u003cem\u003eRembrandt by himself\u003c\/em\u003e, National Gallery Publications Limited, London, 1999, no. 24, p. 129\u003cbr\u003e Erik Hinterding\/Ger Luijten\/Martin Royalton-Kisch, \u003cem\u003eRembrandt the Printmaker\u003c\/em\u003e, Fitzroy Dearborn Publishers, Chicago \u0026amp; London, 2000, no. 6, p. 93\u003cbr\u003e Clifford S. Ackley, \u003cem\u003eRembrandt's Journey: Painter-Draftsman-Etcher\u003c\/em\u003e, Museum of Fine Arts Boston, 2003, no. 25, p. 91\u003cbr\u003e Gary Schwartz, \u003cem\u003eThe Rembrandt Book\u003c\/em\u003e, Harry N. Abrams, New York, 2006, no. 483, p. 289\u003cbr\u003e Erik Hinterding, \u003cem\u003eRembrandt Etchings from the Frits Lugt Collection\u003c\/em\u003e, Thoth Publishers, Bussum, 2008, no. 141, vol. II p. 158","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805284565314,"sku":null,"price":64500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1457_1_6b011265-370a-4fb6-b7a3-d4a043067e20.png?v=1768407509"},{"product_id":"abraham-casting-out-hagar-and-ishmael-by-rembrandt-van-rijn-1","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":51805284663618,"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_898de953-147c-45c7-b05e-e1bc93462cb6.png?v=1768407493"},{"product_id":"renaissance-period-limoges-enamel-plaque","title":"Renaissance-Period Limoges Enamel Plaque","description":"A masterpiece of the French Renaissance enamelwork, this radiant enamel \u003cem\u003eAdoration of the Shepherds\u003c\/em\u003e plaque belongs to the highly esteemed Limoges legacy of porcelain, glass and enamel. Crafted over 400 years ago, the remarkably rare plaque still retains the vibrant array of color and luminosity for which Limoges enamels are renowned. Such beautifully preserved Limoges plaques from the Renaissance age are rarely seen on the market, as almost all existing examples are currently held in important public collections worldwide.\n\u003cbr\u003e\u003cbr\u003e\nEnamelwork, one of Limoges' oldest crafts, enjoyed immense popularity in the 16th century. Though extremely costly to manufacture and expensive to acquire, plaques such as this were highly sought after by the highest social echelons. Not only did these \u003cem\u003epièces d’émail de Limoges\u003c\/em\u003e serve as a mark of their personal prestige, but it also confirmed their cultural refinement and modern taste. Though enamels fell out of favor following the Renaissance era, they again achieved considerable popularity at the end of the 19th century, a reputation which lasted through the Art Deco movement.\n\u003cbr\u003e\u003cbr\u003e\nSome of the most important collectors of the age, including the Rothschild family, Baron Frédéric Spitzer, and the Thyssen-Bornemisza family, sought out Renaissance-period Limoges enamels for their collection; today, most of the pieces from these collections found their way into the possession of leading European museums. The fervor even spread to the United States, were Henry Clay Frick acquired an impressive collection that today comprises the renowned Enamel Room in The Frick Collection (New York). The present plaque is comparable in quality, age, and subject to these important publicly held works.\n\u003cbr\u003e\u003cbr\u003e\nMid-16th Century\n\u003cbr\u003e\u003cbr\u003e\n12 3\/8\" high x 8 7\/8\" wide\n\u003cbr\u003e\u003cbr\u003e\nProvenance:\u003cbr\u003e\nParke-Bernet Galleries, March 19, 1971, Lot 167\u003cbr\u003e\nPrivate Collection, United States\u003cbr\u003e\nM.S. Rau Antiques, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805284761922,"sku":null,"price":53100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/30-4719_1_08b1e9ef-fff7-4733-9c3f-4ff7b80418c7.png?v=1768407494"},{"product_id":"venice-by-wolf-kahn-1","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":51805284827458,"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_3203321f-eba6-4688-8901-faa7e4fa4ef9.png?v=1768407490"},{"product_id":"the-strolling-musicians-by-rembrandt-van-rijn","title":"The Strolling Musicians by Rembrandt van Rijn","description":"Rembrandt van Rijn 1606–1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eStrolling Musicians\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Etching on paper\u003cbr\u003e New Hollstein 141, first state of three \u003cbr\u003e\u003cbr\u003e This remarkable etching was created by one of the greats of art history, Rembrandt. Entitled \u003cem\u003eStrolling Musicians\u003c\/em\u003e, this work exemplifies the master's extraordinary ability to capture the vitality and humanity of everyday life. This common subject matter would have been familiar to Rembrandt’s contemporaries, but the artist's genius elevates the encounter into a profound image of human connection that still resonates today. \u003cbr\u003e\u003cbr\u003e Etched and printed by Rembrandt himself in 1635, this exceptionally detailed print depicts a group of itinerant street performers—a hurdy-gurdy player, a bagpiper and a companion—entertaining a small family in their doorway. A scruffy dog pulls at its leash in the foreground, a detail that lends both humor and immediacy to the scene. A recurring theme for Rembrandt, this work shows his fascination with the humble and the ordinary, as he renders the ragged clothing, fur hats and animated gestures of the musicians with a flurry of energetic lines and casts them in dramatic lighting. The result is an image alive with character, movement, and social interaction. \u003cbr\u003e\u003cbr\u003e Rembrandt’s etchings played a crucial role in his fame beyond the Netherlands. From biblical narratives and portraits to genre scenes such as this one, his prints circulated widely and were avidly collected across Europe. In \u003cem\u003eStrolling Musicians\u003c\/em\u003e, the artist’s technical mastery is evident in the subtle modulation of line and light, hallmarks of his innovative approach that forever transformed the art of printmaking. Other examples of this rare first state etching reside in major collections, including the Metropolitan Museum of Art and the British Museum. \u003cbr\u003e\u003cbr\u003e The son of a miller, Rembrandt Harmenszoon van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School, and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. By 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. His paintings and prints were avidly admired and collected during his lifetime, and today they are counted among the most coveted in the whole of art history. \u003cbr\u003e\u003cbr\u003e Etched in 1635 \u003cbr\u003e\u003cbr\u003e Paper: 5 1\/2\" high x 4 1\/2\" wide (13.97 x 11.43 cm)\u003cbr\u003e Frame: 20 1\/4\" high x 16 1\/4\" wide x 1 1\/4\" deep (51.44 x 41.28 x 3.18 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, The Netherlands\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch, Hollstein 119; Hind 192; New Hollstein 141","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805284925762,"sku":null,"price":48500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1456_1.png?v=1768407467"},{"product_id":"pietre-dure-plaque-with-lion-by-tito-francolini","title":"Pietre Dure Plaque with Lion by Tito Francolini","description":"This extraordinary Florentine work of art has the appearance of a painted scene, but upon closer inspection is revealed to be a superb example of the art of \u003cem\u003epietre dure\u003c\/em\u003e. Composed by Tito Francolini, the