{"title":"All Landscape \u0026 City Paintings","description":"","products":[{"product_id":"huard-charles-1874-1965-birds-eye-view-of-6th-avenue","title":"HUARD, Charles (1874-1965). Brooklyn Bridge View of South Street. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eBrooklyn Bridge View of South Street\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal drawing with pen and pencil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e8\" x 7\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":34405497503788,"sku":"","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_4_BrooklynBridgeviewofSouthStreet.jpg?v=1707776666"},{"product_id":"edward-lear-british-1812-1888-the-campagna-di-roma-taken-from-cervara","title":"Lear, Edward (British, 1812-1888). The Campagna di Roma taken from Cervara","description":"\u003cp\u003e\u003cstrong\u003eEdward Lear (British, 1812-1888)\u003c\/strong\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Campagna di Roma  taken from Cervara\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003eOil on canvas\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e25 9\/16\" x 51\" canvas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSigned with monogram (lower left); signed, inscribed and dated ‘The Campagna di Roma taken from... of Cervara,\/looking East to the Sabine Hills\/Painted from drawings made on the spot in 1859, 1860; and completed by me for\/Walter Congreve Esq. in 1871\/ Edward Lear\/San Remo (on a label on the reverse)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: \u003cmeta charset=\"utf-8\"\u003eCommissioned directly from the artist by Walter Congreve Esq., San Remo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003c\/p\u003e\n\u003cp\u003eEdward Lear, List of Pictures Painted, 1840-1877, no. 240, as: Campagna di Roma. Quarries of Cerbara.\u003c\/p\u003e\n\u003cp\u003eThe Elements- trees, clouds, \u0026amp;c.,-silence...seem to have far more part with me or I with them, than mankind. (Edward Lear, 1862, quoted in Vivien Noakes, The Painter Edward Lear, 1991, p. 8)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Ann doted on Edward and continued to act as a mother for him until her death, when he was almost fifty years of age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was \u003ci\u003eIllustrations of the Family of Psittacidae, or Parrots\u003c\/i\u003e in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1846, Lear published \u003ci\u003eA Book of Nonsense\u003c\/i\u003e, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published \u003ci\u003eNonsense Songs, Stories, Botany and Alphabets,\u003c\/i\u003e which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Sri Lanka. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThroughout his life he continued to paint seriously. He had a lifelong ambition to illustrate Tennyson’s poems; near the end of his life a volume with a small number of illustrations was published. After a long decline in his health, Lear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":40016936501292,"sku":"","price":185000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/Roma.jpg?v=1643872265"},{"product_id":"edward-lear-british-1812-1888-the-campagna-di-roma","title":"Edward Lear (British, 1812-1888). The Campagna di Roma","description":"\u003cp\u003e\u003cstrong\u003eLear, Edward (British, 1812-1888)\u003c\/strong\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Campagna di Roma \u003c\/em\u003e\u003cbr\u003e\u003cspan\u003eOil on canvas\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e25 9\/16\" x 51\" canvas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned with monogram (lower left): \u003c\/span\u003efurther signed, inscribed and dated ‘The Campagna di Roma. Taken from the Quarries of Cerbara, looking\/ South-East towards the Volscian Hills \u0026amp; Alban Mount.\/ Commenced by me from drawings made on the spot in 1859-1860 \u0026amp; completed\/for Walter Congreve Esq. in 1871\/ Edward Lear.\/ San Remo\/ June 18.1871’ (on a label on the reverse)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: \u003cmeta charset=\"utf-8\"\u003eCommissioned directly from the artist by Walter Congreve Esq., San Remo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003c\/p\u003e\n\u003cp\u003eEdward Lear, List of Pictures Painted, 1840-1877, no. 240, as: Campagna di Roma. Quarries of Cerbara.\u003c\/p\u003e\n\u003cp\u003eThe Elements- trees, clouds, \u0026amp;c.,-silence...seem to have far more part with me or I with them, than mankind. (Edward Lear, 1862, quoted in Vivien Noakes, The Painter Edward Lear, 1991, p. 8)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Ann doted on Edward and continued to act as a mother for him until her death, when he was almost fifty years of age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was \u003ci\u003eIllustrations of the Family of Psittacidae, or Parrots\u003c\/i\u003e in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1846, Lear published \u003ci\u003eA Book of Nonsense\u003c\/i\u003e, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published \u003ci\u003eNonsense Songs, Stories, Botany and Alphabets,\u003c\/i\u003e which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Sri Lanka. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThroughout his life he continued to paint seriously. He had a lifelong ambition to illustrate Tennyson’s poems; near the end of his life a volume with a small number of illustrations was published. After a long decline in his health, Lear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":40016942891052,"sku":"","price":185000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/roma2.jpg?v=1643872678"},{"product_id":"heming-mason-george-castle-of-petrella-italy-c-1850","title":"MASON, George Heming (British, 1818-1872). Castle of Petrella. Italy, c. 1850.","description":"\u003cp\u003eGeorge Heming Mason (British, 1818-1872)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCastle of Petrella\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eItaly, c. 1850\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e7\" x 13 1\/2\" canvas, 11 1\/2\" x 18 1\/4\" framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis gorgeous yet understated oil painting depicts the Castle of Petrella in Italy just before Sunrise. The soft light creeps over the sleeping hillside village, illuminating the craggy peak where the castle lies. \u003c\/p\u003e\n\u003cp\u003eGeorge Heming Mason was a renowned English painter, once described as a genius by Millais, and seen as an important landscape artist in the late nineteenth century. Mason left England for Italy in 1844, where he remained for the rest of  his life. In 1848 he was accused of espionage by papal authorities and was nearly executed, however, he managed to escape and eventually became a thriving member of an Italian community of artists.\u003c\/p\u003e\n\u003cp\u003eWhen Mason's father's Staffordshire pottery firm failed in 1848, his allowance terminated and he turned seriously to painting. In the early 1850s he met Giovanni Costa and Frederic Leighton; Costa molded Mason's style, and Leighton provided lifelong financial support. Mason, Costa, and Leighton formed the Etruscan school with other foreign artists.\u003c\/p\u003e\n\u003cp\u003eMason was also influenced by the work of the French artists that he saw at the Paris Exposition Universelle (1855), particularly Jules Breton and Alexandre-Gabriel Decamps. The best of Mason's early works record picturesque scenes with an unpretentious sunlit naturalism. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe castle of Petrella has a fascinating dark past. In 1597, dissolute nobleman Count Francesco Cenci, with his daughter Beatrice and his second wife, Lucrezia, moved from Rome to the Castle of Petrella, perched high on a craig in the Abbruzzi. The castle was situated in the Kingdom of Naples just beyond the borders of the Papal States; rumor was divided as to whether his purpose in moving was to devise new crimes beyond the reach of vigilant Roman authorities, or to escape his creditors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrancesco was intent on keeping Beatrice under his control in the castle indefinitely so as to prevent her marriage and the burden of a dowry. What began as residence passed into imprisonment, with Beatrice and her stepmother being confined in a room whose windows were walled up and replaced by air vents. Beatrice and her mother plotted to kill Francesco with the help of several servants, one of whom was romantically entangled with Beatrice. After the murder of Francesco, Beatrice, her mother, and the servants involved were all sentenced to death, in spite of the cruel conditions that inspired the murder.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the seventeenth century, fanciful accounts of the case were published that purported to have been authored immediately after the executions but may have been written decades later. One such version inspired Shelley to write his drama, the Cenci, in 1819.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068438843436,"sku":"Landscape_2","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_2.jpg?v=1699565186"},{"product_id":"harpignies-henri-joseph-mountainous-ian","title":"HARPIGNIES, Henri Joseph (French, 1819-1916). Mountainous Ian.","description":"\u003cp\u003eHenri Joseph Harpignies (French, 1819-1916)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMountainous Ian\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e7 3\/4\" x 12 1\/2\" canvas, 14 1\/2\" x 16\" framed\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068441432108,"sku":"Landscape_3","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_3.jpg?v=1699565280"},{"product_id":"melrose-andrew-the-old-house-1889","title":"Melrose, Andrew (Scottish-American, 1836-1901). The Old House. 1889.","description":"\u003cp\u003eAndrew Melrose (Scottish-American, 1836-1901)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Old House \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e1889\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e10 1\/4\" x 16\" canvas, 16 1\/2\" x 21 1\/2\" framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068486586412,"sku":"Landscape_5","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_5.jpg?v=1699565416"},{"product_id":"copy-of-heming-mason-george-castle-of-petrella-italy-c-1850","title":"[Mediterranean Seascape]","description":"\u003cp\u003e\u003cem\u003e[Mediterranean Seascape]\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e12 1\/2\" x 21 canvas, 19 1\/2\" x 28\" framed\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068561362988,"sku":"Lanscape_1","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_1.jpg?v=1699565140"},{"product_id":"copy-of-landscape_1","title":"[Untitled Landscape]","description":"\u003cp\u003e[Untitled Landscape]\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e4 1\/2\" x  6 3\/4\" canvas, 9 1\/4\" x 11 1\/2\" framed\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068562804780,"sku":"Landscape_6","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_6.jpg?v=1699565460"},{"product_id":"copy-of-landscape-8","title":"CHORIS, Louis (1787-1828). Village of Tchoutchi. 1816.","description":"\u003cp\u003eLouis Choris\u003c\/p\u003e\n\u003cp\u003eVillage of Tchoutchi  \u003c\/p\u003e\n\u003cp\u003eWatercolor and pencil on paper\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e4 1\/4\" x 8 1\/2\" canvas, 15\" x 19 1\/2\" framed\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBeautiful original watercolor and sketch of a village in Alaska. Louis Choris was born in Yekaterinoslav, Russian Empire, now Dnipro, Ukraine to German-Russian parents on March 22, 1795. In 1816, he visited the Pacific and the west coast of North America on board the Russian expeditionary ship Rurik, serving as an artist with the Romanzoff expedition under the command of Lieutenant Otto von Kotzebue, which was tasked with exploring a northwest passage. In terms of his work as an artist, Choris is said to have \"painted nature as he found it. The essence of his art is truth; a fresh, vigorous view of life, and an originality in portrayal.\" His illustrations on the Romanzoff expedition are therefore likely to faithfully represent the subjects he painted. After the voyage of the Rurik, Choris went to Paris where he issued a portfolio of his drawings in lithographic reproduction and studied in the ateliers of Gerard and Regnault. Choris worked extensively in pastels and documented the Ohlone people in the missions of San Francisco, California in 1816. Choris left France in 1827 for South America and was killed by robbers on March 22, 1828, en route to Vera Cruz, Mexi\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068566638636,"sku":"Landscape_9","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_9.jpg?v=1699565506"},{"product_id":"mongin-pierre-antoine-attr-view-of-the-gardens-and-facade-of-the-chateau-de-malmaison-near-paris-with-napoleon-and-josephine-strolling-in-the-foreground-after-1799","title":"Mongin, Pierre Antoine (attr.). View of the Gardens and Facade of the Chateau de Malmaison, near Paris, with Napoleon and Josephine strolling in the foreground. After 1799.","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAttributed to Antoine Pierre Mongin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eView of the Gardens and Facade of the Château de Malmaison, near Paris, with Napoleon and Josephine strolling in the foreground \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGouache over black chalk, after 1799\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e18 7\/8\" x 26 1\/2\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eExhibition history: “Public Parks, Private Gardens: Paris to Provence”, Metropolitan Museum of Art, NY, March 12 - July 19, 2018 (exhibition label attached on the back of the frame)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan data-mce-fragment=\"1\"\u003eInterestingly, according to wallpaper authority \u003c\/span\u003e\u003cspan class=\"il\" data-mce-fragment=\"1\"\u003eEd\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan class=\"il\" data-mce-fragment=\"1\"\u003ePolk\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e Douglas, Mongin was responsible for the design of some of the Zuber Company's most important scenics, often seen in American homes:  \"Views of Switzerland(1804)\"; \"Hindustan(1807)\"; \"Views of Italy(1818)\"; and \"\"French Gardens(1822)\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAttributed to Antoine-Pierre Mongin (1761-1827) the present \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eView of the Gardens and Facade of the Chateau de Malmaison\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is remarkable not only for its accomplished use of gouache paint- in itself a hard-to-master medium - but also for its subtle transcending the boundaries of landscape scenes. It was exhibited at the Metropolitan Museum of Art’s 2018 show “Public Parks, Private Gardens: Paris to Provence'' where it occupied a central position in its dual characteristics of being a private or essentially intimate view of a public setting. Herein lies much of its effectiveness. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIndeed, by introducing the strolling figures of Napoleon and his wife Josephine, Mongin elevates their status from mere staffage to the hidden protagonists of the painting. Indeed, he inverts the hierarchy governing the compositional setup of the landscape tradition as inherited from the Baroque tradition of Poussin, Claude, and others.\u003c\/p\u003e\n\u003cp\u003eThe staffage figures are not meant to serve the general aesthetics of the scene, but rather the other way around: the idyllic setting of Malmaison and its gardens gain their significance from the presence of Napoleon and Josephine. This makes the present view with its reduced dimensions of only 18 7\/9 x 26 1\/2 inches an intimate piece that was executed for the Empress herself.\u003c\/p\u003e\n\u003cp\u003eAn old label on the verso suggests this connection by stressing Josephine’s ownership of Malmaison: “Le Chateau de Malmaison appartenant à l'Impératrice.” Josephine Bonaparte had purchased the palace which is located only eight miles west of Paris in 1799. Having spent 225,000 francs on the premises, a far greater sum would be needed for the decoration and furnishing of the house, including the beautification of the gardens.