{"title":"Landscapes, Cityscapes \u0026 Views","description":null,"products":[{"product_id":"huard-charles-1874-1965-birds-eye-view-of-6th-avenue","title":"HUARD, Charles (1874-1965). Brooklyn Bridge View of South Street. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eBrooklyn Bridge View of South Street\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal drawing with pen and pencil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e8\" x 7\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":34405497503788,"sku":"","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_4_BrooklynBridgeviewofSouthStreet.jpg?v=1707776666"},{"product_id":"copy-of-landscape-8","title":"CHORIS, Louis (1787-1828). Village of Tchoutchi. 1816.","description":"\u003cp\u003eLouis Choris\u003c\/p\u003e\n\u003cp\u003eVillage of Tchoutchi  \u003c\/p\u003e\n\u003cp\u003eWatercolor and pencil on paper\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e4 1\/4\" x 8 1\/2\" canvas, 15\" x 19 1\/2\" framed\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBeautiful original watercolor and sketch of a village in Alaska. Louis Choris was born in Yekaterinoslav, Russian Empire, now Dnipro, Ukraine to German-Russian parents on March 22, 1795. In 1816, he visited the Pacific and the west coast of North America on board the Russian expeditionary ship Rurik, serving as an artist with the Romanzoff expedition under the command of Lieutenant Otto von Kotzebue, which was tasked with exploring a northwest passage. In terms of his work as an artist, Choris is said to have \"painted nature as he found it. The essence of his art is truth; a fresh, vigorous view of life, and an originality in portrayal.\" His illustrations on the Romanzoff expedition are therefore likely to faithfully represent the subjects he painted. After the voyage of the Rurik, Choris went to Paris where he issued a portfolio of his drawings in lithographic reproduction and studied in the ateliers of Gerard and Regnault. Choris worked extensively in pastels and documented the Ohlone people in the missions of San Francisco, California in 1816. Choris left France in 1827 for South America and was killed by robbers on March 22, 1828, en route to Vera Cruz, Mexi\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068566638636,"sku":"Landscape_9","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_9.jpg?v=1699565506"},{"product_id":"mongin-pierre-antoine-attr-view-of-the-gardens-and-facade-of-the-chateau-de-malmaison-near-paris-with-napoleon-and-josephine-strolling-in-the-foreground-after-1799","title":"Mongin, Pierre Antoine (attr.). View of the Gardens and Facade of the Chateau de Malmaison, near Paris, with Napoleon and Josephine strolling in the foreground. After 1799.","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAttributed to Antoine Pierre Mongin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eView of the Gardens and Facade of the Château de Malmaison, near Paris, with Napoleon and Josephine strolling in the foreground \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGouache over black chalk, after 1799\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e18 7\/8\" x 26 1\/2\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eExhibition history: “Public Parks, Private Gardens: Paris to Provence”, Metropolitan Museum of Art, NY, March 12 - July 19, 2018 (exhibition label attached on the back of the frame)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan data-mce-fragment=\"1\"\u003eInterestingly, according to wallpaper authority \u003c\/span\u003e\u003cspan class=\"il\" data-mce-fragment=\"1\"\u003eEd\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan class=\"il\" data-mce-fragment=\"1\"\u003ePolk\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e Douglas, Mongin was responsible for the design of some of the Zuber Company's most important scenics, often seen in American homes:  \"Views of Switzerland(1804)\"; \"Hindustan(1807)\"; \"Views of Italy(1818)\"; and \"\"French Gardens(1822)\".\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAttributed to Antoine-Pierre Mongin (1761-1827) the present \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eView of the Gardens and Facade of the Chateau de Malmaison\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is remarkable not only for its accomplished use of gouache paint- in itself a hard-to-master medium - but also for its subtle transcending the boundaries of landscape scenes. It was exhibited at the Metropolitan Museum of Art’s 2018 show “Public Parks, Private Gardens: Paris to Provence'' where it occupied a central position in its dual characteristics of being a private or essentially intimate view of a public setting. Herein lies much of its effectiveness. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIndeed, by introducing the strolling figures of Napoleon and his wife Josephine, Mongin elevates their status from mere staffage to the hidden protagonists of the painting. Indeed, he inverts the hierarchy governing the compositional setup of the landscape tradition as inherited from the Baroque tradition of Poussin, Claude, and others.\u003c\/p\u003e\n\u003cp\u003eThe staffage figures are not meant to serve the general aesthetics of the scene, but rather the other way around: the idyllic setting of Malmaison and its gardens gain their significance from the presence of Napoleon and Josephine. This makes the present view with its reduced dimensions of only 18 7\/9 x 26 1\/2 inches an intimate piece that was executed for the Empress herself.