piece depicts a scene of a lion attacking a snake in the desert composed entirely of polished hardstone in place of paint. This composition is particularly impactful, with each piece of stone carefully chosen for both its color and pattern to perfectly convey the drama and movement of the scene. The dynamism of Francolini's choice of stones, including onyx, colored marbles and lapis lazuli, and the precision of their cuts make it a true masterpiece. These and other hardstones come together to create a work of such cohesion as to have the perfect \u003cem\u003etrompe l'oeil\u003c\/em\u003e effect. \u003cbr\u003e\u003cbr\u003e Due to the intricacy and time-consuming nature of the craft, pietre dure artisans like Francolini had a very niche and high-wealth clientele. Few could afford such precious pictures crafted in stone, so pietre dure artists created pieces such as this on a commission basis for important clients. The most desirable works from this period display remarkable realism and intricacy in their execution, with a preference for rural subjects and natural landscapes, all qualities referenced in the present work. \u003cbr\u003e\u003cbr\u003e The art of \u003cem\u003epietre dure\u003c\/em\u003e developed from the ancient art of \u003cem\u003eopus sectile\u003c\/em\u003e, where materials were cut and inlaid into walls and floors to form a decorative pattern. Florentine craftsmen revived the art during the Renaissance, and the first known hardstone workshop was established by the Medici family in 1588. Quickly growing in popularity, the art was also practiced in courts throughout Europe, most especially in the courts of Naples, Madrid, Prague and Paris. \u003cbr\u003e\u003cbr\u003e This work is featured on page 20 of Anna Maria Massinelli’s book, \u003cem\u003ePainting in Stone\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Signed and dated 1900 (en verso) \u003cbr\u003e\u003cbr\u003e Plaque: 8 3\/4\" high x 12 5\/8\" wide\u003cbr\u003e Frame: 14 5\/8\" high x 18 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805284991298,"sku":null,"price":48500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-4937_1.png?v=1768407466"},{"product_id":"l-heure-du-gouter-by-jules-emile-saintin-1","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":51805285056834,"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_6d02bc96-0d14-4be4-a6fa-148cc4ea1ca2.png?v=1768407464"},{"product_id":"the-small-horse-by-albrecht-durer","title":"The Small Horse by Albrecht Dürer","description":"Albrecht Dürer\u003cbr\u003e 1471-1528 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Small Horse\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Dated in the plate on upper center; monogrammed in the plate lower center: AD\u003cbr\u003e Meder state a\u003cbr\u003e Copperplate engraving on laid paper \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Whatever was mortal in Albrecht Dürer lies beneath this mound.” — Albrecht Dürer’s epitaph\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Regarded as the greatest engraver in history, Albrecht Dürer revolutionized printmaking by combining extraordinary naturalism with technical precision. \u003cem\u003eThe Small Horse\u003c\/em\u003e reflects his lifelong fascination with ideal beauty, proportion and movement. The striking horse, rendered with anatomical accuracy, conveys both energy and poise, exemplifying Dürer’s mastery of copper engraving and his ability to merge realism with classical idealization. \u003cbr\u003e\u003cbr\u003e The composition is tightly controlled, with the horse shown in profile against a stone wall, its tail restrained by a knot, while the wing-footed warrior in a butterfly-winged helmet struggles to keep pace. Dürer’s use of intersecting diagonals in the architecture and pike arrests the motion, creating a dynamic tension that balances naturalistic detail with a heraldic formality. Influenced by Italian Renaissance masters such as Pisanello, Donatello, Mantegna and Leonardo da Vinci, as well as classical bronze equestrian sculptures in Venice, Dürer integrates idealized form with studied observation. \u003cbr\u003e\u003cbr\u003e Horses were recurring subjects in Dürer’s oeuvre, often used to explore movement, proportion and symbolism. In \u003cem\u003eThe Small Horse\u003c\/em\u003e, each detail, from the musculature of the horse to the warrior’s posture, is meticulously rendered through precise shading and line work, creating a work that is both a vivid study in anatomy and a testament to Dürer’s unrivaled skill in engraving. His prints remain benchmarks for technical achievement and artistic insight, influencing generations of artists across Europe. \u003cbr\u003e\u003cbr\u003e Albrecht Dürer, born in Nuremberg in 1471, is regarded as the most influential artist of the Northern Renaissance. Early in his career, Dürer apprenticed with his father, a goldsmith, and later with Michael Wolgemut, whose workshop introduced him to woodcut illustration. Fascinated by the Italian Renaissance, Dürer made two formative visits to Italy, where he absorbed the classical techniques of masters like Pollaiuolo, Mantegna and Michelangelo. The stay marked a turning point in his career, and it was his ability to merge his Italian influences with the Northern tradition of intricate detail that established Dürer as a leading figure in Renaissance art. \u003cbr\u003e\u003cbr\u003e Throughout his career, Dürer created works that transcended the boundaries of woodcuts, engravings and paintings, demonstrating unmatched intellectual and artistic depth. Dürer was the most influential German artist of his time, serving as court artist to both Holy Roman Emperor Maximilian I and his successor Charles V. Examples of this work are featured in the permanent collections of the Metropolitan Museum of Art, the National Gallery of Art in Washington, D.C., the Harvard Art Museums and other esteemed institutions. \u003cbr\u003e\u003cbr\u003e Plate dated 1505 \u003cbr\u003e\u003cbr\u003e Paper: 6\" high x 4\" deep (15.24 x 10.16 cm)\u003cbr\u003e Frame: 16 3\/4\" high x 12 3\/4\" wide x 1\" deep (42.55 x 32.39 x 2.54 cm) \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Strauss, Walter L., ed. \u003cem\u003eThe Illustrated Bartsch 10 (Commentary): Sixteenth Century German Artists, Albrecht Dürer.\u003c\/em\u003e New York: Abaris Books, 1980. 328 pp., ill. No. 96, pp. 212–215\u003cbr\u003e Bartrum, Giulia, ed. \u003cem\u003eAlbrecht Dürer and his Legacy – The Graphic Work of a Renaissance Artist\u003c\/em\u003e, with contributions by Günter Grass, Joseph L. Koerner, and Ute Kuhlemann. London: The British Museum Press, 2002. 320 pp., ill. No. 180, p. 229\u003cbr\u003e Dodgson, C. \u003cem\u003eThe Masters of Engraving and Etching: Albrecht Dürer.\u003c\/em\u003e London and Boston, 1926. No. 43 Hollstein, F.W.H. \u003cem\u003eGerman Engravings, Etchings and Woodcuts, c.1400–1700. Volume VII.\u003c\/em\u003e Amsterdam: M. Hertzberger, 1954–. No. 93\u003cbr\u003e Rowlands, J.K. \u003cem\u003eThe Graphic Work of Albrecht Dürer: An Exhibition of his Prints and Drawings in Commemoration of the Quincentenary of his Birth.\u003c\/em\u003e London: British Museum, 1971. Exhibition catalogue. No. 113\u003cbr\u003e Schoch, R., M. Mende, and A. Scherbaum. \u003cem\u003eAlbrecht Dürer. Das Druckgraphische Werk. Band I: Kupferstiche, Eisenradierungen und Kaltnadelblätter.