{"title":"Landscape Oils","description":null,"products":[{"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":"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":"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":"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":"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":"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":"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":"beck-george-jacob-1748-1812-the-falls-on-the-potomac-circa-1801","title":"BECK, George Jacob (1748-1812), The Falls on the Potomac, circa 1801","description":"\u003cp\u003eBECK, George Jacob (1748-1812).\u003cbr\u003eThe Falls on the Potomac, circa 1801.\u003cbr\u003eOil on paper mounted on board.\u003cbr\u003eWith a paper label inscribed by the artist Great Falls, Potomac on the reverse.\u003cbr\u003e16 1\/2\" x 22 1\/2\" board.\u003c\/p\u003e\u003cp\u003eProvenance: Kennedy Galleries, Inc., New York.\u003c\/p\u003e\u003cp\u003eExhibited: Washington, D.C., The Corcoran Gallery of Art, Views and Visions: American Landscapes Before 1830, traveling, September 21, 1987-March 29, 1988.\u003cbr\u003eWashington, D.C., The Smithsonian Institution, National Museum of American Art, Capital Image: Painters in Washington, 1800-1915, October 19, 1983 to January 22, 1984.\u003c\/p\u003e\u003cp\u003eLiterature: \"Reality, Romanticism, Realism: Two Centuries of American Painting\", The Kennedy Quarterly, 1967, Volume VII, Number 4, pp. 242-243.\u003c\/p\u003e\u003cp\u003eIn 1796\/7 President George Washington purchased two companion views of George Beck's The Great Falls of the Potomac. Although one of the paintings was commissioned from Beck by President Washington, both were purchased through Samuel Salter of Philadelphia.  They are now part of the Mount Vernon Ladies' Association of the Union collection. The Great Falls is a series of cascades and rapids in a 200 foot gorge in the Potomac River.\u003c\/p\u003e\u003cp\u003eThis version, a closeup of the Great Falls, has a fresh, spontaneous and painterly quality absent in the Washington interpretations, and suggests that the artist painted it from nature.\u003c\/p\u003e\u003cp\u003eBeck \"was one of the first individuals to push beyond the representational limits of topographical draughtsmanship\" (Olsen). These watercolor gouaches of Washington is clearly a companion in style as well as subject to The Potomac River Breaking through the Blue Ridge and Great Falls of the Potomac (ca.1796-1797), combining as it does topographical detail with a Romantic atmosphere. Both of these works were purchased by George Washington in January 1797, from Samuel Salter (1768-1834) as Beck's agent, for $158.75. There were to be hung in the New Room that Washington had built at Mount Vernon following the Revolutionary War, where they can be viewed today. The original entry in Washington's account book recording the acquisition can be seen amongst the Papers of George Washington at the University of Virginia.\u003c\/p\u003e\u003cp\u003eGeorge Beck and his wife emigrated to America in 1795, drawn to the newly settled wilderness, which Beck was to portray so successfully in this paintings as well as his others. They settled in Baltimore where George first painted scenes of the Potomac, and achieved immediate success. Following Washington's commission William Hamilton, \"the well-known patron of English and American artists, commissioned Beck to paint a view of the Woodlands, Hamilton's elaborately landscaped estate in Philadelphia. At Hamilton's suggestion, in 1798 Beck settled in that city, then the capital of the country and its largest, most cultivated urban center; he opened drawing schools for men and women to subsidize his income, and his wife established a ladies' seminary\" (Olsen). However their time in Philadelphia was relatively short-lived. Beck first appears in the Philadelphia directory of 1798 as a landscape painter at 106 Walnut Street; in 1799 and 1800 on South Fifth Street near Chestnut; in 1801, 1802, 1803, at 51 South Fifth Street; and in 1804 ad 1805 as living near 51 South Fifth Street, all in very close proximity to Samuel Salter's properties... he may well have been a tenant.