\u003c\/p\u003e\n\u003cp\u003eThe gardens allowed the Empress to indulge her love for botany and her role as a patron to master painter Joseph Pierre Redoute immediately comes to mind. Indeed, she began a collection of flowers and plants which included examples from her family’s estate in the West Indies, Kew Gardens in England and the Jardin des Plantes in Paris. Along with the almost two hundred new species grown on the estate, the garden was famed for containing over two hundred and fifty varieties of roses. Mongin thus gives a rare glimpse into both the private life of Josephine and the appearance of Malmaison and its gardens before they fell into disrepair at the Empress’ death. The pavilion in the painting’s background can still be seen today.\u003c\/p\u003e\n\u003cp\u003eAntoine-Pierre Mongin thus created a “paysage historié” - analogous to the established hybrid of the “portrait historié”. It gains its significance through its connection with historical figures; on a formal plan, this connection is realized through the interplay of colors and Josephine's Ownership of Malmaison, for example, is demonstrated by according the pale blue of her robe to the general tone of the house and its awning.\u003c\/p\u003e\n\u003cp\u003eMongin, who studied at the Académie des Beaux-Arts in Paris and exhibited at the Salon Between 1791 and 1824, is represented in the collections of major European and American Institutions. Rarely though is his touch more painterly and subtle than in the present view of Malmaison which remains an intimate masterpiece of the French Empire.\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42192487579692,"sku":"Mongin_Malmaison","price":85000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/mongin_josephineandnapoleoninthegardenatmalmaison_1.jpg?v=1701358578"},{"product_id":"huard-charles-1874-1965-mulberry-street-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). Mulberry Street. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eMulberry Street\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal drawing with pen and pencil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e4” x 10”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":42612297465900,"sku":null,"price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_15_MulberryStreet.jpg?v=1707777093"},{"product_id":"huard-charles-1874-1965-sketch-of-a-chinese-woman-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). Sketch of a Chinese Woman. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eSketch of a Chinese Woman\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal drawing with pen and pencil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e4 3\/4” x 3 3\/4”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":42612314243116,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_24_SketchofaChinesewoman.jpg?v=1707777279"},{"product_id":"huard-charles-1874-1965-people-at-the-club-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). People at the Club. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003ePeople at the Club\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eOriginal drawing with pen and pencil\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e8 7\/16” x 6 3\/8”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":42612338294828,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_93_4Menattheclubandawoman.jpg?v=1707777555"},{"product_id":"huard-charles-1874-1965-american-villas-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). American Villas. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eAmerican Villas \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eOriginal drawing with pen and pencil\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e5 1\/16” x 8 5\/16”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":42617767788588,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_113_Americanvillas.jpg?v=1707844523"},{"product_id":"bensell-george-frederick-1837-1879-closing-in-ca-1855","title":"BENSELL, George Frederick (1837-1879. Closing In. Ca. 1855.","description":"\u003cp style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBENSELL, George Frederick (1837-1879)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\"\u003eClosing In\u003c\/span\u003e\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on board\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCirca 1855\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e29 3\/4\" x 36\" board; 35\" x 41 1\/2\" framed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Edward Eberstadt \u0026amp; Sons, New York; Mr. William B. Ruger. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eThe American West was a captivating subject for artists of the nineteenth-century. The American War of Independence had inspired a national need for an identity divorced from that of Britain and American artists found this in the majestic landscape and people of the American West. Their paintings answered such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Moreover, they responded to the call of their fellow countrymen who greatly desired images of their newly founded nation. In an 1816 address delivered at the opening ceremonies of the American Academy of the Fine Arts, the governor of New York state, De Witt Clinton, exalted both the American wilderness and the American cultural landscape as appropriate subjects for native arts, questioning: \"And can there be a country in the world better calculated than ours to exercise and to exalt the imagination - to call into activity the creative powers of the mind, and to afford just views of the beautiful, the wonderful, and the sublime?\" George Frederick Bensell's painting, Closing In, shows a direct response to such desires. Born in Philadelphia, he trained with John Lambdin and quickly became a skilled painter of historical subjects, genre and portraits. He exhibited annually at the Pennsylvania Academy of the Fine Arts between 1856 and 1868 and was a founder and active member of the Philadelphia Sketch Club. In this exceptional painting, Bensell captures the essence of frontier life as the hunter draws his gun fearful of a confrontation with the Native Americans he has glimpsed through the trees. Frontier life was a popular genre for American painters and such subject matter was commonly depicted by the famous publishing firm of Currier and Ives. Indeed Arthur Fitzwilliam Tait's American Frontier Life, was produced as a lithograph from 1862 to 1863, by Currier and Ives, and shares a similar theme to that of Bensell's Closing In. Like Tait, Bensell's Indians are of the Eastern frontier and the scene is most probably a product of his imagination. The considerable skill displayed in both his painting technique and compositional arrangement make Closing in an exceptional example of George Frederick Bensell's work. His paintings are highly regarded but difficult to acquire due to the artist's untimely death at the age of 42, cutting short his accomplished career.\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43755627216940,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Bensell_ClosingIn.jpg?v=1724793823"},{"product_id":"durrie-george-henry-american-1820-1863-east-rock-new-haven-ct-1849","title":"DURRIE, George Henry (American, 1820-1863). East Rock, New Haven, CT. 1849.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDURRIE, George Henry (American, 1820-1863)\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eEast Rock, New Haven, CT\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned \"Durrie\" and dated \"1849\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e20 1\/4\"x 25 1\/4\" canvas; 29\" x 34\" framed\u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Estate of Harry T. Peters, Orange, Virginia (Sold: Sotheby's, New York, October 22, 1982, lot 61)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIllustrated: \u003cmeta charset=\"utf-8\"\u003eCatalog Raisonne: Martha Y. Hutson, George Henry Durrie (1820-1863), Santa Barbara, 1977, p. 217, no. 84. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGeorge Henry Durrie (1820-1863) was an American artist whose work is closely associated with the landscapes of New England. Born in New Haven, Connecticut, Durrie's early life was rooted in the region, and his connections to the state profoundly influenced his artistic career. Durrie received his initial training in art in New York, but his work was deeply inspired by the Connecticut countryside. He often painted winter scenes and rural landscapes that reflected his intimate knowledge of the local environment. His paintings frequently depict the farms, homes, and snow-covered vistas of New England, capturing the essence of the region's seasonal beauty with remarkable accuracy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eInscription on verso: \"View of East Rock, New Haven. Painted by George H. Durrie Esq. September 1849\"\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759325347884,"sku":null,"price":48000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Durrie_EastRock_NewHaven_CT.jpg?v=1724863343"},{"product_id":"elkins-henry-arthur-american-1847-1884-indian-encampment-estes-park-colorado-1867","title":"ELKINS, Henry Arthur (American, 1847-1884). Indian Encampment. Estes Park, Colorado. 1867.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eELKINS, Henry Arthur (American, 1847-1884) \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cem\u003eIndian Encampment. Estes Park, Colorado\u003c\/em\u003e \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned and dated lr: HA Elkins\/ 1867 \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e30\"x 45\" canvas; 40\" x 55\" framed\u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eProvenance: Vose Galleries, Boston \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFrom the moment of her discovery, America's history has been dominated by the push westward, mainly in the pursuit of economic prosperity. From the first explorers to later immigrants, all have headed west in search of riches and as a result much of American history and art is dominated by the exploration of her land and, in consequence, her indigenous people. In the search for prosperity America also found her very identity in the topography and magnificent of her landscape. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFascination with the landscape of the West continued throughout the nineteenth and into the early twentieth century. After the establishment of independence, artists began to respond to the need for a distinctive form of American painting and answer such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Exploration of America's interior had revealed a wondrous landscape marked by its variety of open plains and majestic mountains. The traditional European academies regarded history painting to be the highest art form, but in America topography was her history as exploration had guided the nation's course. It was here in the nation's landscape that her identity was to be found and was beautifully manifested in the paintings of Henry Arther Elkins. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHenry Arthur Elkins was born in Vershire, Vermont and in 1856 moved to Chicago where he taught himself to paint and began to receive recognition for his paintings. After the Civil War he was one of the first artists to cross the plains to the Rocky Mountains and he quickly became known for his paintings of Colorado and California. Elkins career was sadly cut short by his early death in 1884 at Georgetown, Colonel. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this view of Estes Park, Colorado, Elkins skillfully captures the majesty of the landscape. From the first inhabitants, the Ute, Shoshone and Comanche, to the early explorers in the mid-nineteenth century, hunters and ranchers, Estes Park has been regarded as the eastern gateway to the Rocky Mountains. The enormous scale of the mountains is emphasized by the diminutive scale of the native American encampment, seen to the left of the canvas. The subtly modulated pastel tones of the sky are reflected in the background landscape forming a harmonious and well-balanced composition, as well as adding an overwhelming sense of depth to the work. \u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759435284524,"sku":null,"price":27000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Elkins_IndianEncampment.EstesPark_Colorado.jpg?v=1724866087"},{"product_id":"elkins-henry-arthur-american-1847-1884-mountain-landscape-ca-1879","title":"ELKINS, Henry Arthur (American, 1847-1884). Mountain Landscape. Ca. 1879.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eELKINS, Henry Arthur (American, 1847-1884) \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eMountain Landscape\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned l.l.: \"HA. Elkins 79\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e12\" x 20 1\/4\" canvas, 17 1\/2\" x 25 1\/2\" framed\u003c\/span\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFrom the moment of her discovery, America's history has been dominated by the push westward, mainly in the pursuit of economic prosperity. From the first explorers to later immigrants, all have headed west in search of riches and as a result much of American history and art is dominated by the exploration of her land and, in consequence, her indigenous people. In the search for prosperity America also found her very identity in the topography and magnificent of her landscape. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFascination with the landscape of the West continued throughout the nineteenth and into the early twentieth century. After the establishment of independence, artists began to respond to the need for a distinctive form of American painting and answer such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Exploration of America's interior had revealed a wondrous landscape marked by its variety of open plains and majestic mountains. The traditional European academies regarded history painting to be the highest art form, but in America topography was her history as exploration had guided the nation's course. It was here in the nation's landscape that her identity was to be found and was beautifully manifested in the paintings of Henry Arther Elkins. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHenry Arthur Elkins was born in Vershire, Vermont and in 1856 moved to Chicago where he taught himself to paint and began to receive recognition for his paintings. After the Civil War he was one of the first artists to cross the plains to the Rocky Mountains and he quickly became known for his paintings of Colorado and California. Elkins career was sadly cut short by his early death in 1884 at Georgetown, Colonel. \u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759515598892,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Elkins_MountainLandscape.jpg?v=1724866321"},{"product_id":"elkins-henry-arthur-american-1847-1884-country-road-c-1861","title":"HASELTINE, William Stanley (American, 1835-1900). Country Road. c. 1861.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eHASELTINE, William Stanley (American, 1835-1900)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eCountry Road\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned and dated lower left: \"W.S. Haseltine, 1861\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e20\" x 32 1\/8\" canvas, 27\" x 39\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Phillips, New York: May 21, 2002 - $40,250. The 1800s were the century of landscape painting and the period in which America used the genre to find her identity. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe variety and magnificence of her scenery lent itself beautifully to this field of painting and artists were quick to respond. In the East, the painters of the Hudson River School established and fostered the development of American landscape painting and in the West, an artists colony was established at Taos. \u003c\/span\u003e\u003cspan\u003eAssociated with the former school is the painter, William Stanley Haseltine. Born into an artistic Philadelphia family in 1835, Haseltine studied there under the direction of the German artist Paul Weber from the age of 15. Weber, who was deeply steeped in the Romantic movement already apparent in Europe instilled the same sentiments in the work of his young protégé, as can be seenin the painting presently offered.After graduating from Harvard in 1854, William Haseltine followed Weber to Germany, where he studied in Düsseldorf. He became a core member of the American group of painters thathad been drawn to the city's academy to study. These included Albert Bierstadt, Sanford Giffordand Worthington Whittredge whom he accompanied on a sketching trip down the Rhine and intoItaly in 1857. Upon their return to America, these artists were to become key figures in the HudsonRiver School and Haseltine joined them in establishing a studio at the Tenth Street Studio Buildingin New York. His work quickly received acclaim and shortly after his return in 1858 he was elected to the National Academy of Design. In the following years, he painted his finest pictures including this painting Country Road. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Country Road\" is related to a 1860 drawing entitled \"New England Landscape\" and is most probably the product of a sketching trip Haseltine took to Lenox, Massachusetts, and to the Delaware River Valley in Northwestern New Jersey during the Summer and Fall of 1860. It is a spectacular example of his painting and reveals the hallmarks of this painter's work. Haseltine's German training endowed him with a precise sense of line and his style is marked by an extraordinary attention to detail. His remarkable sense of light brings his painting to life and reflects his training in the Luminist tradition. As can be seen in this particular work, his inland landscapes rely upon conscientious observations of nature to produce a crisp, true rendering of a scene. In 1866, William Stanley Haseltine returned to Europe, studying for a time with barbizon landscape painters in Paris before settling in Rome. Haseltine remained here until his death in 1900, making occasional trips to the United States. Like other expatriates, Haseltine produced Italian landscapes for the American market and in these late paintings, he replaced the cool palette of his NewEngland landscapes with the warmer hues of Italy. His service to the propagation of the American arts continues today at the American School of Architecture and the American Academy in Rome,both of which he founded. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759526740012,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Haseltine_CountryRoad.jpg?v=1724974548"},{"product_id":"lear-edward-british-1812-1888-the-tomb-of-cecilia-metella-on-the-via-appia-rome-ca-1842","title":"LEAR, Edward (British, 1812-1888). The Tomb of Cecilia Metella on the Via Appia, Rome. ca. 1842.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eEdward Lear (British, 1812-1888)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Tomb of Cecilia Metella on the Via Appia, Rome\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned \"1842\/Ed Lear\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e9\" x 17 1\/2\" canvas, 18 1\/2\" x 26 1\/4\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Painted for Captain and Miss Phipps Hornby of Shooters Hill, Kent; Miss Edith Jones, and thence by descent.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDuring the nineteenth century, artists and tourists alike flocked to Italy to observe the country's countless ruins and bask in its mythical golden sunlight. Edward Lear (1812-1888), author of books of nonsense, purveyor of limericks, and prolific creator of exquisite landscape art, captures both Italian wonders within these two marvelous paintings of the Roman environs. The first, The Tomb of Cecilia Metella on the Via Appia, Rome (1842), depicts the final resting place of the Roman Consul Creticus' daughter and member of the first Roman Triumvirate Crassus's son's wife. The tomb, whose occupant Cecilia Metella died in 50 B.C., is located on the Via Appia, the most important ancient Roman road connecting the Italian capital to Brindisi, Apulia in southeast Italy. The second work, The Tor di Schiavi on the Via Labicana, Rome (1842) illustrates the remains of an extensive villa built during the time of Diocleation and is situated on another chief Roman thoroughfare.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Lear suffered from lifelong health afflictions starting from the age of six, his ailments included frequent grand mal epileptic seizures, and bronchitis, asthma, and during later life, partial blindness.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was \u003c\/span\u003e\u003cspan\u003eIllustrations of the Family of Psittacidae, or Parrots\u003c\/span\u003e\u003cspan\u003e in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e In 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Ceylon. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his life Lear continued to paint seriously, even as his health steadily declined. He had a lifelong ambition to illustrate Tennyson’s poems and in the final years of his life a volume with a small number of illustrations was published.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear as Author\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1846, Lear published \u003c\/span\u003e\u003cspan\u003eA Book of Nonsense\u003c\/span\u003e\u003cspan\u003e, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published \u003c\/span\u003e\u003cspan\u003eNonsense Songs, Stories, Botany and Alphabets\u003c\/span\u003e\u003cspan\u003e, which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759563210796,"sku":null,"price":48000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Lear_TheTombofCeciliaMetellaontheViaAppia_Rome.jpg?v=1724867603"},{"product_id":"lear-edward-british-1812-1888-the-tor-di-schiavi-on-the-via-labicana-rome-ca-1842-copy","title":"LEAR, Edward (British, 1812-1888). The Tor di Schiavi on the Via Labicana, Rome. ca. 1842.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLEAR, Edward (British, 1812-1888)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Tor di Schiavi on the Via Labicana, Rome\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned \"1842\/Ed Lear\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e9\" x 17 1\/2\" canvas, 18 1\/2\" x 26 1\/4\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Painted for Captain and Miss Phipps Hornby of Shooters Hill, Kent; Miss Edith Jones, and thence by descent.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDuring the nineteenth century, artists and tourists alike flocked to Italy to observe the country's countless ruins and bask in its mythical golden sunlight. Edward Lear (1812-1888), author of books of nonsense, purveyor of limericks, and prolific creator of exquisite landscape art, captures both Italian wonders within these two marvelous paintings of the Roman environs. The first, The Tomb of Cecilia Metella on the Via Appia, Rome (1842), depicts the final resting place of the Roman Consul Creticus' daughter and member of the first Roman Triumvirate Crassus's son's wife. The tomb, whose occupant Cecilia Metella died in 50 B.C., is located on the Via Appia, the most important ancient Roman road connecting the Italian capital to Brindisi, Apulia in southeast Italy. The second work, The Tor di Schiavi on the Via Labicana, Rome (1842) illustrates the remains of an extensive villa built during the time of Diocleation and is situated on another chief Roman thoroughfare.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Lear suffered from lifelong health afflictions starting from the age of six, his ailments included frequent grand mal epileptic seizures, and bronchitis, asthma, and during later life, partial blindness.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was \u003c\/span\u003e\u003cspan\u003eIllustrations of the Family of Psittacidae, or Parrots\u003c\/span\u003e\u003cspan\u003e in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e In 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Ceylon. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his life Lear continued to paint seriously, even as his health steadily declined. He had a lifelong ambition to illustrate Tennyson’s poems and in the final years of his life a volume with a small number of illustrations was published.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear as Author\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1846, Lear published \u003c\/span\u003e\u003cspan\u003eA Book of Nonsense\u003c\/span\u003e\u003cspan\u003e, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published \u003c\/span\u003e\u003cspan\u003eNonsense Songs, Stories, Botany and Alphabets\u003c\/span\u003e\u003cspan\u003e, which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759577006124,"sku":null,"price":48000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Lear_TheTordiSchiaviontheViaLabicana_Rome.jpg?v=1724867718"},{"product_id":"smeall-william-scottish-1790-1883-pastoral-landscape","title":"SMEALL, William (Scottish, 1790-1883). Pastoral Landscape.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSMEALL, William (Scottish, 1790-1883)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e[Scottish Pastoral Landscape]\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOil on panel\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e10 5\/8\" x 15 5\/8\" visible; 17 1\/4\"x 22 1\/4\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759628681260,"sku":null,"price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Smeall_ScottishPastoralLandscape.jpg?v=1724868885"},{"product_id":"sebron-hippolyte-victor-valentin-french-1801-1879-the-niagara-falls-in-winter","title":"SEBRON, Hippolyte Victor Valentin (French, 1801-1879). The Niagara Falls in Winter.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSEBRON, Hippolyte Victor Valentin (French, 1801-1879)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Niagara Falls in Winter\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned lower right: 'He Sebron'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e29 ¼\" x 42 ½\" canvas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Christie's London, December 2017 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA pupil of Louis Daguerre, the diorama, architecture and view painter Hippolyte Sebron was in America between 1849 and 1855, visiting New York and Louisiana. Another winter view of Niagara by Sebron, with Native Americans hunting ('Chutes du Niagara en hiver', 1857) is in the Musée des Beaux-Arts, Rouen (880.2.2), and his 'Table Rock, Niagara' is in the Sigmund Samuel Gallery of Canada in the Royal Ontario Museum, Toronto. Two fine views of Niagara Falls were published as a pair of large lithographs by Goupil, Paris in 1852.\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759651225644,"sku":null,"price":32000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Sebron_TheNiagaraFallsinWinter.jpg?v=1724869468"},{"product_id":"whitley-thomas-w-fl-1835-1865-view-of-new-york-city-from-hoboken-new-jersey","title":"WHITLEY, Thomas W. (fl. 1835 - 1865). View of New York City from Hoboken, New Jersey.","description":"\u003cp\u003e\u003cspan\u003eWHITLEY, Thomas W. (fl. 1835 - 1865)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eView of New York City from Hoboken, New Jersey\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eOil on paper laid on panel \u003c\/span\u003e\u003cspan\u003e\u003cbr data-mce-fragment=\"1\"\u003eSigned and dated lower left: \"WHITLEY 65\"\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan\u003e13 1\/2\" x 26 1\/4\" sheet, 32 1\/2\" x 36\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis evocative nineteenth-century landscape painting of Manhattan from Hoboken, New Jersey was painted by Thomas W. Whitley, who emigrated from his native England to the United States in the early 1830s. Initially settling in Patterson, New Jersey, he later relocated to New York City where the explosive growth and bustling commerce inspired some of his most notable works. In this painting, the artist rendered the southern tip of the prospering city in the composition’s background (beyond the calm waters of the Hudson River and the channel), with Manhattan’s steeples visibly rising into the dusky, pink and blue sky. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhitley rapidly attracted attention for his nuanced and lovely work after he arrived in the United States, exhibiting at the National Academy of Design from 1835 to 1863, and at the Apollo Association and Art Union in 1841 and from 1848 to 1849 respectively. He garnered the greatest praise from art critics for his atmospheric landscapes, which brilliantly captured the fleeting effects of light and nature. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis sparkling and vibrantly colored painting, produced during the final year of the Civil War, offers viewers a glimpse of Manhattan as it appeared in the early nineteenth century. Couples and families stroll by the tranquil water’s edge, admiring the view of the city in the distance which rises beyond the body of water dotted with sailing vessels. Expanses of verdant foliage and lounging lambs also pepper the bucolic foreground scene of the New Jersey coast. The composition’s filtered light effect is a hallmark of Whitley’s style, here suggesting late afternoon. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis work is a foremost example of Whitley’s talent at capturing atmospheric effects and of his fine painting style. It also affords audiences unique views of pre-industrial Hoboken, New Jersey and a rapidly developing New York City. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759959834668,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Whitley_ViewofNewYorkCityfromHoboken_NewJersey.jpg?v=1724875097"},{"product_id":"payton-edward-william-british-1859-1944-lake-rotorua-hot-lake-country-new-zealand","title":"PAYTON, Edward William (British, 1859 - 1944). Lake Rotorua, Hot Lake Country, New Zealand.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePAYTON, Edward William (British,1859 - 1944)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eLake Rotorua, Hot Lake Country, New Zealand\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWatercolor on paper in original period frame\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSigned lower right: “E. W. P.”\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e9 x 21\" sheet, 16\" x 28 2\/8\" framed\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: with a manuscript label “, Hot Lake Country, New Zealand” possibly in Payton’s hand on the verso of the frame, underneath which is inscribed in pencil “Duchess of Buckinham”; also the original printed gallery label of Thomas Wilson. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA fine watercolour produced by Payton on his tour of New Zealand in 1883-1886. Lake Rotorua has long been considered a sight of natural beauty and revered for its therapeutic waters. It is but one of eleven natural lakes, which sparkle across the landscape and for over 160 years, has been famed as a spa destination. Maori legend explains that the region was created by the fire demons Te Pupu and Te Hoata who were summoned by the sisters of Ngatotoirangi, the first to discover New Zealand, in order to save their brother's life. The fire demons tunneled through the sea and land to find him and every time they lifted their heads to orientate themselves a volcano was created. Indeed, the lakes are essentially volcanic, formed by the eruption of Mount Tarawera, and are located on New Zealand's North island. In this enchanting watercolor, Edward William Payton captures the expansiveness of Lake Rotorua and the vibrant aqua color of its waters. A Maori village, probably the beginnings of the town of Rotorua, is depicted in the foreground and small dwellings are pictured dotted along the water's edge. The people of Te Arawa were the guardians of the thermal region of New Zealand and it is most probably them that inhabit the village.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759995125804,"sku":null,"price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Payton_LakeRotorua_HotLakeCountry_NewZealand.jpg?v=1724875989"},{"product_id":"circle-of-john-constable-british-1776-1837-barges-on-a-river","title":"Circle of John CONSTABLE (British, 1776-1837). Barges on a River.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCONSTABLE, John (British, 1776-1837), circle of\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eBarges on a river\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eca. 1830\u003c\/span\u003e\u003cspan\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e44\" x 61 1\/2\" visible canvas; 53 1\/2\" x 70\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe composition is loosely based on Constable's View on the Stour near Dedham of 1822, in the Huntington Library, Art Collection, San Marino, CA. An attribution to Frederick W. Watts (1800-1870), whose style was strongly influenced by Constable's work, has been suggested for this painting. He was an exhibitor at the Royal Academy from 1821-1860 and at the British Institution from 1823-1862.