M.S. Rau Paintings

Childe Hassam 1859-1935 American The Bather Signed and dated “Childe Hassam” (lower right) Oil on canvas Considered by many to be America’s foremost Impressionist painter, Childe Hassam composed his tranquil and intimate oil on canvas The Bather in the early years of the 20th century. The creation of the artwork aligns with a period of Hassam’s career where the artist’s palette was transforming, matching ever closer with the pale and pastel hues of French Impressionists like Claude Monet. Even the subject — a nude woman — represents a greater alignment with the Impressionist project, as artists of the movement and their non-mythological and non-biblical nudes still generated cries of indecency. With Hassam’s signature brushwork and attention to color, The Bather serves as a dream-like vision, serene and sensuous, of a young woman bathing in a lush forest. While the artist's skill for landscape painting is on display, it is Hassam's command of form, light and color that brings this canvas to life. He creates a captivating composition, placing the nude subject in the bottom left of the canvas. The soft, undulating curves of the woman's body in contrapposto and the glow of her fair skin are balanced by the strong verticals and deep earth tones of the tall trees to her right. Hassam delicately frames the nude in the vivid blues of the distant water, building luminous color that further draws the viewer’s eye and results in a somewhat voyeuristic appeal — endowing his nude with both a natural innocence and an intentional sensuality. Born in Dorchester, Massachusetts, Childe Hassam began his artistic career as a freelance illustrator, working for national publications such as Harper’s Weekly, Scribner’s Monthly, and The Century. His first solo exhibition of watercolors took place in Boston in 1883, and he quickly catapulted onto the international scene, winning a bronze medal at the Exposition Universelle in Paris in 1889. The year before the present work was created, he received the Webb Prize from the Society of American Artists for another landscape painted at Gloucester. Hassam would receive numerous other awards throughout his career, most notably the Gold Medal for Distinguished Services to Fine Art from the American Dealers Association. A true master, Hassam depicted a way of life characteristic of both American and French society, and his work elucidates a critical chapter in American art history. Today, his work resides in the Oval Office of the White House and in numerous important museums, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington, DC and the Museum of Fine Arts in Boston, among others. This painting will be included in Stuart P. Feld's and Kathleen M. Burnside's forthcoming catalogue raisonné of the artist's work. Circa 1905 Canvas: 24 1/2“ high x 20 18” wide Frame: 35 7/8“ high x 31 1/4” wide x 3 1/4“ deep Provenance: Private Collection of William Young...

Glass takes the place of canvas in this Qing Dynasty reverse glass painting dating to the 19th century. Chinese painters and calligraphers bega...

French Academic painter Guillaume Seignac was renowned for his masterful treatment of the idealized nude. His languishing female subjects based on Greco-Roman prototypes were and rem...

Two young children play an ill-advised game of gum stretching on the family couch in this charming composition by famed American illustrator, Leslie Thrasher. Painted towards the start of the Great Depression, Thrasher provided light-hearted images of the lives of everyday people to distract Americans from their troubles. These images appeared on the covers of Liberty Magazine, for whom he produced one cover illustration a week for six consecutive years. Born in 1889 in Piedmont, West Virginia, Thrasher studied at the Pennsylvania Academy of Fine Arts as a teenager and received a scholarship to study art abroad in Paris. Upon his return, he began studying under Howard Pyle, known as the “father of American illustration.” Thrasher sold his first cover illustration to the Saturday Evening Post in 1912, four years before Norman Rockwell’s first Post cover, and he would go on to produce over 360 magazine covers throughout his career. He painted humorous, relatable scenes of life in America with colorful characters set against white backgrounds. He was also a successful commercial artist, painting advertisements for Cream of Wheat, Chesterfield Cigarettes...

Hugues Claude Pissarro b.1935 French Dimanche au champ de course (Deauville) (Sunday at the Racetrack) Signed “H. Claude Pissarro” (lower left) Pastel on card 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 Dimanche au Champ de Course (Deauville), it showcases the artist's highly distinctive and sophisticated style. 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...

A red-robed cardinal chuckles at the letter in his hand in this oil on canvas by the Italian painter Andrea Landini. The vibrantly hued piece illustrates the artist’s genius at rendering charming narratives in remarkable detail. Entitled The Letter, the work is a superb example of Landini's technical virtuosity — from the finely carved and upholstered chair to the neoclassical painting in the background, every detail is meticulously depicted. Such works satirizing the clergy would have been severely censured just a generation earlier. Yet, by the time Landini picked up the brush, the European public had grown discontent with the hypocrisy of the clergy, many of whom enjoyed lavish lifestyles. Cardinal paintings such as this became highly popular during the period, and Landini emerged alongside Georges Croegaert, Marcel Brunery and Jehan Georges Vibert as the leading painters of the genre. Born in Florence in 1847, Andrea Landini trained at the Academy of Fine Arts in Florence, first under the animal painter Riccardo Pasquini and later with religious painter Antonio Ciseri...