\u003c\/em\u003e Munich, London, New York, 2001. No. 42\u003cbr\u003e Heller, Joseph. \u003cem\u003eDas Leben und die Werke Albrecht Dürer.\u003c\/em\u003e Bamberg, 1827. Vols. 2 \u0026amp; 3 (vol. 1 unpublished). No. 1000\u003cbr\u003e Meder, Joseph. \u003cem\u003eDürer-Katalog: Ein Handbuch über Albrecht Dürers Stiche, Radierungen, Holzschnitte, deren Zustände, Ausgaben und Wasserzeichen.\u003c\/em\u003e Vienna, 1932. No. 93\u003cbr\u003e Dodgson, C. \u003cem\u003e The Masters of Engraving and Etching: Albrecht Dürer.\u003c\/em\u003e London and Boston, 1926. No. 43\u003cbr\u003e Tietze, Hans and Erika Tietze-Conrat. \u003cem\u003eKritisches Verzeichnis der Werke Albrecht Dürers.\u003c\/em\u003e Vol. 1, Augsburg, 1928; Vol. 2, Basel and Leipzig, 1937; Vol. 3, Basel and Leipzig, 1938. No. 281\u003cbr\u003e Panofsky, Erwin. \u003cem\u003eThe Life and Art of Albrecht Dürer.\u003c\/em\u003e Vol. I, Princeton: Princeton University Press, 1955 (4th edn); Vol. II, Princeton: Princeton University Press, 1945 (2nd edn). No. 203\u003cbr\u003e Strauss, W.L. \u003cem\u003eThe Intaglio Prints of Albrecht Dürer.\u003c\/em\u003e 6 volumes. New York, 1977. No. 44 \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Private Collection, Germany\u003cbr\u003e M.S. Rau, New Orleans","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805285122370,"sku":null,"price":42500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-1431_1.png?v=1768407440"},{"product_id":"the-penance-of-st-chrysostom-by-albrecht-durer","title":"The Penance of St. Chrysostom by Albrecht Dürer","description":"Albrecht Dürer\u003cbr\u003e 1471-1528 | German \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Penance of St. Chrysostom\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Monogrammed in the plate lower center \"AD\"\u003cbr\u003e Copper engraving on laid paper  \u003cbr\u003e\u003cbr\u003e \u003cem\u003e“Whatever was mortal in Albrecht Dürer lies beneath this mound.” — Albrecht Dürer’s epitaph\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e This exceptionally rare copper engraving of St. Chrysostom is one of the very few nude engravings ever created by Albrecht Dürer, a master of the Northern Renaissance. With extraordinary precision and a synthesis of Northern humanism and Italian Renaissance ideals, this engraving is a striking convergence of religious tradition, artistic mastery and an infamous saint's complex narrative. \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Penance of St. Chrysostom\u003c\/em\u003e is based on a medieval legend surrounding John Chrysostom, an early Christian theologian and hermit saint. According to the tale, an emperor’s daughter sought refuge in his cave during a storm, but in a moment of weakness, he broke his vow of chastity. Wracked with guilt, he cast the woman from a cliff before retreating into the wilderness, where he crawled like a beast in penance for years. Miraculously, the woman survived and gave birth. Later, she was found with her child, and St. Chrysostom was ultimately absolved. \u003cbr\u003e\u003cbr\u003e This is the scene Dürer captures with remarkable precision—the woman sits in an alcove, breastfeeding her child, while the saint, seen crawling in the distance, repents in exile. Set against a quintessential medieval German town, Dürer’s engraving is a masterclass in depth, perspective and anatomical perfection. His ability to render human figures in idealized proportions—influenced by Italian Renaissance principles—demonstrates his pioneering approach to the nude form. \u003cbr\u003e\u003cbr\u003e Albrecht Dürer, born in Nuremberg in 1471, is regarded as the most influential artist of the Northern Renaissance. Early in his career, Dürer apprenticed with his father, a goldsmith, and later with Michael Wolgemut, whose workshop introduced him to woodcut illustration. Fascinated by the Italian Renaissance, Dürer made two formative visits to Italy, where he absorbed the classical techniques of masters like Pollaiuolo, Mantegna and Michelangelo. The stay marked a turning point in his career, and this engraving reveals Dürer's deepened understanding of classical form, as well as his mastery of naturalistic effects in light and shade. His ability to merge these Italian influences with the Northern tradition of intricate detail established Dürer as a leading figure in Renaissance art. \u003cbr\u003e\u003cbr\u003e Throughout his career, Dürer created works that transcended the boundaries of woodcuts, engravings and paintings, demonstrating unmatched intellectual and artistic depth. Dürer was the most influential German artist of his time, serving as court artist to both Holy Roman Emperor Maximilian I and his successor Charles V. The few known examples of this particular work are held in the permanent collections of the Metropolitan Museum of Art, the National Gallery of Art in Washington, D.C. and the Clark in Williamstown, MA.  \u003cbr\u003e\u003cbr\u003e Paper: 6 7\/8\" high x 4 1\/2\" wide (17.46 x 11.43 cm)\u003cbr\u003e Frame: 17 1\/2\" high x 13 1\/2\" wide x 1 1\/2\" deep (44.45 x 34.29 x 3.18 cm) \u003cbr\u003e\u003cbr\u003e Circa 1497 \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e Bartsch, Adam von. \u003cem\u003eLe Peintre-Graveur\u003c\/em\u003e. Vol. 7. Vienna: J.V. Degen, 1808, no. 63\u003cbr\u003e Holzschnitte, und Zeichnungen. \u003cem\u003eVienna: Gilhofer \u0026amp; Ranschburg\u003c\/em\u003e, 1932, no. 54 d\/e (from f)","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805285286210,"sku":null,"price":42500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0468_1_dbc1c2fd-d64d-4228-8ce8-b153b0f95ba9.png?v=1768407439"},{"product_id":"winter-shadows-new-york-by-stefan-bleekrode-1","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":51805285351746,"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_80d0c81c-8b86-49d9-ad1f-c665e3175740.png?v=1768407438"},{"product_id":"thinking-by-tamara-de-lempicka-1","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":51805285450050,"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_bc79dbc4-c313-4600-a826-ca0f9b5ea6d7.png?v=1768407421"},{"product_id":"smiling-nude-by-tamara-de-lempicka-1","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":51805285548354,"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_a5ac76f2-8e16-4ee0-8e64-f64bf4eb133b.png?v=1768407419"},{"product_id":"nu-allonge-avec-bracelet-by-tamara-de-lempicka-1","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":51805285679426,"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_1c796058-95c8-44d1-bb79-7b1bfd876cbb.png?v=1768407417"},{"product_id":"pietre-dure-of-the-morning-bath","title":"Pietre Dure of The Morning Bath","description":"This incredible Italian \u003cem\u003epietre dure\u003c\/em\u003e is made up of a show-stopping variety of hardstones, creating a magnificent narrative scene. The hardstones recreate the composition of a popular painting by Benjamin Vautier entitled \u003cem\u003eThe Morning Bath\u003c\/em\u003e. Vautier's painting was reproduced in several print materials, but no other reproductions match the astounding meticulous details of this breathtaking \u003cem\u003epietre dure\u003c\/em\u003e. Rendered in polished hardstones and marble, this plaque captures the charming scene of early morning bath time as a baby stands wobbly in a wooden tub. The scene is emblematic of the charming genre scenes favored by Italian \u003cem\u003epietre dure\u003c\/em\u003e artisans.  \u003cbr\u003e\u003cbr\u003e The art of \u003cem\u003epietre dure\u003c\/em\u003e developed from the ancient art of opus sectile, where materials were cut and inlaid into walls and floors to form a decorative pattern. The meticulous technique requires that fine marble specimens and stones be carefully and artfully inlaid into a stone base. The method was both expensive and time-consuming, requiring not only precious materials but also highly skilled craftsmen. As a result, true marble and stone \u003cem\u003epietre dure\u003c\/em\u003e works such as this are very rare and highly collectible. \u003cbr\u003e\u003cbr\u003e 19th century \u003cbr\u003e\u003cbr\u003e Plaque: 11 5\/8\" high by 15 5\/8\" wide\u003cbr\u003e Frame: 20 1\/4\" high by 24\" wide by 2 1\/8\" deep","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805285810498,"sku":null,"price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6722_1.png?v=1768407400"},{"product_id":"pietre-dure-by-giovanni-montelatici","title":"Pietre Dure by Giovanni Montelatici","description":"Giovanni Montelatici\u003cbr\u003e 1864-1930 | Italian \u003cbr\u003e\u003cbr\u003e \u003cem\u003eThe Shopping Bill\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Pietre dure \u003cbr\u003e\u003cbr\u003e Composed by renowned Italian artist Giovanni Montelatici, this Florentine work of art depicts a humorous scene of a husband interrogating his wife about a shopping bill modeled after a work by Italian genre painter Pietro Saltini. While it has the appearance of a painting, the work is actually entirely composed of polished marble in place of paint. Each piece was carefully chosen for both its color and pattern to perfectly convey the mood and details of the scene, from the faux woodgrain on the shutters and stool to the contrasting light and shadow along the walls and table. Together, these luxurious marble pieces create a work of such cohesion as to have the perfect \u003cem\u003etrompe l'oeil\u003c\/em\u003e effect. \u003cbr\u003e\u003cbr\u003e Few could afford such precious pictures crafted in stone, so \u003cem\u003epietre dure\u003c\/em\u003e artists created pieces such as this on a commission basis for only the most important clients. The most desirable works from this period display remarkable realism and intricacy in their execution, with a preference for rural subjects and natural landscapes. It was these kinds of works in which the Montelatici workshop specialized, making Giovanni a highly sought-after artisan in his day. \u003cbr\u003e\u003cbr\u003e Montelatici is often credited with revitalizing the skill of \"painting\" in \u003cem\u003epietre dure\u003c\/em\u003e, an art that had fallen into a steady decline since the mid-19th century. In 1898, he went into business with Galileo Chini (d. 1957), an artist from Mugello, near Florence, and the two men exhibited jointly at the 1900 Paris Exposition Universelle, winning a gold medal for their large table inlaid with a scene of the Annunciation. Following the success in Paris, Montelatici established a large workshop, known as La Musiva, on the Via Arnolfo, appointing Chini as its artistic director. The business flourished during the early decades of the 20th century, when Montelatici was joined by his two sons, Mario and Alfonso, and when foreign buyers were plenty. Inspired by the paintings and subject matter of the Tuscan Macchiaiolo School and Southern Italian artists, production encompassed a wide variety of themes, with particular emphasis on scenes of domesticity and rural life. \u003cbr\u003e\u003cbr\u003e A comparable work by Montelatici of the same subject is featured in Anna Maria Massinelli’s book, \u003cem\u003ePainting in Stone\u003c\/em\u003e, p. 209. \u003cbr\u003e\u003cbr\u003e Circa 1880 \u003cbr\u003e\u003cbr\u003e Plaque: 11 7\/8\" high x 9 1\/2\" wide\u003cbr\u003e Frame: 19\" high x 16 5\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805285876034,"sku":null,"price":39850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-3805_1.png?v=1768407401"},{"product_id":"pietre-dure-plaque-of-ancient-artisan-by-alberto-menegatti","title":"Pietre Dure Plaque of Ancient Artisan by Alberto Menegatti","description":"A young man clad in classical robes paints an amphora vase as an attractive admirer observes him in this magnificent pietre dure plaque by Florentine artisan Alberto Menegatti. The work is emblematic of the charming scenes of rural life that were favored by Italian pietre dure artists. The superlative quality and beauty of the stone specimens utilized to create the composition distinguish this piece, and the artist’s ingenious use of the natural striations and inclusions in his stones allows him to convey texture and shadow to brilliant effect. \u003cbr\u003e\u003cbr\u003e The art of pietre dure developed from the ancient art of opus sectile, where materials were cut and inlaid into walls and floors to form a decorative pattern. The meticulous technique requires that fine marbles and stones be carefully and artfully inlaid into a stone base. Both expensive and time-consuming, the art of pietre dure requires not only precious materials but also highly skilled craftsmen. As a result, true marble and stone examples such as this are very rare and highly collectible. \u003cbr\u003e\u003cbr\u003e This work is featured on page 207 of Anna Maria Massinelli’s book, \u003cem\u003ePainting in Stone\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e Signed \"A. Menegatti\" (upper right) \u003cbr\u003e\u003cbr\u003e Early 20th century \u003cbr\u003e\u003cbr\u003e Plaque: 19 7\/8\" high x 14 1\/8\" wide\u003cbr\u003e Frame: 24\" high x 17 7\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805285941570,"sku":null,"price":38500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-0257_1.png?v=1768407397"},{"product_id":"naked-woman-on-a-mound-by-rembrandt-van-rijn","title":"Naked Woman on a Mound by Rembrandt van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606-1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eNaked Woman on a Mound\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed \"RHL\" (upper left)\u003cbr\u003e Etching on paper\u003cbr\u003e Etched by Rembrandt\u003cbr\u003e New Hollstein 88, second state of II; Bartsch, Hollstein 198; Hind 43 \u003cbr\u003e\u003cbr\u003e One of the greatest and most celebrated artists of all time, Rembrandt has been referred to as \"the etcher's god\" for his remarkable mastery of the complex medium. Certainly the most important Dutch printmaker in history, his oeuvre features nearly 300 prints, and his innovative techniques were without precedent. This superb etching, printed by Rembrandt himself and entitled \u003cem\u003eNaked Woman on a Mound\u003c\/em\u003e, displays the artistry and detail for which Rembrandt's prints are renowned. \u003cbr\u003e\u003cbr\u003e Rembrandt depicted the female nude in just two periods of his career—during the 1630s and later in the 1650s—making works like this extremely rare. While his Italian contemporaries idealized their subjects, Rembrandt studied his models from life in informal poses, portraying them with precise naturalism—a radical departure that established new conventions for representing the human figure in Western art. \u003cbr\u003e\u003cbr\u003e This print is exceptional in its technical