A Still Life Painting Attributed To Richard Rau 20th Century

A still life labeled “Attributed to Richard Rau, 20th century” can be an intriguing opportunity for collectors and a puzzle for appraisers. The wording signals potential quality and interest, but also uncertainty. This guide explains what “attributed to” means in the art market, what to examine in a mid-20th-century still life, how to assess materials and technique, and the valuation and condition factors that most influence outcome.

Why “Attributed To” Matters

Auction catalogues and dealer listings use specific attribution language to communicate confidence levels:

• By/Autograph: The work is accepted as by the named artist.
• Attributed to: Probably by the artist, but with less certainty; evidence is suggestive rather than conclusive.
• Circle of: By a contemporary working close to the artist, possibly a student or close follower.
• Follower of: By someone working in the artist’s style, possibly later.
• Manner of/After: Imitative; not by the artist and often later.

“Attributed to” sits near the top of this spectrum, yet it remains a hypothesis awaiting better evidence. That has practical consequences: pricing typically sits between autograph and follower-of valuations, guarantees may be limited, and returns may be constrained by consignment terms. For under-documented artists—like many regional painters active in the 20th century—the quality of evidence (provenance, stylistic concordance, materials) is decisive.

What We Know—and Don’t—About “Richard Rau”

“Richard Rau” is a relatively common Germanic surname and appears sporadically in 20th-century art references and auction records, sometimes abbreviated as “R. Rau” or “Rich. Rau.” Multiple artists in the 20th century may share the surname Rau, and printed sources are inconsistent about initials, birth/death dates, and locales. That ambiguity is one reason a work might be listed as “attributed to.”

Key implications for appraisal:

• Be open to variants. Signatures may read R. Rau, Rich. Rau, R. R., or a stylized “Rau” with a long descending “R.”
• Regional context matters. If the painting has labels or materials pointing to a Central European source, compare it with mid-century German/Austrian still life tendencies: careful tonal modeling, dark grounds with spotlighted objects, and layered glazes; or, in postwar works, simplified planes and more saturated color.
• Absence of a catalogue raisonné. If no consolidated index exists, rely on triangulation: period exhibition catalogues, gallery labels, local art society records, and consistent stylistic matches across multiple securely documented works.

The take‑home: treat “Richard Rau” as a working hypothesis anchored in material and stylistic evidence, not as a settled identity.

How to Examine the Painting

A structured, evidence‑based examination helps you move an “attributed to” closer to “by,” or, just as importantly, to a more accurate attribution.

1. Signature and Inscriptions

• Placement and paint layer: A signature should sit within the original paint layer, not on top of accumulated dirt or varnish. Under magnification, original signatures show age‑consistent craquelure and integrate with surrounding brushwork.
• Hand and habit: Compare letterforms with other works credited to Rau. Look for consistent letter spacing, the form of the “R,” and whether the artist tends to place the signature lower right/left or on the table edge.
• Additions: Later dealer hand inscriptions on the stretcher or frame can be helpful but are not proof by themselves.

2. Support: Canvas, Board, or Panel

• Canvas weave: Many 20th-century still lifes are on medium-weave linen or cotton duck. Machine‑woven fabrics with uniform threads are common post‑1920s.
• Board: If on hardboard (Masonite), it points to a mid‑20th‑century or later date. Early fiberboards may show manufacturer watermarks on the reverse.
• Stretcher or strainer: Look at tool marks, corner keys, and oxidation. Replaced stretchers can indicate relining or later interventions.

3. Ground and Paint Layers

• Ground color: Warm off‑white or gray grounds are typical; examine edges for exposed priming.
• Palette: 20th-century pigments commonly include titanium white (bright, opaque; widely available from the 1920s onward) and cadmiums. If you find pigments inconsistent with the alleged date, that’s a red flag or a clue to a later execution.
• Brushwork: Still life passages often combine precise rendering for focal objects (fruit bloom, glass reflections) with looser backgrounds. Look for intentional modeling versus hesitant over‑painting.

4. Technique and Composition

• Arrangement: Classic tabletop setups with fruit, flowers, porcelain, or wine bottles are common. Mid-century Central European works often position objects slightly off-center with a strong diagonal, using a dark backdrop to dramatize form.
• Light: Chiaroscuro effects—one dominant light source and reflected highlights—support a traditional approach; flatter lighting may indicate a modernist sensibility.
• Edges and transitions: Lively wet‑in‑wet transitions suggest confidence; hard outlines around every object can betray a copyist approach.

5. Surface and Aging

• Craquelure: Natural age cracking should be consistent across the painting. Isolated fine cracks only in the signature area can indicate later addition.
• Varnish: Natural resins yellow; modern synthetics are clearer. Uneven fluorescence under UV light can show retouching or discolored varnish.

6. Labels and Markings

• Gallery labels, exhibition tags, and inventory numbers are valuable. Photograph every label before removal. Cross‑reference addresses and typographic styles with period use.
• Pencil inscriptions on the reverse can anchor ownership or date, but assess whether they match the aging of the support.

7. Scientific Aids (Non-invasive First)

• Raking light: Reveals pentimenti (changes), which support originality.
• UV light: Highlights retouches; a uniform greenish fluorescence suggests older varnish.
• Microscopy: Fiber type, pigment particle morphology, and crack patterns become clearer. If warranted, consider X‑ray or IR reflectography to seek underdrawing or compositional changes.