This Neo-Impressionist landscape by the French artist Achille Laugé captures an orchard in late spring in his celebrated, highly modern style. The work displays a thick impasto thanks to the artist's distinctive technique of applying his paint in quick dabs, a characteristic of his later works. One of the foremost painters of the Post-Impressionist period, Laugé’s works are beloved for his sensitivity to light, shade and tone, and his mastery of medium is clearly on display in Almond Trees...

Jean-Gabriel Domergue 1889-1962 French Josianna, jeune femme au ruban (Josianna, Young Woman With Ribbon) Signed "Jean Gabriel Domergue" (lower left) Oil on panel A young French beauty known as Josianna is the subject of this work by Jean-Gabriel Domergue, and the oil on panel is a perfect example of the portraits for which the artist is renowned. His model embodies the concept of the la belle Parisienne: slender, swan-like women bearing an unmistakable grace and style. Domergue includes a delicate pink ribbon around her neck, suggesting a fashionable garment, set against a soft pastel-colored backdrop. The artist's oeuvre encompasses women from all facets of society, from aristocratic figures such as Liane de Pougy and Nadine, Baroness de Rothschild...

For Pierre-Auguste Renoir, Impressionism's pre-eminent 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 Après le bain 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. 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. Après le bain conveys the impression of arrested motion with perfect naturalness, deftly capturing the moment before the elegant lines of the sitter's form change position. 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 Gabrielle with a Rose (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. 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. 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. 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. Circa 1898 Canvas: 43 1/2" high x 35 1/2" wide Frame: 57 3/4" high x 49 1/4" wide Provenance: Galerie Durand-Ruel, Paris (acquired from the artist on January 25, 1899) J. Pereire Collection, France (1966) Sam Salz, New York (before 1981) Claus Virch, Paris French Compagny, Inc., New York Larry Silverstein, New York (circa January 1987) Le Clos de Sierne Gallery, Geneva Galerie Heyram, Paris (October 1987) Francis Gross M.S. Rau, New Orleans Literature: B. Schneider, Renoir, Berlin, 1957, p. 95 (illustrated in color, p. 83) M. Gauthier, Renoir, Paris, 1958, p. 83 (illustrated in color; erroneously dated '1916' and titled 'Woman in her toilet') F. Fosca, Renoir, L'homme et son obra, Paris, 1961, p. 280 (illustrated, p. 95; erroneously dated 'about 1890' and titled 'After the Bath...

Gaston La Touche 1854 - 1913 French L’embarquement The Embarkment Signed "Gaston La Touche" (lower right) Oil on panel A fashionable group of merrymakers boards a rowboat at sundown in this oil on panel by renowned French painter Gaston La Touche. Softly lit and lushly detailed, the work represents the artist’s talent for capturing the gaiety of the Belle Époque. With its luminous coloring and feathery brushwork, this oil evokes the style and joie de vivre of the era rendered in La Touche’s distinctive, mature style. Fresh and airy, the work is a beautiful example of the artist’s skill at capturing the subtle qualities of light and color. Set against the plein air backdrop of a wooded pond awash in the soft glow of the golden hour, the scene reflects the influence of the Impressionists. The subject also recalls works by Manet, Monet and Renoir, who delighted in depictions of modern leisure among the expanding middle class. The scene is an informal one, and its unconventional cropping suggests that the viewer is invited to take a seat in the boat and join the group on their outing. Such relaxed, inviting scenes were remarkably popular among contemporary, modern audiences. However, La Touche's style is singular, possessing an element of fantasy and romance that set him apart from the Impressionists. Gaston La Touche was born in St. Cloud, outside of Paris, in 1854, and he showed a keen interest in art from a young age. At ten years old, he began taking private art instruction, which lasted until 1870, when his family was forced to flee to Normandy amid the Franco-Prussian War. This was the only formal art training La Touche would ever receive. Despite his lack of Academy training, he made his debut at the Paris Salon of 1875 with a sculptural medallion and etchings, and he exhibited his first painting at the Salon of 1881. Although he began his career painting dark-toned realist compositions, by 1890, his style had shifted to what would become his signature — a lighter, brighter, idealistic society world. The artist was associated with practically all of the most influential artists and thinkers of late 19th century France, including Édouard Manet, Edgar Degas, Émile Zola, who frequently met at the legendary Cafe de la Nouvelle Athenes to share their thoughts on modern society. In 1900, he was named a Chevalier of the Legion d'Honneur and an Officer in 1909. Additionally, he was well-decorated at the grand...