\u003c\/p\u003e\u003cp\u003eThe legendary beauty of the American west tempted the Becks to leave Philadelphia in 1804 and explore the western frontier: Pittsburgh, Niagara Falls, Ohio and Kentucky. \"The newly settled wilderness held a great appeal for [Beck], providing the opportunity of exploring relatively unspoiled nature while living in a social milieu where he and his wife hoped to attract patrons and students. In Kentucky he developed a freer style, and his works increasingly celebrated the unspoiled richness of the frontier. They reveal his fascination with the subjective power and mystery of nature\" (Roberta Olsen \"Drawn by New York\", pages 63-66).\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510349356,"sku":null,"price":375000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/49_9797d92c-2458-489b-b575-67a2b9ae1eed.jpg?v=1791083252"},{"product_id":"lee-frederick-richard-1798-1879-untitled-an-estuary-scene-with-figures-and-a-storm-approaching-the-beach","title":"LEE, Frederick Richard (1798-1879), [Untitled] An Estuary scene with figures and a storm approaching the beach","description":"\u003cp\u003eLEE, Frederick Richard (1798-1879).\u003cbr\u003e[Untitled] An Estuary scene with figures and a storm approaching the beach.\u003cbr\u003eOil on canvas.\u003cbr\u003eSigned lower right: \"Fred. Rich. Lee \/ 1835\".\u003cbr\u003e39\" x 49\" canvas, 46\" x 56\" framed.\u003c\/p\u003e\u003cp\u003eA very rare early work by Frederick Richard Lee.\u003c\/p\u003e\u003cp\u003eFrederick enrolled as a student at the Royal Academy on 16 January 1818, aged nineteen. Although no dated paintings are recorded from this time, by the time of his election as an Associate of the Royal Academy (A.R.A.) on 3 November 1834, at least six dated paintings existed. Lee was elected to full membership of the Royal Academy on 10 February 1838. A further seven paintings have been documented as painted by Lee before this date, again as oils, mainly on canvas.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510447660,"sku":null,"price":36000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/52.jpg?v=1791083259"},{"product_id":"hering-george-e-1805-1879-r-a-on-a-north-italian-lake","title":"HERING, George E. (1805-1879) R.A, On a North Italian Lake","description":"\u003cp\u003eHERING, George E. (1805-1879) R.A.\u003cbr\u003eOn a North Italian Lake.\u003cbr\u003eOil on canvas.\u003cbr\u003e33 1\/4\" x 54 1\/2\" canvas.\u003c\/p\u003e\u003cp\u003eGeorge E. Hering was an English landscape painter specializing in Italian scenery, particularly with lakes. In 1836 he first exhibited at the Royal Academy.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510480428,"sku":null,"price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/54.jpg?v=1791083258"},{"product_id":"roberts-david-british-1796-1864-a-venetian-harbor-scene","title":"ROBERTS, David (British, 1796-1864), A Venetian Harbor Scene","description":"\u003cp\u003eROBERTS, David (British, 1796-1864).\u003cbr\u003eA Venetian Harbor Scene.\u003cbr\u003eOil on canvas.\u003cbr\u003eSignature on the lower right: \"David Roberts\".\u003cbr\u003e19 1\/4\" x 30\" canvas.\u003c\/p\u003e\u003cp\u003eDavid Roberts RA RBA (24 October 1796 – 25 November 1864) was a Scottish painter. He is especially known for The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, a prolific series of detailed lithograph prints of Egypt and the Near East that he produced from sketches he made during long tours of the region (1838–1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter. He was elected as a Royal Academician in 1841.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510513196,"sku":null,"price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/55.jpg?v=1791083259"},{"product_id":"de-breanski-jr-alfred-fontville-british-1877-1955-a-summer-sunset-over-a-scottish-loch","title":"DE BREANSKI Jr., Alfred Fontville (British, 1877-1955), A Summer Sunset over a Scottish Loch","description":"\u003cp\u003eDE BREANSKI Jr., Alfred Fontville (British, 1877-1955).\u003cbr\u003eA Summer Sunset over a Scottish Loch.\u003cbr\u003eOil on canvas.\u003cbr\u003eSigned lower left: \"A F de Breanski\".\u003cbr\u003e20 1\/4\" x 30\" canvas.