virtuosity. Rembrandt's characteristic cross-hatching creates an astounding three-dimensionality, and his meticulous attention to dramatic light and shadow gives the woman a monumental sculptural quality. Scholars have debated whether she might depict a classical or biblical subject—perhaps Diana's nymph Callisto or Susanna from the Book of Daniel—but the intimacy and psychological depth captured by Rembrandt are undeniable, making this work a profound meditation on the human condition. \u003cbr\u003e\u003cbr\u003e The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and was then enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. \u003cbr\u003e\u003cbr\u003e Though known today primarily for his paintings, Rembrandt's fame spread outside the Netherlands thanks to his etchings. He made hundreds of etchings throughout his career from 1626 until 1660, the year he was forced to sell his presses. He created etchings of many subjects, including self-portraits, biblical subjects, saints and allegories, and his work was avidly admired and collected, even during his lifetime. \u003cbr\u003e\u003cbr\u003e There are only two examples of the first state of this print known to exist today, residing at the Rijksmuseum in Amsterdam and the State Hermitage Museum in St. Petersburg. Examples of the second state, such as this print, belong to other important institutions, including the British Museum, the Museum of Fine Arts, Boston, the Yale Art Gallery, among many others.  \u003cbr\u003e\u003cbr\u003e Circa 1631 \u003cbr\u003e\u003cbr\u003e Etching: 6 3\/4\" high x 6\" wide (17.15 x 15.24 cm)\u003cbr\u003e Frame: 17 3\/4\" high x 14 1\/4\" wide x 1 1\/8\" deep (45.09 x 36.20 x 2.86 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Vincent Price Art Collection\u003cbr\u003e Private Collection, Louisiana, purchased from the above, circa 1980s","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805286007106,"sku":null,"price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0781_1.png?v=1768407375"},{"product_id":"woman-bathing-her-feet-in-a-brook-by-rembrandt-van-rijn","title":"Woman Bathing Her Feet in a Brook by Rembrandt van Rijn","description":"Rembrandt van Rijn\u003cbr\u003e 1606-1669 | Dutch \u003cbr\u003e\u003cbr\u003e \u003cem\u003eWoman Bathing Her Feet in a Brook\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Etching on paper\u003cbr\u003e New Hollstein's 309, second state of II\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e Created from observations of a live model, this work started as a figure study before evolving into a more imaginative setting. It remains ambiguous whether the scene is set indoors, as suggested by the cushion the figure is seated on, or outdoors, indicated by the foliage in the background. The omission of her feet, suggesting they may be dangling in a brook, adds a charming touch to Rembrandt’s imaginative scene. The figure seems unaware of the viewer, presenting a dignified yet sensual demeanor. \u003cbr\u003e\u003cbr\u003e The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own. \u003cbr\u003e\u003cbr\u003e Though known today primarily for his paintings, Rembrandt's fame spread outside the Netherlands thanks to his etchings. He made hundreds of etchings throughout his career from 1626 until 1660, the year he was forced to sell his presses. He created etchings of many subjects, including self-portraits, biblical subjects, saints and allegories, and his work was avidly admired and collected, even during his lifetime. \u003cbr\u003e\u003cbr\u003e Versions of this etching reside in numerous museums, including the Metropolitan Museum of Art in New York, the Art Institute of Chicago and the Cleveland Museum of Art, among many others.  \u003cbr\u003e\u003cbr\u003e Plate created 1658 \u003cbr\u003e\u003cbr\u003e Etching: 6\" high x 3 1\/8\" wide (15.24 x 7.94 cm)\u003cbr\u003e Frame: 17 7\/8\" high x 14\" wide x 1 1\/4\" deep (45.40 x 35.56 x 7.94 cm) \u003cbr\u003e\u003cbr\u003e Provenance:\u003cbr\u003e Unknown collection stamp: cross in oval, not in Lugt.\u003cbr\u003e Private collection\u003cbr\u003e M.S. Rau, New Orleans \u003cbr\u003e\u003cbr\u003e Literature:\u003cbr\u003e F. W. H. Hollstein \u003cem\u003eDutch and Flemish Etchings, Engravings and Woodcuts.\u003c\/em\u003e vols. 1-64, Amsterdam, 1954–2010, cat. no. B200, p. 97.\u003cbr\u003e F. W. H. Hollstein \u003cem\u003eDutch \u0026amp; Flemish Etchings, Engravings and Woodcuts, 1450-1700\u003c\/em\u003e, 2008, cat. no. 309, p. 297, ill.\u003cbr\u003e David Maskill, 'Rembrandt van Rijn 1606-69 Netherlands', in William McAloon (ed.), \u003cem\u003eArt at Te Papa\u003c\/em\u003e(Wellington: Te Papa Press, 2009), p. 33.","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805286138178,"sku":null,"price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/32-0126_1_c35b8bcd-4990-413f-9829-01a19c7c64d2.png?v=1768407374"},{"product_id":"qing-dynasty-reverse-glass-work-large-party-at-throne","title":"Qing Dynasty Reverse Glass Work - Large Party at Throne","description":"Qing Dynasty Reverse Glass Work \u003cbr\u003e Chinese | Circa 1800 \u003cbr\u003e \u003cem\u003eLarge Party at Throne\u003c\/em\u003e \u003cbr\u003e Oil on glass \u003cbr\u003e\u003cbr\u003e This magnificent Qing Dynasty reverse glass painting features large group of people surrounding the throne of an emperor figure. Pages attend to the emperor as others worship at his feet. Each of the figures wears elaborately detailed robes and colorful textiles. In Chinese reverse glass works, glass takes the place of canvas. Artists painstakingly applied painted layers to the glass in reverse, with the top layer painted first and the background last. These paintings are viewed in reflected light, revealing an impressive gloss, luminosity and depth of color unattainable with other painting techniques. Due to the complexity of the process and the high level of artistic skill required, highly detailed examples such as this are exceptionally rare. \u003cbr\u003e\u003cbr\u003e The art of reverse glass painting came to China from Europe in the seventeenth century. Spurred by the Jesuit missionary project and fueled by general international trade, reverse glass works became highly desirable export items. These paintings were not only the prized possession of wealthy European families in the 18th and 19th centuries, but also of the Imperial Court. Today, historical reverse glass paintings reside at the Forbidden City emperor’s palace in Beijing. This exquisite painting, complemented by an ornate chinoiserie frame, is a stunning achievement in artistry and also an amazing relic of international luxury trade in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Glass: 31 7\/8\" high x 11 1\/2\" wide\u003cbr\u003e Frame: 35 1\/8 high x 14 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805286203714,"sku":null,"price":29850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6154_1.png?v=1768407371"},{"product_id":"italian-pietre-dure-of-couple-by-c-b-gnudetti","title":"Italian Pietre Dure of Couple by C.B. Gnudetti","description":"An old man playfully pesters his wife while she attempts to mend a garment in this meticulously detailed pietre dure plaque. The genre subject is typical of the hardstone plaques that were popular during the late 19th and early 20th centuries, particularly those produced by the Grand-Ducal workshops in Florence. The