A masterful example of Italian Mannerist painting, this exceptional panel was composed by the renowned Florentine painter Domenico Puligo. Alongside Jacopo Pontormo and Rosso Fiorentino, Puligo is remembered as one of the foremost figures of the Mannerist movement that rose to prominence during the 16th century in Florence. This panel of the Virgin Mary with the Christ child and Saint John the Baptist is a characteristic example of his celebrated devotional images, which grace museums such as the Metropolitan Museum of Art (New York), Museo del Prado (Madrid), Palazzo Borghese (Rome), and Palazzo Pitti (Florence), among many others. Puligo’s skill with color is fully demonstrated in the beautifully preserved work. Considering its age, the vibrancy and the sheer range of color is remarkable. The Virgin Mary’s crimson dress...

Attributed to Bonifacio Bembo c.1444-1477 Italy Saint Cosmas and Saint Damian Tempera on panel These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. Based on the research of art historians Marco Tanzi and Andrea de Marchi, it is believed that these represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino (the chapel’s namesake) and Saint George. While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi...

The son of the legendary Napoléon Bonaparte, Napoléon François Charles Joseph, takes a spirited stance in this remarkable oil painting attributed to the Austrian portraitist Johann Peter Krafft. Believed to have been exhibited at the Exposition Universelle of 1900 in Paris, this work stands as a testament to both Austrian artistry and the legacy of one of the most powerful men in history. After Napoléon's exile to the island of Elba in 1814, his son was seen by many of his supporters as the last hope of France. The child was named the ruler of half of Europe, holding the titles of Napoléon II...

Federico Zandomeneghi 1841-1917 Italian Les deux soeurs (The two sisters) Signed and dated "Zandomeneghi 95" (lower left) Oil on canvas Two sisters enjoy a quiet moment in a rich green landscape in this intimate oil on canvas from Federico Zandomeneghi. An Italian painter by birth who became a fixture in the Parisian Impressionist scene, Zandomeneghi is best remembered for his sentimental and affectionate scenes of women in both domestic and public spheres. Zandomeneghi’s creative and technical prowess in composition is highlighted in this painting. The artist deftly frames the young pair in the lower register of the canvas, imbuing the work with a remarkably observational feel. The girls pensively gaze off to the right, lost in thought; Zandomeneghi allows the viewer to witness a natural moment of discussion and contemplation shared among the sisters. The soft palette employed by the artist gives the whole scene an atmospheric glow, with dappled rays of sunshine breaking through the lush foliage. Though the girls remain in the shaded areas of the landscape, Zandomeneghi’s skillful application of paint allows a brightness to remain nevertheless. Federico Zandomeneghi was born in Venice to a long line of neoclassical sculptors. As if created to be an artist, Zandomeneghi began his artistic education early, enrolling in the Accademia di Belle Arti in Venice at just 15 years old before transferring to the Academy of Fine Arts in Milan. By 1862, the artist had arrived in Florence, where he became fast acquaintances with several Italian artists dedicated to executing landscape paintings en plein air. Zandomeneghi embraced the spontaneity, seeking to bring unparalleled luminosity to his works. When Zandomeneghi arrived in Paris in 1874, he found kindred spirits...

A beautiful example of the Japanese art form known as shunga, this sensual work depicts woman exploring her sexuality. Hand-painted on paper with splashes of vivid gouache color, the...

This intimate portrait was composed by the Bulgarian-born French Expressionist painter Jules Pascin. Known as the "Prince of Montparnasse," Pascin made a name for himself throughout ...

Signed “G-Seignac” (lower right) Oil on canvas French Academic painter Guillaume Seignac was renowned for his masterful treatment of the idealized nude. His languishing female subje...

Mystical and mysterious, a mythological Ondine rests beside an ethereal forest pond in this majestic, original oil on canvas by French Symbolist Pierre-Amédée Marcel-Béronneau. A stu...

This extraordinary Italian gouache and oil on canvas brings two of the most popular characters from Greek mythology vividly the life - the nymph and the satyr. Both creatures are famed for their carefree natures and lascivious temperaments, and tales abound of satyrs pursing nubile nymphs in order to rape or seduce them, usually with little success. One such narrative humorously unfolds in the present piece, which depicts an indignant satyr captured by three nymphs with a golden net. The relationship between these two mythological creatures was a popular one for artists throughout the 18th and 19th centuries, though its origins stretch back to antiquity. Both satyrs and nymphs...