Materials, Motifs, and Telltale Details

Still life painters tend to repeat certain motifs and handling:

• Flowers and foliage: Petal edges may be built with semi‑opaque strokes; leaf veins picked with a fine liner brush.
• Fruit bloom: The dusty bloom on grapes or plums is often rendered with a scumble of cool, semi‑opaque paint.
• Glass and porcelain: Convincing reflections require value discipline—note how highlight shapes follow form. Look for the painter’s consistency in casting shadows and reflected light.
• Tabletops and drapery: Wood grain and fold logic can be diagnostic. Copyists often omit subtle distortions where cloth meets edge; original painters resolve those passages confidently.
• Color temperature: A hallmark of quality is temperature balance—warm highlights against cool shadows or vice versa.

If you can assemble half a dozen comparably documented works attributed to Rau or a tight circle, assess whether these traits recur in composition, color, and signature.

Market and Valuation Factors

Value hinges on confidence, quality, subject appeal, size, and condition.

• Confidence of authorship: Moving from “attributed to” to “by” can multiply value. Conversely, downgrading to “follower of” compresses value.
• Quality within the artist’s range: Strong compositions with crisp light handling, balanced color, and well‑resolved details outperform routine pieces.
• Subject hierarchy: Lush florals in larger formats, luminous glassware, and abundant fruit generally outperform sparse, dark arrangements.
• Size: Mid‑size works (roughly 40–70 cm on the long side) suit domestic interiors and tend to be liquid. Oversized works can fetch more but are less broadly collected.
• Provenance: Exhibition history or a chain of reputable ownership materially supports value.
• Condition and restoration: Stable condition with minimal retouch typically sells better than heavily over‑painted or lined works, even if the latter look “clean.”

Pricing guidance without confirmed comparables is necessarily broad. For a competent 20th‑century still life “attributed to Richard Rau,” expect pricing to track similar regional still lifes by moderately listed artists: often in the low to mid four figures for attractive, mid‑size oils in sound condition. Works with compelling provenance, exceptional quality, or near‑certain attribution can exceed that range; smaller or compromised works may sit in the high hundreds. Always calibrate with recent sales of like‑for‑like works in the same geographic market.

Conservation and Condition Considerations

Condition reporting should be as specific as possible:

• Structural issues: Canvas slackness, deformations, or tears; panel/board warping or delamination.
• Paint layer: Flaking, cupping, and lifting require prompt conservation.
• Retouch and over‑paint: Map under UV; note areas, approximate percentage, and purpose (e.g., fill losses vs. broad toning).
• Varnish: Yellowed or uneven varnish may be reversible; avoid aggressive cleaning without a conservator’s testing.
• Frames: Period frames contribute value and context. Check for original frame maker labels; avoid replacing a period frame unless structurally necessary. Accurate period reframing can enhance presentation.

When conserving, prioritize reversibility and minimal intervention. Document every step with photos and written notes—vital for future appraisals.

Provenance and Documentation

A persuasive attribution is built on paper as much as paint. Assemble:

• Purchase records: Invoices, receipts, and correspondence.
• Exhibition and gallery history: Catalogues, checklist entries, and labels.
• Estate and studio links: If an artist’s estate exists, inquire about records or photo archives.
• Appraisals: Dated, signed appraisals from qualified practitioners with stated methodology.

Align the paper trail with physical evidence. For example, a 1950s Munich gallery label should align with stretcher type and materials consistent with that period and locale.

Practical Checklist

• Record the work:
  • Accurate title, medium, dimensions (sight, canvas/board, and framed), and inscriptions.
• Examine materials:
  • Support type, ground color, palette clues (e.g., titanium white use), and brushwork.
• Assess the signature:
  • Placement, integration with paint layer, and letterform comparison with known examples.
• Map condition:
  • Structural issues, craquelure patterns, UV retouch areas, varnish notes.
• Document the reverse:
  • Labels, stamps, pencil notes, and any framer or supplier marks.
• Build provenance:
  • Collect receipts, exhibition references, and prior catalog entries; photograph all documents.
• Compare stylistically:
  • Assemble images of similar still lifes attributed to Rau or closely related regional painters.
• Seek expert input:
  • Consult a qualified conservator and an appraiser or auction specialist with regional 20th‑century expertise.
• Decide positioning:
  • Based on evidence, maintain “attributed to,” upgrade to “by,” or refine to “circle/follower/manner of.”
• Set expectations:
  • Price relative to comparable regional still lifes, adjusting for quality, size, condition, and documentation.

FAQ

Q: What’s the single most convincing indicator that an “attributed to” work is truly by the artist? A: A convergence of evidence: a signature confirmed as original to the paint layer, strong stylistic match to documented works, period‑consistent materials, and credible provenance. No single factor is decisive on its own.

Q: The signature looks added. Does that doom the painting? A: Not necessarily. Some genuine works had signatures strengthened or added by dealers. However, a later signature lowers confidence. Focus on stylistic consistency, materials, and provenance, and be transparent in any listing.

Q: Should I clean the painting before seeking appraisal? A: No. Surface dirt and discolored varnish can mask retouches and age indicators. Have a conservator perform small, reversible cleaning tests and produce a condition report first; appraisers and specialists prefer to see before/after documentation.

Q: How do I reference Richard Rau’s market without a clear biography? A: Use a “comparables” approach with similarly documented 20th‑century still lifes from the same region and era, similar size, subject, and quality. Note the attribution level in each comparable to keep comparisons apples‑to‑apples.

Q: Does a period frame add value? A: Yes. An appropriate, period frame can enhance desirability and sometimes value. If the frame bears a period framer’s label or complements the painting’s date and origin, keep it. Replace only if structurally compromised, and document the change.

A careful, evidence‑based approach will help you position a 20th‑century still life attributed to Richard Rau accurately in the market, protect its integrity, and maximize its potential—whether you’re stewarding it in a collection or preparing it for sale.