flawless workmanship is also reminiscent of the Florentine masters; by the late 16th century, Florence had emerged as the epicenter of the art of pietre dure, and its workshops quickly became famous for producing some of the most beautiful hardstone objects of the 16th through 20th centuries. \u003cbr\u003e\u003cbr\u003e Due to the intricacy and time-consuming nature of the craft, pietre dure artisans had a very niche and high-wealth clientele. Few could afford such precious pictures crafted in stone, so pietre dure artists created pieces such as this on a commission basis for only the most important clients. The most desirable works from this period display remarkable realism and intricacy in their execution, with a preference for genre scenes such as this. \u003cbr\u003e\u003cbr\u003e Signed “C.B. Gnudetti” \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Plaque: 8\" high x 10\" wide\u003cbr\u003e Frame: 10 3\/8\" high x 12 3\/'8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805286269250,"sku":null,"price":29850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-3996_1.png?v=1768407352"},{"product_id":"pietre-dure-of-italian-genre-scene","title":"Pietre Dure of Italian Genre Scene","description":"Meticulously rendered in polished hardstones and marbles, this plaque captures an old peasant woman presenting a gift of two chickens to her priest. The scene is emblematic of the charming genre scenes favored by Italian pietre dure artisans.  \u003cbr\u003e\u003cbr\u003e The art of pietre dure developed from the ancient art of opus sectile, where materials were cut and inlaid into walls and floors to form a decorative pattern. The meticulous technique requires that fine marbles and stones be carefully and artfully inlaid into a stone base. The method was both expensive and time-consuming, requiring not only precious materials but also highly skilled craftsmen. As a result, true marble and stone pietre dure works such as this are very rare and highly collectible. \u003cbr\u003e\u003cbr\u003e Late 19th century \u003cbr\u003e\u003cbr\u003e Plaque: 9 5\/8\" high x 12\" wide\u003cbr\u003e Frame: 10 3\/4\" high x 13 1\/8\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805286400322,"sku":null,"price":28850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-4225_1.png?v=1768407351"},{"product_id":"la-plage-a-pornichet-by-h-claude-pissarro-1","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":51805286465858,"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_80f05d51-3e2d-488f-b290-440b84dfd0eb.png?v=1768407350"},{"product_id":"dimanche-au-champ-de-course-by-h-claude-pissarro-1","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":51805286596930,"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_5ac72642-241a-4e90-809f-fa3a5c98577c.png?v=1768407328"},{"product_id":"mistinguett-by-erte","title":"Mistinguett by Erté","description":"Erté (Romain de Tirtoff)\u003cbr\u003e 1892-1990 | Russian-French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eMistinguett\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e Signed “Erté” (lower right)\u003cbr\u003e Stamped “Composition originale” (en verso)\u003cbr\u003e Gouache on paper \u003cbr\u003e\u003cbr\u003e Erté designed this costume for the famed Mistinguett for a 1917 performance of \u003cem\u003eMarvels of the Orient\u003c\/em\u003e at the Théâtre du Bataclan. The artist expertly matched the singer's exuberant personal style with vivid colors and a bold headpiece. Mistinguett, née Jeanne Florentine Bourgeois, was a famous French singer and well-known actress of the early 20th century. She rose to prominence in the cabarets of Paris and rapidly became the highest-paid female entertainer of her era. Celebrated for her vivacious stage presence and unique voice, she was a stalwart at the Casino de Paris, the Moulin Rouge and the Folies Bergère. Given her endless popularity, Erté worked alongside Mistinguett throughout her career. \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 Painted 1917 \u003cbr\u003e\u003cbr\u003e Paper: 11 1\/8\" high x 8 1\/4\" 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":51805286728002,"sku":null,"price":19850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-7561_1.png?v=1768407331"},{"product_id":"qing-dynasty-reverse-glass-work-five-figures-in-procession","title":"Qing Dynasty Reverse Glass Work - Five Figures in Procession","description":"Qing Dynasty Reverse Glass Work \u003cbr\u003e Chinese | Circa 1800 \u003cbr\u003e \u003cem\u003e Five Figures in Procession\u003c\/em\u003e \u003cbr\u003e Oil on glass \u003cbr\u003e\u003cbr\u003e This beautiful composition features five figures in procession. Dressed in ornate textiles, two men in red robes lead the way as two women, one holding a fan, trail behind. Another figure raises a banner. In Chinese reverse glass works, glass takes the place of canvas. Artists painstakingly applied painted layers to the glass in reverse, with the top layer painted first and the background last. These paintings are viewed in reflected light, revealing an impressive gloss, luminosity and depth of color unattainable with other painting techniques. Due to the complexity of the process and the high level of artistic skill required, highly detailed examples such as this are exceptionally rare. \u003cbr\u003e\u003cbr\u003e The art of reverse glass painting came to China from Europe in the seventeenth century. Spurred by the Jesuit missionary project and fueled by general international trade, reverse glass works became highly desirable export items. These paintings were not only the prized possession of wealthy European families in the 18th and 19th centuries, but also of the Imperial Court. Today, historical reverse glass paintings reside at the Forbidden City emperor’s palace in Beijing. This exquisite painting, complemented by an ornate chinoiserie frame, is a stunning achievement in artistry and also an amazing relic of international luxury trade in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Glass: 21 3\/8\" high x 9\" wide\u003cbr\u003e Frame: 24 5\/8\" high x 12 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805286859074,"sku":null,"price":18850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6149_1_efdbeb0f-1bb3-48fd-85de-51997133f874.png?v=1768407326"},{"product_id":"qing-dynasty-reverse-glass-work-four-figures-in-procession","title":"Qing Dynasty Reverse Glass Work - Four Figures in Procession","description":"Qing Dynasty Reverse Glass Work \u003cbr\u003e Chinese | Circa 1800 \u003cbr\u003e \u003cem\u003e Four Figures in Procession\/em\u0026gt; \u003cbr\u003e Oil on glass \u003cbr\u003e\u003cbr\u003e This dynamic composition features four figures in procession, each dressed in unique, elaborately-detailed textiles with the white-bearded figure clutching a cup of tea. In Chinese reverse glass works, glass takes the place of canvas. Artists painstakingly applied painted layers to the glass in reverse, with the top layer painted first and the background last. These paintings are viewed in reflected light, revealing an impressive gloss, luminosity and depth of color unattainable with other painting techniques. Due to the complexity of the process and the high level of artistic skill required, highly detailed examples such as this are exceptionally rare. \u003cbr\u003e\u003cbr\u003e The art of reverse glass painting came to China