Emprunt 6% Souscrivez (War Loan 6% Subscribe) Signed "Raoul Dufy" (lower right) Gouache on paper This vibrant gouache on paper by the renowned Raoul Dufy is not only a work of exceptional artistry, but also represents an important period in world history. The piece was a special commission ordered by the French government, who sought to encourage the French people to join in the post-war reconstruction efforts. Following World War I, the French government was destitute. The cost of the Great War had been tremendous not only in lives lost, but also in terms of infrastructure and finances. In order to reclaim its place as a great power on the world stage, France needed funds to reconstruct its key industries, and quickly. Thus, the government turned to one of the most famous French artists of the day - Raoul Dufy - to create this gouache on paper as an advertisement for the country's war bonds. The extraordinary work represents Dufy's own sense of patriotic duty. Entirely unique in his oeuvre, it is clear that Dufy wished to create something truly special to help his war-torn country. The artist deftly captures the industry of France in the colorful composition, showcasing bridges, buildings, ships and other key elements of the country's infrastructure in order to evoke the viewers' pride, patriotism and willingness to help. The words Emprunt 6% Souscrivez (War Loan 6% Subscribe) are boldly written across the top, seeking subscribers to a 6% interest loan to help rebuild the country - a very healthy return for the age. The powerful painting represents one of the most effective and extensive patriotic campaigns of all time. France relied heavily on the willingness of its citizens to lend money...

Paul César Helleu is regarded among the most sought-after society portraitists of his era, and his Belle Époque works rival those of his contemporaries John Singer Sargent and Giovanni Boldini. He is best remembered for capturing the era's most beautiful socialites, including Consuelo Vanderbilt, the Duchess of Marlborough, the Comtesse de Loriol Chandieu and the Comtesse Mathieu de Noailles, among others. This work, however, stands out in that it captures the charming likeness of one of his art world cohorts, Mathilde See, a Parisian-born decorator and painter of floral still lifes. She is the essence of the modern woman, captured in her fashionable dress as she strolls along the flower-lined streets of Paris. Commanding in size, Portrait de Mathilde See fully displays Helleu's mastery over the medium of pastel. The muted palette of greys and blues is typical of the artist, bringing a harmony and cohesiveness to the composition. Furthermore, Helleu cleverly alludes to See's own artistic output with a backdrop of vibrant floral blooms, enlivening the canvas and complementing the greens and blues of the peacock feather adorning her hat. The portrait is all the more significant thanks to its provenance. It was previously in the collection of A. Alfred Taubman, one of America's most successful entrepreneurs and one-time owner of Sotheby's. Considering Taubman encountered some of the most noteworthy and beautiful works of art ever made through his auction house, the fact that he chose this portrait by Helleu to grace his collection is a testament to its import. Born in Brittany in 1859, Helleu moved to Paris in 1876 in order to study at the École des Beaux-Arts. Like so many other artists of his generation, he was trained there under the Academic master Jean-Léon Gérôme. That same year, he also attended the Second Impressionist Exhibition...

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

Follower of Pierre Gobert 18th century French The Duke and Duchess of Burgundy Oil on canvas Refinement and intricacy characterize these royal portra...

A charming relic of a bygone era, this rare oil is the work of the inimitable American illustrator, Norman Rockwell. The iconic artist’s ability to render the details and nuances of ...

A.E. Herrmann Active in the 1920s Dutch Bali Signed "A.E. Herrmann 1932" (in lower right hand corner) Oil on canvas This enchanting work by Dutch artist, A.E. Herrmann depicts an exotic scene in Bali. In this magnificent painting depicting four Balinese women packing baskets, a vivid background is painted so that it is vibrant with the tropical colors of Indonesia. The stunning melon-hued temple becomes a focus in the painting and evokes a serene and mesmerizing scene of a faraway land. Indonesia and in particular Bali and Java was an extremely important...

Signed, inscribed and dated "R. Pinatel / Taroudant / 1926" (lower right) Oil on panel A stunning ode to the Moroccan landscape, this oil on panel was composed by the French Orientalist painter Raphaël Pinatel, whose lively works adeptly translated the romanticism of the East for a Western audience. The present work, which captures a market in Taroudant, a city in southeastern Morocco, exemplifies the artist’s distinctive approach as he brilliantly translates the energy and atmosphere of the desert city. Pinatel’s style is impressionistic in his brushwork and handling of light and atmosphere. In the present work, he brilliantly captures the effects of the direct desert sun...

