M.S. Rau Figurative Paintings

Edouard Léon Cortès 1882-1969 French Le terminus Madeleine-Bastille à Paris Signed “Edouard Cortès” (lower right) Oil on canvas Celebrated as the "Parisian Poet of Painting," Edo...

Sassoferrato (Giovanni Battista Salvi) 1609-1685 Italian Madonna Addolorata Oil on canvas Celebrated Italian artist Sassoferrato and his moving religious imagery are the epitome ...

René Magritte 1898-1967 Belgian Le carnaval du sage (The Sage’s Carnival) Signed “Magritte” (lower right); titled and dated "Le carnaval du sage 1947" (en verso) Oil on canvas The enigmatic paintings of René Magritte have become some of the most familiar and celebrated of the Surrealist movement. Among the most influential of the Surrealist painters of the 20th century, Magritte is an artist of international renown, as beloved for his popular appeal as he is for the psychological intensity of his works. The present oil on canvas, entitled Le carnaval du sage, was executed in 1947 at the height of his career, and it is a tour-de-force example of the haunting, mysterious scenes that comprise his oeuvre. Painted in the years following the Second World War, Le carnaval du sage showcases several recurring themes from Magritte’s oeuvre. Chiefly, a juxtaposition between the visible and the hidden is keenly felt. Throughout his career, Magritte explores the psychological obsession with revealing what is hidden, particularly with regard to the human face. In his Le fils de l’homme, he obscures the face of a man in a bowler hat with an apple, while his Les amants (Metropolitan Museum of Art) conceals the faces of two lovers with white sheets. In Le carnaval du sage, Magritte juxtaposes the blatant nudity of his central figure by masking her face, simultaneously revealing and concealing her from the viewer. The work also incorporates two of Magritte’s most common tropes – the glass of water and the baguette. Lending the scene a strange sense of domesticity, they appear infinitely familiar and distinctly out of place, and thus heighten the uncanny effect of Magritte’s composition. In the background hovers a ghost obscured by a sheet, a figure which was of particular fascination to Magritte beginning in 1946. He once wrote to his fellow Surrealist Paul Nougé: "I saw in a dream an answer to the problem of the ghost: the traditional ghost draped...

Hubert Ritzenhofen 1879-1961 German Egg Tapping on Easter Sunday Signed and dated "H. Ritzenhofen 05" (lower right) Oil on canvas This grand domestic tableau was painted by estee...

Georges Croegaert 1848-1923 Belgian The Connoisseur Signed "Georges Croegaert Paris" (lower right) Oil on panel A Cardinal peers through a magnifying glass at gilded treasures in...

Edouard Léon Cortès 1882-1969 French Boulevard Bonne Nouvelle Signed “Edouard Cortès” (lower right) Oil on canvas French Post-Impressionist artist Edouard Léon Cortès captures on...

Emanuel Leutze 1816-1868 American Return of Columbus in Chains to Cadiz Signed E. Leutze / Philadelphia (lower right) Oil on canvas Painted by the artist in 1842, this masterpiec...

Ramon Dilley 1933 - Spanish La Petite Swan Signed “Dilley 91” (lower right) Signed and titled “Ramon Dilley / La Petite Swan” (en verso) Oil on board laid on canvas This captivat...

Ramon Dilley 1933 - Spanish Élégantes à Deauville Signed “Dilley 91” (lower right) Signed and titled “Ramon Dilley / Elegantes a Deauville” (en verso) Oil on board laid on canvas ...

Charles Walter Simpson, RBA, RI, ROI 1885-1971 British The Tent Signed "Charles Simpson" (lower right) Oil on canvas The sunny warmth of a leisurely day on the beach radiates fro...

William Bouguereau French 1825-1905 Petite Mendiante (Little Beggar) Signed “W. Bouguereau 1880” (center left) Oil on canvas William Bouguereau's faithful images of young women a...