\u003c\/p\u003e\n\u003cp\u003eAn old label on the verso suggests this connection by stressing Josephine’s ownership of Malmaison: “Le Chateau de Malmaison appartenant à l'Impératrice.” Josephine Bonaparte had purchased the palace which is located only eight miles west of Paris in 1799. Having spent 225,000 francs on the premises, a far greater sum would be needed for the decoration and furnishing of the house, including the beautification of the gardens.\u003c\/p\u003e\n\u003cp\u003eThe gardens allowed the Empress to indulge her love for botany and her role as a patron to master painter Joseph Pierre Redoute immediately comes to mind. Indeed, she began a collection of flowers and plants which included examples from her family’s estate in the West Indies, Kew Gardens in England and the Jardin des Plantes in Paris. Along with the almost two hundred new species grown on the estate, the garden was famed for containing over two hundred and fifty varieties of roses. Mongin thus gives a rare glimpse into both the private life of Josephine and the appearance of Malmaison and its gardens before they fell into disrepair at the Empress’ death. The pavilion in the painting’s background can still be seen today.\u003c\/p\u003e\n\u003cp\u003eAntoine-Pierre Mongin thus created a “paysage historié” - analogous to the established hybrid of the “portrait historié”. It gains its significance through its connection with historical figures; on a formal plan, this connection is realized through the interplay of colors and Josephine's Ownership of Malmaison, for example, is demonstrated by according the pale blue of her robe to the general tone of the house and its awning.\u003c\/p\u003e\n\u003cp\u003eMongin, who studied at the Académie des Beaux-Arts in Paris and exhibited at the Salon Between 1791 and 1824, is represented in the collections of major European and American Institutions. Rarely though is his touch more painterly and subtle than in the present view of Malmaison which remains an intimate masterpiece of the French Empire.\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42192487579692,"sku":"Mongin_Malmaison","price":85000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/mongin_josephineandnapoleoninthegardenatmalmaison_1.jpg?v=1701358578"},{"product_id":"huard-charles-1874-1965-mulberry-street-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). Mulberry Street. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eMulberry Street\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal drawing with pen and pencil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e4” x 10”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":42612297465900,"sku":null,"price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_15_MulberryStreet.jpg?v=1707777093"},{"product_id":"huard-charles-1874-1965-sketch-of-a-chinese-woman-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). Sketch of a Chinese Woman. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eSketch of a Chinese Woman\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal drawing with pen and pencil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e4 3\/4” x 3 3\/4”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":42612314243116,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_24_SketchofaChinesewoman.jpg?v=1707777279"},{"product_id":"huard-charles-1874-1965-people-at-the-club-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). People at the Club. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003ePeople at the Club\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eOriginal drawing with pen and pencil\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e8 7\/16” x 6 3\/8”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":42612338294828,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_93_4Menattheclubandawoman.jpg?v=1707777555"},{"product_id":"huard-charles-1874-1965-american-villas-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). American Villas. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eAmerican Villas \u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eOriginal drawing with pen and pencil\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e5 1\/16” x 8 5\/16”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":42617767788588,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_113_Americanvillas.jpg?v=1707844523"},{"product_id":"payton-edward-william-british-1859-1944-lake-rotorua-hot-lake-country-new-zealand","title":"PAYTON, Edward William (British, 1859 - 1944). Lake Rotorua, Hot Lake Country, New Zealand.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePAYTON, Edward William (British,1859 - 1944)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eLake Rotorua, Hot Lake Country, New Zealand\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWatercolor on paper in original period frame\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSigned lower right: “E. W. P.”\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e9 x 21\" sheet, 16\" x 28 2\/8\" framed\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: with a manuscript label “, Hot Lake Country, New Zealand” possibly in Payton’s hand on the verso of the frame, underneath which is inscribed in pencil “Duchess of Buckinham”; also the original printed gallery label of Thomas Wilson. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA fine watercolour produced by Payton on his tour of New Zealand in 1883-1886. Lake Rotorua has long been considered a sight of natural beauty and revered for its therapeutic waters. It is but one of eleven natural lakes, which sparkle across the landscape and for over 160 years, has been famed as a spa destination. Maori legend explains that the region was created by the fire demons Te Pupu and Te Hoata who were summoned by the sisters of Ngatotoirangi, the first to discover New Zealand, in order to save their brother's life. The fire demons tunneled through the sea and land to find him and every time they lifted their heads to orientate themselves a volcano was created. Indeed, the lakes are essentially volcanic, formed by the eruption of Mount Tarawera, and are located on New Zealand's North island. In this enchanting watercolor, Edward William Payton captures the expansiveness of Lake Rotorua and the vibrant aqua color of its waters. A Maori village, probably the beginnings of the town of Rotorua, is depicted in the foreground and small dwellings are pictured dotted along the water's edge. The people of Te Arawa were the guardians of the thermal region of New Zealand and it is most probably them that inhabit the village.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759995125804,"sku":null,"price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Payton_LakeRotorua_HotLakeCountry_NewZealand.jpg?v=1724875989"},{"product_id":"carl-friedrich-philipp-von-martius-1794-1868-and-johann-moritz-rugendas-1802-1858-a-brazilian-landscape-with-indians-encamped-under-palms-by-a-river-a-snake-and-crocodile-in-the-foreground","title":"CARL FRIEDRICH PHILIPP VON MARTIUS (1794-1868) AND JOHANN MORITZ RUGENDAS (1802-1858) A Brazilian landscape with Indians encamped under palms by a river, a snake and crocodile in the foreground","description":"\u003cp data-start=\"89\" data-end=\"483\" class=\"\"\u003e\u003cstrong data-start=\"89\" data-end=\"178\"\u003eCARL FRIEDRICH PHILIPP VON MARTIUS (1794–1868) AND JOHANN MORITZ RUGENDAS (1802–1858)\u003c\/strong\u003e\u003cbr data-start=\"178\" data-end=\"181\"\u003e\u003cem data-start=\"181\" data-end=\"290\"\u003eA Brazilian landscape with Indians encamped under palms by a river, a snake and crocodile in the foreground\u003c\/em\u003e\u003cbr data-start=\"290\" data-end=\"293\"\u003ePencil, ink, and watercolor on paper\u003cbr data-start=\"329\" data-end=\"332\"\u003eInscribed along lower margin: \u003cem data-start=\"362\" data-end=\"415\" data-is-only-node=\"\"\u003eManicaria Saccifera \/ Desmoncus orthacanthos Tab:98\u003c\/em\u003e\u003cbr data-start=\"415\" data-end=\"418\"\u003ePaper size: 18 1\/2 x 14 1\/2 in.; Framed size: 28 5\/8 x 24 1\/8 in.\u003c\/p\u003e\n\u003cp data-start=\"485\" data-end=\"691\" class=\"\"\u003e\u003cstrong data-start=\"485\" data-end=\"500\"\u003eLiterature:\u003c\/strong\u003e\u003cbr data-start=\"500\" data-end=\"503\"\u003eC. F. P. von Martius, \u003cem data-start=\"525\" data-end=\"554\"\u003eHistoria Naturalis Palmarum\u003c\/em\u003e, II (\u003cem data-start=\"560\" data-end=\"592\"\u003eDe Brasiliae Palmis Singulatim\u003c\/em\u003e)\u003cbr data-start=\"593\" data-end=\"596\"\u003e(Leipzig, 1823–1850), pp. 87, 140–141, pl. 98 (\u003cem data-start=\"643\" data-end=\"689\"\u003eManicaria Saccifera \/ Desmoncus orthacanthos\u003c\/em\u003e).\u003c\/p\u003e\n\u003cp data-start=\"707\" data-end=\"1347\" class=\"\"\u003eThis remarkable watercolor is a study for plate 98 in volume two of Martius’s exhaustive botanical work, \u003cem data-start=\"812\" data-end=\"841\"\u003eHistoria Naturalis Palmarum\u003c\/em\u003e. The final lithograph credits the lithographer, C. Hess (\u003cem data-start=\"899\" data-end=\"912\"\u003ein lap. del\u003c\/em\u003e), working from the author’s model (\u003cem data-start=\"948\" data-end=\"970\"\u003eMartius palm ad nat.\u003c\/em\u003e). While the published plate omits the dramatic foreground elements—a snake and a crocodile—this original composition includes them, suggesting a narrative and ecological context. Though Martius is credited with the botanical model, the present watercolor may have been elaborated by Johann Moritz Rugendas for publication, blending scientific observation with artistic vision.\u003c\/p\u003e\n\u003cp data-start=\"59\" data-end=\"150\" class=\"\"\u003e\u003cstrong data-start=\"59\" data-end=\"109\"\u003eCARL FRIEDRICH PHILIPP VON MARTIUS (1794–1868)\u003c\/strong\u003e\u003cbr data-start=\"109\" data-end=\"112\"\u003e\u003cstrong data-start=\"112\" data-end=\"150\"\u003eJOHANN MORITZ RUGENDAS (1802–1858)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"152\" data-end=\"395\" class=\"\"\u003eMartius’s \u003cem data-start=\"162\" data-end=\"191\"\u003eHistoria Naturalis Palmarum\u003c\/em\u003e was based on his travels in Brazil with Johann Baptist von Spix from 1818 to 1820. The work expanded in its third volume (\u003cem data-start=\"314\" data-end=\"337\"\u003eExpositio Systematica\u003c\/em\u003e) to include all known palm species worldwide at the time.\u003c\/p\u003e\n\u003cp data-start=\"397\" data-end=\"785\" class=\"\"\u003eThe majority of the drawings for Volume II, which focused on Brazilian palms, were credited to Martius. However, a few landscape scenes—representing areas Martius had not personally visited—were adapted from works by Frans Post and Johann Moritz Rugendas. As in the present watercolor, Rugendas likely developed many of Martius’s field sketches into finished compositions for publication.\u003c\/p\u003e\n\u003cp data-start=\"787\" data-end=\"1228\" class=\"\"\u003eIn 1817, King Maximilian Joseph of Bavaria commissioned Martius, a botanist, and Spix, a zoologist, to join the entourage of Archduchess Leopoldina to Brazil. Over the next three years, they conducted extensive investigations into the region’s natural history and Indigenous cultures. Their journey took them from Rio de Janeiro and São Paulo to Montes Claros and the Upper São Francisco, then across to Salvador de Bahia and onward to Pará.