Signed and dated "N MAE / 1691" (lower right) Oil on canvas A masterful example of 17th-century Dutch portraiture, this magnificent oil on canvas comes alive with luminous color, dramatic contrast and extraordinary detail. The work was composed by Nicolaes Maes, an artist widely regarded as the most prominent portrait painter of his era in Amsterdam. Fashionably styled, Portrait of a Noble Lady exemplifies the mature style of Maes, executed with the same artistry and attention to detail he imparted on his most important private commissions. This work by Maes comes from the second half of his career and follows in the rich tradition of the great Flemish Baroque painters Peter Paul Rubens and Anthony van Dyck. Like these artists, Maes excels at not only capturing his subjects with a technical perfection but also their inherent elegance and grace. The sitter is draped in luxurious white and red silks and pearls, underscoring the importance and prosperity of his wealthy clientele. She is placed against a dark backdrop, enabling a striking chiaroscuro effect characteristic of the artist’s portraits. Maes’s immense talent for detail and composition is clearly evident. In both palette and proportion, it embodies the somewhat austere style preferred by the artist, which emphasized a painstaking study of the costumes, hairstyles and accessories of his subjects. Such elaborate and highly detailed costuming in portraiture was a fashionable way to show one's wealth in the 17th century, particularly among the emerging class of wealthy merchants. Similar works by the painter can be found in the Rijksmuseum (Amsterdam), National Gallery (London), National Gallery of Art (Washington, D.C.), Metropolitan Museum of Art (New York) and Philadelphia Museum of Art, among others. Nicolaes Maes was born in Dordrecht in 1634 to a prosperous cloth merchant. Around 1848, he moved to Amsterdam to study under Rembrandt for several years before returning to his native Dordrecht, where he established himself as a painter of genre scenes and portraits. In the 1650s, Maes traveled to Antwerp where he studied the work of Flemish artists such as Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens...

This lyrical landscape entitled Dance of the Nymphs was composed by the French Barbizon painter Paul Désiré Trouillebert. A joyful scene of nymphs dancing the morning fog, the work closely resembles an important work by the great Camille Corot, which is now housed at the Musée d'Orsay (Paris). Renowned for his unique individuality that toed the line between the traditional and modern, Corot and his landscapes helped pave the way for an entire generation of Impressionists who followed him. Trouillebert perfectly captures the poetic atmosphere of Corot’s groundbreaking works, while also imbuing this scene with a freshness and character that is all his own. Trouillebert's oil on canvas is exemplary of the tradition of historical painting. The work perfectly combines a realistic depiction of the natural world with a spirited romanticism as his idealized nymph figures frolic playfully beneath a crisp morning sky. As a whole, it is a lovely composition executed with a level of skill and artistry that proves Trouillebert's exceptional talent in the arts. Born in Paris in 1831, Paul Désiré Trouillebert was a student of the academic painters Ernest Hébert...

French Post-Impressionist painter Georges d’Espagnat captures a charming moment between a mother and her child in this vibrant oil on canvas. Rendered with a studied use of complementary colors and bold brushstrokes, the painting showcases the artist's unique Post-Impressionist style. Remembered as one of the most individualistic artists of the 20th century, his distinctive canvases bring together the loose brushwork of the Impressionists and the bold color palette favored by the Fauves. Together, they achieve a vibrant spontaneity that lends itself well to the carefree subjects of the present work. Masterfully composed, La lecture au jardin moves beyond the Impressionist instinct to capture a fleeting moment on canvas. Rather, d'Espagnat succeeds in creating a deep feeling of harmony in the work. Warm colors are perfectly balanced with cool tones, while vertical and horizontal lines are softened by the curves of the foliage and his subjects' figures. Through his simplification of forms and intentional use of color and line, he creates a scene that is carefully designed and thoroughly modern. A similar view of a mother and her child by d'Espagnat is currently in the collection of the Metropolitan Museum of Art (New York). The Post-Impressionist painter was an individualist since his youth, choosing to forgo traditional schooling in order to independently study the Old Masters in the Louvre. He soon became involved with the most prominent Impressionist and Post-Impressionist painters of the age, including Pierre-Auguste Renoir and Paul Signac, who themselves existed outside the traditional norms of French Academic training. In 1891, he exhibited at the Salon des Refusés, and again the following year at the Salon des Indépendants. By 1895, he held his first one-man show in Paris, and just three years later his success earned him a solo show at the prestigious Durand-Ruel Gallery. Between 1905 and 1910 he made several trips to visit Renoir on the Côte d’Azur. Their close friendship resulted in a group exhibition at Marcel Bernheim...