{"title":"Paintings","description":null,"products":[{"product_id":"tawny-weasel-putorius-fuscus","title":"AUDUBON, John Woodhouse (American, 1812-1862). Tawny Weasel (Putorius Fuscus).","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAUDUBON, John Woodhouse (American, 1812-1862)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTawny Weasel (Putorius Fuscus)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor plate \u003cmeta charset=\"utf-8\"\u003eCXLVIII in the Viviparous Quadrupeds of North America \u003cmeta charset=\"utf-8\"\u003e(New York: J.J. Audubon, 1845-1849).\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e22\" x 28\" \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: early label on back: \"See J.W. Audubon...Memorandum by A.V. William\u003cbr\u003eJackson, Professor in Columbia University, N.Y .C.\"; J.N. Bartfield, New York.\u003cbr\u003eA dramatic depiction of the predatory behavior of the T awny Weasel, \"drawn from nature by J. W. Audubon\" (imprint); a complex depiction incorporating a fence, a small copse of trees and a two-story barn in the left-hand background. \"Although John Woodhouse Audubon's artistic career has been overshadowed by his father's success, his contribution to early wildlife documentation is significant\" (National Museum of Wildlife Art).\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":31570472108076,"sku":"","price":135000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Audubon_TawnyWeasel.jpg?v=1724792964"},{"product_id":"edward-lear-british-1812-1888-the-campagna-di-roma-taken-from-cervara","title":"Lear, Edward (British, 1812-1888). The Campagna di Roma taken from Cervara","description":"\u003cp\u003e\u003cstrong\u003eEdward Lear (British, 1812-1888)\u003c\/strong\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Campagna di Roma  taken from Cervara\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003eOil on canvas\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e25 9\/16\" x 51\" canvas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSigned with monogram (lower left); signed, inscribed and dated ‘The Campagna di Roma taken from... of Cervara,\/looking East to the Sabine Hills\/Painted from drawings made on the spot in 1859, 1860; and completed by me for\/Walter Congreve Esq. in 1871\/ Edward Lear\/San Remo (on a label on the reverse)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: \u003cmeta charset=\"utf-8\"\u003eCommissioned directly from the artist by Walter Congreve Esq., San Remo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003c\/p\u003e\n\u003cp\u003eEdward Lear, List of Pictures Painted, 1840-1877, no. 240, as: Campagna di Roma. Quarries of Cerbara.\u003c\/p\u003e\n\u003cp\u003eThe Elements- trees, clouds, \u0026amp;c.,-silence...seem to have far more part with me or I with them, than mankind. (Edward Lear, 1862, quoted in Vivien Noakes, The Painter Edward Lear, 1991, p. 8)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Ann doted on Edward and continued to act as a mother for him until her death, when he was almost fifty years of age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was \u003ci\u003eIllustrations of the Family of Psittacidae, or Parrots\u003c\/i\u003e in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1846, Lear published \u003ci\u003eA Book of Nonsense\u003c\/i\u003e, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published \u003ci\u003eNonsense Songs, Stories, Botany and Alphabets,\u003c\/i\u003e which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Sri Lanka. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThroughout his life he continued to paint seriously. He had a lifelong ambition to illustrate Tennyson’s poems; near the end of his life a volume with a small number of illustrations was published. After a long decline in his health, Lear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":40016936501292,"sku":"","price":185000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/Roma.jpg?v=1643872265"},{"product_id":"edward-lear-british-1812-1888-the-campagna-di-roma","title":"Edward Lear (British, 1812-1888). The Campagna di Roma","description":"\u003cp\u003e\u003cstrong\u003eLear, Edward (British, 1812-1888)\u003c\/strong\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Campagna di Roma \u003c\/em\u003e\u003cbr\u003e\u003cspan\u003eOil on canvas\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e25 9\/16\" x 51\" canvas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned with monogram (lower left): \u003c\/span\u003efurther signed, inscribed and dated ‘The Campagna di Roma. Taken from the Quarries of Cerbara, looking\/ South-East towards the Volscian Hills \u0026amp; Alban Mount.\/ Commenced by me from drawings made on the spot in 1859-1860 \u0026amp; completed\/for Walter Congreve Esq. in 1871\/ Edward Lear.\/ San Remo\/ June 18.1871’ (on a label on the reverse)\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: \u003cmeta charset=\"utf-8\"\u003eCommissioned directly from the artist by Walter Congreve Esq., San Remo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLiterature: \u003c\/p\u003e\n\u003cp\u003eEdward Lear, List of Pictures Painted, 1840-1877, no. 240, as: Campagna di Roma. Quarries of Cerbara.\u003c\/p\u003e\n\u003cp\u003eThe Elements- trees, clouds, \u0026amp;c.,-silence...seem to have far more part with me or I with them, than mankind. (Edward Lear, 1862, quoted in Vivien Noakes, The Painter Edward Lear, 1991, p. 8)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Ann doted on Edward and continued to act as a mother for him until her death, when he was almost fifty years of age.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was \u003ci\u003eIllustrations of the Family of Psittacidae, or Parrots\u003c\/i\u003e in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1846, Lear published \u003ci\u003eA Book of Nonsense\u003c\/i\u003e, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published \u003ci\u003eNonsense Songs, Stories, Botany and Alphabets,\u003c\/i\u003e which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Sri Lanka. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThroughout his life he continued to paint seriously. He had a lifelong ambition to illustrate Tennyson’s poems; near the end of his life a volume with a small number of illustrations was published. After a long decline in his health, Lear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":40016942891052,"sku":"","price":185000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/roma2.jpg?v=1643872678"},{"product_id":"heming-mason-george-castle-of-petrella-italy-c-1850","title":"MASON, George Heming (British, 1818-1872). Castle of Petrella. Italy, c. 1850.","description":"\u003cp\u003eGeorge Heming Mason (British, 1818-1872)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCastle of Petrella\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eItaly, c. 1850\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e7\" x 13 1\/2\" canvas, 11 1\/2\" x 18 1\/4\" framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis gorgeous yet understated oil painting depicts the Castle of Petrella in Italy just before Sunrise. The soft light creeps over the sleeping hillside village, illuminating the craggy peak where the castle lies. \u003c\/p\u003e\n\u003cp\u003eGeorge Heming Mason was a renowned English painter, once described as a genius by Millais, and seen as an important landscape artist in the late nineteenth century. Mason left England for Italy in 1844, where he remained for the rest of  his life. In 1848 he was accused of espionage by papal authorities and was nearly executed, however, he managed to escape and eventually became a thriving member of an Italian community of artists.\u003c\/p\u003e\n\u003cp\u003eWhen Mason's father's Staffordshire pottery firm failed in 1848, his allowance terminated and he turned seriously to painting. In the early 1850s he met Giovanni Costa and Frederic Leighton; Costa molded Mason's style, and Leighton provided lifelong financial support. Mason, Costa, and Leighton formed the Etruscan school with other foreign artists.\u003c\/p\u003e\n\u003cp\u003eMason was also influenced by the work of the French artists that he saw at the Paris Exposition Universelle (1855), particularly Jules Breton and Alexandre-Gabriel Decamps. The best of Mason's early works record picturesque scenes with an unpretentious sunlit naturalism. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe castle of Petrella has a fascinating dark past. In 1597, dissolute nobleman Count Francesco Cenci, with his daughter Beatrice and his second wife, Lucrezia, moved from Rome to the Castle of Petrella, perched high on a craig in the Abbruzzi. The castle was situated in the Kingdom of Naples just beyond the borders of the Papal States; rumor was divided as to whether his purpose in moving was to devise new crimes beyond the reach of vigilant Roman authorities, or to escape his creditors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrancesco was intent on keeping Beatrice under his control in the castle indefinitely so as to prevent her marriage and the burden of a dowry. What began as residence passed into imprisonment, with Beatrice and her stepmother being confined in a room whose windows were walled up and replaced by air vents. Beatrice and her mother plotted to kill Francesco with the help of several servants, one of whom was romantically entangled with Beatrice. After the murder of Francesco, Beatrice, her mother, and the servants involved were all sentenced to death, in spite of the cruel conditions that inspired the murder.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the seventeenth century, fanciful accounts of the case were published that purported to have been authored immediately after the executions but may have been written decades later. One such version inspired Shelley to write his drama, the Cenci, in 1819.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068438843436,"sku":"Landscape_2","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_2.jpg?v=1699565186"},{"product_id":"harpignies-henri-joseph-mountainous-ian","title":"HARPIGNIES, Henri Joseph (French, 1819-1916). Mountainous Ian.","description":"\u003cp\u003eHenri Joseph Harpignies (French, 1819-1916)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMountainous Ian\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e7 3\/4\" x 12 1\/2\" canvas, 14 1\/2\" x 16\" framed\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068441432108,"sku":"Landscape_3","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_3.jpg?v=1699565280"},{"product_id":"melrose-andrew-the-old-house-1889","title":"Melrose, Andrew (Scottish-American, 1836-1901). The Old House. 1889.","description":"\u003cp\u003eAndrew Melrose (Scottish-American, 1836-1901)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Old House \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e1889\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e10 1\/4\" x 16\" canvas, 16 1\/2\" x 21 1\/2\" framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068486586412,"sku":"Landscape_5","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_5.jpg?v=1699565416"},{"product_id":"copy-of-heming-mason-george-castle-of-petrella-italy-c-1850","title":"[Mediterranean Seascape]","description":"\u003cp\u003e\u003cem\u003e[Mediterranean Seascape]\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e12 1\/2\" x 21 canvas, 19 1\/2\" x 28\" framed\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068561362988,"sku":"Lanscape_1","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_1.jpg?v=1699565140"},{"product_id":"copy-of-landscape_1","title":"[Untitled Landscape]","description":"\u003cp\u003e[Untitled Landscape]\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e4 1\/2\" x  6 3\/4\" canvas, 9 1\/4\" x 11 1\/2\" framed\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068562804780,"sku":"Landscape_6","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_6.jpg?v=1699565460"},{"product_id":"copy-of-landscape_6","title":"[Unitled Landcape]","description":"\u003cp\u003e[Untitled Landscape]\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e5 1\/2\" x 8 3\/4\" canvas, 9 1\/2\" x 12 1\/2\" framed\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068563591212,"sku":"Landscape_7","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_7.jpg?v=1699565476"},{"product_id":"copy-of-landscape-7","title":"Attributed to Carl Jutz. [Farm Scene].","description":"\u003cp\u003eAttributed to Carl Jutz (1838-1916)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e[Farm Scene]\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e9\" x 11\" canvas, 14\" x 16\" framed\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42068565360684,"sku":"Landscape_8","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Landscape_8.jpg?v=1699565490"},{"product_id":"robert-salmon-scottish-american-1775-1848-a-departing-brig-off-maryport-harbor","title":"Robert Salmon.  A Departing Brig Off Maryport Harbor.","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRobert Salmon (Scottish American, 1775-1848)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eA Departing Brig Off Maryport Harbor\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003e31 ¼” x  45”\u003c\/p\u003e\n\u003cp\u003eProvenance: Vose Galleries, Boston, Massachusetts. Private collection, New England.\u003c\/p\u003e\n\u003cp\u003eChristie's, New York, 16 March 1995, lot 16, sold by the above.\u003c\/p\u003e\n\u003cp\u003ePrivate collection, Newton, Connecticut, acquired from the above.\u003c\/p\u003e\n\u003cp\u003ePrivate collection, Palm Beach, Florida.\u003c\/p\u003e\n\u003cp\u003eBarridoff Auctions, Portland, Maine, 6 August 2004, lot 48, sold for $138,000.\u003c\/p\u003e\n\u003cp\u003eQuester Gallery, Greenwich, Connecticut.\u003c\/p\u003e\n\u003cp\u003eAcquired by private collector from above, 2005.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRobert Salmon was both an exceptionally fine artist and one of historical significance in the history of American art. He was only the second professional marine specialist to work in the United States-Thomas Birch, in Philadelphia, preceded him-and the first in New England. Thus, Salmon represents the beginning of a vital artistic tradition which would include Fitz Henry Lane at mid-century, and Winslow Homer in the last decades of the nineteenth century.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLike Birch, Salmon was born in England, but unlike the former, whose father, William, was a noted artist in his native land, Thomas Birch developed his art in the new American republic. Salmon was a well-established marine painter in both England and Scotland before he immigrated to the United States in 1828. Thus, he was very much a part of the impressive tradition of marine painting in Great Britain that began as early as 1673 when both Willem Van de Veldes, Senior and Junior, brought the Dutch artistic naval tradition from The Netherlands to England. British and foreign-born artists worked and were well-patronized in Great Britain in the eighteenth century, including such painters as Peter Monamy, Samuel Scott, Nicholas Pocock, Thomas Luny, and Domenic Serres. These artists specialized primarily in two forms of marine art: naval battles and ship portraiture.