from Europe in the seventeenth century. Spurred by the Jesuit missionary project and fueled by general international trade, reverse glass works became highly desirable export items. These paintings were not only the prized possession of wealthy European families in the 18th and 19th centuries, but also of the Imperial Court. Today, historical reverse glass paintings reside at the Forbidden City emperor’s palace in Beijing. This exquisite painting, complemented by an ornate chinoiserie frame, is a stunning achievement in artistry and also an amazing relic of international luxury trade in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Glass: 21 3\/8\" high x 9\" wide\u003cbr\u003e Frame: 24 5\/8\" high x 12 1\/4\" wide\u003c\/em\u003e","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805286924610,"sku":null,"price":18850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6150_1_6d78b87b-04f9-4fe1-945a-6e3109618dec.png?v=1768407314"},{"product_id":"qing-dynasty-reverse-glass-work-three-figures-with-peacock-fans","title":"Qing Dynasty Reverse Glass Work - Three Figures with Peacock Fans","description":"Glass takes the place of canvas in this Qing Dynasty reverse glass painting dating to the early 19th century. This intricate painting features three figures dressed in elaborately detailed textiles. The composition is bisected by a paneled roof and swirling cloud-like designs, with a peaceful landscape appearing in the distance. The figures raise large plumed peacock fans that cross each other to create graceful symmetry. In Chinese reverse glass works, artists painstakingly applied painted layers to the glass in reverse, with the top layer painted first and the background last. These paintings are viewed in reflected light, revealing an impressive gloss, luminosity and depth of color unattainable with other painting techniques. Due to the complexity of the process and the high level of artistic skill that it required, highly detailed examples such as this are only rarely found. \u003cbr\u003e\u003cbr\u003e The art of reverse glass painting came to China from Europe in the seventeenth century. Spurred by the Jesuit missionary project and fueled by general international trade, reverse glass works became highly desirable export items. These paintings were not only the prized possession of wealthy European families in the 18th and 19th centuries, but also of the Imperial Court. Today, historical reverse glass paintings reside at the Forbidden City emperor’s palace in Beijing. This exquisite painting, complemented by an ornate chinoiserie frame, is a stunning achievement in artistry and also an amazing relic of international luxury trade in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Glass: 21 3\/8\" high x 9\" wide\u003cbr\u003e Frame: 24 5\/8\" high x 12 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805287219522,"sku":null,"price":18850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6151_1_d87b104a-0999-4536-a927-34482d4c0dd6.png?v=1768407312"},{"product_id":"tete-de-mannequin-by-erte-1","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":51805288497474,"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_0f66424a-8224-474f-b4bb-2a6f945ac8a3.png?v=1768407311"},{"product_id":"boucles-doreilles-en-corail-by-erte","title":"Boucles d'oreilles en corail by Erté","description":"Erté (Romain de Tirtoff)\u003cbr\u003e 1892-1990 | Russian-French \u003cbr\u003e\u003cbr\u003e \u003cem\u003eBoucles d'oreilles en corail\u003c\/em\u003e\u003cbr\u003e (\u003cem\u003eCoral Earrings\u003c\/em\u003e) \u003cbr\u003e\u003cbr\u003e Signed “Erté” (lower right)\u003cbr\u003e Inscribed “n°3544 \/ Boucles d'oreilles en corail et tubes de cristal, 1937” (en verso) \u003cbr\u003e\u003cbr\u003e Erté designed these bold and sophisticated coral and crystal earrings in 1937. Earrings of Art Deco period transitioned from the dangling designs of the Edwardian era to more streamlined and geometric forms, reflecting the movement’s aesthetic. They often incorporated bold combinations of gemstones and precious materials, juxtaposing vibrant colors with the luster of diamonds. Erté’s foray into jewelry design in the 1920s and 1930s showcased an extension of his unique and ornate style, mirroring the same luxurious and imaginative aesthetics found in his two-dimensional works. \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 Harper’s Bazaar, marking the beginning of a significant partnership that spanned from 1915 to 1936. The artist also designed sets for notable cinematic masterpieces including Ben Hur and La Bohème, 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 the Victoria \u0026amp; Albert Museum in London and the Los Angeles County Museum of Art. \u003cbr\u003e\u003cbr\u003e Another example of this bold and timeless image from Erté, though less finished than this version, resides in the permanent collection of the Metropolitan Museum of Art in New York. \u003cbr\u003e\u003cbr\u003e Painted 1937 \u003cbr\u003e\u003cbr\u003e Paper: 14 1\/2“ high x 10 1\/2” wide\u003cbr\u003e Frame: 20 3\/4\" high x 16 7\/8\" wide x 3\/4\" 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":51805288595778,"sku":null,"price":12500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-7601_1_c82f27fb-59f0-4786-b63d-9f1b2a65b1e2.png?v=1768407302"},{"product_id":"pietre-dure-plaques-vis-a-vis-man-and-woman","title":"Pietre Dure Plaques, Vis á Vis Man and Woman","description":"Stunning in their intricacy, these Florentine works of art are not paintings, but rather superb examples of the intensive art of pietre dure. The charming duo captures the courtship between a young woman and her suitor in the style of such 19th-century costume painters as Adolphe-Alexandre Lesrel and Eugène von Blaas. Different kinds of polished marble and minerals are used in place of paint to create the scene, which uses the natural grain and color of the stones to create the perfect \u003cem\u003etrompe l'oeil\u003c\/em\u003e effect. \u003cbr\u003e\u003cbr\u003e Plaque: 10 1\/4\" high x 5 1\/2\" wide\u003cbr\u003eFrame: 13\" high x 8 1\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805288661314,"sku":null,"price":9850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-3715_1.png?v=1768407298"},{"product_id":"gold-tang-china-horse-head","title":"Gold Tang China Horse Head","description":"This exceptional and rare rendering of a horse head, composed of gold over silver, hails from the illustrious Tang dynasty of China. The powerful Tang dynasty reigned for nearly 300 years between the 7th and 10th centuries CE and oversaw a cultural and artistic “golden age” in Chinese civilization. Dating to around the 7th century CE, this \u003cem\u003eobjet d’art\u003c\/em\u003e bears a remarkable level of detail, from the textures of the horse’s hair and muscle tone of its haunches to the floral ornaments draped around the equine’s broad and strong neck. Almost certainly crafted by a Sogdian artisan for a member of the aristocracy, this golden horse head remains a lasting symbol of imperial power, wealth and cultural exchange in ancient China. \u003cbr\u003e\u003cbr\u003e Tang Dynasty artworks reflect a harmonious blend of Han Chinese traditions and external cultural influences arriving to China through the Silk Road. More than a facilitator of global commercial transactions, the Silk Road served as a network for cultural exchange