{"title":"New York","description":"","products":[{"product_id":"huard-charles-1874-1965-birds-eye-view-of-6th-avenue","title":"HUARD, Charles (1874-1965). Brooklyn Bridge View of South Street. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eBrooklyn Bridge View of South Street\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal drawing with pen and pencil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e8\" x 7\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":34405497503788,"sku":"","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_4_BrooklynBridgeviewofSouthStreet.jpg?v=1707776666"},{"product_id":"charles-parsons-1821-1910-lyman-atwater-1835-1891-the-city-of-new-york","title":"Charles Parsons (1821-1910) \u0026 Lyman Atwater (1835-1891) , The City of New York. Published by Currier \u0026 Ives, 1876","description":"\u003cp\u003eCharles Parsons (1821-1910) \u0026amp; Lyman Atwater (1835-1891)\u003c\/p\u003e\n\u003cp\u003eThe City of New York.\u003c\/p\u003e\n\u003cp\u003ePublished by Currier \u0026amp; Ives, 1876\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e115 Nassau Street, 1876. Large folio lithograph (26 ¼ x 37 ¼ inches) with original hand color, incl. 75 landmarks keyed below the image (Gale #1220). CONDITION: Backed on board; toning in corners and along lower margin; some mat burn. Vividly colored bird s eye view of Manhattan, parts of Brooklyn and New Jersey (incl. Jersey City). It shows most of the island with the Brooklyn Bridge anachronistically finished and in use, and much traffic on the Hudson and East Rivers (GALE), incl. the steamers 'Massachusetts , Providence , and City of New York in the left foreground. At the time of publication, the SS Providence had officially retired and was used only sporadically. Visible landmarks include the Emigrant Landing Depot (present-day Castle Clinton National Monument) in the Battery, Trinity Church, the New Merchants Exchange, City Hall, and Central Park. REPS on the partnership of Parsons and Atwater: Their prints reveal the appearance of most of the nation s largest urban centers and their surrounding suburbs from points high in the air. They thus capture the images of entire metropolitan regions at a time of vigorous and rapid expansion. \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader aradernyc","offers":[{"title":"Default Title","offer_id":39255814144044,"sku":"","price":24000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Picture2.png?v=1698178993"},{"product_id":"blaeu-willem-americae-nova-tabula-amsterdam-1621","title":"Blaeu, Willem. Americae nova Tabula. Amsterdam, 1621.","description":"\u003cp\u003eWillem Blaeu\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAmericae nova Tabula\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAmsterdam, 1621\u003c\/p\u003e\n\u003cp\u003e20 1\/4\" x 24\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThe Americas from the Master of the Golden Age of Dutch Cartography\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWillem Blaeu's famous map of the Americas, one of the most sought-after maps of the continents from the Dutch Golden Age of Cartography.  This is one of the most sought after maps of America from the Golden Age of Dutch Cartography, blending contemporary geographical knowledge and a rich decorative image.\u003c\/p\u003e\n\u003cp\u003eThe map blends contemporary geographical knowledge and rich decorative imagery. Blaeu's maps set the standard for the quality of the engraving, paper and color, as well as offered a fine compilation of contemporary geographical knowledge.\u003c\/p\u003e\n\u003cp\u003eThis map is a coveted example of Blaeu’s work; he made few maps relating to North America in particular. Goss states, “this magnificent map sums up the general European view of the western hemisphere in the early seventeenth century.”\u003c\/p\u003e\n\u003cp\u003eThis map illustrates excellent and intriguing detail throughout, including a rendition of the western coast of North America which did not follow the California as an island myth. There are dozens of place names along the eastern coast of North America, including Chesapeake (\u003cem\u003eChesepiooc\u003c\/em\u003e), with French, English, Spanish, and Native toponyms and tribes.\u003c\/p\u003e\n\u003cp\u003eThe southern part of Hudson’s Bay is included on the main map, as is the tip of Greenland and the Davis Strait. As annotated on the map in the southernmost portion of the Bay, Henry Hudson was in the area in 1611. Hudson was encouraged to search for the Northwest Passage by none other than John Smith, who had sought an entrance to the passage via Chesapeake Bay. In the employ of the Dutch East India Company (VOC), Hudson set out in 1609. He first ventured up the Hudson River; while this was again no Northwest Passage, it did lead to the Dutch colonization of New York. In 1610, Hudson reattempted to find the mythical passage, this time entering the eponymous Hudson Bay. His ship was trapped in the ice, and his crew mutinied. Hudson, his son, and seven others were set adrift in a small boat, never to be seen again.\u003c\/p\u003e\n\u003cp\u003eIn the far northern interior are two insets. The text box explains that the upper portions of the Davis Straits would not fit within the larger scheme of the map, hence its inclusion as a separate inset map showing Iceland, more of Greenland, and all of the Davis Strait.