Edouard Manet 1832-1883 French Christ as a Gardener Oil on canvas Beloved for his invaluable role in the development of the Impressionist movement, Edouard Manet's artworks are foundational to the canon of art history. The revolutionary artist's rare religious works, while lesser-known, are some of the most intimate paintings he ever produced, offering insight into the artist’s fascination with the idea of humanity’s beautiful and transcendent relationship with suffering. Begun in 1856, Christ as a Gardener is one of his earliest renderings of Christ and offers a view into nascent motifs that would later define Manet’s monumental legacy. In the painting, Christ’s profile is turned toward the viewer, though his face is turned to the bottom left of the frame and his downturned eyes avert the viewer's gaze. His brown robes contrast the warm light of his halo and the dramatic sky behind him. As with all of Manet’s work, this image is rich with symbolism. A partial self-portrait, as seen in the similar facial hair and iconic appearance of a paintbrush-like garden tool, the painting renders the biblical scene of Mary Magdalene mistaking the risen Christ for a gardener with personal intimacy. As the biblical tale relays, when Mary Magdalene recognizes Christ, she reaches out to him; he replies, “Touch me not.” The highly charged relationship between the Christ figure and the viewer, standing in as Mary Magdalene, is further emphasized by Christ’s hand that appears to reach out for contact. Through this extension of touch, Christ’s presence is tangible, reminiscent of Michelangelo’s Creation of Adam in the Sistine Chapel. This intimate initiation of human connection directly contrasts Christ’s biblical words, “Touch me not.” Scholars have attributed this rejection, both in gaze and through words, to Manet’s conviction that Christ, as a human, embodied a spirit of renunciation and rejection of his earthly existence. Christ’s distant expression suggests a willingness to be elsewhere — an expression that Manet will later use in his most distinguished works of art. Manet would go on to expand his view of Christ as a timeless embodiment of absolute commitment and suffering with his monumental Salon paintings...

William-Adolphe Bouguereau 1825-1905 French Au Bord du Ruisseau Signed and dated “W-Bouguereau-1888” (upper left) Oil on Canvas “Bouguereau’s paintings of children allowed for th...

Dorothea Sharp 1874-1955 British A Day on the Beach Signed "Dorothea Sharp" (lower left) Oil on canvas British painter Dorothea Sharp captures the joyful spirit of childhood in t...

Jean-Gabriel Domergue 1889-1962 French La loge Signed (bottom right) Oil on panel Jean-Gabriel Domergue presents an elegantly seductive woman seated in a l...

Kees van Dongen 1877-1968 Dutch-French Devant le Restaurant de la Paix (In front of Restaurant de la Paix) Oil on canvas Signed "Van Dongen” (lower right) This dazzling work of a...

French School 18th Century Pastoral Scenes Oil on canvas A delightful pair of 18th-century pastoral scenes, this charming set of oil paintings depicts two quintessential tableaus ...

Pierre Carrier-Belleuse 1851-1932 | French Danseuse Signed “Pierre Carrier-Belleuse” (lower right) Pastel on canvas Strikingly elegant, this extraordinary pastel by French impress...

Gustave Léonard de Jonghe 1829-1893 | Flemish Afternoon Repose (The Artist's Studio — Antibes) Signed “Gustave De Jonghe” (lower right) Oil on canv...

Vincent van Gogh 1853-1890 Dutch Tête de paysanne à la coiffe blanche Oil on canvas laid down on panel A striking and evocative example of Vincent van Gogh’s early portraiture, Tête de paysanne à la coiffe blanche showcases the artists’ powerful ability to capture both the likeness and the essence of his sitters. Rendered in thick, deliberate brushstrokes, van Gogh paints his sitter with an unbroken forward gaze. The composition's tertiary palette conjures a dimly lit evening setting, accentuating the dramatic lighting of the subject's solemn face. The woman’s white headpiece...

Georges Croegaert 1848-1923 Belgian The Letter Signed "Georges Croegaert Paris" (lower right) Oil on panel A cardinal pauses while composing a letter in this oil on panel by Belg...

Raoul Dufy 1877-1953 | French The Visit of the English Squadron to Le Havre Signed "Raoul Dufy" (lower center) Watercolor and gouache on paper Growing up along the coastline of th...

Georges Croegaert 1848-1923 Belgian An Amusing Thought Signed "Georges Croegaert Paris" (lower left) Oil on panel This oil on panel by Belgian artist Georges Croegaert is a rich ...