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43837581361196,"sku":null,"price":45000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/ConstableRA_Barges.jpg?v=1727715663"},{"product_id":"strang-ray-c-1893-1957-attack-on-the-post","title":"STRANG, Ray C. (1893-1957). Attack on the Post.","description":"\u003cp style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003eSTRANG, Ray C. (American, 1893-1957)\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAttack on the Post\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ec. 1920s\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e32\" x 36\" canvas, 44\" x 39 1\/2\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRay C. Strang (1893-1957) was born in Illinois and developed an interest in art at an early age. He pursued formal art education at the Art Institute of Chicago, where he honed his skills in painting and drawing. His training was interrupted by his service in WWI during which he sustained injuries. Following his service, Strang maintained a long and successful career as an illustrator in New York for various magazines and book publishers. He eventually moved out west and settled in Arizona, where he developed an accomplished oeuvre of \"Old West\" paintings likened to the skill of Frederic Remington.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\"Attack on the Post\" is a notable example of Strang’s engagement with the nostalgic west. The painting depicts a dramatic scene of conflict, likely inspired by historical events or military engagements. Here soldiers are dressed in early field uniforms from the US Army, which evolved from uniforms worn in WWI - a blue wool shirt and wool green pants often referred to as \"olive drab.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003eThe early 20th century was a time of significant change, including the aftermath of the Spanish-American War and the catastrophic events of the first world war. The themes of conflict and battle in Western scenes would have resonated with contemporary audiences who were grappling with their own experiences of conflict and change. \u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\"Attack on the Post\" stands out as an example of Strang's skill in depicting conflict and resistance, showcasing his talent for creating compelling, narrative-driven art.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43837587226668,"sku":null,"price":32000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Strang_AttackonthePost_ac8ad410-149b-4ddf-82b4-d7857ccfe323.jpg?v=1727717732"},{"product_id":"hudson-river-school-great-george-schoharie-county-ca-1860","title":"Hudson River School. Great George Schoharie County. ca. 1860.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eHudson River School\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eGreat George Schoharie County\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eca.1860\u003cbr data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e34 1\/4\" x 50 1\/8\" canvas; 41 3\/4\"x 58\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe town of Schoharie was established in the 18th century, formed as a district in 1772 and a town in 1788. The name \"Schoharie\" came from a Mohawk word meaning \"floating driftwood\" - before European colonization, the Mohawk Nation occupied much of upstate and western New York. The southern part of Schoharie County is situated within the Catskill Mountains; the Schoharie Creek, a tributary of the Mohawk River, flows in the middle of the county, and hills and valleys grace the northern part of the county.\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43837644800044,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/HudsonRiverSchool_GreatGeorgeSchoharieCounty.jpg?v=1727719304"},{"product_id":"carl-friedrich-philipp-von-martius-1794-1868-and-johann-moritz-rugendas-1802-1858-a-brazilian-landscape-with-indians-encamped-under-palms-by-a-river-a-snake-and-crocodile-in-the-foreground","title":"CARL FRIEDRICH PHILIPP VON MARTIUS (1794-1868) AND JOHANN MORITZ RUGENDAS (1802-1858) A Brazilian landscape with Indians encamped under palms by a river, a snake and crocodile in the foreground","description":"\u003cp data-start=\"89\" data-end=\"483\" class=\"\"\u003e\u003cstrong data-start=\"89\" data-end=\"178\"\u003eCARL FRIEDRICH PHILIPP VON MARTIUS (1794–1868) AND JOHANN MORITZ RUGENDAS (1802–1858)\u003c\/strong\u003e\u003cbr data-start=\"178\" data-end=\"181\"\u003e\u003cem data-start=\"181\" data-end=\"290\"\u003eA Brazilian landscape with Indians encamped under palms by a river, a snake and crocodile in the foreground\u003c\/em\u003e\u003cbr data-start=\"290\" data-end=\"293\"\u003ePencil, ink, and watercolor on paper\u003cbr data-start=\"329\" data-end=\"332\"\u003eInscribed along lower margin: \u003cem data-start=\"362\" data-end=\"415\" data-is-only-node=\"\"\u003eManicaria Saccifera \/ Desmoncus orthacanthos Tab:98\u003c\/em\u003e\u003cbr data-start=\"415\" data-end=\"418\"\u003ePaper size: 18 1\/2 x 14 1\/2 in.; Framed size: 28 5\/8 x 24 1\/8 in.\u003c\/p\u003e\n\u003cp data-start=\"485\" data-end=\"691\" class=\"\"\u003e\u003cstrong data-start=\"485\" data-end=\"500\"\u003eLiterature:\u003c\/strong\u003e\u003cbr data-start=\"500\" data-end=\"503\"\u003eC. F. P. von Martius, \u003cem data-start=\"525\" data-end=\"554\"\u003eHistoria Naturalis Palmarum\u003c\/em\u003e, II (\u003cem data-start=\"560\" data-end=\"592\"\u003eDe Brasiliae Palmis Singulatim\u003c\/em\u003e)\u003cbr data-start=\"593\" data-end=\"596\"\u003e(Leipzig, 1823–1850), pp. 87, 140–141, pl. 98 (\u003cem data-start=\"643\" data-end=\"689\"\u003eManicaria Saccifera \/ Desmoncus orthacanthos\u003c\/em\u003e).\u003c\/p\u003e\n\u003cp data-start=\"707\" data-end=\"1347\" class=\"\"\u003eThis remarkable watercolor is a study for plate 98 in volume two of Martius’s exhaustive botanical work, \u003cem data-start=\"812\" data-end=\"841\"\u003eHistoria Naturalis Palmarum\u003c\/em\u003e. The final lithograph credits the lithographer, C. Hess (\u003cem data-start=\"899\" data-end=\"912\"\u003ein lap. del\u003c\/em\u003e), working from the author’s model (\u003cem data-start=\"948\" data-end=\"970\"\u003eMartius palm ad nat.\u003c\/em\u003e). While the published plate omits the dramatic foreground elements—a snake and a crocodile—this original composition includes them, suggesting a narrative and ecological context. Though Martius is credited with the botanical model, the present watercolor may have been elaborated by Johann Moritz Rugendas for publication, blending scientific observation with artistic vision.\u003c\/p\u003e\n\u003cp data-start=\"59\" data-end=\"150\" class=\"\"\u003e\u003cstrong data-start=\"59\" data-end=\"109\"\u003eCARL FRIEDRICH PHILIPP VON MARTIUS (1794–1868)\u003c\/strong\u003e\u003cbr data-start=\"109\" data-end=\"112\"\u003e\u003cstrong data-start=\"112\" data-end=\"150\"\u003eJOHANN MORITZ RUGENDAS (1802–1858)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"152\" data-end=\"395\" class=\"\"\u003eMartius’s \u003cem data-start=\"162\" data-end=\"191\"\u003eHistoria Naturalis Palmarum\u003c\/em\u003e was based on his travels in Brazil with Johann Baptist von Spix from 1818 to 1820. The work expanded in its third volume (\u003cem data-start=\"314\" data-end=\"337\"\u003eExpositio Systematica\u003c\/em\u003e) to include all known palm species worldwide at the time.\u003c\/p\u003e\n\u003cp data-start=\"397\" data-end=\"785\" class=\"\"\u003eThe majority of the drawings for Volume II, which focused on Brazilian palms, were credited to Martius. However, a few landscape scenes—representing areas Martius had not personally visited—were adapted from works by Frans Post and Johann Moritz Rugendas. As in the present watercolor, Rugendas likely developed many of Martius’s field sketches into finished compositions for publication.\u003c\/p\u003e\n\u003cp data-start=\"787\" data-end=\"1228\" class=\"\"\u003eIn 1817, King Maximilian Joseph of Bavaria commissioned Martius, a botanist, and Spix, a zoologist, to join the entourage of Archduchess Leopoldina to Brazil. Over the next three years, they conducted extensive investigations into the region’s natural history and Indigenous cultures. Their journey took them from Rio de Janeiro and São Paulo to Montes Claros and the Upper São Francisco, then across to Salvador de Bahia and onward to Pará.\u003c\/p\u003e\n\u003cp data-start=\"1230\" data-end=\"1671\" class=\"\"\u003eIn August 1819, they became the first non-Portuguese Europeans granted permission to explore the Brazilian Amazon. After ascending the river, the pair separated: Martius journeyed up the Japurá River for two months, reaching areas near the modern Colombian border. They reunited at Barra (now Manaus) in March 1820 and returned to Belém, departing for Europe with an enormous collection of natural history specimens and Indigenous artifacts.\u003c\/p\u003e\n\u003cp data-start=\"1673\" data-end=\"2071\" class=\"\"\u003eTheir expedition was documented in the co-authored \u003cem data-start=\"1724\" data-end=\"1744\"\u003eReise in Brasilien\u003c\/em\u003e (Munich, 1823–1832), published in three volumes with an atlas. It also inspired Martius’s two monumental natural history projects: \u003cem data-start=\"1876\" data-end=\"1905\"\u003eHistoria Naturalis Palmarum\u003c\/em\u003e and the vast \u003cem data-start=\"1919\" data-end=\"1939\"\u003eFlora Brasiliensis\u003c\/em\u003e. The latter, begun in 1840, continued until 1906—only one-third of which had been published by the time of Martius’s death in 1868.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44272406822956,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/martiusandrugendas_ABrazilianlandscapewithIndians.jpg?v=1744751165"},{"product_id":"william-wal-1792-1864-engraved-by-john-hill-1770-1850-the-hudson-river-portfolio-copy","title":"NICOLINO CALYO (1799-1884). View of New York City as It Appeared on the Eve of the Fire, 1835.","description":"\u003cp\u003eNICOLINO CALYO (1799-1884)\u003cbr\u003e\u003cem\u003eView of the City of New York as appeared on the evening of the Fire 16th Dec.r 1835, from the Mill at Brooklyn\u003c\/em\u003e\u003cbr\u003eGouache on paper\u003cbr\u003eSigned at I.r.: \"From N. Calyo. 402. Broadway N. York\"\u003cbr\u003e20” x 27 1⁄2” visible, 28 3⁄8” x 36 1⁄2” framed\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOn the eve of December 16, 1835, a warehouse at 25 Merchant Street (now Beaver Street) in Lower Manhattan, New York City burst into flames. The weather conditions were the primary cause for the devestating wreckage to ensue. Frigid temperatures had frozen many of the city’s water sources, severely hampering firefighters’ ability to control the flames. Strong winds spread the fire rapidly and engulfed wooden buildings in the densely packed commercial district. Ultimately more than 600 structures were destroyed and resulted in around $20 million in damages—a staggering sum at the time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis historic event, known now as the Great Fire of 1835, was cemented in public memory in great part due to the Italian painter Nicolino Calyo. Born in Naples in 1799, Calyo studied at the Academy of Fine Arts in Naples. After participating in the 1820 rebellion against the Bourbon king of Naples, Ferdinand IV, he was forced to flee the territory, and briefly settled in Malta from 1829 to around 1832. He crossed the atlantic and eventually made his way to Baltimore by 1834. On June 16, 1835, the Baltimore Republican reported that Calyo was on his way north to Philadelphia and New York to paint views of those cities.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCalyo arrived in New York just in time to witness the great fire of December 1835, which destroyed much of the downtown business district. His large gouaches of the fire, reminiscent of Neapolitan views of the eruption of Mount Vesuvius, established Calyo’s reputation in the city. Two of his paintings were reproduced in aquatint by William James Bennett which led to the canonical status of Calyo’s depictions of the fire. Caylo’s remained deeply connected to the city that brought him fame and settled there for the rest of his life, with the exception of possible trips to Spain.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"Apple-converted-space\"\u003eOne of at least 22 known depictions of the great fire completed by Calyo. Other examples found at the Metropolitan Museum of Art (54.90.174), Museum City of New York (60.119.8), MFA Houston (B.2013.3), New York Historical Society (1926.78) (1980.53) (1980.54)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn addition to his depictions of the Great Fire, his oeuvre consists of views of American cities, harbors, and natural wonders, as well as a series of images of local street vendors entitled New York Street Cries, Chanters and Views (1840- 44). He also created a diorama of the Mexican War in 1847 and a panorama of the Connecticut River in 1848.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44832339034156,"sku":null,"price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Calyo_ViewofNewYorkasappearedontheeveningofthefire_8c26a70a-06c9-464b-9f68-445ebfeb9d82.jpg?v=1759432457"},{"product_id":"luigi-kasimir-1881-1962-view-of-new-york-from-governor-s-island-copy","title":"RUDOLF DANIEL LUDWIG CRONAU (1855 - 1939) Lower Manhattan Island in 1894","description":"\u003cp\u003eRUDOLF DANIEL LUDWIG CRONAU (1855 - 1939)\u003cbr\u003e\u003cem\u003eLower Manhattan Island in 1894\u003c\/em\u003e\u003cbr\u003eWatercolor and gouache on paper\u003cbr\u003eSigned lower left: “R. Cronau”\u003cbr\u003eca. 1908-1913\u003cbr\u003ePaper size: 10 3\/8 x 13 3\/8 in.\u003cbr\u003eMat\/Mount size: 14 1\/8 x 19 1⁄4 in.\u003cbr\u003e\u003cbr\u003eTHE EARLY YEARS OF THE SKYLINE\u003c\/p\u003e\n\u003cp\u003eTo understand New York in the late 19th century, one must look to the sky, where the city’s first skyscrapers began reshaping its identity and skyline. Faced with limited land and a booming population, architects and developers turned to new technologies like steel-frame construction and the safety elevator to build upward rather than outward. These innovations enabled the creation of towering structures such as the New York World Building (1890) and the Park Row Building (1899), which symbolized progress, ambition, and economic growth. This era marked the beginning of New York City’s transformation into a vertical metropolis, setting the foundation for its future as a global center of commerce and architecture.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCronau's view here is shown taken from the vantage point in New Jersey,\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003elooking east out over the Hudson River and towards Manhattan. Rendered in Cronau's typical grisaille style, the skyline of lower Manhattan emerges from rolling clouds. The main identifiable buildings are, from left to right, City Hall (completed 1812), Park Row (completed 1899), Hudson Terminal (completed 1908), Singer Building (completed 1908), and the Bankers Trust Company (completed 1912).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eConsidering the skyline pictured, the title on the mat \"Lower Manhattan Island in 1894\" sows some confusion. Foremost, both the Singer Building and the Bankers Trust Company did not start construction until after the noted year.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eAdding to the complication is the anomaly of the Woolworth building’s absence. Construction started for the Woolworth Building on November 4, 1910 and was completed in 1912, overlapping with the Bankers Trust Company, but only the latter building is pictured fully erected.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOn a special assignment for a German newspaper, Die Gartenlaube, artist Rudolph Cronau first traveled to America in 1881. There, he documented its cities, frontier lands, and the culture and customs of the Native American populations for curious European audiences fascinated by the American frontier. Upon his return to Germany in 1882, Cronau published 50 collotypes in a book about his American trip entitled \u003ci\u003eWunderland to Wunderland\u003c\/i\u003e which was widely circulated. His illustrations are noted for their detail and precise craftsmanship in the German romantic style, characteristic of the training he received at the Royal Academy in Düsseldorf.