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis tradition continued in Great Britain well into the nineteenth century, inaugurated by Salmon. Unlike those artists, however, Salmon's oeuvre was quite varied. He remains categorized as a \"marine artist,\u003cem\u003e\" \u003c\/em\u003efor ships and water figure in almost all of his paintings. But, while much of his attention was given to ship portraiture, he essayed many other aspects of marine painting-storms at sea, shipwrecks, fleet regattas, and other subjects such as landscapes, usually with a distant view of the sea. Unlike many of the British artists, and also unlike Birch, Salmon was only seldom given to paint naval battles, though he listed as his earliest picture a now-lost \u003cem\u003eBattle of Trafalgar\u003c\/em\u003e, painted in 1806, and immediately after his arrival in the United States he painted and then exhibited, between 1828 and 1830, a series of large, fifteen-foot paintings of the 1816 bombardment of Algiers by an Anglo-Dutch fleet, probably based upon a panorama which he had seen when it had circulated in Great Britain. A further influence upon the nature of Salmon's artistry-shared with the earlier Samuel Scott-was the tight and meticulous strategies of the great Italian artist, Antonio Canaletto, much admired and collected in England, who spent a decade there beginning in 1746. And like Canaletto, though transformed into his own very personal style, Salmon was especially a painter of ports and harbors, fascinated both by the activities he found there, and by the distinctive layout and buildings, distinguishing between each of these cities and towns he depicted.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSalmon was born in the port city of Whitehaven in Cumberland, England, and was inspired to his specialty by the environment in which he grew up. Much of his career in Great Britain was spent there and in Liverpool. In 1811 he travelled to work in the ship-building town of Greenock on the west coast of Scotland, moving between there and Liverpool; he was, therefore, both an English and Scottish painter. In 1827 he traveled extensively—he was in London, on the southern coast in Southampton, and then up in the far northwestern city of North Shields at the mouth of the Tyne River, near Newcastle. He left North Shields in May of 1828, and the following month departed on the packet ship, \u003cem data-mce-fragment=\"1\"\u003eNew York \u003c\/em\u003efrom Liverpool, the major port of embarkation for the United States. Arriving in New York, Salmon immediately departed for Boston and appears to have abandoned the more peripatetic life he had led in Great Britain. He was a prolific artist of scenes and subjects similar to those he had painted in his native land. Furthermore, while the majority of his pictures painted in Boston are recognizable American subjects, he also continued to paint or perhaps replicate his British ones--his \u003cem data-mce-fragment=\"1\"\u003eShields, England, \u003c\/em\u003ein the collection of the United States Naval Academy Museum, Annapolis, was painted around 1833---- suggesting an appreciation and demand for foreign subjects among his New England clientele. By 1840, it appears that his eyesight had begun to fail and he is thought to have returned to England, but large panoramas of Palermo and Venice are known from 1845 (Fundacion Coleccion, Thyssen-Bornermizsa, Madrid), which exhibit no diminishing of abilities and are, perhaps, even closer to the aesthetics of Canaletto. Otherwise his final years and his date of death remain unknown. \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43138586345516,"sku":"","price":95000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Salmon_ADepartingBrigoffMaryportHarbor_1_1.jpg?v=1713299064"},{"product_id":"robert-salmon-scottish-american-1775-1848-leith-harbor-edinburgh-scotland","title":"Robert Salmon. Leith Harbor [Edinburgh, Scotland]. 1848.","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRobert Salmon (Scottish American, 1775-1848)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLeith Harbor [Edinburgh, Scotland]\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOil on panel\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1828\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSigned with monogram and dated lower right: “RS 1828”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSigned, dated, and numbered on reverse: “No. 599\/ Painted by Robert Salmon\/ 1828\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e16 ¼” x 26’ panel, 22 ½” x 32” framed\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eProvenance: Thomas Handasyd Perkins, Jr.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAugustus Thorndike Perkins (son of the preceding).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eCollection of Lawrence Park, acquired from the above.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNortheast Auctions, 20 August 2006 Marine \u0026amp; China Trade Auction, lot 1081, sold for $182,000 by the above.\u003c\/p\u003e\n\u003cp\u003eThough the manuscript catalogue of his paintings, now in the Boston Public Library, does not mention a working visit to the Scottish capital of Edinburgh, this must have occurred either after, or, more likely just prior, to his stay in North Shields, since the two cities are not too distant; all of Salmon's known British works painted in Northwestern England and in the adjacent area of Scotland are dated to 1827 and 1828. That would account for a number of paintings in the vicinity of Edinburgh, including the present work, \u003cem\u003eLeith Harbour, \u003c\/em\u003edated to 1828, his last year in Great Britain; Leith is the harbor city for Edinburgh, incorporated as of 1920 into the Scottish capital. Salmon must have brought \u003cem\u003eLeith Harbour \u003c\/em\u003ewith him to America, for it is, in all likelihood, the \u003cem\u003eView of Leith \u003c\/em\u003ewhich he exhibited for sale in 1829 at the Boston Athenaeum (#197), the principal venue for art exhibitions in Boston, having begun its annual shows only two years earlier. Even more significantly, this is almost surely the picture shown at the Athenaeum again the following year, 1830 (#91), now owned by Thomas Handasyd Perkins, Jr., the son and namesake of the most important art collector in Boston in the early decades of the 1800s. Perkins, Jr. was an important collector in his own right. Salmon had begun to attract favorable attention immediately on his arrival in Boston in 1828, exhibiting eleven pictures at the Athenaeum in 1829 and eight in 1830. His two competitors among the land- and seascapists in Boston at the time were Alvan Fisher and Thomas Doughty, but the reviewer for the \u003cem\u003eNorth American Review \u003c\/em\u003ein 1830, reviewing the Athenaeum annual, noted that: \"The works of Salmon have a more decidedly characteristic manner than those of Doughty or Fisher, and are, we believe, in general, greater favorites with the public.\" Salmon's manuscript catalogue lists at least six more paintings sold to the Perkins-father or son. And, in 1835, he replicated his \u003cem\u003eLeith Harbour, \u003c\/em\u003e(now in the Mariner's Museum in Newport News, Virginia), which he sold in a large auction of his pictures held on May 22 in Corinthian Hall, Boston.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBy singularly good fortune, a letter dated June 7, 1881, is appended to Salmon's manuscript catalogue of paintings, written by Augustus Thorndike Perkins, the son and heir to the first owner of \u003cem\u003eLeith Harbour \u003c\/em\u003eto William Henry Whitmore, the earliest antiquarian to investigate the early arts in Boston and New England. Whitmore had been inquiring about Robert Salmon, and Perkins responded with descriptions of the four paintings by the artist in his collection. He wrote: \"The second picture is an English land locked Bay with a light house on left a large Dutch Ship, stern on, near the land; in the center an English Cutter under jib and mainsail, close halled [sic], coming in....The picture is 2 ft. 2 in by 1 ft 5 in wide.\" Thus, by 1881, the painting had remained in the prestigious Perkins family, though the specific identity of the location had been forgotten. However, in keeping with Salmon's concern for veracity and distinct characteristics, he here defined Leith and its activities as a major, active port. The \"light house\" at the left is actually the Signal Tower. This was a defining structure at the inner entrance to the harbor, a circular tower at the end of The Shore, originally a windmill built in 1686 by Robert Mylne, to extract oil from rape-seed. Its sails and domed roof was replaced by battlements in 1805, obviously before Salmon painted it so distinctively.\u003c\/p\u003e\n\u003cp\u003eEven the small, sloped-roof structure with a chimney beside the tower, the first structure on The Shore road, is accurately shown. In the far distance, behind the English Cutter, is a long horizontal building, most probably the monumental Custom House, at the end of the docks of Leith, built in neoclassic style in 1812 by Robert Reid. (Alternatively, the structure may be the Exchange Buildings, built by Thomas Brown in neoclassic style in 1809; both are on Constitution Street in Leith). On one side or another of that building is the Water of Leith, the twenty-four mile long river that passes through Edinburgh.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSalmon, in this exceptionally fine example of his very individual approach to marine art, exploits to the fullest four of his major concerns and achievements. First, he is a marine painter, and he emphasizes not only the contrast of the two ships-the full-sail English cutter and the smaller Dutch ship dockside, but the harbor is filled with a variety of other sailing vessels, to offer a full panoply of ships, large and small. Secondly, he emphasizes the activities and purposes of this lively port, receptive to foreign as well as domestic shipping, figures on boats and ships, and those on docks, some of whom are almost certainly involved in shipping activity. Thirdly, he defines the specific nature of this port city, Leith, in particular, with its identifiable buildings, the row of houses along The Shore, the configuration of the waterway and bridges. And finally, he is able to dramatize the scene with his unique aesthetic powers-the strong deep tones of grey-green and gray-blue, enlivened by the near-white sails and the touches of red in the flags. This chromatic combination is Salmon's own, along with his command of dramatic chiaroscuro. Salmon imparts upon the scene an impressive treatment of strong light within a darkening environment, so that a series of parallel planes of light and dark on both water and shore carry the viewer back into space. The whole is illuminated with a separate light in the sky-not rich blues with puffy white clouds--but an oval glow, fading into grey at the upper corners, which cast the ships in majestic silhouette.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRobert Salmon was both an exceptionally fine artist and one of historical significance in the history of American art. He was only the second professional marine specialist to work in the United States-Thomas Birch, in Philadelphia, preceded him-and the first in New England. Thus, Salmon represents the beginning of a vital artistic tradition which would include Fitz Henry Lane at mid-century, and Winslow Homer in the last decades of the nineteenth century.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLike Birch, Salmon was born in England, but unlike the former, whose father, William, was a noted artist in his native land, Thomas Birch developed his art in the new American republic. Salmon was a well-established marine painter in both England and Scotland before he immigrated to the United States in 1828. Thus, he was very much a part of the impressive tradition of marine painting in Great Britain that began as early as 1673 when both Willem Van de Veldes, Senior and Junior, brought the Dutch artistic naval tradition from The Netherlands to England. British and foreign-born artists worked and were well-patronized in Great Britain in the eighteenth century, including such painters as Peter Monamy, Samuel Scott, Nicholas Pocock, Thomas Luny, and Domenic Serres. These artists specialized primarily in two forms of marine art: naval battles and ship portraiture.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis tradition continued in Great Britain well into the nineteenth century, inaugurated by Salmon. Unlike those artists, however, Salmon's oeuvre was quite varied. He remains categorized as a \"marine artist,\u003cem\u003e\" \u003c\/em\u003efor ships and water figure in almost all of his paintings. But, while much of his attention was given to ship portraiture, he essayed many other aspects of marine painting-storms at sea, shipwrecks, fleet regattas, and other subjects such as landscapes, usually with a distant view of the sea. Unlike many of the British artists, and also unlike Birch, Salmon was only seldom given to paint naval battles, though he listed as his earliest picture a now-lost \u003cem\u003eBattle of Trafalgar\u003c\/em\u003e, painted in 1806, and immediately after his arrival in the United States he painted and then exhibited, between 1828 and 1830, a series of large, fifteen-foot paintings of the 1816 bombardment of Algiers by an Anglo-Dutch fleet, probably based upon a panorama which he had seen when it had circulated in Great Britain. A further influence upon the nature of Salmon's artistry-shared with the earlier Samuel Scott-was the tight and meticulous strategies of the great Italian artist, Antonio Canaletto, much admired and collected in England, who spent a decade there beginning in 1746. And like Canaletto, though transformed into his own very personal style, Salmon was especially a painter of ports and harbors, fascinated both by the activities he found there, and by the distinctive layout and buildings, distinguishing between each of these cities and towns he depicted.