Archive for the 'M.S. Rau Blog' Category

Perfect Pieces for Father’s Day

June 4th, 2015 | posted by Lyndon Lasiter

With Father’s Day only a few short weeks away, it is time to start thinking of a special gift to celebrate one of the most important roles and people in our lives. Recently at M.S. Rau Antiques, we30-1989_1 have acquired numerous items that would make for the ideal gift to fit any personality.

30-2567_1The World Time Watch by Patek Philippe is a beautiful, precise timepiece that would be perfect for any father. When Swiss watch-maker Antoni Patek joined forces with French crafter Adrien Philippe in 1851, the prestigious and respected company Patek Philippe & Co. was founded. Creating timepieces of exquisite craftsmanship, the company pioneered the way for important advancements such as the perpetual calendar, split seconds hand, and chronographs. When considering this 5110P self-winding Patek Philippe timepiece, it is impossible to miss the flawless craftsmanship. Crafted of 22K gold and platinum, it displays all 24 time zones. A transparent sapphire crystal backing, blue guilloché silver dial, white gold applied hour markers, and an outer graduated revolving ring for day and night indication complete the piece. Presented with the original Patek Philippe presentation box, certificate, and manual, this watch is sure to enthuse any watch enthusiast.

Equally stunning is the Van Cleef & Arpels ruby and diamond cufflinks set. Renowned for their sophisticated and avant-garde designs, the firm has consistently 30-0482_1been a visionary of glamour and spectacular creations. These cuff links exhibit the refined and classic designs of the company. In a pure Art Deco motif, the streamlined objects are set in platinum and accentuated by 3.20 carats of caliber-cut rubies and 3.24 carats of glistening baguette diamonds. Bold and stylish, these cuff links would be the perfect 30-0482_3addition to any father’s classic suit or tuxedo.

This 20th-century Indian emerald and ruby chess set encapsulates the perfect and magnificent gift for any chess-loving dad. The set is carved from the finest specimens of rubies and sapphires with the utmost skill by artisans from Jaipur. The two opposing armies, with warriors riding elephants, horses and camels, and pawns on foot, face each other in their best 24K gold-painted finery. The board is set into a mahogany base, making this set one of the most intriguing and luxurious we have ever seen.

Dangerous Elegance: The beauty of the Dagger Cane

May 28th, 2015 | posted by Peter Hernandez

A classic statement of style, a finely crafted walking stick adds elegance to any ensemble. Though modern canes are generally used as a walking aid, they have also served through time as fashionable accessories denoting social status. The luxury of a walking stick was a clue to one’s wealth, and canes were thus topped with jewels, ivory, precious metals – adornments of every kind. Yet, there are some canes whose beauty and artistry lies hidden within, such as these stunning dagger canes.

Canes have been used as weapons since the dawn of time, and the emergence of concealed weapon canes seems a likely progression. Weaponized canes grew from the need for protection for those who expected danger on their outings, but did not want to openly carry a sword or pistol. With the introduction of the firearm, the wearing of swords in public began to be discouraged. This resulted in a resounding upsurge in highly fashionable sword and dagger canes. Today, these intriguing weapon canes are highly sought after by collectors of both antique canes and antique swords alike.

This seemingly innocent bamboo walking stick conceals a lethal assassin’s dagger.

This seemingly innocent bamboo walking stick conceals a lethal assassin’s dagger.

The Bamboo Assassin’s Cane has a deceptively innocent design. This walking stick conceals what was known as an ‘Assassin’s Dagger’. The quatrefoil blade design is what made this weapon so dangerous. At the time of its inception, it was practically impossible for a wound created by a blade of this shape to be repaired successfully. The four sided blade inflicted an amount of damage that the technology of the time was unable to repair, which meant certain death for anyone attacked with this weapon. This cane measures 36 1/4” in length.

The walking stick is topped by a classic L-shaped handle, making this dagger cane both attractive and discreet.

The walking stick is topped by a classic L-shaped handle, making this dagger cane both attractive and discreet.





The classic Blue Steel Dagger Cane is both unassuming and handsome. This wooden cane, almost tortoiseshell in appearance, is topped with an L-shaped handle and conceals a beautiful blue steel dagger. The classic, simple elegance of this cane lends itself to discretion. This cane is 35 3/4” in length.

Displaying amazing artistry, this Turkish cane is crafted entirely of metal and enveloped in intricate niello metalwork.

Displaying amazing artistry, this Turkish cane is crafted entirely of metal and enveloped in intricate niello metalwork.