between East Asia, Central Asia, the Middle East and beyond. Along its routes, travelers and merchants from disparate cultures encountered one another, fostering the exchange of ideas, philosophies, art forms and scientific knowledge. The Sogdians, an ancient Iranian peoples, are often considered among the greatest traders on the Silk Road, bringing their artistic, cultural and musical traditions from Central Asia and rising to prominence in the Chinese government during the Tang dynasty. \u003cbr\u003e\u003cbr\u003e Circa 7th century \u003cbr\u003e\u003cbr\u003e 21 1\/2“ high x 17 1\/2” wide x 1 1\/2“ deep framed","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805288726850,"sku":null,"price":8850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-7236_1_4e72c780-1a00-4dd6-a800-cd51ce59f5dc.png?v=1768407297"},{"product_id":"hand-painted-limoges-marriage-anniversary-plaque","title":"Hand Painted Limoges Marriage Anniversary Plaque","description":"A fine Limoges porcelain plaque superbly hand painted to commemorate the 40th anniversary of the depicted couple. Interestingly, the last initial of the monogram matches that of the artist, so it is possible that it was painted by the couple's son, daughter or relative. Inscribed 40th Marriage Anniversary Paris 14th May 1889 and signed 'P. Soyer.'","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805288792386,"sku":null,"price":7850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/28-8238_1.png?v=1768407283"},{"product_id":"qing-dynasty-reverse-glass-work-seated-figure-with-brown-creature","title":"Qing Dynasty Reverse Glass Work - Seated Figure with Brown Creature","description":"Qing Dynasty Reverse Glass Work \u003cbr\u003e Chinese | Circa 1800 \u003cbr\u003e \u003cem\u003eSeated Figure with Brown Creature\u003c\/em\u003e \u003cbr\u003e Oil on glass \u003cbr\u003e\u003cbr\u003e This unique painting features a seated figure in a wooded setting holding a small axe and petting a brown lion or dog-like creature--perhaps a hunting companion. In Chinese reverse glass works, glass takes the place of canvas. Artists painstakingly applied painted layers to the glass in reverse, with the top layer painted first and the background last. These paintings are viewed in reflected light, revealing an impressive gloss, luminosity and depth of color unattainable with other painting techniques. Due to the complexity of the process and the high level of artistic skill required, highly detailed examples such as this are exceptionally rare. \u003cbr\u003e\u003cbr\u003e The art of reverse glass painting came to China from Europe in the seventeenth century. Spurred by the Jesuit missionary project and fueled by general international trade, reverse glass works became highly desirable export items. These paintings were not only the prized possession of wealthy European families in the 18th and 19th centuries, but also of the Imperial Court. Today, historical reverse glass paintings reside at the Forbidden City emperor’s palace in Beijing. This exquisite painting, complemented by an ornate chinoiserie frame, is a stunning achievement in artistry and also an amazing relic of international luxury trade in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Glass: 8 1\/4\" high x 9 1\/4\" wide\u003cbr\u003e Frame: 9 5\/8\" high x 10 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805288857922,"sku":null,"price":6950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6153_1.png?v=1768407283"},{"product_id":"qing-dynasty-reverse-glass-work-seated-figure-with-blue-creature","title":"Qing Dynasty Reverse Glass Work - Seated Figure with Blue Creature","description":"Qing Dynasty Reverse Glass Work \u003cbr\u003e Chinese | Circa 1800 \u003cbr\u003e \u003cem\u003e Seated Figure with Blue Creature\u003c\/em\u003e \u003cbr\u003e Oil on glass \u003cbr\u003e\u003cbr\u003e This dynamic painting features a seated woman in a garden setting, accompanied by a blue creature reminiscent of perhaps a lion or a dragon--or a hybrid of both. In Chinese reverse glass works, glass takes the place of canvas. This unique art form is a stunning display of meticulous artistry and also a material demonstration of incredible historical cross-cultural exchange. Artists painstakingly applied painted layers to the glass in reverse, with the top layer painted first and the background last. These paintings are viewed in reflected light, revealing an impressive gloss, luminosity and depth of color unattainable with other painting techniques. Due to the complexity of the process and the high level of artistic skill required, highly detailed examples such as this are exceptionally rare. \u003cbr\u003e\u003cbr\u003e The art of reverse glass painting came to China from Europe in the seventeenth century. Spurred by the Jesuit missionary project and fueled by general international trade, reverse glass works became highly desirable export items. These paintings were not only the prized possession of wealthy European families in the 18th and 19th centuries, but also of the Imperial Court. Today, historical reverse glass paintings reside at the Forbidden City emperor’s palace in Beijing. This exquisite painting, complemented by an ornate chinoiserie frame, is a stunning achievement in artistry and also an amazing relic of international luxury trade in the 18th and 19th centuries. \u003cbr\u003e\u003cbr\u003e Glass: 8 1\/4\" high x 9 1\/4\" wide \u003cbr\u003e Frame: 9 5\/8\" high x 10 3\/4\" wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805288923458,"sku":null,"price":6950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/31-6152_1.png?v=1768407282"},{"product_id":"japanese-shunga-sitting-woman","title":"Japanese Shunga, Sitting Woman","description":"A beautiful example of the Japanese art form known as \u003cem\u003eshunga\u003c\/em\u003e, this sensual work depicts woman exploring her sexuality. Hand-painted on paper with splashes of vivid gouache color, the artistry displayed in this work of art is stunning. Translated, the term \u003cem\u003eshunga\u003c\/em\u003e means \"a picture of spring\", with the season often used as a euphemism for sex. These works are categorized as a type of \u003cem\u003eukiyo-e\u003c\/em\u003e, which was a painted or woodblock print art form that was marketed to the middle-class and represented an idealized version of urban life.\n\u003cbr\u003e\u003cbr\u003e\nIt is believed that shunga were enjoyed by both men and women, and in some instances, were even regarded as talismans. For instance, a samurai carrying shunga would be protected against death, and shunga in the home or business would protect it against fire and the like. Mostly, shunga were enjoyed simply for their erotic nature, with subjects often shown with unrealistic body proportions and imaginative poses to draw attention to the acts being depicted. \n\u003cbr\u003e\u003cbr\u003e\nTaisho Period, Circa 1922\n\u003cbr\u003e\u003cbr\u003e\nPaper: 9 5\/8” high x 13 1\/2” wide\nFrame: 19 1\/4” high x 23 1\/4” wide","brand":"M.S. Rau","offers":[{"title":"Default Title","offer_id":51805289775426,"sku":null,"price":4850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0982\/5376\/6978\/files\/30-8810_1_d82c8669-db85-413c-a3a6-c0f2ddbaf514.png?v=1768407268"}],"url":"https:\/\/www.bullvendors19.com\/es\/collections\/rare-fine-arts.oembed?page=2","provider":"Bull Vendors 19","version":"1.0","type":"link"}