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1894, Cronau returned to America as a foreign correspondent and was based in Washington, D.C.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eHowever, due to a falling out with his employers, he moved north to New York where he found work as a free-lance writer.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eCronau eventually settled in New York, becoming an American citizen in 1900.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44832363708460,"sku":null,"price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Cronau_Lower_Manhattan_Island.jpg?v=1759437537"},{"product_id":"rudolf-daniel-ludwig-cronau-1855-1939-lower-manhattan-island-in-1894-copy","title":"REGINALD MARSH (1898-1954) New York Skyline","description":"\u003cp\u003eREGINALD MARSH (1898-1954)\u003cbr\u003e\u003cem\u003eNew York Skyline\u003c\/em\u003e\u003cbr\u003eWatercolor and pencil on paper\u003cbr\u003ePaper size: 14” x 20”\u003cbr\u003eSigned and dated, lower right:\u003cbr\u003eReginald Marsh Aug 1, 1937”; stamped lower right: “Marsh Collection”\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eReginald Marsh is the most celebrated of the “Fourteenth Street School,” a group of dedicated urban realists who comprised the second generation of painters devoted to depicting the everyday life of the populace of New York City. In that, they succeeded the group later to become known as “The Ashcan School,” who developed around their leader, Robert Henri, and achieved fame especially with the exhibition of “The Eight,” held at New York’s Macbeth Galleries in February, 1908. The later painters tended more to emphasize rather individuals than urban scenes; along with Marsh, this group would include Isabel Bishop, the brothers Raphael and Moses Soyer, Kenneth Hayes Miller and others. Marsh’s fame was established beginning in the late 1920s and in 1943 he was made a full Academician of the National Academy of Design in New York. Marsh taught at the Art Students’ League from 1935 until his death in Dorset, Vermont in 1934.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMarsh was born in Paris to American parents; his father, Fred Dana Marsh, was a well-known painter and muralist also especially devoted to the urban scene; affluent, he more or less stopped painting in early middle age. The younger Marsh grew up in an artistic enclave in Nutley, New Jersey, where the family settled In 1900. After graduating from Yale University in 1920, Marsh began his career as a free-lance illustrator in New York City for the Daily News, Vanity Fair, the New Yorker, and other publications, while studying at the Art Students’ League. Much influenced by John Sloan and George Luks among “The Eight,” he also studied with Kenneth Hayes Miller, probably the most important of his teachers, who made a specialty of painting women shoppers and shopkeepers. Marsh went to Paris in 1925-26 for further instruction in order to achieve his ambition to render contemporary art in the style of the Old Masters. About 1929, Marsh began to use tempera rather than oil paint, and his search for older traditions is especially evident in his use of glazing. He was also an excellent watercolorist, and created vivid, large brush and ink drawings. Marsh chose as his most familiar subjects everyday figures on the street, in subways, bums, vaudeville and burlesque houses, scenes at Coney Island, and amusement parks, rendering these gritty themes in the procedural traditions of the Old Masters. A great admirer of Rubens and Delacroix, his figures are rendered broadly, even extravagantly in a baroque manner, with great exuberance and rowdiness. Though much of his visual material reflected the Depression era, Marsh remained aloof from political entanglements.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs early as 1927, Marsh undertook to add a very different theme to his repertoire-the shoreline of Manhattan Island, always devoid of figures. He had always had a strong interest in the New York waterfront, and created many panoramic views of Manhattan in oil, watercolor, tempera, as well as a group of eight etchings. The watercolor, New York Skyline, is one of the finest of these. He painted this subject over and over again with variations, though they almost always appear to be views from across the East River from Brooklyn or Queens, looking down from Midtown at the right, toward the Battery. Only a few appear to be painted from across the Hudson River Here, The Chrysler Building is the tall structure at the right, and the Empire State Building is the tallest structure near center. But one should probably not search too far for topographical accuracy. This series of paintings differ from one to the other, sometimes quite similar, sometimes differing widely, yet depicting some of the same structures. Here, for instance, the large structure on the near right would seem to suggest one of the forts located in Brooklyn, lower Manhattan, or even Governors Island. Other structures would seem to be missing here-such as the Woolworth Building; or omitted is the landmass of Roosevelt Island. Marsh was celebrating the city, not creating topographical views for atlases or tourists. He was enjoying the artist’s prerogative of choosing, moving, and creating the visual content of his work, all in celebration of the modern city.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlternative versions might include the Brooklyn Bridge at the left, sometimes introducing a panorama of New York, at other times the primary feature, with the skyline as a backdrop. In New York Skyline here, a small tug appears at the very far left; in other versions tugs are more prominently placed, and during this period Marsh also painted close-up views of the tugs which obviously held interest for him. The apogee of his interest in tugs along the New York waterfront was reached in the murals he painted for New York Customs House in 1937, one of two WPA mural projects he undertook; the others were for the Post Office Building in Washington, D. C. In the New York murals, the tugboats loom large along with longshoremen, dock woks, ocean liners and cargo vessels. One might even suggest that the tug was, for Marsh, the equivalent of the everyday folk of his interior views of the city; just as he shunned the upper classes, so he generally omitted luxury liners. Nevertheless, these pictures celebrate New York City, perhaps purposely in the face of economic hardship, for the river streams smoothly, while the city’s tall buildings reach up into a placid blue sky. On his return from, Europe in 1926, Marsh wrote: “I felt fortunate indeed to be a citizen of New York, the greatest and most magnificent of all cities in a new and vital country whose history had scarcely been recorded in art...New York City was in a period of rapid growth, its skyscrapers thrilling by growing higher and higher. There was a wonderful waterfront with tugs and ships of all kinds…” New York Skyline is testimonial to Marsh’s celebratory sentiments and convictions.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44832452050988,"sku":null,"price":36000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/ReginaldMarsh-NewYorkSkylinewithFrame.jpg?v=1759438040"},{"product_id":"reginald-marsh-1898-1954-new-york-skyline-copy","title":"ANGELO MAGNANTI (1879-1969)  Pennsylvania Station New York. 1946; HAWLEY HUGHSON (1850-1936), after Pennsylvania Station, New York City Seventh Avenue and Thirty-Second Street. 1910","description":"\u003cp\u003eANGELO MAGNANTI (1879-1969)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePennsylvania Station New York\u003c\/em\u003e\u003cbr\u003eGraphite, ink and gouache on artist’s board\u003cbr\u003eNew York: for McKim, Mead \u0026amp; White; ca. 1946\u003cbr\u003e63” x 32” visible; 73 1⁄2” x 42 1⁄2” framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHAWLEY HUGHSON (1850-1936), after\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePennsylvania Station, New York City Seventh Avenue and Thirty-Second Street\u003c\/em\u003e\u003cbr\u003eChromolithograph on card\u003cbr\u003ePhiladelphia: Ketterlinus for the Pennsylvania Railroad Co., 1910\u003cbr\u003e33 1⁄4” x 57 1⁄2” sheet, 39 1⁄2” x 61 3⁄4” framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn 1910, the New York terminus of the Pennsylvania Railroad Company opened on two full blocks between Seventh and Eighth Avenues and West Thirty-First and Thirty-Third Streets. Charles Follen McKim was the lead architect at McKim Mead and White, the firm responsible for some of America’s great buildings: the East and West Wings of the White House, Symphony Hall in Boston, the major clubs of New York (Century, Metropolitan, University, Harvard, Harmonie, Racquet \u0026amp; Tennis). The original Penn Station was considered the greatest of them all.\u003c\/p\u003e\n\u003cp\u003eHawley Hughson (1850–1936) was born in London but became one of the preeminent chroniclers of American buildings. Although romanticized, his building portraits and panoramas are among the best documents of a period of rapid change that shaped the cities of the United States. His depiction of the brand new Penn Station is among his most recognizable, and documents much of midtown Manhattan (the Plaza Hotel at 59th and Fifth is depicted in part at the left-hand side, the Hotel Martha Washington (now the Redbury on 29th St.) is at the right), as well as Queens and Brooklyn beyond. The skyscrapers were still to come; the tallest building in New York in 1910 was the Metropolitan Life Insurance Building. The station’s flow of passengers increased and hit its zenith in 1945-1946, precisely when MMW commissioned the “decorator” Angelo Magnanti (1879–1969) to depict their renovation of the station to accommodate the surge of pedestrian traffic. This would eventually be installed as a mural in the station master’s office (other surviving Magnanti murals are at the Dollar Savings Bank, the Frick Art Reference Library and the conference room of the U.S. Supreme Court; he also designed mosaic ceiling at the Williamsburg Savings Bank). The New-York Historical Society in its MMW archives holds a less-developed sketch (2”:1’ scale) executed in color with gilt, presumably as a proposal to the firm, signed and dated “A. Magnanti\/1946.” The\u003cbr\u003epresent work is drafted quite precisely, with washes of gouache and ink in a quasi-grisaille depiction of a sectional view of the station. At the lower left is a view of lower Manhattan from the South, rendered in near photographic accuracy.\u003c\/p\u003e\n\u003cp\u003eThe combination of the age of air travel and the 1956 Federal Aid Highway Act signed by Eisenhower ended the dominance of railroads. The mural stood in the station-master’s office until the destruction of the station in 1963, widely considered one of the great architectural travesties, and the proximate cause of modern historical preservation. The new Penn Station is generally reviled; only in 2021 was the sin somewhat redeemed with the opening of the Moynihan Train Hall in the James A. Farley Building across Eighth Ave. — also, luckily, designed by McKim, Mead \u0026amp; White.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44832453001260,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Magnanti_PennStation.jpg?v=1759438375"},{"product_id":"american-school-19th-century-view-of-new-york-taken-from-brooklyn-on-the-hudson-fire-december-1835","title":"AMERICAN SCHOOL (19TH CENTURY). View of New York taken from Brooklyn on the Hudson (?) Fire...December..1835","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eAMERICAN SCHOOL (19TH CENTURY)\u003cbr\u003e\u003cem\u003eView of New York taken from Brooklyn on the Hudson (?) Fire...December..1835\u003c\/em\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eWatercolor and pastel on paper\u003cbr\u003eInscribed at lower edge: \"V\u003cmeta charset=\"utf-8\"\u003eiew of New York taken from Brooklyn on the Hudson (?) Fire...December..1835\"\u003cbr\u003e19 3\/4\" x 29\" visible, 22 1\/4\" x 31 1\/4\" framed\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis daytime view of New York taken from Brooklyn following the great fire is another popular interpretation of the tremendous event. Examples by Calyo of this diurnal scene can be found at the Metropolitan Museum of Art and New York Historical City.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRelative to Calyo's paintings, the present work concedes a better view of the Brooklyn Heights which sits just above the bluff on the near right. The yellow and white buildings are reminiscent of the Four Chimneys House in Brooklyn where George Washington held his headquarterers during the Battle of Long Island.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44842576314412,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/AmericanSchool_ViewofNewYorktakenfromBrooklynontheHudson_Fire...December..1835.jpg?v=1759960009"},{"product_id":"wilhelm-heine-1827-1885-encampment-of-commodore-perry-s-expedition-japan-1853-1854","title":"Wilhelm Heine (1827–1885). Encampment of Commodore Perry’s Expedition, Japan. 1853–1854","description":"\u003cp\u003e\u003cstrong\u003e(PETER BERNARD) WILLIAM HEINE (German\/American, 1827–1885)\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003eCommodore Perry Visits Japan. Perry's Expedition at Hakodate, 1856.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSigned lower left: “W. Heine 1856”\u003cbr\u003e\n\u003cstrong\u003eOil on canvas\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003e42 1\/4 x 59 3\/4 inches\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003chr style=\"margin:0\"\u003e\n\u003ch3\u003e\u003cstrong\u003ePROVENANCE\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul style=\"list-style-position: outside;\"\u003e\n\u003cli\u003e\u003cp\u003eJunius Spencer Morgan II (nephew of John Pierpont Morgan, Sr.) \u0026amp; Josephine Perry Morgan (great-niece of Commodore Perry), Princeton, NJ\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003eThence by descent to Alexander Perry Morgan, New York\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003eThence by descent, Private collection, New York\u003c\/p\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr style=\"margin:0\"\u003e\n\n\u003ch3\u003e\u003cstrong\u003eINCREDIBLY SCARCE OIL PAINTING BY THE OFFICIAL ARTIST TO THE PERRY EXPEDITION — ONE OF THE FIRST OBTAINABLE IMAGES OF DIPLOMATIC EXCHANGE BETWEEN THE U.S. \u0026amp; JAPAN.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAn exceptionally rare painting by William Heine, the official artist for Commodore Matthew C. Perry's pivotal expedition to Japan (1853–1854) which re-opened trade between Japan and the West after 220 years.\u003c\/p\u003e\n\u003cp\u003eFor centuries, the strict Japanese isolationist policy known as \u003cem\u003esakoku\u003c\/em\u003e presented a significant barrier to trade and the whaling industry. Earnest yet unsuccessful attempts by the Americans to dismantle the separatist system can be traced back to 1790, with the most prominent being the Morrison Incident (1842) and Commander Biddle’s expedition (1846). However, with the American victory over Mexico in 1848, the call for hospitable exchange with Japan was more urgent than ever before. The United States now commanded coastlines along the Pacific and local ports, such as San Francisco, were rapidly developing. This momentum was further encouraged by advancements to the steam engine which cut travel time between California and Japan down to a mere 18 days.\u003c\/p\u003e\n\u003cp\u003eWith this most pressing need, President Filmore organized yet another expedition to be sent out across the Pacific in 1852. Under the recommendation of Captain James Glynn, this fleet was to be significantly more militarily equipped and negotiations were to be backed with a demonstration of force. It was fitting then that Commodore Perry, who oversaw the U.S. Navy during the last years of the Mexican-American war, would be selected to lead the charge even further west. With an iron fist, Perry was to deliver President Filmore’s deceptively passive message: that the two countries “should live in friendship and have commercial intercourse with each other.”\u003c\/p\u003e\n\u003cp\u003eTo document the expedition, the young but seasoned traveler and artist William Heine was brought on as the official illustrator. At the time of his application, Heine was still in Nicaragua, serving as an artist for the U.S. consul to Central America, Ephraim George Squire. In Squire’s absence Heine managed to negotiate a commercial treaty between the U.S. and Central America, and was sent back to Washington to deliver his success. It was back at the capital that Heine first met President Filmore and Commodore Perry, and by October of 1852, Heine was aboard the Mississippi amongst Perry’s fleet.