John William Godward 1861-1922 | British At the Window Signed and dated "J.W. Godward. 1920" (lower right) Signed, inscribed and dated "At The Window/J.W.Godward. Rome.1920” (en verso) Oil on canvas A breathtaking quintessential work by John William Godward, this intriguing composition captures a classical beauty in a moment of quiet reflection as she gazes from a marble windowsill. Celebrated as one of the most important Neoclassical painters at the turn of the century, Godward's career was devoted to a segment of Classicism known as the Marble School which championed rendering Greco-Roman subjects placed amongst period architectural settings. Though he worked throughout the late 19th century into the 1920s, Godward’s elegant and ethereal compositions provided an escape from the present day and beckoned viewers to lose themselves in a bygone era of classical serenity. Godward rendered his idyllic scenes with a degree of sensuality and technical mastery that remains unsurpassed. The present work, entitled At the Window, perfectly embodies Godward’s oeuvre. The beautiful subject leans out from a marble aperture with a contemplative gaze. Her elegant peach-colored Grecian gown is punctuated by a deep magenta sash draping down from her waist, accentuating her graceful and sensuous form. Godward renders his idyllic subject and setting with keen detail, carefully painting the veins of various types of marble and his subject’s toe peeking out from beneath the hem of her gown. Of Godward's compelling oeuvre, esteemed art historian Vern Grosvenor Swanson wrote, “He sought to portray peace, feminine charm and ideal perfection by marvelously painted and composed classical pictures of beautiful women in halcyon marble environments.” Raised in Wimbledon, England, Godward debuted at London’s Royal Academy exhibition in 1887. By the subsequent decade, the burgeoning artist was on a steady ascent to artistic success. Having fallen under the influence of British Neoclassical Revivalists Sir Lawrence Alma-Tadema, Lord Frederic Leighton, and Sir Edward John Poynter...

Joseph Christian Leyendecker 1874-1951 | American The Sleuth Saturday Evening Post Cover, June 2, 1906 Signed "JCLeyendecker" (lower left) Oil on canvas A debonair sleuth peers t...

Johannes Rosierse 1818 – 1901 | Netherlands Abundance Signed “J. Rosierse” (lower right) Oil on canvas Captivating and mysterious, this dynamic painting by Johannes Rosierse demon...

Gil Elvgren 1914-1980 American Partial Coverage Signed “Elvgren” (lower right) Oil on canvas The iconic illustrations of Gil Elvgren have become an irreplaceable facet of the American artistic landscape. Flirtatious beauties in light-hearted situations were the dominant subject matter for this intuitive artist, whose eloquent brush strokes dutifully captured the innocent sensuality of the mischievous girl next door. Partial Coverage, originally published in the 1956 Brown & Bigelow calendar, epitomizes the coquettish spirit of his beauties, whose nostalgic glamor give us a glimpse into a simpler time in American history. Elvgren is considered to be the greatest American pin-up and glamor artist. The majority of his work was done for the famed Brown & Bigelow, though at various points in his career he also worked for magazines such as The Saturday Evening Post and Good Housekeeping, as well as large corporations including Sealy Mattresses, General Electric and Coca-Cola. Born in St. Paul, Minnesota, Elvgren began his artistic education at the Minneapolis Art Institute, and later the American Academy of Art. His first job upon graduation was at the Chicago advertising firm of Stevens and Gross, working directly under Haddon Sundblom, famous for his Coca-Cola Santas. Elvgren would soon become his star pupil, contributing much to the Coca-Cola campaigns and eagerly learning techniques that he would carry into his famed pin-ups. After completing several special commissions with rave reviews, Elvgreen began doing pin-up work in 1937 for the Louis F. Dow Calendar Company, the biggest retailer of calendars of its day. Almost overnight, the artist became one of the most respected and successful commercial artists of his generation. More commissions followed, and, along with his work for Dow, Elvgren found himself booked solid at least one year ahead of his output. It was in 1944 that Brown & Bigelow approached him with an offer for a staff position. From that point on, for the next 30 years, Elvgren enjoyed tremendous commercial success unlike any other American artist of his day. Circa 1956 Canvas: 30 1/8“ high x 24 1/8” wide Frame: 33 3/4“ high x 27 7/8” wide x 1 1/2“ deep Literature: Charles G. Martignette and Louis K...

Andrea Landini 1847-1935 Italian A Mandolin Concert Signed “A. Landini” (lower right) Oil on canvas A cardinal delights in a musical performance in this painting by Italian Card...

Jean-Pierre Cassigneul b.1935 French L’air qu’on respire (The Air We Breath) Signed “Cassigneul” (lower right) Signed, titled and dated "L’air qu’on respire / Cassigneul / 2001" (...

Georges Croegaert 1848-1923 Belgian The Chess Game Signed "Georges Croegaert Paris" (lower right) Oil on panel This oil on panel by Belgian artist Georges Croegaert is a rich and...

Jean-Pierre Cassigneul b.1935 French Octobre (October) Signed “Cassigneul” (lower left) Signed and titled "Octobre / Cassigneul" (en verso) Oil on canvas A striking and heavy-lid...