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSalmon was born in the port city of Whitehaven in Cumberland, England, and was inspired to his specialty by the environment in which he grew up. Much of his career in Great Britain was spent there and in Liverpool. In 1811 he travelled to work in the ship-building town of Greenock on the west coast of Scotland, moving between there and Liverpool; he was, therefore, both an English and Scottish painter. In 1827 he traveled extensively—he was in London, on the southern coast in Southampton, and then up in the far northwestern city of North Shields at the mouth of the Tyne River, near Newcastle. He left North Shields in May of 1828, and the following month departed on the packet ship, \u003cem\u003eNew York \u003c\/em\u003efrom Liverpool, the major port of embarkation for the United States. Arriving in New York, Salmon immediately departed for Boston and appears to have abandoned the more peripatetic life he had led in Great Britain. He was a prolific artist of scenes and subjects similar to those he had painted in his native land. Furthermore, while the majority of his pictures painted in Boston are recognizable American subjects, he also continued to paint or perhaps replicate his British ones--his \u003cem\u003eShields, England, \u003c\/em\u003ein the collection of the United States Naval Academy Museum, Annapolis, was painted around 1833---- suggesting an appreciation and demand for foreign subjects among his New England clientele. By 1840, it appears that his eyesight had begun to fail and he is thought to have returned to England, but large panoramas of Palermo and Venice are known from 1845 (Fundacion Coleccion, Thyssen-Bornermizsa, Madrid), which exhibit no diminishing of abilities and are, perhaps, even closer to the aesthetics of Canaletto. Otherwise his final years and his date of death remain unknown.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43138594013228,"sku":"","price":140000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Salmon_LeithHarborEdinburghScotland_1_1.jpg?v=1713299206"},{"product_id":"robert-salmon-scottish-american-1775-1848-the-ship-liverpool-in-the-mercey-seen-from-wallasey-1810","title":"Robert Salmon. The Ship Liverpool in the Mercey, seen from Wallasey. 1810.","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRobert Salmon (Scottish American, 1775-1848)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThe Ship Liverpool in the Mercey, seen from Wallasey\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1810\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSigned with initials and dated lower right: “RS 1810”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e31 ¼” x 42 ¼” canvas, 37” x 47 ¾” framed\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAuction history: Phillips London, 19th Century British and European Paintings sale, 3 April 2001, Lot 26, sold for $40,149\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eChristie’s New York, Maritime sale, 3 February 2005, lot 199, sold for $132,000\u003c\/p\u003e\n\u003cp\u003eLike a number of both Salmon's British and American subjects, \u003cem\u003eThe Ship Liverpool in the Mercey, seen from Wallasey\u003c\/em\u003e, offers a fascinating combination of genre and cityscape as well as a marine view. In the foreground, center, a few men appear to be lowering the mast on a small vessel and walking on to the beach, while a larger Dutch ship, identified by the flag, is at the right, and in the middle distance is a British ship in full sail in the harbor. Unusual for the artist, Salmon identifies the vessel as the \"Liverpool,\" its name delineated across its stern. This was a six-year old ship built in Philadelphia, and voyaging between that city and Liverpool. In the distance is the shoreline of Liverpool, then nearing by 1810, a population of 100,000. Salmon endows his picture with the accuracy of the identifiable buildings in the distance, along with the vigorousness of the lapping waves, the strong gray cloud formations contrasting with the bright blue sky, and the billowing sails of the British ship.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWallasey, from which Salmon has chosen to paint, is situated at the northeastern corner of the Wirral peninsula. It had been sparsely populated until the beginning of the nineteenth century, and had been known as a base for smuggling. But about the time this work was painted, Liverpool merchants and ship captains were just beginning to build homes in the area. Meanwhile, it was an ideal spot from which to survey the mouth of the Mersey River, with the ships for fishing, commerce, and naval activities, along with the panoramic shoreline of Liverpool beyond. Salmon's accuracy in delineation is not confined to his intimate knowledge of ship construction and rigging. His panorama of the distant port of Liverpool is amazingly accurate. On the left of Liverpool is seen the Townsend windmill, its arms turned to face the southerly wind. The dome on the skyline to the right of the ship is that of St. Paul's; then that of the Town Hall, followed by the spire of St. George's. Just to the left of the ferry's mizzen mast is the spire of St. Nicholas (the spire collapsed in 1810, the year of the painting; its replacement in 1814 having a more sophisticated \"lantern\" design)..\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Ship Liverpool in the Mercey, seen from Wallasey \u003c\/em\u003ewould seem to be one of Salmon's most admired and successful paintings. It would appear that he painted the subject at least three times, with only slight variations. The earliest was painted in 1801 (sold at Christie's on December 3, 1908) with the ships having different flag identifications, the figural arrangements are slightly different, and Salmon displays a less exacting rendition of the Liverpool skyline. This also belies Salmon's own statement that he painted his first work only in 1806, since, in fact, other pictures created in the first years of the century are also known; Salmon's earliest dated painting was created in 1800 and he began exhibiting his work in 1802.. On the 21st of March, 2002, a much later version, painted in 1825 was sold at Phillip, de Pury and Company, with very different ships-one flying the Swedish flag, and the water painted closer to the scallop-like waves which were regularly used once Salmon settled in Boston three years later. And the basic format of this painting reappears in one of his last Boston pictures, Liverpool, \u003cem\u003eMercy River, \u003c\/em\u003epainted in 1840, in the collection of the Peabody-Essex Museum, Salem, Massachusetts, though there is far more traffic on the Mersey River, and the primary ship (British) is seen port side, parallel to the picture plane.\u003c\/p\u003e\n\u003cp\u003eRobert Salmon was both an exceptionally fine artist and one of historical significance in the history of American art. He was only the second professional marine specialist to work in the United States-Thomas Birch, in Philadelphia, preceded him-and the first in New England. Thus, Salmon represents the beginning of a vital artistic tradition which would include Fitz Henry Lane at mid-century, and Winslow Homer in the last decades of the nineteenth century.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLike Birch, Salmon was born in England, but unlike the former, whose father, William, was a noted artist in his native land, Thomas Birch developed his art in the new American republic. Salmon was a well-established marine painter in both England and Scotland before he immigrated to the United States in 1828. Thus, he was very much a part of the impressive tradition of marine painting in Great Britain that began as early as 1673 when both Willem Van de Veldes, Senior and Junior, brought the Dutch artistic naval tradition from The Netherlands to England. British and foreign-born artists worked and were well-patronized in Great Britain in the eighteenth century, including such painters as Peter Monamy, Samuel Scott, Nicholas Pocock, Thomas Luny, and Domenic Serres. These artists specialized primarily in two forms of marine art: naval battles and ship portraiture.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis tradition continued in Great Britain well into the nineteenth century, inaugurated by Salmon. Unlike those artists, however, Salmon's oeuvre was quite varied. He remains categorized as a \"marine artist,\u003cem\u003e\" \u003c\/em\u003efor ships and water figure in almost all of his paintings. But, while much of his attention was given to ship portraiture, he essayed many other aspects of marine painting-storms at sea, shipwrecks, fleet regattas, and other subjects such as landscapes, usually with a distant view of the sea. Unlike many of the British artists, and also unlike Birch, Salmon was only seldom given to paint naval battles, though he listed as his earliest picture a now-lost \u003cem\u003eBattle of Trafalgar\u003c\/em\u003e, painted in 1806, and immediately after his arrival in the United States he painted and then exhibited, between 1828 and 1830, a series of large, fifteen-foot paintings of the 1816 bombardment of Algiers by an Anglo-Dutch fleet, probably based upon a panorama which he had seen when it had circulated in Great Britain. A further influence upon the nature of Salmon's artistry-shared with the earlier Samuel Scott-was the tight and meticulous strategies of the great Italian artist, Antonio Canaletto, much admired and collected in England, who spent a decade there beginning in 1746. And like Canaletto, though transformed into his own very personal style, Salmon was especially a painter of ports and harbors, fascinated both by the activities he found there, and by the distinctive layout and buildings, distinguishing between each of these cities and towns he depicted.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSalmon was born in the port city of Whitehaven in Cumberland, England, and was inspired to his specialty by the environment in which he grew up. Much of his career in Great Britain was spent there and in Liverpool. In 1811 he travelled to work in the ship-building town of Greenock on the west coast of Scotland, moving between there and Liverpool; he was, therefore, both an English and Scottish painter. In 1827 he traveled extensively—he was in London, on the southern coast in Southampton, and then up in the far northwestern city of North Shields at the mouth of the Tyne River, near Newcastle. He left North Shields in May of 1828, and the following month departed on the packet ship, \u003cem\u003eNew York \u003c\/em\u003efrom Liverpool, the major port of embarkation for the United States. Arriving in New York, Salmon immediately departed for Boston and appears to have abandoned the more peripatetic life he had led in Great Britain. He was a prolific artist of scenes and subjects similar to those he had painted in his native land. Furthermore, while the majority of his pictures painted in Boston are recognizable American subjects, he also continued to paint or perhaps replicate his British ones--his \u003cem\u003eShields, England, \u003c\/em\u003ein the collection of the United States Naval Academy Museum, Annapolis, was painted around 1833---- suggesting an appreciation and demand for foreign subjects among his New England clientele. By 1840, it appears that his eyesight had begun to fail and he is thought to have returned to England, but large panoramas of Palermo and Venice are known from 1845 (Fundacion Coleccion, Thyssen-Bornermizsa, Madrid), which exhibit no diminishing of abilities and are, perhaps, even closer to the aesthetics of Canaletto. Otherwise his final years and his date of death remain unknown.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43138605973548,"sku":"","price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Salmon_TheShipLiverpoolintheMercey_seenfromWallasey_1_1.jpg?v=1713299474"},{"product_id":"bensell-george-frederick-1837-1879-closing-in-ca-1855","title":"BENSELL, George Frederick (1837-1879. Closing In. Ca. 1855.","description":"\u003cp style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBENSELL, George Frederick (1837-1879)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\"\u003eClosing In\u003c\/span\u003e\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on board\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCirca 1855\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e29 3\/4\" x 36\" board; 35\" x 41 1\/2\" framed\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Edward Eberstadt \u0026amp; Sons, New York; Mr. William B. Ruger. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eThe American West was a captivating subject for artists of the nineteenth-century. The American War of Independence had inspired a national need for an identity divorced from that of Britain and American artists found this in the majestic landscape and people of the American West. Their paintings answered such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Moreover, they responded to the call of their fellow countrymen who greatly desired images of their newly founded nation. In an 1816 address delivered at the opening ceremonies of the American Academy of the Fine Arts, the governor of New York state, De Witt Clinton, exalted both the American wilderness and the American cultural landscape as appropriate subjects for native arts, questioning: \"And can there be a country in the world better calculated than ours to exercise and to exalt the imagination - to call into activity the creative powers of the mind, and to afford just views of the beautiful, the wonderful, and the sublime?\" George Frederick Bensell's painting, Closing In, shows a direct response to such desires. Born in Philadelphia, he trained with John Lambdin and quickly became a skilled painter of historical subjects, genre and portraits. He exhibited annually at the Pennsylvania Academy of the Fine Arts between 1856 and 1868 and was a founder and active member of the Philadelphia Sketch Club. In this exceptional painting, Bensell captures the essence of frontier life as the hunter draws his gun fearful of a confrontation with the Native Americans he has glimpsed through the trees. Frontier life was a popular genre for American painters and such subject matter was commonly depicted by the famous publishing firm of Currier and Ives. Indeed Arthur Fitzwilliam Tait's American Frontier Life, was produced as a lithograph from 1862 to 1863, by Currier and Ives, and shares a similar theme to that of Bensell's Closing In. Like Tait, Bensell's Indians are of the Eastern frontier and the scene is most probably a product of his imagination. The considerable skill displayed in both his painting technique and compositional arrangement make Closing in an exceptional example of George Frederick Bensell's work. His paintings are highly regarded but difficult to acquire due to the artist's untimely death at the age of 42, cutting short his accomplished career.\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43755627216940,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Bensell_ClosingIn.jpg?v=1724793823"},{"product_id":"sully-alfred-1820-1879-deer-19th-c","title":"SULLY, Alfred (American, 1820-1879). Deer. 19th c.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSULLY, Alfred (American, 1820-1879)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eUntitled (Deer)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eMid-19th century\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e13 1\/2” x 19” visible; 19 1\/2” x 24 3\/4” framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSully was a military officer during the American Civil War and during the Indian Wars on the frontier. He was also a noted painter.\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43755632525356,"sku":null,"price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Sully_Deer.jpg?v=1724794421"},{"product_id":"durrie-george-henry-american-1820-1863-east-rock-new-haven-ct-1849","title":"DURRIE, George Henry (American, 1820-1863). East Rock, New Haven, CT. 1849.