\u003c\/p\u003e\n\u003cp\u003eAfter treaty negotiations were finalized in Yokohama in March 1854, Perry and his fleet traveled to the two designated ports that were opened with the signing of the Kanagawa Treaty: first Shimoda, which lies south in Shizuoka, and then Hakodate in the northernmost island of Hokkaido. The present painting documents the expedition's visit to the latter, Hakodate, where they arrived in May 1854. Perry’s mission there was to survey the harbor and establish the terms of American access under the new agreement.\u003c\/p\u003e\n\u003cp\u003eHakodate’s selection as one of first opened ports was strategic as it was an ideal stopover for ships, particularly whaling boats, navigating the northern waters of Japan. As a gateway between the Sea of Japan and the Pacific Ocean, Hakodate was well situated to serve as a coaling station and logistical hub for exports to China and Russia. Perry likened the town to Gibraltar, “its steep promontory, narrow neck of land, and commanding views over the Strait of Tsugaru [recall] the British stronghold’s position between the Atlantic and Mediterranean.” Furthermore, thanks to the warm ocean currents brought in by the Tsugaru Strait and the deep protective curve of the bay, the harbor did not form surface ice even during the frigid winters.\u003c\/p\u003e\n\u003cp\u003eHeine’s depiction of Hakodate features the town’s distinctive half moon bay with the tombolo leading to Mount Hakodate in the distance. Even further along the horizon sit a range of snowy peaks, a reminder of Hokkaido’s notoriously cold climate. On the plateau overlooking the town are small clusters of Japanese samurai around their encampment in the hills. One group lounges next to a camp fire, another near an earthmound kiln billowing smoke, and the last returning back from a fox hunt with their American visitor.\u003c\/p\u003e\n\u003cp\u003eIn his memoir, Heine writes of a very similar scene during his time in Hakodate:\u003cbr\u003e“After a climb of two strenuous hours we reached a plateau at last. It offered a magnificent prospect over the bay far below. My companions built a fire, two stayed with the horses, and the others followed me with the dogs into the thicket. I carried my shotgun, in each barrel a ball and three buckshot, the typical load on our ships. Thick forests invest these mountains, and narrow paths serve the pack animals that carry quantities of wood and charcoal down to the plain. (Charcoal-burning here, done in heaps in the forests, practically duplicates the way we do it.)” (Heine, 158)\u003c\/p\u003e\n\u003cp\u003eThe official account by Perry’s \u003cem\u003eNarrative of the expedition\u003c\/em\u003e (1856) includes a comparable view of Hakodate by Heine, also taken from the elevated vantage point with the published named “Snow Peak.” While the arrangement of figures vary between Heine’s lithographed image and his painted image of Hakodate, the two are nearly identical in scenery and effect.\u003c\/p\u003e\n\u003cp\u003eOne glaring omission from the printed image is the smoking charcoal kiln found in the present painting. Likely written off as insignificant for the official narrative, this basic structure captured Heine’s attention enough to manifest in both his written and painted accounts. It exemplifies his voracious curiosity and observance for even the most mundane aspects of life. If there was something to see, even things that others did not see, “Mr. Heine made a drawing of it” as was recorded time and time again in the official narrative.\u003c\/p\u003e\n\u003chr style=\"margin:0\"\u003e\n\u003ch3\u003e\u003cstrong\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/after.png?v=1762905261\" alt=\"\"\u003eAfter William Heine\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eView of Hakodate from “Snow Peak\" looking towards the sea\u003c\/strong\u003e\u003cbr\u003eLithograph\u003cbr\u003eFrom \u003cem\u003eNarrative of the expedition of an American Squadron to the China Seas and Japan\u003c\/em\u003e, 1856.\u003c\/p\u003e\n\u003chr style=\"margin:0\"\u003e\n\u003cp\u003eHeine’s visual treatment of Hakodate is in keeping with the rest of his romantic depictions of Japan, rugged vistas imbued with a dream-like serenity. However even in his most expansive landscapes, Heine never lost sight of the human figures that populated his travels. His paintings and drawings from this expedition reveal a harmonious rapport between Americans and the locals who are seen mingling peacefully in the goings of daily life. Although the American presence in Japan was contentious and their reconciliation still quite tenuous, Heine’s pictures show remarkably little sense of strain or strangeness.\u003c\/p\u003e\n\u003chr style=\"margin:0\"\u003e\n\u003ch3\u003e\u003cstrong\u003eBiographical Note\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e(Peter Bernard) William Heine (1827–1885) was born in Dresden and trained at the Royal Academy of Art, studying under the Düsseldorf School painter Julius Hübner. In 1849, after taking part in the failed May Uprising in Dresden, Heine fled to New York with assistance from Alexander von Humboldt. Heine established a studio at 515 Broadway though soon after was invited to accompany archaeologist and diplomat Ephraim George Squier on consular duties to Central America as an expedition artist. Traveling ahead of Squier, Heine documented local flora and fauna and compiled notes for future publications. The results of this journey were later published in 1853 as \u003cem\u003eWanderbilder aus Zentralamerika\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eWhile in Washington, Heine met President Millard Fillmore and Commodore Matthew Perry, who selected him from among many applicants to serve as the official artist for Perry’s expedition to Japan. Officially listed as an Acting Master’s Mate, Heine served aboard the flagship \u003cem\u003eUSS Mississippi\u003c\/em\u003e under Sydney Smith Lee. The expedition stopped at Madeira, St. Helena, Cape Town, Mauritius, Ceylon, Macao, Hong Kong, Ryukyu Islands, and Japan. All along the way, Heine produced hundreds of sketches which were later translated into lithographic plates for Perry’s \u003cem\u003eNarrative of the expedition\u003c\/em\u003e (New York, 1856). His work, together with the daguerreotypes of his colleague Eliphalet Brown Jr., became the core visual record of the American expedition and remain an invaluable depiction of Japan before its opening to the West.\u003c\/p\u003e\n\u003cp\u003eUpon returning to New York in 1855, Heine created numerous publications in addition to his contribution to Perry’s official report, including \u003cem\u003eGraphic Scenes of the Japan Expedition\u003c\/em\u003e and his own memoirs, \u003cem\u003eReise um die Welt nach Japan\u003c\/em\u003e (Leipzig, 1856). Heine’s publications on Japan are often considered among the greatest American colorplate travel works of the nineteenth century and serve as the most important visual records of the start of American and Japanese trade and diplomatic relations.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44855267164204,"sku":null,"price":275000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/image_16.png?v=1760457202"},{"product_id":"persac-marie-adrien-french-american-1823-1873-clifty-creek-canyon-indiana","title":"PERSAC, Marie Adrien (French-American, 1823-1873). Clifty Creek Canyon, Indiana.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePERSAC, Marie Adrien (French-American, 1823-1873)\u003cbr\u003e\u003cem\u003e[Clifty Creek Canyon, Indiana]\u003c\/em\u003e\u003cbr\u003eGouache on paper\u003cbr\u003eSigned lower right: “A. Persac”\u003cbr\u003eInscribed: “Etas Unis”\u003cbr\u003e9 1\/4” x 5 3\/4” sheet\u003cbr\u003e12 1\/2” x 9” framed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMarie Adrien Persac (1823-1873) was a photographer, architect, artist, and civil engineer. Born in Lyons, France, he came to the United States to hunt buffalo and settled in Indiana to cultivate apple orchards. It’s not clear what brought Adrien down south to Louisiana. Letters with his marriage proposal show him to be a highly educated Frenchman. His wife was just 16 when they married. She lived on the Daigre Plantation, which Adrien later immortalized when he painted. They started their married life in Baton Rouge and later moved to New Orleans. The couple had three sons: Marie Adrien Edouard, Octave Joseph, and Alfred.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePersac had a background in engineering and drew property maps for the Notarial Archives in New Orleans. He was also an accomplished artist and lithographer. In the late 1850s and early 1860s, Persac made some topographical gouache drawings of plantation houses in Louisiana on commission or, reportedly, as barter for room and board. He also briefly operated a photographic studio in the 1850s with William G. Vail. In 1869, he founded his own Academy of Drawing and Painting, where Persac taught portraiture and landscape painting in oil and watercolors. He died in Manchac, Louisiana.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45109349187628,"sku":null,"price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Persac_Canyon_Framed.jpg?v=1765222289"},{"product_id":"persac-marie-adrien-french-american-1823-1873-clifty-falls-indiana","title":"PERSAC, Marie Adrien (French-American, 1823-1873). Clifty Falls, Indiana.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePERSAC, Marie Adrien (French-American, 1823-1873)\u003cbr\u003e[Clifty Falls, Indiana]\u003cbr\u003eGouache on paper\u003cbr\u003eSigned A. Persac (lower right); inscribed Chute de Clifty (Indiana) \/Etats Unis d’Amérique \/ (Clifty Falls) (on the reverse)\u003cbr\u003e13 1\/4” x 9 3\/8” framed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMarie Adrien Persac (1823-1873) was a photographer, architect, artist, and civil engineer. Born in Lyons, France, he came to the United States to hunt buffalo and settled in Indiana to cultivate apple orchards. It’s not clear what brought Adrien down south to Louisiana. Letters with his marriage proposal show him to be a highly educated Frenchman. His wife was just 16 when they married. She lived on the Daigre Plantation, which Adrien later immortalized when he painted. They started their married life in Baton Rouge and later moved to New Orleans. The couple had three sons: Marie Adrien Edouard, Octave Joseph, and Alfred.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePersac had a background in engineering and drew property maps for the Notarial Archives in New Orleans. He was also an accomplished artist and lithographer. In the late 1850s and early 1860s, Persac made some topographical gouache drawings of plantation houses in Louisiana on commission or, reportedly, as barter for room and board. He also briefly operated a photographic studio in the 1850s with William G. Vail. In 1869, he founded his own Academy of Drawing and Painting, where Persac taught portraiture and landscape painting in oil and watercolors. He died in Manchac, Louisiana.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45109399191596,"sku":null,"price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Persac_CliffityFalls_Framed_1_b10d1181-1e61-4d86-b1ba-600406aca6c8.jpg?v=1765222530"},{"product_id":"moonlight-on-the-passaic-river-paterson-nj","title":"MILLER, William Rickarby (American, 1818-1893). Moonlight on the Passaic River, Paterson, NJ.","description":"\u003cp\u003eMILLER, William Rickarby (American, 1818-1893)\u003cbr\u003e\u003cem\u003eMoonlight on the Passaic River, Paterson, NJ\u003c\/em\u003e\u003cbr\u003eSigned and inscribed ‘W.R. Miller N.Y.’ (lower right); titled on a\u003cbr\u003ehandwritten label (affixed to the reverse)\u003cbr\u003eOil on board\u003cbr\u003e7 1\/2” x 5 5\/8” board\u003cbr\u003e12 1\/2” x 10 1\/2” framed\u003c\/p\u003e\n\u003cp data-start=\"478\" data-end=\"1076\"\u003eThis intimate moonlit landscape by William Rickarby Miller depicts a quiet stretch of the Passaic River near Paterson, New Jersey, rendered with the atmospheric delicacy and refined draftsmanship that distinguish Miller’s best work. The full moon, suspended above steep rock formations, casts a silvery glow across the still water, while soft clouds drift over a pale blue sky. The harmony of cool and warm tones and the careful attention to reflected light create a scene both serene and theatrically illuminated, recalling the poetic nocturnes favored by mid nineteenth century American painters.\u003c\/p\u003e\n\u003cp data-start=\"1078\" data-end=\"1676\"\u003eBorn in England and later active in New York, Miller became a respected figure among the second generation of Hudson River School artists. He is well known for his finely detailed views of the Catskills, the Hudson Valley, and the waterways surrounding New York and New Jersey. His works often combine topographical accuracy with a lyrical sensibility, drawing on the romantic landscape traditions that shaped American art in the mid nineteenth century. Miller exhibited at the National Academy of Design, and his works are held in major museum collections including the Metropolitan Museum of Art.\u003c\/p\u003e\n\u003cp data-start=\"1678\" data-end=\"2087\"\u003eThe present painting exemplifies his ability to translate modest subjects into richly atmospheric compositions. The Passaic River, long admired for its dramatic waterfalls and wooded banks, became an iconic motif for artists seeking to explore the interplay of light and nature. Miller’s choice of a nocturnal setting lends the view additional emotional depth, capturing the quiet beauty of the river at rest.\u003c\/p\u003e\n\u003cp data-start=\"2089\" data-end=\"2341\"\u003eHandsomely framed and well preserved, \u003cem data-start=\"2127\" data-end=\"2159\"\u003eMoonlight on the Passaic River\u003c\/em\u003e is a refined example of Miller’s intimate landscapes, offering collectors a glimpse into the quiet poetry of the Hudson River School’s lesser known but highly skilled practitioners.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109413445676,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Miller_MoonlightonthePassaicRiver_-Paterson_NJ.jpg?v=1765223066"},{"product_id":"chevalier-nicholas-1828-1902-natives-on-the-shore-of-a-south-sea-island","title":"CHEVALIER, Nicholas (1828-1902). Natives on the Shore of a South Sea Island.","description":"\u003cp\u003eCHEVALIER, Nicholas (1828-1902).\u003cbr\u003e\u003cem\u003eNatives on the Shore of a South Sea Island\u003c\/em\u003e\u003cbr\u003eWatercolor, heightened with bodycolor on paper\u003cbr\u003eSigned lower right: “N. Chevalier, 1884”\u003cbr\u003e4” x 7 1\/4” sheet\u003cbr\u003e13” x 16 1\/2” framed\u003c\/p\u003e\n\u003cp data-start=\"426\" data-end=\"942\"\u003eThis finely executed watercolor by Nicholas Chevalier depicts a quiet shoreline scene in the South Seas, rendered with the luminous palette and careful detailing that distinguish Chevalier’s mature work. Two figures sit beside an outrigger canoe beneath the sheltering branches of tropical foliage, while the distant sea shifts gently from turquoise to deep blue. Heightened with bodycolor, the composition carries a subtle radiance, capturing both the clarity of light and the calm atmosphere of the island setting.\u003c\/p\u003e\n\u003cp data-start=\"944\" data-end=\"1588\"\u003eChevalier was among the most accomplished European artists to work across the Pacific in the nineteenth century. Born in Russia to a Swiss father and later trained in London and Lausanne, he traveled extensively through Australia, New Zealand, and the Pacific islands beginning in the 1850s. His paintings and sketches are prized today for their precise observation and for the role they played in shaping European visual understanding of Pacific landscapes and cultures. Chevalier became the first official touring artist for the colonial government of Victoria and contributed significantly to early exhibitions of Australasian art in Europe.\u003c\/p\u003e\n\u003cp data-start=\"1590\" data-end=\"2010\"\u003eIn the present sheet, Chevalier’s refined draftsmanship and soft layering of washes emphasize the harmony between landscape and figures, presenting a scene that is both documentary and contemplative. His South Sea works often reflect moments of daily life rather than staged or theatrical imagery, and this watercolor exemplifies that approach: intimate in scale, rich in detail, and attentive to the character of place.