\u003c\/p\u003e\n\u003cp data-start=\"1230\" data-end=\"1671\" class=\"\"\u003eIn August 1819, they became the first non-Portuguese Europeans granted permission to explore the Brazilian Amazon. After ascending the river, the pair separated: Martius journeyed up the Japurá River for two months, reaching areas near the modern Colombian border. They reunited at Barra (now Manaus) in March 1820 and returned to Belém, departing for Europe with an enormous collection of natural history specimens and Indigenous artifacts.\u003c\/p\u003e\n\u003cp data-start=\"1673\" data-end=\"2071\" class=\"\"\u003eTheir expedition was documented in the co-authored \u003cem data-start=\"1724\" data-end=\"1744\"\u003eReise in Brasilien\u003c\/em\u003e (Munich, 1823–1832), published in three volumes with an atlas. It also inspired Martius’s two monumental natural history projects: \u003cem data-start=\"1876\" data-end=\"1905\"\u003eHistoria Naturalis Palmarum\u003c\/em\u003e and the vast \u003cem data-start=\"1919\" data-end=\"1939\"\u003eFlora Brasiliensis\u003c\/em\u003e. The latter, begun in 1840, continued until 1906—only one-third of which had been published by the time of Martius’s death in 1868.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44272406822956,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/martiusandrugendas_ABrazilianlandscapewithIndians.jpg?v=1744751165"},{"product_id":"persac-marie-adrien-french-american-1823-1873-clifty-creek-canyon-indiana","title":"PERSAC, Marie Adrien (French-American, 1823-1873). Clifty Creek Canyon, Indiana.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePERSAC, Marie Adrien (French-American, 1823-1873)\u003cbr\u003e\u003cem\u003e[Clifty Creek Canyon, Indiana]\u003c\/em\u003e\u003cbr\u003eGouache on paper\u003cbr\u003eSigned lower right: “A. Persac”\u003cbr\u003eInscribed: “Etas Unis”\u003cbr\u003e9 1\/4” x 5 3\/4” sheet\u003cbr\u003e12 1\/2” x 9” framed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMarie Adrien Persac (1823-1873) was a photographer, architect, artist, and civil engineer. Born in Lyons, France, he came to the United States to hunt buffalo and settled in Indiana to cultivate apple orchards. It’s not clear what brought Adrien down south to Louisiana. Letters with his marriage proposal show him to be a highly educated Frenchman. His wife was just 16 when they married. She lived on the Daigre Plantation, which Adrien later immortalized when he painted. They started their married life in Baton Rouge and later moved to New Orleans. The couple had three sons: Marie Adrien Edouard, Octave Joseph, and Alfred.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePersac had a background in engineering and drew property maps for the Notarial Archives in New Orleans. He was also an accomplished artist and lithographer. In the late 1850s and early 1860s, Persac made some topographical gouache drawings of plantation houses in Louisiana on commission or, reportedly, as barter for room and board. He also briefly operated a photographic studio in the 1850s with William G. Vail. In 1869, he founded his own Academy of Drawing and Painting, where Persac taught portraiture and landscape painting in oil and watercolors. He died in Manchac, Louisiana.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45109349187628,"sku":null,"price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Persac_Canyon_Framed.jpg?v=1765222289"},{"product_id":"persac-marie-adrien-french-american-1823-1873-clifty-falls-indiana","title":"PERSAC, Marie Adrien (French-American, 1823-1873). Clifty Falls, Indiana.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePERSAC, Marie Adrien (French-American, 1823-1873)\u003cbr\u003e[Clifty Falls, Indiana]\u003cbr\u003eGouache on paper\u003cbr\u003eSigned A. Persac (lower right); inscribed Chute de Clifty (Indiana) \/Etats Unis d’Amérique \/ (Clifty Falls) (on the reverse)\u003cbr\u003e13 1\/4” x 9 3\/8” framed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMarie Adrien Persac (1823-1873) was a photographer, architect, artist, and civil engineer. Born in Lyons, France, he came to the United States to hunt buffalo and settled in Indiana to cultivate apple orchards. It’s not clear what brought Adrien down south to Louisiana. Letters with his marriage proposal show him to be a highly educated Frenchman. His wife was just 16 when they married. She lived on the Daigre Plantation, which Adrien later immortalized when he painted. They started their married life in Baton Rouge and later moved to New Orleans. The couple had three sons: Marie Adrien Edouard, Octave Joseph, and Alfred.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003ePersac had a background in engineering and drew property maps for the Notarial Archives in New Orleans. He was also an accomplished artist and lithographer. In the late 1850s and early 1860s, Persac made some topographical gouache drawings of plantation houses in Louisiana on commission or, reportedly, as barter for room and board. He also briefly operated a photographic studio in the 1850s with William G. Vail. In 1869, he founded his own Academy of Drawing and Painting, where Persac taught portraiture and landscape painting in oil and watercolors. He died in Manchac, Louisiana.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45109399191596,"sku":null,"price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Persac_CliffityFalls_Framed_1_b10d1181-1e61-4d86-b1ba-600406aca6c8.jpg?v=1765222530"},{"product_id":"chevalier-nicholas-1828-1902-natives-on-the-shore-of-a-south-sea-island","title":"CHEVALIER, Nicholas (1828-1902). Natives on the Shore of a South Sea Island.","description":"\u003cp\u003eCHEVALIER, Nicholas (1828-1902).