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDURRIE, George Henry (American, 1820-1863)\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eEast Rock, New Haven, CT\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned \"Durrie\" and dated \"1849\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e20 1\/4\"x 25 1\/4\" canvas; 29\" x 34\" framed\u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Estate of Harry T. Peters, Orange, Virginia (Sold: Sotheby's, New York, October 22, 1982, lot 61)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIllustrated: \u003cmeta charset=\"utf-8\"\u003eCatalog Raisonne: Martha Y. Hutson, George Henry Durrie (1820-1863), Santa Barbara, 1977, p. 217, no. 84. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGeorge Henry Durrie (1820-1863) was an American artist whose work is closely associated with the landscapes of New England. Born in New Haven, Connecticut, Durrie's early life was rooted in the region, and his connections to the state profoundly influenced his artistic career. Durrie received his initial training in art in New York, but his work was deeply inspired by the Connecticut countryside. He often painted winter scenes and rural landscapes that reflected his intimate knowledge of the local environment. His paintings frequently depict the farms, homes, and snow-covered vistas of New England, capturing the essence of the region's seasonal beauty with remarkable accuracy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eInscription on verso: \"View of East Rock, New Haven. Painted by George H. Durrie Esq. September 1849\"\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759325347884,"sku":null,"price":48000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Durrie_EastRock_NewHaven_CT.jpg?v=1724863343"},{"product_id":"elkins-henry-arthur-american-1847-1884-indian-encampment-estes-park-colorado-1867","title":"ELKINS, Henry Arthur (American, 1847-1884). Indian Encampment. Estes Park, Colorado. 1867.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eELKINS, Henry Arthur (American, 1847-1884) \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cem\u003eIndian Encampment. Estes Park, Colorado\u003c\/em\u003e \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned and dated lr: HA Elkins\/ 1867 \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e30\"x 45\" canvas; 40\" x 55\" framed\u003c\/span\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eProvenance: Vose Galleries, Boston \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFrom the moment of her discovery, America's history has been dominated by the push westward, mainly in the pursuit of economic prosperity. From the first explorers to later immigrants, all have headed west in search of riches and as a result much of American history and art is dominated by the exploration of her land and, in consequence, her indigenous people. In the search for prosperity America also found her very identity in the topography and magnificent of her landscape. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFascination with the landscape of the West continued throughout the nineteenth and into the early twentieth century. After the establishment of independence, artists began to respond to the need for a distinctive form of American painting and answer such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Exploration of America's interior had revealed a wondrous landscape marked by its variety of open plains and majestic mountains. The traditional European academies regarded history painting to be the highest art form, but in America topography was her history as exploration had guided the nation's course. It was here in the nation's landscape that her identity was to be found and was beautifully manifested in the paintings of Henry Arther Elkins. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHenry Arthur Elkins was born in Vershire, Vermont and in 1856 moved to Chicago where he taught himself to paint and began to receive recognition for his paintings. After the Civil War he was one of the first artists to cross the plains to the Rocky Mountains and he quickly became known for his paintings of Colorado and California. Elkins career was sadly cut short by his early death in 1884 at Georgetown, Colonel. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this view of Estes Park, Colorado, Elkins skillfully captures the majesty of the landscape. From the first inhabitants, the Ute, Shoshone and Comanche, to the early explorers in the mid-nineteenth century, hunters and ranchers, Estes Park has been regarded as the eastern gateway to the Rocky Mountains. The enormous scale of the mountains is emphasized by the diminutive scale of the native American encampment, seen to the left of the canvas. The subtly modulated pastel tones of the sky are reflected in the background landscape forming a harmonious and well-balanced composition, as well as adding an overwhelming sense of depth to the work. \u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759435284524,"sku":null,"price":27000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Elkins_IndianEncampment.EstesPark_Colorado.jpg?v=1724866087"},{"product_id":"elkins-henry-arthur-american-1847-1884-mountain-landscape-ca-1879","title":"ELKINS, Henry Arthur (American, 1847-1884). Mountain Landscape. Ca. 1879.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eELKINS, Henry Arthur (American, 1847-1884) \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eMountain Landscape\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned l.l.: \"HA. Elkins 79\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e12\" x 20 1\/4\" canvas, 17 1\/2\" x 25 1\/2\" framed\u003c\/span\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFrom the moment of her discovery, America's history has been dominated by the push westward, mainly in the pursuit of economic prosperity. From the first explorers to later immigrants, all have headed west in search of riches and as a result much of American history and art is dominated by the exploration of her land and, in consequence, her indigenous people. In the search for prosperity America also found her very identity in the topography and magnificent of her landscape. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFascination with the landscape of the West continued throughout the nineteenth and into the early twentieth century. After the establishment of independence, artists began to respond to the need for a distinctive form of American painting and answer such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Exploration of America's interior had revealed a wondrous landscape marked by its variety of open plains and majestic mountains. The traditional European academies regarded history painting to be the highest art form, but in America topography was her history as exploration had guided the nation's course. It was here in the nation's landscape that her identity was to be found and was beautifully manifested in the paintings of Henry Arther Elkins. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHenry Arthur Elkins was born in Vershire, Vermont and in 1856 moved to Chicago where he taught himself to paint and began to receive recognition for his paintings. After the Civil War he was one of the first artists to cross the plains to the Rocky Mountains and he quickly became known for his paintings of Colorado and California. Elkins career was sadly cut short by his early death in 1884 at Georgetown, Colonel. \u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759515598892,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Elkins_MountainLandscape.jpg?v=1724866321"},{"product_id":"elkins-henry-arthur-american-1847-1884-country-road-c-1861","title":"HASELTINE, William Stanley (American, 1835-1900). Country Road. c. 1861.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eHASELTINE, William Stanley (American, 1835-1900)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eCountry Road\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned and dated lower left: \"W.S. Haseltine, 1861\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e20\" x 32 1\/8\" canvas, 27\" x 39\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Phillips, New York: May 21, 2002 - $40,250. The 1800s were the century of landscape painting and the period in which America used the genre to find her identity. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe variety and magnificence of her scenery lent itself beautifully to this field of painting and artists were quick to respond. In the East, the painters of the Hudson River School established and fostered the development of American landscape painting and in the West, an artists colony was established at Taos. \u003c\/span\u003e\u003cspan\u003eAssociated with the former school is the painter, William Stanley Haseltine. Born into an artistic Philadelphia family in 1835, Haseltine studied there under the direction of the German artist Paul Weber from the age of 15. Weber, who was deeply steeped in the Romantic movement already apparent in Europe instilled the same sentiments in the work of his young protégé, as can be seenin the painting presently offered.After graduating from Harvard in 1854, William Haseltine followed Weber to Germany, where he studied in Düsseldorf. He became a core member of the American group of painters thathad been drawn to the city's academy to study. These included Albert Bierstadt, Sanford Giffordand Worthington Whittredge whom he accompanied on a sketching trip down the Rhine and intoItaly in 1857. Upon their return to America, these artists were to become key figures in the HudsonRiver School and Haseltine joined them in establishing a studio at the Tenth Street Studio Buildingin New York. His work quickly received acclaim and shortly after his return in 1858 he was elected to the National Academy of Design. In the following years, he painted his finest pictures including this painting Country Road. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Country Road\" is related to a 1860 drawing entitled \"New England Landscape\" and is most probably the product of a sketching trip Haseltine took to Lenox, Massachusetts, and to the Delaware River Valley in Northwestern New Jersey during the Summer and Fall of 1860. It is a spectacular example of his painting and reveals the hallmarks of this painter's work. Haseltine's German training endowed him with a precise sense of line and his style is marked by an extraordinary attention to detail. His remarkable sense of light brings his painting to life and reflects his training in the Luminist tradition. As can be seen in this particular work, his inland landscapes rely upon conscientious observations of nature to produce a crisp, true rendering of a scene. In 1866, William Stanley Haseltine returned to Europe, studying for a time with barbizon landscape painters in Paris before settling in Rome. Haseltine remained here until his death in 1900, making occasional trips to the United States. Like other expatriates, Haseltine produced Italian landscapes for the American market and in these late paintings, he replaced the cool palette of his NewEngland landscapes with the warmer hues of Italy. His service to the propagation of the American arts continues today at the American School of Architecture and the American Academy in Rome,both of which he founded. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759526740012,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Haseltine_CountryRoad.jpg?v=1724974548"},{"product_id":"lear-edward-british-1812-1888-the-tomb-of-cecilia-metella-on-the-via-appia-rome-ca-1842","title":"LEAR, Edward (British, 1812-1888). The Tomb of Cecilia Metella on the Via Appia, Rome. ca. 1842.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eEdward Lear (British, 1812-1888)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Tomb of Cecilia Metella on the Via Appia, Rome\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned \"1842\/Ed Lear\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e9\" x 17 1\/2\" canvas, 18 1\/2\" x 26 1\/4\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Painted for Captain and Miss Phipps Hornby of Shooters Hill, Kent; Miss Edith Jones, and thence by descent.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDuring the nineteenth century, artists and tourists alike flocked to Italy to observe the country's countless ruins and bask in its mythical golden sunlight. Edward Lear (1812-1888), author of books of nonsense, purveyor of limericks, and prolific creator of exquisite landscape art, captures both Italian wonders within these two marvelous paintings of the Roman environs. The first, The Tomb of Cecilia Metella on the Via Appia, Rome (1842), depicts the final resting place of the Roman Consul Creticus' daughter and member of the first Roman Triumvirate Crassus's son's wife. The tomb, whose occupant Cecilia Metella died in 50 B.C., is located on the Via Appia, the most important ancient Roman road connecting the Italian capital to Brindisi, Apulia in southeast Italy. The second work, The Tor di Schiavi on the Via Labicana, Rome (1842) illustrates the remains of an extensive villa built during the time of Diocleation and is situated on another chief Roman thoroughfare.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Lear suffered from lifelong health afflictions starting from the age of six, his ailments included frequent grand mal epileptic seizures, and bronchitis, asthma, and during later life, partial blindness.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was \u003c\/span\u003e\u003cspan\u003eIllustrations of the Family of Psittacidae, or Parrots\u003c\/span\u003e\u003cspan\u003e in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e In 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Ceylon. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his life Lear continued to paint seriously, even as his health steadily declined. He had a lifelong ambition to illustrate Tennyson’s poems and in the final years of his life a volume with a small number of illustrations was published.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear as Author\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1846, Lear published \u003c\/span\u003e\u003cspan\u003eA Book of Nonsense\u003c\/span\u003e\u003cspan\u003e, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published \u003c\/span\u003e\u003cspan\u003eNonsense Songs, Stories, Botany and Alphabets\u003c\/span\u003e\u003cspan\u003e, which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759563210796,"sku":null,"price":48000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Lear_TheTombofCeciliaMetellaontheViaAppia_Rome.jpg?v=1724867603"},{"product_id":"lear-edward-british-1812-1888-the-tor-di-schiavi-on-the-via-labicana-rome-ca-1842-copy","title":"LEAR, Edward (British, 1812-1888). The Tor di Schiavi on the Via Labicana, Rome. ca. 1842.