\u003c\/p\u003e\n\u003cp data-start=\"2012\" data-end=\"2338\"\u003eBeautifully framed and in excellent condition, \u003cem data-start=\"2054\" data-end=\"2098\"\u003eNatives on the Shore of a South Sea Island\u003c\/em\u003e stands as an appealing and historically resonant example of Chevalier’s Pacific oeuvre, offering collectors a glimpse into the artistic traditions that documented exploration, travel, and cross-cultural encounter in the nineteenth century.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109431762988,"sku":null,"price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Chevalier_NativesontheShoreofaSouthSeaIsland_1.jpg?v=1765223120"},{"product_id":"smith-russell-scottish-american-1812-1896-ben-nevis-from-the-calidonian-s-canal-a-view-of-the-ship-nevis","title":"SMITH, Russell (Scottish-American, 1812-1896). Ben Nevis from the Calidonian’s Canal, a view of the ship Nevis","description":"\u003cp\u003eSMITH, Russell (Scottish-American, 1812-1896)\u003cbr\u003e\u003cem\u003eBen Nevis from the Calidonian’s Canal, a view of the ship Nevis \u003c\/em\u003e\u003cem\u003ewith mountain range in the distance\u003c\/em\u003e\u003cbr\u003eSigned verso “Russell Smith”.\u003cbr\u003eOil on paper\u003cbr\u003e8 1\/2” x 12” sheet\u003c\/p\u003e\n\u003cp data-start=\"205\" data-end=\"445\"\u003e\u003cstrong data-start=\"205\" data-end=\"256\"\u003eRussell Smith (Scottish American, 1812 to 1896)\u003c\/strong\u003e\u003cbr data-start=\"256\" data-end=\"259\"\u003e\u003cem data-start=\"259\" data-end=\"366\"\u003eBen Nevis from the Caledonian Canal, with a view of the ship Nevis and the mountain range in the distance\u003c\/em\u003e\u003cbr data-start=\"366\" data-end=\"369\"\u003eSigned verso: \u003cem data-start=\"383\" data-end=\"398\"\u003eRussell Smith\u003c\/em\u003e\u003cbr data-start=\"398\" data-end=\"401\"\u003eOil on paper\u003cbr data-start=\"413\" data-end=\"416\"\u003eSheet size: 8 1\/2 x 12 inches\u003c\/p\u003e\n\u003cp data-start=\"447\" data-end=\"998\"\u003eThis atmospheric landscape by Russell Smith presents a serene view of the Caledonian Canal with the great mass of Ben Nevis rising in the distance, its peaks rendered in soft violets and rose tones characteristic of Smith’s refined handling of light. At the water’s edge, the ship \u003cem data-start=\"728\" data-end=\"735\"\u003eNevis\u003c\/em\u003e anchors the composition, balancing the sweeping Highlands scenery with a note of maritime activity. The delicacy of the brushwork and the quiet luminosity of the sky reflect Smith’s long engagement with both Scottish topography and American landscape traditions.\u003c\/p\u003e\n\u003cp data-start=\"1000\" data-end=\"1590\"\u003eBorn in Glasgow and later active in Philadelphia, Smith was a leading figure in mid nineteenth century landscape painting, producing works for the Pennsylvania Academy of the Fine Arts and serving as a favored topographical artist for scientific expeditions and railway surveys. His dual identity as a Scottish born American painter allowed him to bridge two visual worlds: the dramatic, mist toned Highlands of his youth and the expansive American scenery he encountered after emigrating. His Highland subjects, such as the present work, remained among his most personal and poetic images.\u003c\/p\u003e\n\u003cp data-start=\"1592\" data-end=\"1919\"\u003eThe Caledonian Canal and Ben Nevis held particular cultural resonance in the nineteenth century, symbolizing both the engineering ambitions of the era and the enduring romantic appeal of the Scottish landscape. Smith captures this duality with characteristic clarity, positioning manmade and natural elements in gentle harmony.\u003c\/p\u003e\n\u003cp data-start=\"1921\" data-end=\"2269\"\u003eExecuted on paper with a controlled, jewel like palette, this small scale oil exemplifies the intimate works Smith produced for collectors who admired his ability to translate large vistas into finely balanced compositions. It remains a compelling example of his Scottish themed landscapes, uniting geographical specificity with lyrical atmosphere.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109439332396,"sku":null,"price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Smith_BenNevis.jpg?v=1765223256"},{"product_id":"german-school-1877-78-california-street-san-francisco","title":"GERMAN SCHOOL, 1877-78. California Street, San Francisco.","description":"\u003cp\u003eGERMAN SCHOOL, 1877-78\u003cbr\u003e\u003cem\u003eCalifornia Street, San Francisco\u003c\/em\u003e\u003cbr\u003eNumbered ‘363’ (upper right), and titled ‘December 1877. 563.\u003cbr\u003eCalifornia street. San Francisco’ on the detached original mount\u003cbr\u003ewhich accompanies the watercolor\u003cbr\u003ePencil and watercolor on paper\u003cbr\u003e7 1\/2” x 9 5\/8” sheet\u003c\/p\u003e\n\u003cp data-start=\"553\" data-end=\"975\"\u003eThis finely rendered watercolor offers a remarkable nineteenth century view of California Street, one of San Francisco’s defining thoroughfares during the city’s early growth. Executed by a German-trained artist working in 1877 to 1878, the sheet combines disciplined draftsmanship with gentle watercolor washes, capturing the steep drama of the city’s topography and the lively density of its post–Gold Rush architecture.\u003c\/p\u003e\n\u003cp data-start=\"977\" data-end=\"1605\"\u003eThe composition looks downhill toward the bay, where the blue expanse of water meets the distant ridgelines of Marin. Rows of Italianate commercial buildings and residential facades line the plunging street, their warm ochres and cool grays rendered with the clarity characteristic of German topographical watercolorists. Horse-drawn wagons, figures, and masonry materials animate the foreground, emphasizing the constant construction that defined San Francisco in this decade. The sharply inclined street, a signature feature of the city’s layout, is depicted with convincing perspective and a keen understanding of urban form.\u003c\/p\u003e\n\u003cp data-start=\"1607\" data-end=\"2048\"\u003eThe accompanying original mount, titled in English, indicates that these views were prepared as finished presentation works, likely intended for the European travel market where images of the rapidly expanding Pacific metropolis enjoyed significant interest. Together, the precision of line, the atmospheric palette, and the documentary value place this watercolor among the most appealing records of San Francisco’s early urban development.\u003c\/p\u003e\n\u003cp data-start=\"2050\" data-end=\"2280\"\u003eAn engaging and historically resonant view of California Street at the close of the nineteenth century, this work offers collectors an intimate and accurate glimpse into the formative period of one of America’s most iconic cities.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109444247596,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SSV0346.jpg?v=1765226818"},{"product_id":"german-school-1877-78-san-francisco-from-telegraph-hill","title":"GERMAN SCHOOL, 1877-78. San Francisco from Telegraph Hill","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eGERMAN SCHOOL, 1877-78\u003cbr\u003eTitled ‘\u003cem\u003eSan Francisco von Telegraph Hill\u003c\/em\u003e’ (lower right), numbered ‘368’ (upper right), and titled ‘\u003cem\u003e12 Januar 1878 568.'\u003c\/em\u003e\u003cbr\u003e'San Francisco from Telegraph hill’ on the detached original mount which accompanies the watercolor. \u003cbr\u003ePencil and watercolor on paper \u003cbr\u003e7 1\/2” x 9 5\/8” sheet\u003c\/p\u003e\n\u003cp data-start=\"659\" data-end=\"1135\"\u003eThis finely detailed watercolor records San Francisco at one of the most dynamic moments of its early development, seen from the commanding vantage of Telegraph Hill in the late 1870s. Executed by a German-trained artist whose hand reveals the disciplined draftsmanship and luminous wash typical of continental topographical work, the composition looks across the densely built North Beach district toward the glittering sweep of the bay and the rugged Marin headlands beyond.\u003c\/p\u003e\n\u003cp data-start=\"1137\" data-end=\"1672\"\u003eThe artist captures the rectilinear grid of San Francisco’s steep streets with remarkable clarity, conveying the city’s rapid architectural growth only three decades after the Gold Rush. The view looks across a mixture of Italianate residences, commercial blocks, and waterfront piers, all rendered with the crisp line and subtle tonal modulations favored by German watercolorists of the period. The harbor, still the city’s lifeline, is shown alive with shipping and framed by the pale gold sandstone cliffs of the northern shoreline.\u003c\/p\u003e\n\u003cp data-start=\"1674\" data-end=\"2039\"\u003eWorks of this type were prized both as travel documents and as aesthetic impressions of the American West, particularly among European artists and audiences eager to witness the astonishing rise of the Pacific metropolis. The survival of the original titled mount further underscores its function as a finished presentation drawing, intended for sale or exhibition.\u003c\/p\u003e\n\u003cp data-start=\"2041\" data-end=\"2302\"\u003eA rare and atmospheric view of nineteenth century San Francisco, this watercolor offers both historical resonance and artistic refinement, making it a compelling addition for collectors of western Americana, early California city views, and European travel art.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109475934252,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SSV0347.jpg?v=1765226845"},{"product_id":"william-henry-brooke-preparatory-watercolor-slaves-shipping-cotton-1842","title":"William Henry Brooke, Preparatory Watercolor for “Slaves Shipping Cotton by Torch-Light” (1842)","description":"\u003cp\u003eThis rare preparatory drawing by William Henry Brooke served as the foundation for an early published visual critique of slavery in the United States. Created for James Silk Buckingham’s \u003cem\u003eThe Slave States of America\u003c\/em\u003e (London, 1842), the image records forced labor along the Alabama River with emotional restraint and historical clarity.\u003c\/p\u003e\n\u003cp\u003eBuckingham’s account helped shape British public understanding of American slavery and the growing abolitionist movement. As a primary visual document, the drawing offers a contemporaneous perspective on a system that caused immense harm and injustice.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMedium:\u003c\/strong\u003e Pen, ink, and watercolor wash, heightened in white, on paper\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1842\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSheet size:\u003c\/strong\u003e 8 3\/4 × 10 3\/4 in\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFramed:\u003c\/strong\u003e 16 × 18 in\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45159752957996,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Brooke.jpg?v=1767219499"},{"product_id":"beck-george-jacob-1748-1812-georgetown-and-the-city-of-washington","title":"BECK, George Jacob (1748-1812), Georgetown and the City of Washington","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eGeorge Jacob Beck (1748-1812)\u003c\/p\u003e\n\u003cp\u003eGeorgetown and the City of Washington\u003c\/p\u003e\n\u003cp\u003eGouache and watercolor on paper in gold-leaf frame c. 1795-1797\u003c\/p\u003e\n\u003cp\u003e15 3\/4” x 20 1\/2” visible, 24” x 29” framed\u003c\/p\u003e\n\u003cp\u003eProvenance: Private collection, Philadelphia, PA; Dr. \u0026amp; Mrs. Irving Leavitt, Detroit, MI; Kennedy Galleries, New York, NY; Admiral \u0026amp; Mrs. E. P. Moore, Washington D.C.; Sotheby’s, September 26, 2008.\u003c\/p\u003e\n\u003cp\u003eExhibited: Washington on the Potomac, Washington D.C., Corcoran Gallery of Art, February 20-April 3, 1982, Illustrated on p. 2; A Nation Emerges, Washington D.C., Smithsonian National Portrait Gallery, June 15, 2012 - January 27, 2013; Nature’s Nation: American Art and Environment, Princeton University Art Museum - October 13, 2018 - January 6, 2019; Peabody Essex Museum - February 2, 2019 - May 5, 2019; Crystal Bridges Museum of American Art - May 25, 2019 - September 9, 2019.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eGeorge Jacob Beck’s incredibly rare watercolor Georgetown and the City of Washington is the first view of the area. Beck completed this work at approximately the same time as those commissioned by President George Washington in 1796 for his home in Mount Vernon. This composition appears to be a companion in style and subject of Washington’s The Potomac River Breaking through the Blue Ridge and Great Falls of the Potomac, both circa 1796-1797, combining topographical detail with a romantic atmosphere.\u003c\/p\u003e\n\u003cp\u003eThe artist composed this view from above Georgetown on the district side and shows Analostan Island (the former designation for Theodore Roosevelt Island) in the Potomac River, with Georgetown in the background on the left. Beck’s careful attention to light lends an ethereal quality to his landscapes, embuing them with a grandeur reminiscent of European estate views. The figures in the foreground are bathed in the last light of dusk while the creeping shadows blot out the trees in the foreground. This work served as the original drawing for the exceedingly rare aquatint Georgetown and Federal City, or City of Washington published in 1801 by Atkins and Nightengale, as well as for the decoration on Staffordshire china.\u003c\/p\u003e\n\u003cp\u003eGeorgetown, which had been established in 1751 when the Maryland Legislature purchased sixty acres of land for the town during the reign of George II of Great Britain, was situated on the fall line - the farthest point upstream to which oceangoing boats could navigate the Potomac River. Georgetown eventually became a thriving port, facilitating trade and shipments of tobacco and other goods from colonial Maryland.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45198320959532,"sku":null,"price":650000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Beck_GeorgetownandCityofWashington.jpg?v=1768321053"},{"product_id":"beck-george-jacob-1748-1812-a-north-view-of-the-city-of-washington","title":"BECK, George Jacob (1748-1812), A North View of the City of Washington","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBECK,George Jacob (1748-1812) \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eA North View of the City of Washington\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eGouache and watercolor on paper\u003c\/p\u003e\n\u003cp\u003eTitle inscribed on verso in Beck’s hand. 1795-1798\u003c\/p\u003e\n\u003cp\u003eSight size: 14 1\/2 x 19 1\/2 in Framed size: 24 x 29 in.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAn exceptionally fine original gouache on paper of the city of Washington taken from the Eastern branch of the Potomac River, looking north.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA North View of the City of Washington\u003c\/em\u003e captures the spirit of a young nation, set against the backdrop of a nearly tamed wilderness where the clear waters of the Eastern Branch flow seamlessly into the majestic Potomac River. In the foreground, an imposing and ancient oak stands sentinel, symbolizing strength and resilience, while the middle ground reveals the White House, taking shape as a beacon of hope and democracy. To the right, the future Navy Yard and Jenkins’ Hill—now known as Capitol Hill—emerge, paving the way for the evolving landscape. In the background, the historic sites of Georgetown and Harper’s Ferry contribute to the rich tapestry of this vision.