\u003cbr\u003e\u003cem\u003eNatives on the Shore of a South Sea Island\u003c\/em\u003e\u003cbr\u003eWatercolor, heightened with bodycolor on paper\u003cbr\u003eSigned lower right: “N. Chevalier, 1884”\u003cbr\u003e4” x 7 1\/4” sheet\u003cbr\u003e13” x 16 1\/2” framed\u003c\/p\u003e\n\u003cp data-start=\"426\" data-end=\"942\"\u003eThis finely executed watercolor by Nicholas Chevalier depicts a quiet shoreline scene in the South Seas, rendered with the luminous palette and careful detailing that distinguish Chevalier’s mature work. Two figures sit beside an outrigger canoe beneath the sheltering branches of tropical foliage, while the distant sea shifts gently from turquoise to deep blue. Heightened with bodycolor, the composition carries a subtle radiance, capturing both the clarity of light and the calm atmosphere of the island setting.\u003c\/p\u003e\n\u003cp data-start=\"944\" data-end=\"1588\"\u003eChevalier was among the most accomplished European artists to work across the Pacific in the nineteenth century. Born in Russia to a Swiss father and later trained in London and Lausanne, he traveled extensively through Australia, New Zealand, and the Pacific islands beginning in the 1850s. His paintings and sketches are prized today for their precise observation and for the role they played in shaping European visual understanding of Pacific landscapes and cultures. Chevalier became the first official touring artist for the colonial government of Victoria and contributed significantly to early exhibitions of Australasian art in Europe.\u003c\/p\u003e\n\u003cp data-start=\"1590\" data-end=\"2010\"\u003eIn the present sheet, Chevalier’s refined draftsmanship and soft layering of washes emphasize the harmony between landscape and figures, presenting a scene that is both documentary and contemplative. His South Sea works often reflect moments of daily life rather than staged or theatrical imagery, and this watercolor exemplifies that approach: intimate in scale, rich in detail, and attentive to the character of place.\u003c\/p\u003e\n\u003cp data-start=\"2012\" data-end=\"2338\"\u003eBeautifully framed and in excellent condition, \u003cem data-start=\"2054\" data-end=\"2098\"\u003eNatives on the Shore of a South Sea Island\u003c\/em\u003e stands as an appealing and historically resonant example of Chevalier’s Pacific oeuvre, offering collectors a glimpse into the artistic traditions that documented exploration, travel, and cross-cultural encounter in the nineteenth century.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109431762988,"sku":null,"price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Chevalier_NativesontheShoreofaSouthSeaIsland_1.jpg?v=1765223120"},{"product_id":"german-school-1877-78-california-street-san-francisco","title":"GERMAN SCHOOL, 1877-78. California Street, San Francisco.","description":"\u003cp\u003eGERMAN SCHOOL, 1877-78\u003cbr\u003e\u003cem\u003eCalifornia Street, San Francisco\u003c\/em\u003e\u003cbr\u003eNumbered ‘363’ (upper right), and titled ‘December 1877. 563.\u003cbr\u003eCalifornia street. San Francisco’ on the detached original mount\u003cbr\u003ewhich accompanies the watercolor\u003cbr\u003ePencil and watercolor on paper\u003cbr\u003e7 1\/2” x 9 5\/8” sheet\u003c\/p\u003e\n\u003cp data-start=\"553\" data-end=\"975\"\u003eThis finely rendered watercolor offers a remarkable nineteenth century view of California Street, one of San Francisco’s defining thoroughfares during the city’s early growth. Executed by a German-trained artist working in 1877 to 1878, the sheet combines disciplined draftsmanship with gentle watercolor washes, capturing the steep drama of the city’s topography and the lively density of its post–Gold Rush architecture.\u003c\/p\u003e\n\u003cp data-start=\"977\" data-end=\"1605\"\u003eThe composition looks downhill toward the bay, where the blue expanse of water meets the distant ridgelines of Marin. Rows of Italianate commercial buildings and residential facades line the plunging street, their warm ochres and cool grays rendered with the clarity characteristic of German topographical watercolorists. Horse-drawn wagons, figures, and masonry materials animate the foreground, emphasizing the constant construction that defined San Francisco in this decade. The sharply inclined street, a signature feature of the city’s layout, is depicted with convincing perspective and a keen understanding of urban form.\u003c\/p\u003e\n\u003cp data-start=\"1607\" data-end=\"2048\"\u003eThe accompanying original mount, titled in English, indicates that these views were prepared as finished presentation works, likely intended for the European travel market where images of the rapidly expanding Pacific metropolis enjoyed significant interest. Together, the precision of line, the atmospheric palette, and the documentary value place this watercolor among the most appealing records of San Francisco’s early urban development.\u003c\/p\u003e\n\u003cp data-start=\"2050\" data-end=\"2280\"\u003eAn engaging and historically resonant view of California Street at the close of the nineteenth century, this work offers collectors an intimate and accurate glimpse into the formative period of one of America’s most iconic cities.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109444247596,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SSV0346.jpg?v=1765226818"},{"product_id":"german-school-1877-78-san-francisco-from-telegraph-hill","title":"GERMAN SCHOOL, 1877-78. San Francisco from Telegraph Hill","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eGERMAN SCHOOL, 1877-78\u003cbr\u003eTitled ‘\u003cem\u003eSan Francisco von Telegraph Hill\u003c\/em\u003e’ (lower right), numbered ‘368’ (upper right), and titled ‘\u003cem\u003e12 Januar 1878 568.'