The cane that is both breathtakingly beautiful as well as deadly is the Turkish Dagger Cane.  Displaying prodigious artistry, this cane was crafted exclusively of metal that is covered in niello metalwork. This technique uses a black metallic alloy of sulfur with silver, copper, or bronze to fill designs that have been engraved on the surface of a metal object, and is rarely seen on such a large scale. This cane is unquestionably an instrument of defense, containing a nearly eight-inch dagger and a handle that, while elegantly formed in the shape of a growling feline, can be quite easily used as a bludgeon. The pointed ferrule at the foot of the cane can even double as a spear. When it comes to menace wrapped in a façade of beauty, this cane beats out all other contenders.


Continental Inspirations: The Furniture of William and Mary

May 25th, 2015 | posted by Bill Rau
William and Mary Bureau

The precision afforded to these creations make them as much a work of art as a functional piece of furniture.

William and Mary Oysterwood Chest

Oysterwood veneers, parquetry and bun feet distinguish this William and Mary period chest.


When the Dutch William III and his wife Mary II overthrew King James II in the 1688 Glorious Revolution, their victory signaled not only the end to the tensions that existed between the British Crown and Parliament, but also the beginning of a new era of decorative arts. William’s Protestant beliefs opened the door for Dutch, Flemish and French craftsmen to settle in England. These gifted artisans began to work with local cabinetmakers to incorporate their techniques and decorative forms to create a distinctive style of furniture known as William and Mary.

Though the reign of William and Mary lasted only 13 years from 1689-1702, the furnishings created during this period are unlike any before or since. Characterized by the use of rare woods, dramatic veneers and inlays, and bold carved elements, William and Mary furnishings represented a more refined way of living, replacing cumbersome, over-the-top pieces of furniture from the previous decades.

William and Mary Bureau

Elaborate marquetry envelopes this large William and Mary bureau cabinet

A shining example is this stunning Oysterwood Chest. Thin slices of walnut and olive are precisely placed in a painstaking process to form a distinctive parquetry pattern that resembles oyster shells. The bun feet are also hallmarks of William and Mary-era furniture. As taste changed, it was not uncommon for square brackets to replace the original bun feet, making this chest even more desirable. Remarkable foliate inlay envelops this stunning Marquetry Bureau, effectively illustrating the bourgeoning taste of the period to blend form and function. When in use, this cabinet’s fitted interior and leather-lined writing surface make it an optimal workspace, while the exotic inlay and veneering make this furnishing a true work of art.

The reign of William and Mary was undoubtedly a turning point in the realms of politics and the arts. Their adoption of the English Bill of Rights ushered in an era of political freedoms that would even influence the American cause for independence, and their employment of talented artists from throughout the Continent introduced a new layer of refinement and elegance to the decorative arts. Today the furnishings from this period are extremely rare and highly collectible, and examples that demonstrate extreme care over the centuries are especially desirable.

To see M.S. Rau Antiques’ selection of William and Mary furnishings, click here.

Like Father, Like Son: The Artistic Style of the Brueghel Family

May 13th, 2015 | posted by James Gillis

The Brueghel family has long enjoyed a strong history in the realm of Flemish painting. The patriarch of the family, Pieter Brueghel the Elder, set the stage for the family’s success and popularity 30-2978_1in 16th-century Dutch Renaissance art that carried on for his future generations. As placing peasants in everyday life as the subject of painting was rare at this time, Brueghel became a true pioneer and innovator in artistic depiction and creation. His earthy and unsentimental works offered viewers a unique window into every day, presenting scenes of peasant and village life that one would not be offered otherwise. Village dancing, feasting, games, rituals, and agriculture are among the many rural subjects that Brueghel so truthfully and candidly depicted. Today, these images give us a window into everyday Belgian life and culture.

30-2978_4Due to the work of his eldest son, Pieter Brueghel the Younger, the family’s tradition of creating genre and peasant scenes continued into the 17th century. Pieter Brueghel the Younger began his impressive career by copying the masterworks of his father. Though Breughel was just five years old when his father died, he still was able to develop a keen eye for his father’s most innovative painterly techniques.