\u003c\/p\u003e\n\u003cp\u003ePainted between 1795 and 1798, \u003cem\u003eA North View of the City of Washington\u003c\/em\u003e immortalizes the White House in its early days, before John Adams became its first resident in 1800. Jenkins’ Hill, heralded by L’Enfant as “a pedestal waiting for a monument,” hosts the Capitol building, which began construction in 1792 and stands as a testament to the aspirations of a budding republic. The Navy Yard, still untouched, foreshadows the energetic development that would begin in 1799. The composition resonates with Beck’s later work, \u003cem\u003eView of Philadelphia and the Delaware River from Kensington, Pennsylvania\u003c\/em\u003e, created circa 1800 to 1804. In both paintings, a grand tree dominates the foreground, sheltering the burgeoning city beneath its wide branches, while rivers weave elegantly to the left, inviting a journey into the future. \u003c\/p\u003e\n\u003cp\u003eThis view, taken from above Georgetown on the district side, prominently features Analostan Island (formerly Theodore Roosevelt Island) in the Potomac River, with Georgetown’s historic streets gracing the background. In the distance, the nascent boundaries of the city of Washington reflect the visionary foundation laid just years earlier. In 1791, President Washington chose this site for the capital, strategically positioning the federal city a few miles from Georgetown on the Potomac’s opposite bank. Georgetown, established in 1751, has deep roots in history, granted by the Maryland Legislature during the reign of George II of Great Britain. Located on the fall line—the furthest point upstream acces- sible to ocean-going vessels—Georgetown flourished as a key port, fostering trade and transporting tobacco and other goods from colonial Maryland. President Washington frequently turned to Georgetown, where he negotiated vital land deals for the Federal City, which also became the residence of Thomas Jefferson during his impactful tenure as Secretary of State under Washington.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45198327775276,"sku":null,"price":575000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Beck_GeorgetownandCityofWashington.jpg?v=1768321053"},{"product_id":"hungarian-late-17th-century-sacred-heart-saint-anthony-joining-the-franciscan-order-1697","title":"HUNGARIAN (Late 17th Century). Sacred Heart; Saint Anthony Joining the Franciscan Order. 1697.","description":"\u003cp\u003e\u003cstrong\u003eHUNGARIAN (Late 17th Century)\u003c\/strong\u003e\u003cbr\u003eSacred Heart; Saint Anthony Joining the Franciscan Order\u003cbr\u003eCommissioned by Thomas de Nadasd, 1697\u003cbr\u003eOil on canvas\u003cbr\u003e145\" x 53 3\/4\" canvas\u003c\/p\u003e\u003cp\u003eThe companion piece to the Batthyany lunette of 1698, this monumental oil on canvas was commissioned one year earlier by the Hungarian magnate Thomas de Nadasd. While its counterpart addresses themes of political and military unity, this painting is more peaceful and devotional in character, centered on the Virgin Mary appearing to Saint Anthony of Padua to bless the Franciscan Order.\u003c\/p\u003e\u003cp\u003eThe Virgin presents Saint Anthony with a lily and a golden reed, attributes of the Franciscan tradition, while an angel appears at his shoulder bearing these gifts. The composition is dominated by the Sacred Heart of Jesus, adorned with a golden crown and transfixed by a sword, with the initials I.N.R.I. painted above—a powerful symbol of Christ's sacrifice that echoes the Pelican motif in the companion piece. An elaborately decorated cartouche to the left narrates the story of the Virgin's apparition and Saint Anthony's mission to spread word of her love to the faithful.\u003c\/p\u003e\u003cp\u003eA Latin dedication at the lower right identifies the patron: \u003cem\u003e“Our most glorious master, glorious Count Thomas of Nadasd, from the long line of the Forgaras, golden knight of the sacred Kingdom.”\u003c\/em\u003e The Nadasd coat of arms—a white-collared black duck flanked by two bulrushes—appears at the far right as a second “signature.” Thomas de Nadasd was a rebel prince killed by Imperial troops in 1671, over twenty-five years before this oil was commissioned, suggesting it was created in his memory by Adam Batthyany or a descendant.\u003c\/p\u003e\u003cp\u003eTogether with its companion lunette, this work forms an unparalleled visual record of Hungary's struggle for national and religious independence at the close of the 17th century. Available individually or as a pair ($325,000).\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45398950281260,"sku":null,"price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Sacred_Heart_-_Saint_Anthony_Joining_the_Franciscan_Order_1697.jpg?v=1774044134"},{"product_id":"hungarian-late-17th-century-the-batthyany-and-nadasd-lunettes-pair-16971698","title":"HUNGARIAN (Late 17th Century). The Batthyany \u0026 Nadasd Lunettes (Pair). 1697–1698.","description":"\u003cp\u003e\u003cstrong\u003eHUNGARIAN (Late 17th Century)\u003c\/strong\u003e\u003cbr\u003eThe Batthyany \u0026amp; Nadasd Lunettes (Pair)\u003cbr\u003eCommissioned by Adam Batthyany (1698) and Thomas de Nadasd (1697)\u003cbr\u003eOil on canvas\u003cbr\u003eEach: 145\" x 53 3\/4\" canvas\u003c\/p\u003e\u003cp\u003eAn extraordinary matched pair of monumental lunette oil paintings, among the most important surviving artistic records of Hungary's political and religious identity at the close of the 17th century. Commissioned by two of the most powerful Hungarian magnates—both rebel princes with deep affiliations in Croatia and Hungary—these canvases represent two sides of the same coin: one political and military, the other spiritual and devotional.\u003c\/p\u003e\u003cp\u003eThe Batthyany lunette (1698) presents the Virgin Mary as \u003cem\u003ePatrona Hungariae\u003c\/em\u003e, presiding over the eleven united Slavic armies in a stirring call for national independence from Austrian and Ottoman domination. Richly layered with political symbolism—from the triumphant Lion of Hungary to the Pelican crowning the Palm tree of Victory—it celebrates Hungary's victory at the Battle of Zenta and the leadership of the Batthyany family. Beneath the military spectacle, John of Capistrano blesses the sons of John Hunyadi in a scene that weaves biblical prophecy with Hungarian national history.\u003c\/p\u003e\u003cp\u003eThe Nadasd lunette (1697) turns inward to the spiritual realm, depicting the Virgin appearing to Saint Anthony of Padua to bless the Franciscan Order, with the Sacred Heart of Jesus dominating the composition. It was commissioned in memory of Thomas de Nadasd, a rebel prince killed in 1671, and signed with his family's distinctive coat of arms.\u003c\/p\u003e\u003cp\u003eTogether, the paintings reflect the dual nature of Hungary's fight for self-determination—by the sword and by the cross. Their shared scale, format, and stylistic signatures strongly suggest they were conceived as a pair, likely intended for Adam Batthyany's Franciscan monastery in Güssing. A priceless and unparalleled offering for the serious collector of European Old Master paintings and Central European history.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45398950314028,"sku":null,"price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Virgin_Mary_-_Unification_of_the_Slavic_Nations_1698.jpg?v=1774044134"},{"product_id":"lear-edward-british-1812-1888-the-tor-di-schiavi-on-the-via-labieana-rome","title":"LEAR, Edward (British, 1812-1888). The Tor di Schiavi on the Via Labieana, Rome","description":"\u003cp\u003e\u003cspan\u003eLEAR, Edward (British, 1812-1888).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe Tor di Schiavi on the Via Labieana, Rome\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOil on canvas.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSigned: \"E. Lear, 1842\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9\" x 17 1\/2\" canvas, 18 1\/4\" x 26 1\/4\" framed.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eProvenance: Painted for Captain and Miss Phipps Hornby of Shooters Hill, Kent; Miss Edith Jones, and thence by descent.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDuring the nineteenth century, artists and tourists alike flocked to Italy to observe the country's countless ruins and bask in its mythical golden sunlight. Edward Lear (1812-1888), author of books of nonsense, purveyor of limericks, and prolific creator of exquisite landscape art, captures both Italian wonders within these two marvelous paintings of the Roman environs. The first, The Tomb of Cecilia Metella on the Via Appia, Rome (1842), depicts the final resting place of the Roman Consul Creticus' daughter and member of the first Roman Triumvirate Crassus's son's wife. The tomb, whose occupant Cecilia Metella died in 50 B.C., is located on the Via Appia, the most important ancient Roman road connecting the Italian capital to Brindisi, Apulia in southeast Italy. The second work, The Tor di Schiavi on the Via Labicana, Rome (1842) illustrates the remains of an extensive villa built during the time of Diocleation and is situated on another chief Roman thoroughfare.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Lear suffered from lifelong health afflictions starting from the age of six, his ailments included frequent grand mal epileptic seizures, and bronchitis, asthma, and during later life, partial blindness.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was Illustrations of the Family of Psittacidae, or Parrots in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Ceylon. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThroughout his life Lear continued to paint seriously, even as his health steadily declined. He had a lifelong ambition to illustrate Tennyson’s poems and in the final years of his life a volume with a small number of illustrations was published.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e---- Lear as Author In 1846, Lear published A Book of Nonsense, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published Nonsense Songs, Stories, Botany and Alphabets, which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed. Lear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.” Lear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45841538187308,"sku":null,"price":165000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/78.jpg?v=1784904534"},{"product_id":"van-royen-willem-frederiksz-dutch-1645-1723-three-lizards-in-a-landscape-a-red-headed-agama-with-a-pair-of-sand-lizards","title":"VAN ROYEN, Willem Frederiksz (Dutch 1645-1723), Three Lizards in a Landscape: a Red-headed Agama with a Pair of Sand Lizards","description":"\u003cp\u003eVAN ROYEN, Willem Frederiksz (Dutch 1645-1723).\u003cbr\u003eThree Lizards in a Landscape: a Red-headed Agama with a Pair of Sand Lizards.\u003cbr\u003eWatercolor and gouache over black chalk and graphite, with pen and brown and gray ink, on laid paper; the three lizards executed separately, cut out along their contours, and laid down onto the completed landscape sheet.\u003cbr\u003eLaid down on an eighteenth-century decorated collector’s mount of blue-gray paper with washed borders and black and gilt ruled fillets, inscribed in a shaped cartouche below the image: Van W. F. Royen.\u003cbr\u003e16\" x 10 3\/8\" sheet, Mount: 19 5\/8\" x 13 3\/8\" mount.\u003c\/p\u003e\u003cp\u003eThree lizards climb a sunlit bank. The uppermost animal, with a brick-red head, a dark, densely pale-speckled body, a pale ventrolateral stripe, and a long tail with alternating light and dark bands, appears to be the red-headed rock agama, Agama agama (Linnaeus, 1758). In this species, a territorial male in display carries an orange-to-scarlet head above a dark blue-black body flecked with pale spots, while females, juveniles, and subordinate males remain uniformly olive-brown. The body here reads as a dark olive rather than blue, but seventeenth-century blues are notoriously fugitive, and indigo or smalt laid over a dark ground will shift toward olive and gray over three centuries. We might also assume the artist drew from a skin that may have lost some of its color.\u003c\/p\u003e\u003cp\u003eAgama agama is native to sub-Saharan Africa, distributed from Mauritania and Senegal eastward across the Sahel to Chad and Kenya and south to Angola, with introduced populations elsewhere. It is a rock-dwelling, conspicuously diurnal animal, and one of the most frequently encountered lizards on the West African coast. In 1682 Elector Frederick William chartered the Brandenburgisch-Afrikanische Compagnie (Brandenburg African Company), and on January 1, 1683, the colony of Groß Friedrichsburg was founded on the Gold Coast, in present-day Ghana. For roughly four decades thereafter, Brandenburg vessels moved between the Gulf of Guinea and the Baltic. A court painter in Berlin in these years had access, at least in principle, to West African naturalia arriving through that traffic and entering the court Kunstkammer. It is the most reasonable explanation for the presence of a Gold Coast lizard in a Brandenburg studio.\u003c\/p\u003e\u003cp\u003eThe middle animal is a sand lizard, Lacerta agilis Linnaeus, 1758, shown as an adult male in breeding condition. Identified by the characteristic vivid green flanks and sides of the head, a brown vertebral band carrying dark, pale-centered ocelli, a stocky body with a short and rather blunt head, and a tail well over half the total length. The green appears only in spring, when it serves as a badge of status in contests between males, making this a seasonally specific observation rather than a generic one. The species ranges across temperate Eurasia from the Pyrenees to Mongolia and northwestern China and is abundant in exactly the habitat of Brandenburg: dry sandy heath, open pine woodland, and grassy embankments.\u003c\/p\u003e\u003cp\u003eThe brown-gray figure at the bottom shows paired rows of bold dark blotches flanking a lighter vertebral band and pale dorsolateral stripes; it may be the female of the same species, Lacerta agilis, whose cryptic brown coloring and crisper longitudinal striping distinguish her from the male above.\u003c\/p\u003e\u003cp\u003eRead together, the sheet becomes a study of sexual dimorphism with two lizards from the sandy heaths outside the artist’s own door beside one carried home from the Gulf of Guinea. That juxtaposition of the local and the imported is the Kunstkammer's organizing logic.\u003c\/p\u003e\u003cp\u003eVan Royen’s court work included large animal and landscape pictures for various residences, including the Menagerie des Kurfürsten Friedrich III. von Brandenburg (Menagerie of Elector Frederick III of Brandenburg) and Zwergsäger auf der Havel bei Caputh (Smew on the Havel near Caputh) survive in situ at Schloss Caputh. A movable study of this kind would serve very naturally to place small creatures in the foreground of a wall panel or architectural element.\u003c\/p\u003e\u003cp\u003eWillem Frederiksz. van Royen was probably born in Haarlem around 1645 and trained with Arnold van Ravesteyn, either there or in The Hague, between 1661 and 1668. He moved to Berlin in 1669 and succeeded the flower painter Adriaen van der Spelt as court painter to Frederick William, Elector of Brandenburg, when van der Spelt returned to the Netherlands. He was in Potsdam in 1689 and, in 1695, was among the founders of the Academy of Arts in Berlin, an institution with which he remained associated until his death there in 1723. He also worked in Amsterdam, contributing paintings to the celebrated cabinet house of Petronella de la Court, now in the Rijksmuseum, alongside Nicolaas Piemont and Johannes Voorhout.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510283820,"sku":null,"price":24000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/43.jpg?v=1791083249"},{"product_id":"staines-p-h-british-19th-century-elephants-asian-watering","title":"STAINES, P.H. (British, 19th Century), Elephants [Asian] Watering","description":"\u003cp\u003eSTAINES, P.H. (British, 19th Century).\u003cbr\u003eElephants [Asian] Watering.\u003cbr\u003eWatercolor, ink, and gum arabic on paper.\u003cbr\u003eIndistinctly signed lower right: \"P.H. Staines Del\/ 1863\".\u003cbr\u003e16 9\/16\" x 22 13\/16\" sheet.\u003c\/p\u003e\u003cp\u003e\"Elephants watering\" depicts a detailed, lush tropical jungle scene with a herd of Asian elephants gathered around a river watering hole. The animals are Asian elephants (Elephas maximus), identifiable by their domed heads, small ears, and twin-domed foreheads, with two tusks prominent on the right. The wading bird at center appears to be a stork or adjutant; the small birds over the water may be bee-eaters or swallows.\u003c\/p\u003e\u003cp\u003eThe nineteenth-century British painter and illustrator P.H. Staines was active in the 1860s. He specialized primarily in animal portraiture, pastoral scenes, and wildlife. While Staines worked across several media, he is best known for his narrative works in watercolor, gouache, and bodycolor.\u003c\/p\u003e\u003cp\u003eBecause P.H. Staines worked primarily as a commercial artist and contributed to the Victorian era's boom in printed imagery, he often prepared his original watercolors with the explicit intent of turning them into engravings or lithographs for publication.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510316588,"sku":null,"price":28000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/44.jpg?v=1791083253"}],"url":"https:\/\/aradernyc.com\/collections\/landscape-city.oembed?page=4","provider":"Arader Galleries","version":"1.0","type":"link"}