\u003c\/em\u003e\u003cbr\u003e'San Francisco from Telegraph hill’ on the detached original mount which accompanies the watercolor. \u003cbr\u003ePencil and watercolor on paper \u003cbr\u003e7 1\/2” x 9 5\/8” sheet\u003c\/p\u003e\n\u003cp data-start=\"659\" data-end=\"1135\"\u003eThis finely detailed watercolor records San Francisco at one of the most dynamic moments of its early development, seen from the commanding vantage of Telegraph Hill in the late 1870s. Executed by a German-trained artist whose hand reveals the disciplined draftsmanship and luminous wash typical of continental topographical work, the composition looks across the densely built North Beach district toward the glittering sweep of the bay and the rugged Marin headlands beyond.\u003c\/p\u003e\n\u003cp data-start=\"1137\" data-end=\"1672\"\u003eThe artist captures the rectilinear grid of San Francisco’s steep streets with remarkable clarity, conveying the city’s rapid architectural growth only three decades after the Gold Rush. The view looks across a mixture of Italianate residences, commercial blocks, and waterfront piers, all rendered with the crisp line and subtle tonal modulations favored by German watercolorists of the period. The harbor, still the city’s lifeline, is shown alive with shipping and framed by the pale gold sandstone cliffs of the northern shoreline.\u003c\/p\u003e\n\u003cp data-start=\"1674\" data-end=\"2039\"\u003eWorks of this type were prized both as travel documents and as aesthetic impressions of the American West, particularly among European artists and audiences eager to witness the astonishing rise of the Pacific metropolis. The survival of the original titled mount further underscores its function as a finished presentation drawing, intended for sale or exhibition.\u003c\/p\u003e\n\u003cp data-start=\"2041\" data-end=\"2302\"\u003eA rare and atmospheric view of nineteenth century San Francisco, this watercolor offers both historical resonance and artistic refinement, making it a compelling addition for collectors of western Americana, early California city views, and European travel art.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109475934252,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SSV0347.jpg?v=1765226845"},{"product_id":"william-henry-brooke-preparatory-watercolor-slaves-shipping-cotton-1842","title":"William Henry Brooke, Preparatory Watercolor for “Slaves Shipping Cotton by Torch-Light” (1842)","description":"\u003cp\u003eThis rare preparatory drawing by William Henry Brooke served as the foundation for an early published visual critique of slavery in the United States. Created for James Silk Buckingham’s \u003cem\u003eThe Slave States of America\u003c\/em\u003e (London, 1842), the image records forced labor along the Alabama River with emotional restraint and historical clarity.\u003c\/p\u003e\n\u003cp\u003eBuckingham’s account helped shape British public understanding of American slavery and the growing abolitionist movement. As a primary visual document, the drawing offers a contemporaneous perspective on a system that caused immense harm and injustice.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMedium:\u003c\/strong\u003e Pen, ink, and watercolor wash, heightened in white, on paper\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1842\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSheet size:\u003c\/strong\u003e 8 3\/4 × 10 3\/4 in\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFramed:\u003c\/strong\u003e 16 × 18 in\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45159752957996,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Brooke.jpg?v=1767219499"},{"product_id":"van-royen-willem-frederiksz-dutch-1645-1723-three-lizards-in-a-landscape-a-red-headed-agama-with-a-pair-of-sand-lizards","title":"VAN ROYEN, Willem Frederiksz (Dutch 1645-1723), Three Lizards in a Landscape: a Red-headed Agama with a Pair of Sand Lizards","description":"\u003cp\u003eVAN ROYEN, Willem Frederiksz (Dutch 1645-1723).\u003cbr\u003eThree Lizards in a Landscape: a Red-headed Agama with a Pair of Sand Lizards.\u003cbr\u003eWatercolor and gouache over black chalk and graphite, with pen and brown and gray ink, on laid paper; the three lizards executed separately, cut out along their contours, and laid down onto the completed landscape sheet.\u003cbr\u003eLaid down on an eighteenth-century decorated collector’s mount of blue-gray paper with washed borders and black and gilt ruled fillets, inscribed in a shaped cartouche below the image: Van W. F. Royen.\u003cbr\u003e16\" x 10 3\/8\" sheet, Mount: 19 5\/8\" x 13 3\/8\" mount.\u003c\/p\u003e\u003cp\u003eThree lizards climb a sunlit bank. The uppermost animal, with a brick-red head, a dark, densely pale-speckled body, a pale ventrolateral stripe, and a long tail with alternating light and dark bands, appears to be the red-headed rock agama, Agama agama (Linnaeus, 1758). In this species, a territorial male in display carries an orange-to-scarlet head above a dark blue-black body flecked with pale spots, while females, juveniles, and subordinate males remain uniformly olive-brown. The body here reads as a dark olive rather than blue, but seventeenth-century blues are notoriously fugitive, and indigo or smalt laid over a dark ground will shift toward olive and gray over three centuries. We might also assume the artist drew from a skin that may have lost some of its color.