In this masterwork, entitled “The Alchemist,” his father’s artistic hallmarks and stylistic innovations are clearly manifested through Brueghel’s own hand. Originally a drawing done by his father in 1558, Brueghel turned the composition into a bold, vibrant oil on panel. The intricate work depicts a subject of great interest of the time – the alchemist. The science of alchemy, or the attempt to transform one metal into another, was practiced from antiquity through the 17th century. Beginning in the 15th century, the practice was first known to attract frauds and common, and by the time of Brueghel the Elder, the practice was completely discredited.30-3312_1

In this work, the alchemist hunches over his makeshift laboratory while a busy scholar reads below him and a fool thoughtlessly feeds air into the fire. The alchemist’s wife stands next to him, searching her purse as she throws her last gold coin into the crucible. In the background of the composition rests a foreshadowing: the ill-fated family is welcomed with charity into the Church. Through this vibrant and complex picture, Brueghel relays the message that folly often leads to ruin. Unlike his father’s drawing, this version of the alchemist’s folly is rendered with a remarkable attention to detail that only enhances the amusing narrative.

30-3312_4While much of his oeuvre was dedicated to copying the works of his father, Brueghel did compose subjects uniquely his own. This oil on panel, entitled “The Payment of Tithe,” is one example of a work by Brueghel that was not originally created by his father. This 17th-century masterpiece depicts a subject that resonated with Flemish art patrons of the time: a caricatured figure of King Charles V of Spain as a tax collector. This composition is a striking illustration of the unfavorable opinion Flemish peasants held towards their sovereign authorities. The figures and setting are painted in impeccable detail, from the bundles of bags to the papers strewn throughout.

Both of these compositions represent the “Brueghel-esque” satirical style. While successfully adhering to his father’s hallmark painterly styles, Brueghel was also able to cultivate his own artistic personality as he pioneered his own expressions and techniques.

An Age of Transformation: Women in Nineteenth Century Art

March 26th, 2015 | posted by Bill Rau

George Morren, Le Renouveau (The Renewal), Circa 1892


Jéan-Leon Gérôme, Leda and the Swan, Circa 1895

This is the second of a three part series of blog posts preceding our exhibition Innocence, Temptation and Power: The Evolution of Women in Art, on view at M.S. Rau Antiques from March 27 – May 4.

From the mid-nineteenth century, Western Europe and the United States were witness to an extraordinary cultural and social upheaval. Truly a period of transformation, the end of the 19th century can be characterized also as an era of contradiction. As the great generation of French academic painters such as Jean-Léon Gérôme, with their idealized female figures and neoclassical subjects, slowly waned, a new group of radical young artists began to emerge who devoted their oeuvres to a new ideal of modernity. The Impressionists unapologetically painted their impressions of their modern bourgeoisie world, including the women within it, which was undergoing a rapid period of revolution.

While, in many instances, women still found themselves regarded as secondary citizens, it was the onset of industrialization and the corresponding growth of the middle class that began to expand the role of women in society. This provided ample inspiration for late 19th century artists, who themselves contemplated “the woman question” and the changing views of womanhood, femininity and what it meant to be a woman. Henri Toulouse-Lautrec’s La Promeneuse perfectly illustrates the Impressionist treatment of middle-class women during the Belle Epoqué – women who embody a new, avant-garde femininity without being idealized.


Henri de Toulouse-Lautrec, La Promeneuse, Circa 1892

Indeed, traditional aestheticideals in general began to give way to a more revolutionary, individual artistic voice. In the same way, depictions of women in art slowly began to transform from object to subject in the eyes of the artist and the viewer, and the barrier between the private and public gradually began to descend. Yet, despite these advances, women were still expected to be the upholders of morality and put domestic and home responsibilities central in their lives. George Morren’s Le Renouveau (The Renewal) perfectly illustrates this juxtaposition. Depicting a wet-nurse breastfeeding a child, Morren places his female subject within a traditional “maternal” position, but also, more significantly, within a work scene. The “mother” in the scene is feeding the child not out of “natural” nurturing instinct but for wages, as a member of a flourishing industry. Both mother figure and worker, Morren’s wet-nurse epitomizes the updated, secularized Impressionist woman

Undeniably, as the Impressionists begin to capture their own lived experiences of everyday life, the range and treatment of women as a subject in art similarly expanded, offering viewers a glimpse of the lived experience of the late 19th century woman through the Impressionist canvas. Themes of bourgeois leisure, bohemian spectacle, urban culture, and intimate spaces dominate the genre moving into the 20th century – subjects that will only continue to expand into the modern era.

To learn more about the story of women in art, please join us for Innocence, Temptation and Power: The Evolution of Women in Art, on view at M.S. Rau Antiques from March 27 – May 4.

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