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLEAR, Edward (British, 1812-1888)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Tor di Schiavi on the Via Labicana, Rome\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned \"1842\/Ed Lear\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e9\" x 17 1\/2\" canvas, 18 1\/2\" x 26 1\/4\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Painted for Captain and Miss Phipps Hornby of Shooters Hill, Kent; Miss Edith Jones, and thence by descent.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDuring the nineteenth century, artists and tourists alike flocked to Italy to observe the country's countless ruins and bask in its mythical golden sunlight. Edward Lear (1812-1888), author of books of nonsense, purveyor of limericks, and prolific creator of exquisite landscape art, captures both Italian wonders within these two marvelous paintings of the Roman environs. The first, The Tomb of Cecilia Metella on the Via Appia, Rome (1842), depicts the final resting place of the Roman Consul Creticus' daughter and member of the first Roman Triumvirate Crassus's son's wife. The tomb, whose occupant Cecilia Metella died in 50 B.C., is located on the Via Appia, the most important ancient Roman road connecting the Italian capital to Brindisi, Apulia in southeast Italy. The second work, The Tor di Schiavi on the Via Labicana, Rome (1842) illustrates the remains of an extensive villa built during the time of Diocleation and is situated on another chief Roman thoroughfare.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Lear suffered from lifelong health afflictions starting from the age of six, his ailments included frequent grand mal epileptic seizures, and bronchitis, asthma, and during later life, partial blindness.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was \u003c\/span\u003e\u003cspan\u003eIllustrations of the Family of Psittacidae, or Parrots\u003c\/span\u003e\u003cspan\u003e in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e In 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Ceylon. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his life Lear continued to paint seriously, even as his health steadily declined. He had a lifelong ambition to illustrate Tennyson’s poems and in the final years of his life a volume with a small number of illustrations was published.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear as Author\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1846, Lear published \u003c\/span\u003e\u003cspan\u003eA Book of Nonsense\u003c\/span\u003e\u003cspan\u003e, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published \u003c\/span\u003e\u003cspan\u003eNonsense Songs, Stories, Botany and Alphabets\u003c\/span\u003e\u003cspan\u003e, which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759577006124,"sku":null,"price":48000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Lear_TheTordiSchiaviontheViaLabicana_Rome.jpg?v=1724867718"},{"product_id":"smeall-william-scottish-1790-1883-pastoral-landscape","title":"SMEALL, William (Scottish, 1790-1883). Pastoral Landscape.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSMEALL, William (Scottish, 1790-1883)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e[Scottish Pastoral Landscape]\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOil on panel\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e10 5\/8\" x 15 5\/8\" visible; 17 1\/4\"x 22 1\/4\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759628681260,"sku":null,"price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Smeall_ScottishPastoralLandscape.jpg?v=1724868885"},{"product_id":"sebron-hippolyte-victor-valentin-french-1801-1879-the-niagara-falls-in-winter","title":"SEBRON, Hippolyte Victor Valentin (French, 1801-1879). The Niagara Falls in Winter.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSEBRON, Hippolyte Victor Valentin (French, 1801-1879)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe Niagara Falls in Winter\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned lower right: 'He Sebron'\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e29 ¼\" x 42 ½\" canvas\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eProvenance: Christie's London, December 2017 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA pupil of Louis Daguerre, the diorama, architecture and view painter Hippolyte Sebron was in America between 1849 and 1855, visiting New York and Louisiana. Another winter view of Niagara by Sebron, with Native Americans hunting ('Chutes du Niagara en hiver', 1857) is in the Musée des Beaux-Arts, Rouen (880.2.2), and his 'Table Rock, Niagara' is in the Sigmund Samuel Gallery of Canada in the Royal Ontario Museum, Toronto. Two fine views of Niagara Falls were published as a pair of large lithographs by Goupil, Paris in 1852.\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759651225644,"sku":null,"price":32000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Sebron_TheNiagaraFallsinWinter.jpg?v=1724869468"},{"product_id":"serres-john-thomas-british-1759-1825-a-british-frigate-in-the-bay-of-naples-1823","title":"Serres, John Thomas (British, 1759-1825). A British Frigate in the Bay of Naples. 1823.","description":"\u003cp style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eJohn Thomas Serres (British, 1759-1825)\u003c\/strong\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eA British Frigate in the Bay of Naples\u003c\/em\u003e\u003cbr\u003eOil on canvas\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSigned and dated \"Gio. n i T. Serres \/1823\" on center boat\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e32\" x 48\" canvas, 36\" x 52\" framed\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe golden age of Naples was epitomized through art, culture, science and modernity reaching an apex. Naples enjoyed a period of rapid modernity, an influx of cultural institutions, and critical industrial developments, such as the implementation of the first railroad in Italy. In 1734, Spanish prince, later known as King Charles III, conquered Naples and Sicily to come under rule of the Spanish Bourbons. In remaining steadfast with the eighteenth century theme of “Enlightened absolutism,” the Spanish autocratic ruler sought to modernize Naples, culturally grow the city, as well as create social and political reforms for the city.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003cspan class=\"Apple-converted-space\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhen Charles III took the throne to rule both Naples and Sicily, he immediately commissioned artists to paint his portrait, thus leading to a surge in Neapolitan art. Additionally, there were a number of building projects and the restoration of royal residences that led to a cultural flourishing.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThe city blossomed artistically, economically, and politically under the Bourbon dynasty, especially through the patronage of Charles III. Commissions under Charles III gave way to the development of Naples and the city’s golden age. The Kingdom of Naples comprised all of Italy south of the Papal States, including Sicily. Moreover, Naples proved to be one of the most powerful and alluring European cities at the latter half of the 1700s throughout the early 1800s.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAfter the Napoleonic Wars, the Kingdom of the Two Sicilies was established in 1816 which consisted of a merger between the Kingdom of Naples and the Kingdom of Sicily under King Charles III. Although Charles III had ruled both Sicily and Naples, they were technically still two separate kingdoms until he merged the two in 1816. Following the unification of Sicily and Naples, Naples became the capital. Therefore, the port of Naples was paramount to the continued success of the Bourbon dynasty. The city’s position in the Mediterranean Sea made Naples a hub for trade, commerce and other maritime activity which is clearly referenced in the painting by Serres. The Spanish Bourbons ruled Naples until 1860, roughly ten years before the unification of Italy in 1871.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eA British Frigate in the Bay of Naples\u003c\/i\u003e, created in 1823, is evocative of the growth and prosperity Naples was experiencing up to and throughout the 1800s. Serres’s view shows an English frigate at anchor in the bay, flying the Blue Peter, indicating that she is ‘ready to depart’. The bay is filled with local small craft, one of which is flying the red and white colours of Malta. Behind the frigate, to the left, is Castel dell’Ovo on its promontory, and further to the left Castel Nuovo, a thirteenth century stronghold rebuilt by the Aragonese conquerors of Naples in the mid-fifteenth century. The buildings of the Old City march up towards the star-shaped Castel Sant’Elmo, which crowns the horizon with the dazzling white complex of the Certosa di San Martino. In the distance Vesuvius is seen erupting.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eJohn Thomas Serres was born 1759 in London and was the eldest son to artist Dominic Serres, the Elder. Serres inherited his father’s position as Marine Painter to King George III in 1793 following his passing. Serres’s work is represented in numerous presitigous institiutional collections including the Royal Collection, London and the Victoria and Albert Museum, London.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43759683534892,"sku":null,"price":145000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Serres.Naples_1copy.jpg?v=1754082121"},{"product_id":"roesen-severin-prussian-american-1816-1872-still-life-with-strawberries-and-flowers","title":"ROESEN, Severin (Prussian-American,1816-1872). Still Life with Strawberries and Flowers.","description":"\u003cp data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003eROESEN, Severin (Prussian-American,1816-1872)\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eStill Life with Strawberries and Flowers\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003e35\" x 45\" canvas\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eThis gorgeous Victorian oil painting by Severin Roesen is considered one of the finest of the still-life genre. Though Roesen was widely acclaimed for his work during his lifetime, it wasn't almost 100 years after his death that his paintings were brought back to the attention of the larger public by First Lady Jackie Kennedy, when she hung several of his paintings in the newly refurbished White House. This vibrant still-life is a splendid example of this important artist’s work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e\u003cspan\u003eRoesen's complex, lavish still-life paintings of fruit and flowers established the tradition for the genre in 19th-century America as well as the style for large canvases suitable for dining-room decoration. These works reveal his training as a painter of enamels and china with their crisp drawing, bright colors and smooth surfaces. This particular painting anticipates Roesen's fully mature style, exhibiting his synthesis of 17th-century Dutch still life, the Düsseldorf Academy's sharp naturalism and the era's strong interest in botany. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e\u003cspan\u003eThe composition of the painting unfolds across the canvas, drawing the eye to the center where a cream colored marble dish sits brimming with strawberries. The fruit seems to spill over the edge of the elegant dish, and into the viewer’s space. To the left of the strawberries, a gorgeous arrangement of flowers is gathered in a vase, which is also filled to capacity. Flowers flow onto the table, unable to squeeze in with the rest. On the right, Roesen depicts luscious grapes, a peach , and small pears. The fullness of the painting evokes a sense of abundance; a theme in many of his rich still-life paintings. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"font-weight: 400;\"\u003e\u003cspan\u003eBorn in Germany, Severin Roesen exhibited in Cologne in 1847 and is thought to have studied in Düsseldorf. Originally trained in the decorative arts tradition as a painter on porcelain, Roesen developed a style which included a great attention to detail and an interest in brilliant color. The artist emigrated to the United States in 1848, where he lived, worked and exhibited in New York City until 1852, when he moved to Pennsylvania, and settled eventually in Williamsport. Roesen is a painter known for his abundant fruit and flower still lifes and is today recognized as one of the major American still-life painters of the mid-nineteenth century.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43759703392300,"sku":null,"price":75000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Roesen_StilllifewithStrawberries.jpg?v=1725042658"},{"product_id":"prevost-jean-louis-french1790-1850-still-life-with-a-bouquet-of-flowers-and-a-birds-nest-with-eggs","title":"PREVOST, Jean Louis (French, 1790-1850). Still-life with a bouquet of flowers and a bird's nest with eggs.","description":"\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003ePREVOST, Jean Louis (French, 1790-1850)\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eStill-life with a bouquet of flowers and a bird's nest with eggs\u003c\/em\u003e \u003cbr data-mce-fragment=\"1\"\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eSigned and dated in lower left, \"J. L. Prevost 1795.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e15 1\/2\" x 12\" canvas, 24\" x 20\" framed\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJean Louis Prevost (1790-1850) was a successful and widely renowned flower painter, respected both for his watercolor and oil paintings and for his engraved works. His paintings were consistently exhibited in the Paris Salon, and his original watercolors served as models for a series of exquisite color plate botanical books. His \"Collection des Fleurs et des Fruits\" is one of the greatest French flower books of the early 19th century. Unlike Redoute, his great contemporary, Prevost's intention with his works was not primarily scientific. His great \"Collection...\" was intended as a reference work for china and fabric pattern designers. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePrevost here demonstrates his mastery of the traditional still-life genre. The strong composition indicates his aesthetic concerns, while the delicate, detailed and highly accurate depiction of each flower also exemplifies the artist's exceptional rendering skill. Although not primarily a botanist, all of Prevost's works were based on careful observation of specimens. This lively and accomplished work presents Prevost's mastery both of decorative design and descriptive rigor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43759730262060,"sku":null,"price":120000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Prevost_Still-lifewithabouquetofflowersandabird_snestwitheggs.jpg?v=1724874053"},{"product_id":"van-leen-willem-dutch-1753-1825-still-life-with-roses-iris-and-a-dragonfly-1821","title":"VAN LEEN, Willem (Dutch, 1753-1825). Still Life with Roses, Iris, and a dragonfly.","description":"\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan\u003eVAN LEEN, Willem (Dutch,1753-1825)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eStill Life with Roses, Iris, and a dragonfly\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eOil on panel\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eSigned LL “Van Leen ft \/1821”\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003e13 3\/8\" x 10 1\/4\" visible\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eWillem van Leen was one of a number of gifted Dutch artists who worked and studied in Paris in the late 18th century. There he was influenced by his friendship with the Dutch painter Gerard van Spaendonck, Flower Painter to the King of France, and Redoute’s instructor. Despite the older artist’s support and influence, van Leen’s work exhibits a distinctive character. \u003c\/span\u003e\u003cspan\u003eIn Great Flower Painters, Peter Mitchell describes van Leen’s oils on panel as his finest works, admirable for their delicate palate and remarkable “softness of touch.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan\u003eIn this small and engaging composition, van Leen embellishes the classic botanical still-life composition with the addition of a small dragon-fly. Van Leen’s Still-Life with Roses... is a fine and delicate painting by a master flower painter. Van Leen’s paintings are in the collections of the Metropolitan Museum of Art in New York and the Fitzwilliam Museum, Cambridge, England.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43759739863084,"sku":null,"price":14000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/VanLeen_StillLifewithRoses_Iris_andadragonfly.jpg?v=1724879648"},{"product_id":"van-os-georgius-jacobus-johannes-the-younger-dutch-1782-1861-still-life-with-grapes-and-plums","title":"VAN OS, Georgius Jacobus Johannes The Younger (Dutch, 1782-1861). Still Life with Grapes and Plums.","description":"\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan\u003eVAN OS, Georgius Jacobus Johannes The Younger (Dutch, 1782-1861)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eStill Life with Grapes and Plums\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eSigned lower right: \"GJJ. v. Os\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003e10\" x 7 3\/4\" canvas, 16 1\/2\" x 14 1\/2\" framed\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eGeorgius van Os was one of a group of exceptionally fine Dutch flower painters working in France in the early 19th century. The son of the renowned 18th century flower painter Jan van Os, Georgius was an accomplished and independent-minded artist in his own right. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan\u003eBorn in Haarlem, van Os divided his time between France and the Netherlands from 1812 onwards. He painted porcelain for Sevres, and produced an impressive body of oils and watercolors throughout his life. Van Os' watercolors are remarkable for their impressive level of finish. While many other artists used the medium to create studies for oils, van Os created exceptionally rich finished watercolors, of which this still-life is a fine example.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43759746187308,"sku":null,"price":7000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/VanOs_StillLifewithGrapesandPlums.jpg?v=1724871449"},{"product_id":"ede-basil-british-1931-2016-macaws","title":"EDE, Basil (British, 1931-2016). Macaws.","description":"\u003cp style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eEDE, Basil (British,1931-2016)\u003cbr data-mce-fragment=\"1\"\u003eUntitled [Macaws]\u003cbr data-mce-fragment=\"1\"\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan\u003e30 1\/2\" x 40 1\/8\" canvas, 36 1\/8\" x 46 1\/4\" framed\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNot since Audubon has an artist so successfully crafted such intricately detailed and elegant compositions of birds situated in their natural environments. Ede fully animates his subject matter, depicting them in life-like poses and using bold and vibrant colors. Furthermore, each of the birds' forms and plumage has been painstakingly and masterfully rendered. Ede has no doubt succeeded in breathing new life into a classic subject, raising the bar ever higher for twentieth-century bird painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43759935356972,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Ede_Macaws.jpg?v=1725043418"},{"product_id":"whitley-thomas-w-fl-1835-1865-view-of-new-york-city-from-hoboken-new-jersey","title":"WHITLEY, Thomas W. (fl. 1835 - 1865). View of New York City from Hoboken, New Jersey.","description":"\u003cp\u003e\u003cspan\u003eWHITLEY, Thomas W. (fl. 1835 - 1865)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eView of New York City from Hoboken, New Jersey\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eOil on paper laid on panel \u003c\/span\u003e\u003cspan\u003e\u003cbr data-mce-fragment=\"1\"\u003eSigned and dated lower left: \"WHITLEY 65\"\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan\u003e13 1\/2\" x 26 1\/4\" sheet, 32 1\/2\" x 36\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis evocative nineteenth-century landscape painting of Manhattan from Hoboken, New Jersey was painted by Thomas W. Whitley, who emigrated from his native England to the United States in the early 1830s. Initially settling in Patterson, New Jersey, he later relocated to New York City where the explosive growth and bustling commerce inspired some of his most notable works. In this painting, the artist rendered the southern tip of the prospering city in the composition’s background (beyond the calm waters of the Hudson River and the channel), with Manhattan’s steeples visibly rising into the dusky, pink and blue sky. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhitley rapidly attracted attention for his nuanced and lovely work after he arrived in the United States, exhibiting at the National Academy of Design from 1835 to 1863, and at the Apollo Association and Art Union in 1841 and from 1848 to 1849 respectively. He garnered the greatest praise from art critics for his atmospheric landscapes, which brilliantly captured the fleeting effects of light and nature. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis sparkling and vibrantly colored painting, produced during the final year of the Civil War, offers viewers a glimpse of Manhattan as it appeared in the early nineteenth century. Couples and families stroll by the tranquil water’s edge, admiring the view of the city in the distance which rises beyond the body of water dotted with sailing vessels. Expanses of verdant foliage and lounging lambs also pepper the bucolic foreground scene of the New Jersey coast. The composition’s filtered light effect is a hallmark of Whitley’s style, here suggesting late afternoon. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis work is a foremost example of Whitley’s talent at capturing atmospheric effects and of his fine painting style. It also affords audiences unique views of pre-industrial Hoboken, New Jersey and a rapidly developing New York City. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43759959834668,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Whitley_ViewofNewYorkCityfromHoboken_NewJersey.jpg?v=1724875097"},{"product_id":"flemish-school-17th-century-flowers-in-a-vase-on-a-ledge","title":"FLEMISH SCHOOL (17th century). Flowers in a vase on a ledge.","description":"\u003cp style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eFLEMISH SCHOOL (17th century)\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eFlowers in a vase on a ledge\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan\u003eSigned LL “Van Leen ft \/1821”\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e34 3\/8\" x 27 5\/8\" canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis masterful work is typical of the Flemish school during the seventeenth century. The classically styled vase is overflowing with flowers each bloom flaunting its unique color, shape and size. The graceful bend of each stem and harmoniously tinted nuance of each blossom pays homage to nature, while the darkened background emphasizes the beauty of each vibrant flowering specimen. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eThe Dutch contribution to flower painting has been well-documented where practitioners of the art mainly settled in Middelburg, Delft, Utrecht, The Hague and Amsterdam. However, Antwerp, in the Roman Catholic southern Low Countries, also became a center for the floral art, where the local wealthy bourgeoisie constituted good clientele for orders, thus encouraging the local talent. While seemingly formulaic, the artist of each flower piece tried to convey the intrinsic beauty of each blossom and it is his skill in doing this that divides the ordinary from the more exemplary examples of the genre. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e\u003cspan\u003eThis particular painting, although currently without attribution, can be regarded as a superlative example of the Flemish style. It has previously been attributed to the Italian artist of note, Giovanni Stanchi (active Rome 1645-1672). \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43764882178092,"sku":null,"price":16000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/FlemishSchool_Flowersinavaseonaledge.jpg?v=1725036625"},{"product_id":"german-school-c-1800-a-pair-of-still-lifes-of-flowers-on-a-ledge","title":"GERMAN SCHOOL (c. 1800). A Pair of Still Lifes of Flowers on a Ledge","description":"\u003cp style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eGERMAN SCHOOL (c. 1800)\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003ePair of Still-Lifes of Flowers on a Ledge\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003eOil on board\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e16 7\/8 x 13 3\/4\" board; 20 x 16 1\/2 framed\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e34 3\/8\" x 27 5\/8\" canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43764892270636,"sku":null,"price":9000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/GermanSchool_PairofStill-LifesofFlowersonaLedge_A.jpg?v=1725037036"},{"product_id":"circle-of-john-constable-british-1776-1837-barges-on-a-river","title":"Circle of John CONSTABLE (British, 1776-1837). Barges on a River.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCONSTABLE, John (British, 1776-1837), circle of\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eBarges on a river\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eca. 1830\u003c\/span\u003e\u003cspan\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e44\" x 61 1\/2\" visible canvas; 53 1\/2\" x 70\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe composition is loosely based on Constable's View on the Stour near Dedham of 1822, in the Huntington Library, Art Collection, San Marino, CA. An attribution to Frederick W. Watts (1800-1870), whose style was strongly influenced by Constable's work, has been suggested for this painting. He was an exhibitor at the Royal Academy from 1821-1860 and at the British Institution from 1823-1862.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43837581361196,"sku":null,"price":45000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/ConstableRA_Barges.jpg?v=1727715663"},{"product_id":"strang-ray-c-1893-1957-attack-on-the-post","title":"STRANG, Ray C. (1893-1957). Attack on the Post.","description":"\u003cp style=\"white-space: pre-wrap;\" data-mce-style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003eSTRANG, Ray C. (American, 1893-1957)\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAttack on the Post\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ec. 1920s\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e32\" x 36\" canvas, 44\" x 39 1\/2\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRay C. Strang (1893-1957) was born in Illinois and developed an interest in art at an early age. He pursued formal art education at the Art Institute of Chicago, where he honed his skills in painting and drawing. His training was interrupted by his service in WWI during which he sustained injuries. Following his service, Strang maintained a long and successful career as an illustrator in New York for various magazines and book publishers. He eventually moved out west and settled in Arizona, where he developed an accomplished oeuvre of \"Old West\" paintings likened to the skill of Frederic Remington.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\"Attack on the Post\" is a notable example of Strang’s engagement with the nostalgic west. The painting depicts a dramatic scene of conflict, likely inspired by historical events or military engagements. Here soldiers are dressed in early field uniforms from the US Army, which evolved from uniforms worn in WWI - a blue wool shirt and wool green pants often referred to as \"olive drab.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003eThe early 20th century was a time of significant change, including the aftermath of the Spanish-American War and the catastrophic events of the first world war. The themes of conflict and battle in Western scenes would have resonated with contemporary audiences who were grappling with their own experiences of conflict and change. \u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\"Attack on the Post\" stands out as an example of Strang's skill in depicting conflict and resistance, showcasing his talent for creating compelling, narrative-driven art.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43837587226668,"sku":null,"price":32000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Strang_AttackonthePost_ac8ad410-149b-4ddf-82b4-d7857ccfe323.jpg?v=1727717732"},{"product_id":"hudson-river-school-great-george-schoharie-county-ca-1860","title":"Hudson River School. Great George Schoharie County. ca. 1860.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eHudson River School\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eGreat George Schoharie County\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eca.1860\u003cbr data-mce-fragment=\"1\"\u003eOil on canvas\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e34 1\/4\" x 50 1\/8\" canvas; 41 3\/4\"x 58\" framed\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe town of Schoharie was established in the 18th century, formed as a district in 1772 and a town in 1788. The name \"Schoharie\" came from a Mohawk word meaning \"floating driftwood\" - before European colonization, the Mohawk Nation occupied much of upstate and western New York. The southern part of Schoharie County is situated within the Catskill Mountains; the Schoharie Creek, a tributary of the Mohawk River, flows in the middle of the county, and hills and valleys grace the northern part of the county.