\u003c\/p\u003e\u003cp\u003eAgama agama is native to sub-Saharan Africa, distributed from Mauritania and Senegal eastward across the Sahel to Chad and Kenya and south to Angola, with introduced populations elsewhere. It is a rock-dwelling, conspicuously diurnal animal, and one of the most frequently encountered lizards on the West African coast. In 1682 Elector Frederick William chartered the Brandenburgisch-Afrikanische Compagnie (Brandenburg African Company), and on January 1, 1683, the colony of Groß Friedrichsburg was founded on the Gold Coast, in present-day Ghana. For roughly four decades thereafter, Brandenburg vessels moved between the Gulf of Guinea and the Baltic. A court painter in Berlin in these years had access, at least in principle, to West African naturalia arriving through that traffic and entering the court Kunstkammer. It is the most reasonable explanation for the presence of a Gold Coast lizard in a Brandenburg studio.\u003c\/p\u003e\u003cp\u003eThe middle animal is a sand lizard, Lacerta agilis Linnaeus, 1758, shown as an adult male in breeding condition. Identified by the characteristic vivid green flanks and sides of the head, a brown vertebral band carrying dark, pale-centered ocelli, a stocky body with a short and rather blunt head, and a tail well over half the total length. The green appears only in spring, when it serves as a badge of status in contests between males, making this a seasonally specific observation rather than a generic one. The species ranges across temperate Eurasia from the Pyrenees to Mongolia and northwestern China and is abundant in exactly the habitat of Brandenburg: dry sandy heath, open pine woodland, and grassy embankments.\u003c\/p\u003e\u003cp\u003eThe brown-gray figure at the bottom shows paired rows of bold dark blotches flanking a lighter vertebral band and pale dorsolateral stripes; it may be the female of the same species, Lacerta agilis, whose cryptic brown coloring and crisper longitudinal striping distinguish her from the male above.\u003c\/p\u003e\u003cp\u003eRead together, the sheet becomes a study of sexual dimorphism with two lizards from the sandy heaths outside the artist’s own door beside one carried home from the Gulf of Guinea. That juxtaposition of the local and the imported is the Kunstkammer's organizing logic.\u003c\/p\u003e\u003cp\u003eVan Royen’s court work included large animal and landscape pictures for various residences, including the Menagerie des Kurfürsten Friedrich III. von Brandenburg (Menagerie of Elector Frederick III of Brandenburg) and Zwergsäger auf der Havel bei Caputh (Smew on the Havel near Caputh) survive in situ at Schloss Caputh. A movable study of this kind would serve very naturally to place small creatures in the foreground of a wall panel or architectural element.\u003c\/p\u003e\u003cp\u003eWillem Frederiksz. van Royen was probably born in Haarlem around 1645 and trained with Arnold van Ravesteyn, either there or in The Hague, between 1661 and 1668. He moved to Berlin in 1669 and succeeded the flower painter Adriaen van der Spelt as court painter to Frederick William, Elector of Brandenburg, when van der Spelt returned to the Netherlands. He was in Potsdam in 1689 and, in 1695, was among the founders of the Academy of Arts in Berlin, an institution with which he remained associated until his death there in 1723. He also worked in Amsterdam, contributing paintings to the celebrated cabinet house of Petronella de la Court, now in the Rijksmuseum, alongside Nicolaas Piemont and Johannes Voorhout.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510283820,"sku":null,"price":24000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/43.jpg?v=1791083249"},{"product_id":"staines-p-h-british-19th-century-elephants-asian-watering","title":"STAINES, P.H. (British, 19th Century), Elephants [Asian] Watering","description":"\u003cp\u003eSTAINES, P.H. (British, 19th Century).\u003cbr\u003eElephants [Asian] Watering.\u003cbr\u003eWatercolor, ink, and gum arabic on paper.\u003cbr\u003eIndistinctly signed lower right: \"P.H. Staines Del\/ 1863\".\u003cbr\u003e16 9\/16\" x 22 13\/16\" sheet.\u003c\/p\u003e\u003cp\u003e\"Elephants watering\" depicts a detailed, lush tropical jungle scene with a herd of Asian elephants gathered around a river watering hole. The animals are Asian elephants (Elephas maximus), identifiable by their domed heads, small ears, and twin-domed foreheads, with two tusks prominent on the right. The wading bird at center appears to be a stork or adjutant; the small birds over the water may be bee-eaters or swallows.\u003c\/p\u003e\u003cp\u003eThe nineteenth-century British painter and illustrator P.H. Staines was active in the 1860s. He specialized primarily in animal portraiture, pastoral scenes, and wildlife. While Staines worked across several media, he is best known for his narrative works in watercolor, gouache, and bodycolor.\u003c\/p\u003e\u003cp\u003eBecause P.H. Staines worked primarily as a commercial artist and contributed to the Victorian era's boom in printed imagery, he often prepared his original watercolors with the explicit intent of turning them into engravings or lithographs for publication.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510316588,"sku":null,"price":28000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/44.jpg?v=1791083253"},{"product_id":"schmidt-e-a-19th-century-cityscape","title":"SCHMIDT, E. A. (19th Century), [Cityscape]","description":"\u003cp\u003eSCHMIDT, E. A. (19th Century).\u003cbr\u003e[Cityscape].\u003cbr\u003eWatercolor on board.\u003cbr\u003eSigned and dated lower left: \"E. A. Schmidt 1892\".\u003cbr\u003e11 1\/4\" x 7 7\/8\" board.