\u003c\/p\u003e\n\u003cp\u003eSouth America includes several vignettes of Indigenous peoples. In Brazil there is a hut, a pair conversing, and a group hunting. There is also a cannibalism scene, which reflects the preoccupation of Europeans with the practice. Farther south, a European and a Native man speak; they are meant to illustrate the grand height of the so-called Patagonian giants. The first Europeans in southern South America, Ferdinand Magellan and his crews, supposedly saw giant footprints, which helped to name the region for Europeans and started a persistent myth about giants. Nearby, a four-legged creature walks determinedly.\u003c\/p\u003e\n\u003cp\u003eOwing to a legal dispute between the Australian Company and the VOC, Blaeu was not allowed to include the Strait of Le Maire in his first state (1617). From the second state onward, however, the tip of South America ends in an insular Tierra del Fuego, which has a distinct star-shape. From that state, the map then also featured the Strait of Le Maire, which offered an alternative route to the Pacific than the Straits of Magellan. As the latter were ostensibly under the purview of the Dutch East India Company (VOC), Le Maire’s 1615-1617 voyage, with Willem Schouten, constituted one of the most important geographic discoveries of the seventeenth century. Interestingly, Blaeu also removed a speculative southern continent coastline between states one and two, but he left the place name \u003cem\u003eTerra Australia Incognita\u003c\/em\u003e on later states.\u003c\/p\u003e\n\u003cp\u003eIn the North Atlantic is a lonely island called Brasil. Hy Brasil is an enduring Atlantic chimera emerging from Celtic folklore. It ranges on maps from just off the west coast of Ireland to the area around the Azores. The island was initially described as a rich paradise not unlike Atlantis; it emerged from the depths for a short period and then would disappear. It started to appear on portolan charts in the fourteenth century and continued to be a stalwart of maps and charts into the nineteenth century. The island was the subject of a fanciful pamphlet by Richard Head in 1675. Despite no accurate reports of its whereabouts, the island appeared on Admiralty charts and other reputable maps for centuries, usually in the latitude of 51°N and at a longitude of 17°W.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cu\u003eDecorative embellishments\u003c\/u\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis map is as renowned for its decorative details as it is for its geography. Running along the top border are nine views of important Mexican and South American cities and harbors. These include Havana, Santo Domingo, Cartagena, Mexico City, Cusco, Potosi, Mocha Island (Chile), Rio de Janeiro, and Olinda (Pernambuco).\u003c\/p\u003e\n\u003cp\u003eDrawn partially from the work of Theodor de Bry, on the two side borders are strips containing ten miniatures exhibiting the dress of Indigenous peoples from the Arctic to Patagonia. On the left are Greenlanders, Virginians, Floridians, New Albioners (Californians), and Mexicans. On the right are Peruvians, Brazilians, militant Brazilians, Mochans, and giants from the Strait of Magellan. Both the names used and the details featured, particularly weapons and scant clothing, emphasize ideas about Indigenous peoples that were popular with Europeans—they are more revealing of European thought than Indigenous reality.\u003c\/p\u003e\n\u003cp\u003eA final detail are the eight large vessels in full sail. They represent the high volume of European commerce that crisscrossed the Atlantic, while those ships in the Pacific are more a hopeful call for increased trade than a reflection of the actual volume of European traffic in those waters. The ships should take care, though, as there are also four sea monsters surfacing around the map.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":41945302827052,"sku":"SSV0571","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SSV0571_1.jpg?v=1697473273"},{"product_id":"huard-charles-1874-1965-construction-of-a-skyscraper-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). Construction of a Skyscraper. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eConstruction of a Skyscraper\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\"\u003e9 1\/2” x 6 7\/8”\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\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":42612288389164,"sku":null,"price":2300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_56_Constructionsiteofaskyscraper.jpg?v=1707776899"},{"product_id":"huard-charles-1874-1965-embankment-of-the-north-river-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). Embankment of the North River. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eEmbankment of the North River\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\"\u003e8 1\/2” x 6 5\/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":42612295860268,"sku":null,"price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_63_EmbankmentoftheNorthRiver.jpg?v=1707777055"},{"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-doyer-street-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). Doyer Street [Chinatown]. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eDoyer Street [Chinatown]\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\"\u003e9 1\/2” x 6 1\/2”\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":42612309557292,"sku":null,"price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_23_DoyerStreet_Chinatown.jpg?v=1707777234"},{"product_id":"huard-charles-1874-1965-american-villas-3-1905-new-york-as-i-saw-it","title":"HUARD, Charles (1874-1965). American Villas 3. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eAmerican Villas 3\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\/2” x 5 11\/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":42612375027756,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_114_Americanvillas2.jpg?v=1707777888"},{"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":"nathaniel-currier-1813-1888-james-merritt-ives-1824-1895-the-city-of-new-york-copy","title":"A. MAJOR. Bird’s-eye View of the Great Suspension Bridge connecting the cities of New York and Brooklyn. 1883","description":"\u003cp\u003eA. MAJOR.\u003cbr\u003e\u003cem\u003eBird’s-eye View of the Great Suspension Bridge connecting the cities of New York and Brooklyn\u003c\/em\u003e\u003cbr\u003eLithograph with original hand color\u003c\/p\u003e\n\u003cp\u003eWashington: Franklin Square Lithographic Company in the office of the Librarian of Congress, for the Judge Publishing Company, 1883\u003cbr\u003e21 1⁄8” x 37 1⁄8” visible, 29 3⁄4” x 45 3⁄4” framed\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFine large view of the Brooklyn Bridge looking southeast towards Brooklyn, celebrating the completion of the Bridge on May 24, 1883. The lively expansive view show the two connected towns, along with dozens of boats in the East River. The view is a tribute to the builders of the bridge in the truest sense, listing the Designer, Chief Engineers and Assistant Engineers at the bottom left and the Draughtsmen, Master Architect, Superintendent of Masonry and General Foreman of Laborers at the far right, but curiously not mentioning the important role played by Emily Warren Roebling, herself an engineer.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44832360071212,"sku":null,"price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Major_Bird_s-eyeviewofthegreatsuspensionbridge_49254696-25c0-4775-b6f0-af3df2a060b2.jpg?v=1759436739"},{"product_id":"reginald-marsh-1898-1954-new-york-skyline-copy","title":"ANGELO MAGNANTI (1879-1969)  Pennsylvania Station New York. 1946; HAWLEY HUGHSON (1850-1936), after Pennsylvania Station, New York City Seventh Avenue and Thirty-Second Street. 1910","description":"\u003cp\u003eANGELO MAGNANTI (1879-1969)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePennsylvania Station New York\u003c\/em\u003e\u003cbr\u003eGraphite, ink and gouache on artist’s board\u003cbr\u003eNew York: for McKim, Mead \u0026amp; White; ca. 1946\u003cbr\u003e63” x 32” visible; 73 1⁄2” x 42 1⁄2” framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHAWLEY HUGHSON (1850-1936), after\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePennsylvania Station, New York City Seventh Avenue and Thirty-Second Street\u003c\/em\u003e\u003cbr\u003eChromolithograph on card\u003cbr\u003ePhiladelphia: Ketterlinus for the Pennsylvania Railroad Co., 1910\u003cbr\u003e33 1⁄4” x 57 1⁄2” sheet, 39 1⁄2” x 61 3⁄4” framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn 1910, the New York terminus of the Pennsylvania Railroad Company opened on two full blocks between Seventh and Eighth Avenues and West Thirty-First and Thirty-Third Streets. Charles Follen McKim was the lead architect at McKim Mead and White, the firm responsible for some of America’s great buildings: the East and West Wings of the White House, Symphony Hall in Boston, the major clubs of New York (Century, Metropolitan, University, Harvard, Harmonie, Racquet \u0026amp; Tennis). The original Penn Station was considered the greatest of them all.\u003c\/p\u003e\n\u003cp\u003eHawley Hughson (1850–1936) was born in London but became one of the preeminent chroniclers of American buildings. Although romanticized, his building portraits and panoramas are among the best documents of a period of rapid change that shaped the cities of the United States. His depiction of the brand new Penn Station is among his most recognizable, and documents much of midtown Manhattan (the Plaza Hotel at 59th and Fifth is depicted in part at the left-hand side, the Hotel Martha Washington (now the Redbury on 29th St.) is at the right), as well as Queens and Brooklyn beyond. The skyscrapers were still to come; the tallest building in New York in 1910 was the Metropolitan Life Insurance Building. The station’s flow of passengers increased and hit its zenith in 1945-1946, precisely when MMW commissioned the “decorator” Angelo Magnanti (1879–1969) to depict their renovation of the station to accommodate the surge of pedestrian traffic. This would eventually be installed as a mural in the station master’s office (other surviving Magnanti murals are at the Dollar Savings Bank, the Frick Art Reference Library and the conference room of the U.S. Supreme Court; he also designed mosaic ceiling at the Williamsburg Savings Bank). The New-York Historical Society in its MMW archives holds a less-developed sketch (2”:1’ scale) executed in color with gilt, presumably as a proposal to the firm, signed and dated “A. Magnanti\/1946.” The\u003cbr\u003epresent work is drafted quite precisely, with washes of gouache and ink in a quasi-grisaille depiction of a sectional view of the station. At the lower left is a view of lower Manhattan from the South, rendered in near photographic accuracy.