Lucas Cranach the Elder and Studio 1472-1553 German Moses and the Pillar of Cloud Oil on panel Moses and the Pillar of Cloud is a bold and evocative composition that showcases the signature intense color and intricate detail of Lucas Cranach the Elder’s celebrated oeuvre. The remarkable 16th-century oil on panel by Lucas Cranach and his studio captures the narrative moment when Moses leads the Israelites out of Egypt and encounters God manifested through a large pillar of cloud. Moses stands at the precipice of a bridge and turns back to soldiers helping to lead the group of Israelites who huddle closely together. Cranach depicts Moses with his traditional iconography, rendering the rays of light on his head which came to be interpreted as "horns" in the translation of the Bible. Using his traditional walking staff, Moses gestures toward the pillar, seemingly acknowledging that God will protect the group as they cross the bridge to the other side, leaving exile and entering a promised land. In a nod to Cranach’s Germanic locale, he renders the figures and setting in a manner that feels decisively more akin to European aesthetics than those of the Red Sea. Soldiers wear elaborate, gothic suits of armor that recall the livery of Northern European guardsmen. The terrain appears more like a European forest giving way to a sweeping valley than the arid landscape the Israelites trekked through on their journey across the Red Sea. Though still clearly recounting a story from the Old Testament, Cranach renders the cast of characters and setting in an earthly, familiar manner. This aesthetic shift speaks to Cranach’s own changing beliefs as he found himself at the center of the Protestant Reformation. After first gaining recognition in 1505 as the official painter of Frederick the Wise, Cranach established a thriving painting and print studio in Wittenberg, Germany. Cranach was renowned for his court portraits and genre paintings and was also well known for his association with the famous protestant reformer Martin Luther, then under the protection of Frederick the Wise. As Wittenberg became a bastion of new religious thought, Cranach soon befriended Luther and played an active role in creating the printed materials that proliferated throughout the Reformation...

Joseph van Bredael 1688-1739 Flemish The Adoration of the Magi Oil on copper Painted on copper and exhibiting an exquisite luminosity, this exceptional painting...

Frans Hals 1582-1666 Dutch Portrait of a Gentleman (possibly Theodore Blevet) Oil on panel “Frans Hals is a colourist among the colourists...Frans Hals must have had twenty-seven blacks...

Andrea Landini 1847-1935 Italian Good News Signed “A. Landini” (lower left) Oil on canvas A cardinal grins while contemplating the contents of a letter i...

Jean-Pierre Cassigneul b.1935 French La terrasse devant la mer (The Terrace by the Sea) Signed “Cassigneul” (lower left) Oil on canvas laid on panel This monumental, three-panele...

Henri Lebasque 1865-1937 French Maternité (Maternity) Oil on canvas Signed “Lebasque” (lower left) In this effusive oil on canvas, Henri Lebasque captures a contemplative scene o...

Edward Atkinson Hornel 1864-1933 Scottish A Spring Roundelay Signed “E A Hornel” and dated 1910 (lower left) Oil on canvas Visually arresting with the v...

Jean-Pierre Cassigneul b.1935 French Le bouquet dans les bras (The bouquet in the arms) Signed “Cassigneul” (lower right) Signed, titled and dated "Le bouquet dans les bras / Cass...

André Brasilier B. 1929 French Le miroir Vénitien Signed "André Brasilier" (lower right) Oil and pencil on canvas Quiet and contemplative, French a...

A Salvation Army Santa looks on with a mixture of fatigue and disinterest as a group of children tell him their Christmas gift wish lists in this lighthearted composition by leading American illustrator Leslie Thrasher. This painting was created for the December 20, 1930 issue of Liberty Magazine, for which the artist illustrated covers on a weekly basis for six consecutive years. Thrasher is known for his scenes of everyday American life imbued with a sense of humor, qualities represented to great effect in this charming painting. 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 everyday 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...

William Clarke Wontner 1857-1930 British Portrait of a Beauty Signed and dated "W. Wontner 1918" (lower left) Oil on canvas Classical beauty a...

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...