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510775340,"sku":null,"price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/67.jpg?v=1791083274"},{"product_id":"cameron-lt-col-william-spottswoods-b-1884-untitled-winter-cabin","title":"CAMERON, Lt. Col. William Spottswoods (b. 1884), Untitled, [Winter Cabin]","description":"\u003cp\u003eCAMERON, Lt. Col. William Spottswoods (b. 1884).\u003cbr\u003eUntitled, [Winter Cabin].\u003cbr\u003eWatercolor on paper, mounted on board.\u003cbr\u003eSigned and dated lower right: \"W. S. Cameron - 1927\".\u003cbr\u003e14 3\/4\" x 10 3\/8\" sheet.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510840876,"sku":null,"price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/69.jpg?v=1791083276"},{"product_id":"canada-a-moravian-missionary-meets-with-inuit-in-the-mid-1700s-outside-of-nain-labrador-watercolor-on-paper","title":"[Canada] A Moravian missionary meets with Inuit in the mid-1700s outside of Nain, Labrador, Watercolor on paper","description":"\u003cp\u003e[Canada] A Moravian missionary meets with Inuit in the mid-1700s outside of Nain, Labrador.\u003cbr\u003eWatercolor on paper.\u003cbr\u003eLate 18th Century.\u003cbr\u003e20 1\/2\" x 27\" sheet.\u003c\/p\u003e\u003cp\u003eThis image shows a nationally historic event for Canada, depicting Moravian Missionaries and the Inuit in Labrador engaged in a remarkably constructive integration of Moravian and Inuit life and culture.\u003c\/p\u003e\u003cp\u003eIllustrated in Chapter 5 [A Revolutionary Age, 1763–1815] of A Concise History of Canada , pp. 129 - 165.\u003c\/p\u003e\u003cp\u003eNain (Inuit language: Nunainguk) is the northernmost permanent settlement in the Canadian province of Newfoundland and Labrador, within the Nunatsiavut region, located about 370 km (230 mi) by air from Happy Valley-Goose Bay. The town was established as a Moravian mission in 1771 by Jens Haven and other missionaries. As of 2021, the population is 1,204 mostly Inuit and mixed Inuit-European. Nain is the administrative capital of the autonomous region of Nunatsiavut.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510873644,"sku":null,"price":32000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/70.jpg?v=1791083278"},{"product_id":"byrne-l-h-fl-1840-1850-ohi-island-in-the-moluccas","title":"BYRNE, L. H. (fl. 1840-1850), Ohi Island in the Moluccas","description":"\u003cp\u003eBYRNE, L. H. (fl. 1840-1850).\u003cbr\u003eOhi Island in the Moluccas.\u003cbr\u003ePencil.\u003cbr\u003eInscribed twice \"Oby Major\" (lower left and right), inscribed and dated \"Gomono isd. N by E.dist 6 or 7 miles \/ March 4th 1845\" lower center.\u003cbr\u003e5 1\/4\" x 24 3\/8\" sheet.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510906412,"sku":null,"price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/71.jpg?v=1791083280"},{"product_id":"billing-frederick-william-1835-1914-panoramic-view-of-new-york-city-from-new-jersey-1","title":"BILLING, Frederick William (1835-1914), Panoramic View of New York City from New Jersey","description":"\u003cp\u003eBILLING, Frederick William (1835-1914).\u003cbr\u003ePanoramic View of New York City from New Jersey.\u003cbr\u003eGraphite Drawing on wove paper.\u003cbr\u003eSigned and dated lower right: \"F. W. Billing, 1856\".\u003cbr\u003e19 1\/4\" x 48 1\/2\" sheet, 25 1\/2\" x 55\" framed.\u003c\/p\u003e\u003cp\u003eVery Fine large scale original drawing of Manhattan across the Hudson River. A truly spectacular panorama of Manhattan drawn from life in 1856 by noted German-born landscape artist Frederick William Billing (1835-1914), who settled in Brooklyn in that same year. The large view looks across and down the Hudson River from New Jersey as figures stand about the cliffs of the Palisades and Hoboken farmland in the foreground. Scant beginnings of Jersey City and Paulus Hook are seen in the lower right as the view fades into the distant Narrows. Recognizable landmarks appear on the New York side such as the Crystal Palace, Trinity Church and Castle Williams on Governors Island. A remarkable, skillfully rendered and completely original mid-nineteenth century view of New York City. of Manhattan from across the Hudson River, showing figures standing about the cliffs of the Palisade and Hoboken farmland. Jersey City is seen in the middle ground (right). Landmarks include Trinity Church and the New York Crystal Palace (destroyed in 1858; the Latting Observatory burnt down on August 30, 1856 and is not shown here).\u003c\/p\u003e\u003cp\u003eBorn in Germany in 1835, Billing developed an interest in painting from a very early age, but never received formal training. In 1856, he emigrated to the United States and settled with his wife Wilhelmine Sickett (from Düsseldorf) in Brooklyn. The Civil War Records list Billing as a First Lieutenant and Quartermaster fighting in the 54th Infantry Regiment on the side of the Union. After the War, he opened a brokerage business on Wall Street. \"By the mid-1860s Billing turned to landscapes encouraged by a German-American painter named Johann H. Carmienke, with whom he studied. During the 1870s most of his paintings were European landscapes he recalled from earlier travels. He also continued painting scenes in the New York region. He exhibited once at the Brooklyn Academy of Painting\" (STEVENS). Billing died in Santa Cruz in 1914. Thomas Moran praised him as the most talented amateur painter he knew.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328515657772,"sku":null,"price":28000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/109_1357470f-4f8d-476d-85bc-5f62d1e9ec6d.jpg?v=1791084878"}],"url":"https:\/\/aradernyc.com\/collections\/landscapes-cityscapes-views.oembed","provider":"Arader Galleries","version":"1.0","type":"link"}