\u003c\/p\u003e\n\u003cp\u003eThe combination of the age of air travel and the 1956 Federal Aid Highway Act signed by Eisenhower ended the dominance of railroads. The mural stood in the station-master’s office until the destruction of the station in 1963, widely considered one of the great architectural travesties, and the proximate cause of modern historical preservation. The new Penn Station is generally reviled; only in 2021 was the sin somewhat redeemed with the opening of the Moynihan Train Hall in the James A. Farley Building across Eighth Ave. — also, luckily, designed by McKim, Mead \u0026amp; White.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44832453001260,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Magnanti_PennStation.jpg?v=1759438375"},{"product_id":"american-school-19th-century-view-of-new-york-taken-from-brooklyn-on-the-hudson-fire-december-1835","title":"AMERICAN SCHOOL (19TH CENTURY). View of New York taken from Brooklyn on the Hudson (?) Fire...December..1835","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eAMERICAN SCHOOL (19TH CENTURY)\u003cbr\u003e\u003cem\u003eView of New York taken from Brooklyn on the Hudson (?) Fire...December..1835\u003c\/em\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eWatercolor and pastel on paper\u003cbr\u003eInscribed at lower edge: \"V\u003cmeta charset=\"utf-8\"\u003eiew of New York taken from Brooklyn on the Hudson (?) Fire...December..1835\"\u003cbr\u003e19 3\/4\" x 29\" visible, 22 1\/4\" x 31 1\/4\" framed\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis daytime view of New York taken from Brooklyn following the great fire is another popular interpretation of the tremendous event. Examples by Calyo of this diurnal scene can be found at the Metropolitan Museum of Art and New York Historical City.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRelative to Calyo's paintings, the present work concedes a better view of the Brooklyn Heights which sits just above the bluff on the near right. The yellow and white buildings are reminiscent of the Four Chimneys House in Brooklyn where George Washington held his headquarterers during the Battle of Long Island.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44842576314412,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/AmericanSchool_ViewofNewYorktakenfromBrooklynontheHudson_Fire...December..1835.jpg?v=1759960009"},{"product_id":"birch-thomas-1779-1851-ships-at-the-entrance-of-a-port-new-york","title":"BIRCH, Thomas (1779-1851), Ships at the Entrance of a Port [New York]","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBIRCH, Thomas (1779-1851) \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eShips at the Entrance of a Port [New York] \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e20” x 30 1\/8” canvas\u003c\/p\u003e\n\u003cp\u003eVibrant scene of New York Harbor with the USS Constitution in the left foreground and the fortifications of Governor’s Island on the right. The work is highly reminiscent of the one by Birch in the Museum of Fine Arts Boston (Ref 47.1181), with the same composition, vantage point and dimensions. Another similar painting by Birch in the Springwood estate of Franklin D. Roosevelt in Hyde Park, New York shows the USS Constitution leaving New York Harbor.\u003c\/p\u003e\n\u003cp\u003eThroughout his prolific career, Birch painted a variety of landscapes, though his most accomplished works by far are his sea- scapes. He first took up marine painting at the outbreak of the War of 1812, and immediately found an audience eager for depictions of battles at sea. Although he continued to paint landscapes, particularly with river views and country estates, many of his works from the second half of his career are naval scenes that reflect his mastery of the Anglo-Dutch tradition of marine painting. His mature work is characterized by a break from the rigid lines of his early paintings, with clear coloring and a clean palette that served well his desire to transmit the freshness of light and the fluidity of water that is evident in his earlier works. While many of these later compositions depict shipping on the Delaware and in New York harbor, he also executed a series of important canvases chronicling major naval engagements of the war. His seascapes depicting ships buffeted by storms along rocky coasts recall the compositions of Joseph Vernet, whose work Birch knew first hand, and those of Vernet’s followers in England, such as Philippe de Loutherbourg. Birch immigrated to America in 1794 with his father William Birch (1755-1834), a painter and engraver from whom he received his artistic training. The family settled in Philadelphia, where William, armed with letters of introduction from Ben- jamin West to leading citizens of that city, became a drawing-master. Early in their American careers both Birches executed cityscapes, several of which were engraved. Aside from stylistic affinities, the works of both father and son tended to emphasize the cultural progress and commercial prosperity of the young United States as well as its almost Edenic natural beauty. Thomas Birch was a frequent exhibitor at the Pennsylvania Academy, where he served as keeper from 1812 to 1817, as well as at other artistic institutions in Philadelphia and New York. His paintings are considered some of the finest in the genre of American landscape and marine painting.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45198355267628,"sku":null,"price":250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Screenshot2026-01-13at11.45.43AM.png?v=1768322776"}],"url":"https:\/\/aradernyc.com\/collections\/new-york-1.oembed","provider":"Arader Galleries","version":"1.0","type":"link"}