\u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":43837644800044,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/HudsonRiverSchool_GreatGeorgeSchoharieCounty.jpg?v=1727719304"},{"product_id":"seth-eastman-1808-1875-sunset-on-the-texas-coastal-plains-circa-1849-1850","title":"Seth Eastman (1808 – 1875) Sunset on the Texas Coastal Plains, circa 1849-1850","description":"\u003ch2 style=\"text-align: center;\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eThe finest pre Civil War painting of Texas that exists by its most distinguished, accomplished artist.\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003eSeth Eastman (1808 – 1875)\u003cbr\u003eSunset on the Texas Coastal Plains, circa 1849-1850\u003cbr\u003esigned Seth Eastman, lower right\u003cbr\u003eoil on canvas\u003cbr\u003e24 x 36 inches\u003cbr\u003ePROVENANCE\u003cbr\u003e[Tepper Galleries, New York, 1976]\u003cbr\u003ePrivate collection, New York, acquired directly from the above\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eSunset on the Texas Coastal Plains\u003c\/em\u003e, Seth Eastman captures the untouched beauty of the vast Texas landscape. Painted during his first visit to Texas, the scene depicts a glowing sunset over the coastal grasslands, featuring native bluestem grass, inland marshes, and sycamore trees. The painting evokes the sense of an untouched frontier, highlighting the contrast between Eastman’s experience of the east and the unique landscape of Texas.\u003c\/p\u003e\n\u003cp\u003eUnlike his well-known depictions of Native American life, Eastman focuses here on a new and unfamiliar environment, painting the coastal plains in their pristine state—before ranching and development altered the landscape forever. The subtle figures in the painting are more likely Tejanos than Native Americans, reflecting the cultural diversity present at the time.\u003c\/p\u003e\n\u003cp\u003eThis work is one of the few known oil paintings by Eastman depicting Texas, offering a rare glimpse of this frontier landscape in its original form, untouched by the changes of westward expansion.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePlease \u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/10-21-24-Arader-Eastman.doc.pdf?v=1729887469\" title=\"Full description by Ron Tyler\"\u003eclick here to download\u003c\/a\u003e Ron Tyler's full description of this important painting.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43891217661996,"sku":"","price":1200000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Eastman-LandscapeframedHR.jpg?v=1729875365"},{"product_id":"wilhelm-heine-1827-1885-encampment-of-commodore-perry-s-expedition-japan-1853-1854","title":"Wilhelm Heine (1827–1885). Encampment of Commodore Perry’s Expedition, Japan. 1853–1854","description":"\u003cp\u003e\u003cstrong\u003e(PETER BERNARD) WILLIAM HEINE (German\/American, 1827–1885)\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003eCommodore Perry Visits Japan. Perry's Expedition at Hakodate, 1856.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSigned lower left: “W. Heine 1856”\u003cbr\u003e\n\u003cstrong\u003eOil on canvas\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003e42 1\/4 x 59 3\/4 inches\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003chr style=\"margin:0\"\u003e\n\u003ch3\u003e\u003cstrong\u003ePROVENANCE\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cul style=\"list-style-position: outside;\"\u003e\n\u003cli\u003e\u003cp\u003eJunius Spencer Morgan II (nephew of John Pierpont Morgan, Sr.) \u0026amp; Josephine Perry Morgan (great-niece of Commodore Perry), Princeton, NJ\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003eThence by descent to Alexander Perry Morgan, New York\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003eThence by descent, Private collection, New York\u003c\/p\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr style=\"margin:0\"\u003e\n\n\u003ch3\u003e\u003cstrong\u003eINCREDIBLY SCARCE OIL PAINTING BY THE OFFICIAL ARTIST TO THE PERRY EXPEDITION — ONE OF THE FIRST OBTAINABLE IMAGES OF DIPLOMATIC EXCHANGE BETWEEN THE U.S. \u0026amp; JAPAN.\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAn exceptionally rare painting by William Heine, the official artist for Commodore Matthew C. Perry's pivotal expedition to Japan (1853–1854) which re-opened trade between Japan and the West after 220 years.\u003c\/p\u003e\n\u003cp\u003eFor centuries, the strict Japanese isolationist policy known as \u003cem\u003esakoku\u003c\/em\u003e presented a significant barrier to trade and the whaling industry. Earnest yet unsuccessful attempts by the Americans to dismantle the separatist system can be traced back to 1790, with the most prominent being the Morrison Incident (1842) and Commander Biddle’s expedition (1846). However, with the American victory over Mexico in 1848, the call for hospitable exchange with Japan was more urgent than ever before. The United States now commanded coastlines along the Pacific and local ports, such as San Francisco, were rapidly developing. This momentum was further encouraged by advancements to the steam engine which cut travel time between California and Japan down to a mere 18 days.\u003c\/p\u003e\n\u003cp\u003eWith this most pressing need, President Filmore organized yet another expedition to be sent out across the Pacific in 1852. Under the recommendation of Captain James Glynn, this fleet was to be significantly more militarily equipped and negotiations were to be backed with a demonstration of force. It was fitting then that Commodore Perry, who oversaw the U.S. Navy during the last years of the Mexican-American war, would be selected to lead the charge even further west. With an iron fist, Perry was to deliver President Filmore’s deceptively passive message: that the two countries “should live in friendship and have commercial intercourse with each other.”\u003c\/p\u003e\n\u003cp\u003eTo document the expedition, the young but seasoned traveler and artist William Heine was brought on as the official illustrator. At the time of his application, Heine was still in Nicaragua, serving as an artist for the U.S. consul to Central America, Ephraim George Squire. In Squire’s absence Heine managed to negotiate a commercial treaty between the U.S. and Central America, and was sent back to Washington to deliver his success. It was back at the capital that Heine first met President Filmore and Commodore Perry, and by October of 1852, Heine was aboard the Mississippi amongst Perry’s fleet.\u003c\/p\u003e\n\u003cp\u003eAfter treaty negotiations were finalized in Yokohama in March 1854, Perry and his fleet traveled to the two designated ports that were opened with the signing of the Kanagawa Treaty: first Shimoda, which lies south in Shizuoka, and then Hakodate in the northernmost island of Hokkaido. The present painting documents the expedition's visit to the latter, Hakodate, where they arrived in May 1854. Perry’s mission there was to survey the harbor and establish the terms of American access under the new agreement.\u003c\/p\u003e\n\u003cp\u003eHakodate’s selection as one of first opened ports was strategic as it was an ideal stopover for ships, particularly whaling boats, navigating the northern waters of Japan. As a gateway between the Sea of Japan and the Pacific Ocean, Hakodate was well situated to serve as a coaling station and logistical hub for exports to China and Russia. Perry likened the town to Gibraltar, “its steep promontory, narrow neck of land, and commanding views over the Strait of Tsugaru [recall] the British stronghold’s position between the Atlantic and Mediterranean.” Furthermore, thanks to the warm ocean currents brought in by the Tsugaru Strait and the deep protective curve of the bay, the harbor did not form surface ice even during the frigid winters.\u003c\/p\u003e\n\u003cp\u003eHeine’s depiction of Hakodate features the town’s distinctive half moon bay with the tombolo leading to Mount Hakodate in the distance. Even further along the horizon sit a range of snowy peaks, a reminder of Hokkaido’s notoriously cold climate. On the plateau overlooking the town are small clusters of Japanese samurai around their encampment in the hills. One group lounges next to a camp fire, another near an earthmound kiln billowing smoke, and the last returning back from a fox hunt with their American visitor.\u003c\/p\u003e\n\u003cp\u003eIn his memoir, Heine writes of a very similar scene during his time in Hakodate:\u003cbr\u003e“After a climb of two strenuous hours we reached a plateau at last. It offered a magnificent prospect over the bay far below. My companions built a fire, two stayed with the horses, and the others followed me with the dogs into the thicket. I carried my shotgun, in each barrel a ball and three buckshot, the typical load on our ships. Thick forests invest these mountains, and narrow paths serve the pack animals that carry quantities of wood and charcoal down to the plain. (Charcoal-burning here, done in heaps in the forests, practically duplicates the way we do it.)” (Heine, 158)\u003c\/p\u003e\n\u003cp\u003eThe official account by Perry’s \u003cem\u003eNarrative of the expedition\u003c\/em\u003e (1856) includes a comparable view of Hakodate by Heine, also taken from the elevated vantage point with the published named “Snow Peak.” While the arrangement of figures vary between Heine’s lithographed image and his painted image of Hakodate, the two are nearly identical in scenery and effect.\u003c\/p\u003e\n\u003cp\u003eOne glaring omission from the printed image is the smoking charcoal kiln found in the present painting. Likely written off as insignificant for the official narrative, this basic structure captured Heine’s attention enough to manifest in both his written and painted accounts. It exemplifies his voracious curiosity and observance for even the most mundane aspects of life. If there was something to see, even things that others did not see, “Mr. Heine made a drawing of it” as was recorded time and time again in the official narrative.\u003c\/p\u003e\n\u003chr style=\"margin:0\"\u003e\n\u003ch3\u003e\u003cstrong\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/after.png?v=1762905261\" alt=\"\"\u003eAfter William Heine\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eView of Hakodate from “Snow Peak\" looking towards the sea\u003c\/strong\u003e\u003cbr\u003eLithograph\u003cbr\u003eFrom \u003cem\u003eNarrative of the expedition of an American Squadron to the China Seas and Japan\u003c\/em\u003e, 1856.\u003c\/p\u003e\n\u003chr style=\"margin:0\"\u003e\n\u003cp\u003eHeine’s visual treatment of Hakodate is in keeping with the rest of his romantic depictions of Japan, rugged vistas imbued with a dream-like serenity. However even in his most expansive landscapes, Heine never lost sight of the human figures that populated his travels. His paintings and drawings from this expedition reveal a harmonious rapport between Americans and the locals who are seen mingling peacefully in the goings of daily life. Although the American presence in Japan was contentious and their reconciliation still quite tenuous, Heine’s pictures show remarkably little sense of strain or strangeness.\u003c\/p\u003e\n\u003chr style=\"margin:0\"\u003e\n\u003ch3\u003e\u003cstrong\u003eBiographical Note\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003e(Peter Bernard) William Heine (1827–1885) was born in Dresden and trained at the Royal Academy of Art, studying under the Düsseldorf School painter Julius Hübner. In 1849, after taking part in the failed May Uprising in Dresden, Heine fled to New York with assistance from Alexander von Humboldt. Heine established a studio at 515 Broadway though soon after was invited to accompany archaeologist and diplomat Ephraim George Squier on consular duties to Central America as an expedition artist. Traveling ahead of Squier, Heine documented local flora and fauna and compiled notes for future publications. The results of this journey were later published in 1853 as \u003cem\u003eWanderbilder aus Zentralamerika\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eWhile in Washington, Heine met President Millard Fillmore and Commodore Matthew Perry, who selected him from among many applicants to serve as the official artist for Perry’s expedition to Japan. Officially listed as an Acting Master’s Mate, Heine served aboard the flagship \u003cem\u003eUSS Mississippi\u003c\/em\u003e under Sydney Smith Lee. The expedition stopped at Madeira, St. Helena, Cape Town, Mauritius, Ceylon, Macao, Hong Kong, Ryukyu Islands, and Japan. All along the way, Heine produced hundreds of sketches which were later translated into lithographic plates for Perry’s \u003cem\u003eNarrative of the expedition\u003c\/em\u003e (New York, 1856). His work, together with the daguerreotypes of his colleague Eliphalet Brown Jr., became the core visual record of the American expedition and remain an invaluable depiction of Japan before its opening to the West.\u003c\/p\u003e\n\u003cp\u003eUpon returning to New York in 1855, Heine created numerous publications in addition to his contribution to Perry’s official report, including \u003cem\u003eGraphic Scenes of the Japan Expedition\u003c\/em\u003e and his own memoirs, \u003cem\u003eReise um die Welt nach Japan\u003c\/em\u003e (Leipzig, 1856). Heine’s publications on Japan are often considered among the greatest American colorplate travel works of the nineteenth century and serve as the most important visual records of the start of American and Japanese trade and diplomatic relations.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":44855267164204,"sku":null,"price":275000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/image_16.png?v=1760457202"},{"product_id":"moonlight-on-the-passaic-river-paterson-nj","title":"MILLER, William Rickarby (American, 1818-1893). Moonlight on the Passaic River, Paterson, NJ.","description":"\u003cp\u003eMILLER, William Rickarby (American, 1818-1893)\u003cbr\u003e\u003cem\u003eMoonlight on the Passaic River, Paterson, NJ\u003c\/em\u003e\u003cbr\u003eSigned and inscribed ‘W.R. Miller N.Y.’ (lower right); titled on a\u003cbr\u003ehandwritten label (affixed to the reverse)\u003cbr\u003eOil on board\u003cbr\u003e7 1\/2” x 5 5\/8” board\u003cbr\u003e12 1\/2” x 10 1\/2” framed\u003c\/p\u003e\n\u003cp data-start=\"478\" data-end=\"1076\"\u003eThis intimate moonlit landscape by William Rickarby Miller depicts a quiet stretch of the Passaic River near Paterson, New Jersey, rendered with the atmospheric delicacy and refined draftsmanship that distinguish Miller’s best work. The full moon, suspended above steep rock formations, casts a silvery glow across the still water, while soft clouds drift over a pale blue sky. The harmony of cool and warm tones and the careful attention to reflected light create a scene both serene and theatrically illuminated, recalling the poetic nocturnes favored by mid nineteenth century American painters.\u003c\/p\u003e\n\u003cp data-start=\"1078\" data-end=\"1676\"\u003eBorn in England and later active in New York, Miller became a respected figure among the second generation of Hudson River School artists. He is well known for his finely detailed views of the Catskills, the Hudson Valley, and the waterways surrounding New York and New Jersey. His works often combine topographical accuracy with a lyrical sensibility, drawing on the romantic landscape traditions that shaped American art in the mid nineteenth century. Miller exhibited at the National Academy of Design, and his works are held in major museum collections including the Metropolitan Museum of Art.