This thoroughly modern Parisian scene was composed by the celebrated French painter Jean François Raffaëlli. The delicate oil captures a familiar subject from late 19th-century life in the city: a busy avenue at the edge of a park on a cool autumn day. Exploring the climate of the city, Raffaëlli's mature works capture the energy of the grand parks and boulevards of the new Paris that emerged at the turn of the century. His legacy documents the realities of urban life during his age, all chronicled in his distinctive brushwork and sophisticated palette. While Raffaëlli was never fully accepted as a member of the Impressionist group, his works display a similar affinity for capturing the transient moments of modern life. His figures exude a sense of being suspended in time, as though they are part of some subtle narrative that is both restless and harmonious. Perhaps more aligned with Naturalism than Impressionism, the visual effect of Raffaëlli's composition is one of carefully composed spontaneity that makes manifest the joie de vivre of the age. Raffaëlli was not the only artist of his era to devote his canvases to the urban landscape. Camille Pissarro, Claude Monet, Gustave Caillebotte and others composed significant works on the subject of the urban milieu. On the whole, it was an entirely new kind of painting, and it was largely influenced by the work of social engineer Baron Haussmann beginning in the 1850s. At the request of Emperor Napoleon III, Haussmann designed and carried out a large-scale urban renewal program, erecting landmarks and tree-lined thoroughfares throughout the city to create a unified and socially-centered urban aesthetic. The city became a glittering stage for modern advancements and bourgeois pleasure, which paved the way for a new kind of subject that was eagerly adopted by the Impressionists and artistic avant-garde. Born in Paris in 1850, Raffaëlli first studied theater and music before turning to painting in 1870. That same year, he submitted a landscape painting to the Salon and was accepted. Aside from just three months studying with the Academic great Jean-Léon Gérôme, Raffaëlli was self-trained, developing his own unique style that brought together Realism, Naturalism and Impressionism. While he managed to exhibit works at both the Salon and the Impressionist exhibitions...

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...

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...

Rudolf Ernst 1854-1932 Austrian Spinning Yarn Signed and dated “R. Ernst 86” (lower right) Oil on panel Austro-French Orientalist painter Rudolf Ernst showcases his aptitude for the genre in this skillfully executed oil on panel. In it, two exotically dressed...

When viewed straight on, this "turning picture" by French artist Gaspar Antoine de Bois-Clair appears to be a disorganized collection of painted facial features and wooden slats. However, when viewed at an angle from either side, two separate images are revealed — portraits of Frederik IV and Louise of Mecklenburg-Güstrow, the King and Queen of Denmark. A wonder of both portraiture and trompe l'oeil, this work demonstrates the artist's skill in rendering intriguing visual effects. An impressive exercise in representing depth and 3-dimensionality in painting, the work is executed on a series of triangularly-cut strips of wood to create an effect now known as lenticular imaging...

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...

The Education of Achilles by the Centaur Chiron Signed and dated "A.C. Chrétien 1861" (lower right) Oil on canvas A masterpiece of French N...

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...

Young girl from Tetouan, Morocco Signed (center right) Oil on canvas In this important oil on canvas, French Orientalist painter Charles Landelle captures the engaging visage of a young Moroccan woman in a moment of tranquil contemplation. Seated on the floor of what is almost certainly an opulent riad, the young woman wears an intricately embroidered Moroccan kaftan and headdress. The sumptuous patterns on the floor and in the background lend an additional warmth to the strikingly vivid red hues which dominate the composition and are a hallmark of Landelle’s work. The symbols behind the young woman may represent either the Jewish Star of David or the Islamic Seal...

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 ...

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...

French Academic painter Louis-Joseph Courtat displays his mastery of composition and the female form in this entrancing oil on canvas. Entitled Baigneuses, the work was painted for and exhibited at the 1885 Paris Salon, the foremost exhibition of painters in the Western world. Large in size, it captures two nude bathers within a tranquil beach scene. While the artist's skill for landscape painting is on display, it is his command of form, light and color that bring this canvas to life. The artist specialized in paintings that glorified the nude, and his skill is clear in the luminosity of his models' skin and the classical beauty of their form and proportions. With their soft, undulating curves and flowing hair, Courtat's models reflect the two key influences on the young painter, that of the great Jean-Auguste-Dominique Ingres as well as his teacher Alexandre Cabanel. Like these two greats who came before him, Courtat similarly follows in the artistic tradition of the female nude that is traceable to classical antiquity and the Italian Renaissance. Born in Paris in 1847, Courtat studied at the famed École des Beaux-Arts under Cabanel. He was one of the Academic master's first students at the school, where he began to teach in 1864. Displaying considerable skill at an early age, Courtat won the Prix de Rome around 1870, and subsequently studied in Rome for a number of years. He returned to Paris in 1873 to make his debut at the Salon, where he was met with immediate success, receiving a third class medal. He received medals again in 1874 and 1875, a remarkable achievement for a painter of his age. In addition to the monumental nudes...

Jacob Lawrence 1917-2000 American Makeup Signed (lower right) Tempera on board Inspired by the famed Apollo Theatre in Harlem, Jacob Lawrence’s mast...

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...