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510545964,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/5b12986b-dcbb-4073-9aa9-51a1f18c60ac.jpg?v=1791083260"},{"product_id":"whittredge-worthington-1820-1910-study-in-the-forest","title":"WHITTREDGE, Worthington (1820-1910), Study in the Forest","description":"\u003cp\u003eWHITTREDGE, Worthington (1820-1910).\u003cbr\u003eStudy in the Forest.\u003cbr\u003eOil on canvas.\u003cbr\u003e15 1\/4\" x 23 1\/4\" canvas, 21 1\/2\" x 29 1\/4\" framed.\u003c\/p\u003e\u003cp\u003eProvenance: Kennedy Galleries, Inc., New York: Mr. and Mrs. I. David Orr, New York, acquired from the above, 1965; By descent to the present owner within the family of the above.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510578732,"sku":null,"price":85000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/58.jpg?v=1791083264"},{"product_id":"devity-antonio-1901-1993-paris-street-scene-showing-the-famous-moulin-rouge","title":"DEVITY, Antonio (1901-1993), Paris Street Scene showing the famous Moulin Rouge","description":"\u003cp\u003eDEVITY, Antonio (1901-1993).\u003cbr\u003eParis Street Scene showing the famous Moulin Rouge.\u003cbr\u003eOil on canvas.\u003cbr\u003ec. 1950s.\u003cbr\u003e24\" x 48\" canvas, 34\" x 58\" framed.\u003c\/p\u003e\u003cp\u003eBorn in Reggio-Calabria in 1901, Italian artist Antonio DeVity was a master of cityscape painting. After moving to Rome during early adulthood, he was mentored by famous painter Giacomo Balla, an artist credited as co-founder of the Futurism movement. The stunning streets of Paris and sweeping canals of Venice became the focus of Antonio DeVity's Impressionist paintings showing historical buildings and scenic waterways from the early 1900s, before the devastation of WWII destroyed much of Europe.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510611500,"sku":null,"price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/60.jpg?v=1791083264"},{"product_id":"bubon-19th-century-a-girl-on-a-track-in-a-landscape","title":"BUBON (19th Century), A Girl on a Track in a Landscape","description":"\u003cp\u003eBUBON (19th Century).\u003cbr\u003eA Girl on a Track in a Landscape.\u003cbr\u003eOil on canvas.\u003cbr\u003eSigned lower left: \"Bubon\".\u003cbr\u003e10\" x 8\" canvas.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510644268,"sku":null,"price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/61_0ce05f69-1b23-4e66-8fe4-2ed1810dd06e.jpg?v=1791083266"},{"product_id":"marsh-reginald-american-1898-1954-tugboats-new-york-harbor-1948","title":"MARSH, Reginald (American, 1898-1954), Tugboats, New York Harbor - 1948","description":"\u003cp\u003eMARSH, Reginald (American, 1898-1954).\u003cbr\u003eTugboats, New York Harbor - 1948.\u003cbr\u003eOil on canvas.\u003cbr\u003eSigned and dated on the verso of the canvas: \"Reginald Marsh, 1948\".\u003cbr\u003e18\" x 24\" canvas, 24\" x 29 1\/2\" framed.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510709804,"sku":null,"price":38000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/64.jpg?v=1791083269"},{"product_id":"herzog-lewis-edward-1868-1943-central-park-new-york-city","title":"HERZOG, Lewis Edward (1868-1943), Central Park, New York City","description":"\u003cp\u003eHERZOG, Lewis Edward (1868-1943).\u003cbr\u003eCentral Park, New York City.\u003cbr\u003eOil on canvas.\u003cbr\u003eSigned lower right: \"Lewis Herzog\", identified on a typed label (affixed to the stretcher).\u003cbr\u003ec. 1915.\u003cbr\u003e16\" x 22\" canvas.\u003c\/p\u003e\u003cp\u003eLewis Edward Herzog was the son of the well-known landscape painter Herman Herzog. He traveled and studied throughout London, Rome, Beriin, Munich, and Venice, incorporating the loose, impressionistic style of the early European modernists into his own landscape paintings. The present work dates to after Herzog's 1898 return to the United States and displays the loose, free brushstrokes and earthen hues that he adopted on his travels.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510742572,"sku":null,"price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/65.jpg?v=1791083271"}],"url":"https:\/\/aradernyc.com\/collections\/landscape-oils.oembed?page=2","provider":"Arader Galleries","version":"1.0","type":"link"}