\u003c\/p\u003e\n\u003cp data-start=\"1678\" data-end=\"2087\"\u003eThe present painting exemplifies his ability to translate modest subjects into richly atmospheric compositions. The Passaic River, long admired for its dramatic waterfalls and wooded banks, became an iconic motif for artists seeking to explore the interplay of light and nature. Miller’s choice of a nocturnal setting lends the view additional emotional depth, capturing the quiet beauty of the river at rest.\u003c\/p\u003e\n\u003cp data-start=\"2089\" data-end=\"2341\"\u003eHandsomely framed and well preserved, \u003cem data-start=\"2127\" data-end=\"2159\"\u003eMoonlight on the Passaic River\u003c\/em\u003e is a refined example of Miller’s intimate landscapes, offering collectors a glimpse into the quiet poetry of the Hudson River School’s lesser known but highly skilled practitioners.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109413445676,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Miller_MoonlightonthePassaicRiver_-Paterson_NJ.jpg?v=1765223066"},{"product_id":"smith-russell-scottish-american-1812-1896-ben-nevis-from-the-calidonian-s-canal-a-view-of-the-ship-nevis","title":"SMITH, Russell (Scottish-American, 1812-1896). Ben Nevis from the Calidonian’s Canal, a view of the ship Nevis","description":"\u003cp\u003eSMITH, Russell (Scottish-American, 1812-1896)\u003cbr\u003e\u003cem\u003eBen Nevis from the Calidonian’s Canal, a view of the ship Nevis \u003c\/em\u003e\u003cem\u003ewith mountain range in the distance\u003c\/em\u003e\u003cbr\u003eSigned verso “Russell Smith”.\u003cbr\u003eOil on paper\u003cbr\u003e8 1\/2” x 12” sheet\u003c\/p\u003e\n\u003cp data-start=\"205\" data-end=\"445\"\u003e\u003cstrong data-start=\"205\" data-end=\"256\"\u003eRussell Smith (Scottish American, 1812 to 1896)\u003c\/strong\u003e\u003cbr data-start=\"256\" data-end=\"259\"\u003e\u003cem data-start=\"259\" data-end=\"366\"\u003eBen Nevis from the Caledonian Canal, with a view of the ship Nevis and the mountain range in the distance\u003c\/em\u003e\u003cbr data-start=\"366\" data-end=\"369\"\u003eSigned verso: \u003cem data-start=\"383\" data-end=\"398\"\u003eRussell Smith\u003c\/em\u003e\u003cbr data-start=\"398\" data-end=\"401\"\u003eOil on paper\u003cbr data-start=\"413\" data-end=\"416\"\u003eSheet size: 8 1\/2 x 12 inches\u003c\/p\u003e\n\u003cp data-start=\"447\" data-end=\"998\"\u003eThis atmospheric landscape by Russell Smith presents a serene view of the Caledonian Canal with the great mass of Ben Nevis rising in the distance, its peaks rendered in soft violets and rose tones characteristic of Smith’s refined handling of light. At the water’s edge, the ship \u003cem data-start=\"728\" data-end=\"735\"\u003eNevis\u003c\/em\u003e anchors the composition, balancing the sweeping Highlands scenery with a note of maritime activity. The delicacy of the brushwork and the quiet luminosity of the sky reflect Smith’s long engagement with both Scottish topography and American landscape traditions.\u003c\/p\u003e\n\u003cp data-start=\"1000\" data-end=\"1590\"\u003eBorn in Glasgow and later active in Philadelphia, Smith was a leading figure in mid nineteenth century landscape painting, producing works for the Pennsylvania Academy of the Fine Arts and serving as a favored topographical artist for scientific expeditions and railway surveys. His dual identity as a Scottish born American painter allowed him to bridge two visual worlds: the dramatic, mist toned Highlands of his youth and the expansive American scenery he encountered after emigrating. His Highland subjects, such as the present work, remained among his most personal and poetic images.\u003c\/p\u003e\n\u003cp data-start=\"1592\" data-end=\"1919\"\u003eThe Caledonian Canal and Ben Nevis held particular cultural resonance in the nineteenth century, symbolizing both the engineering ambitions of the era and the enduring romantic appeal of the Scottish landscape. Smith captures this duality with characteristic clarity, positioning manmade and natural elements in gentle harmony.\u003c\/p\u003e\n\u003cp data-start=\"1921\" data-end=\"2269\"\u003eExecuted on paper with a controlled, jewel like palette, this small scale oil exemplifies the intimate works Smith produced for collectors who admired his ability to translate large vistas into finely balanced compositions. It remains a compelling example of his Scottish themed landscapes, uniting geographical specificity with lyrical atmosphere.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45109439332396,"sku":null,"price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Smith_BenNevis.jpg?v=1765223256"},{"product_id":"beck-george-jacob-1748-1812-georgetown-and-the-city-of-washington","title":"BECK, George Jacob (1748-1812), Georgetown and the City of Washington","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eGeorge Jacob Beck (1748-1812)\u003c\/p\u003e\n\u003cp\u003eGeorgetown and the City of Washington\u003c\/p\u003e\n\u003cp\u003eGouache and watercolor on paper in gold-leaf frame c. 1795-1797\u003c\/p\u003e\n\u003cp\u003e15 3\/4” x 20 1\/2” visible, 24” x 29” framed\u003c\/p\u003e\n\u003cp\u003eProvenance: Private collection, Philadelphia, PA; Dr. \u0026amp; Mrs. Irving Leavitt, Detroit, MI; Kennedy Galleries, New York, NY; Admiral \u0026amp; Mrs. E. P. Moore, Washington D.C.; Sotheby’s, September 26, 2008.\u003c\/p\u003e\n\u003cp\u003eExhibited: Washington on the Potomac, Washington D.C., Corcoran Gallery of Art, February 20-April 3, 1982, Illustrated on p. 2; A Nation Emerges, Washington D.C., Smithsonian National Portrait Gallery, June 15, 2012 - January 27, 2013; Nature’s Nation: American Art and Environment, Princeton University Art Museum - October 13, 2018 - January 6, 2019; Peabody Essex Museum - February 2, 2019 - May 5, 2019; Crystal Bridges Museum of American Art - May 25, 2019 - September 9, 2019.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eGeorge Jacob Beck’s incredibly rare watercolor Georgetown and the City of Washington is the first view of the area. Beck completed this work at approximately the same time as those commissioned by President George Washington in 1796 for his home in Mount Vernon. This composition appears to be a companion in style and subject of Washington’s The Potomac River Breaking through the Blue Ridge and Great Falls of the Potomac, both circa 1796-1797, combining topographical detail with a romantic atmosphere.\u003c\/p\u003e\n\u003cp\u003eThe artist composed this view from above Georgetown on the district side and shows Analostan Island (the former designation for Theodore Roosevelt Island) in the Potomac River, with Georgetown in the background on the left. Beck’s careful attention to light lends an ethereal quality to his landscapes, embuing them with a grandeur reminiscent of European estate views. The figures in the foreground are bathed in the last light of dusk while the creeping shadows blot out the trees in the foreground. This work served as the original drawing for the exceedingly rare aquatint Georgetown and Federal City, or City of Washington published in 1801 by Atkins and Nightengale, as well as for the decoration on Staffordshire china.\u003c\/p\u003e\n\u003cp\u003eGeorgetown, which had been established in 1751 when the Maryland Legislature purchased sixty acres of land for the town during the reign of George II of Great Britain, was situated on the fall line - the farthest point upstream to which oceangoing boats could navigate the Potomac River. Georgetown eventually became a thriving port, facilitating trade and shipments of tobacco and other goods from colonial Maryland.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45198320959532,"sku":null,"price":650000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Beck_GeorgetownandCityofWashington.jpg?v=1768321053"},{"product_id":"beck-george-jacob-1748-1812-a-north-view-of-the-city-of-washington","title":"BECK, George Jacob (1748-1812), A North View of the City of Washington","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBECK,George Jacob (1748-1812) \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eA North View of the City of Washington\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eGouache and watercolor on paper\u003c\/p\u003e\n\u003cp\u003eTitle inscribed on verso in Beck’s hand. 1795-1798\u003c\/p\u003e\n\u003cp\u003eSight size: 14 1\/2 x 19 1\/2 in Framed size: 24 x 29 in.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAn exceptionally fine original gouache on paper of the city of Washington taken from the Eastern branch of the Potomac River, looking north.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA North View of the City of Washington\u003c\/em\u003e captures the spirit of a young nation, set against the backdrop of a nearly tamed wilderness where the clear waters of the Eastern Branch flow seamlessly into the majestic Potomac River. In the foreground, an imposing and ancient oak stands sentinel, symbolizing strength and resilience, while the middle ground reveals the White House, taking shape as a beacon of hope and democracy. To the right, the future Navy Yard and Jenkins’ Hill—now known as Capitol Hill—emerge, paving the way for the evolving landscape. In the background, the historic sites of Georgetown and Harper’s Ferry contribute to the rich tapestry of this vision.\u003c\/p\u003e\n\u003cp\u003ePainted between 1795 and 1798, \u003cem\u003eA North View of the City of Washington\u003c\/em\u003e immortalizes the White House in its early days, before John Adams became its first resident in 1800. Jenkins’ Hill, heralded by L’Enfant as “a pedestal waiting for a monument,” hosts the Capitol building, which began construction in 1792 and stands as a testament to the aspirations of a budding republic. The Navy Yard, still untouched, foreshadows the energetic development that would begin in 1799. The composition resonates with Beck’s later work, \u003cem\u003eView of Philadelphia and the Delaware River from Kensington, Pennsylvania\u003c\/em\u003e, created circa 1800 to 1804. In both paintings, a grand tree dominates the foreground, sheltering the burgeoning city beneath its wide branches, while rivers weave elegantly to the left, inviting a journey into the future. \u003c\/p\u003e\n\u003cp\u003eThis view, taken from above Georgetown on the district side, prominently features Analostan Island (formerly Theodore Roosevelt Island) in the Potomac River, with Georgetown’s historic streets gracing the background. In the distance, the nascent boundaries of the city of Washington reflect the visionary foundation laid just years earlier. In 1791, President Washington chose this site for the capital, strategically positioning the federal city a few miles from Georgetown on the Potomac’s opposite bank. Georgetown, established in 1751, has deep roots in history, granted by the Maryland Legislature during the reign of George II of Great Britain. Located on the fall line—the furthest point upstream acces- sible to ocean-going vessels—Georgetown flourished as a key port, fostering trade and transporting tobacco and other goods from colonial Maryland. President Washington frequently turned to Georgetown, where he negotiated vital land deals for the Federal City, which also became the residence of Thomas Jefferson during his impactful tenure as Secretary of State under Washington.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45198327775276,"sku":null,"price":575000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Beck_GeorgetownandCityofWashington.jpg?v=1768321053"},{"product_id":"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"},{"product_id":"birch-thomas-1779-1851-view-of-philadelphia-harbor","title":"BIRCH, Thomas (1779-1851), View of Philadelphia Harbor","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBIRCH, Thomas (1779-1851) \u003c\/p\u003e\n\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe view looks north on the Delaware River from below the United States Navy Yard, which operated until 1996. To the left of the Navy Yard is Sparks Shot Tower, a mu- nitions factory that operated between 1808 and 1913 (fig. 2). The remarkably detailed coastline features the skyline of Philadelphia, featuring the tower and spire of Christ Church in the center. Completed in 1754, it remained the tallest structure in the United States until 1810. The amount of detail in the painting is not limited to the skyline, as each of the boats features its own story.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":45198366670892,"sku":null,"price":145000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/ScreenShot2026-01-09at12.39.09PM.png?v=1768323151"},{"product_id":"hungarian-late-17th-century-sacred-heart-saint-anthony-joining-the-franciscan-order-1697","title":"HUNGARIAN (Late 17th Century). Sacred Heart; Saint Anthony Joining the Franciscan Order. 1697.","description":"\u003cp\u003e\u003cstrong\u003eHUNGARIAN (Late 17th Century)\u003c\/strong\u003e\u003cbr\u003eSacred Heart; Saint Anthony Joining the Franciscan Order\u003cbr\u003eCommissioned by Thomas de Nadasd, 1697\u003cbr\u003eOil on canvas\u003cbr\u003e145\" x 53 3\/4\" canvas\u003c\/p\u003e\u003cp\u003eThe companion piece to the Batthyany lunette of 1698, this monumental oil on canvas was commissioned one year earlier by the Hungarian magnate Thomas de Nadasd. While its counterpart addresses themes of political and military unity, this painting is more peaceful and devotional in character, centered on the Virgin Mary appearing to Saint Anthony of Padua to bless the Franciscan Order.\u003c\/p\u003e\u003cp\u003eThe Virgin presents Saint Anthony with a lily and a golden reed, attributes of the Franciscan tradition, while an angel appears at his shoulder bearing these gifts. The composition is dominated by the Sacred Heart of Jesus, adorned with a golden crown and transfixed by a sword, with the initials I.N.R.I. painted above—a powerful symbol of Christ's sacrifice that echoes the Pelican motif in the companion piece. An elaborately decorated cartouche to the left narrates the story of the Virgin's apparition and Saint Anthony's mission to spread word of her love to the faithful.\u003c\/p\u003e\u003cp\u003eA Latin dedication at the lower right identifies the patron: \u003cem\u003e“Our most glorious master, glorious Count Thomas of Nadasd, from the long line of the Forgaras, golden knight of the sacred Kingdom.”\u003c\/em\u003e The Nadasd coat of arms—a white-collared black duck flanked by two bulrushes—appears at the far right as a second “signature.” Thomas de Nadasd was a rebel prince killed by Imperial troops in 1671, over twenty-five years before this oil was commissioned, suggesting it was created in his memory by Adam Batthyany or a descendant.\u003c\/p\u003e\u003cp\u003eTogether with its companion lunette, this work forms an unparalleled visual record of Hungary's struggle for national and religious independence at the close of the 17th century. Available individually or as a pair ($325,000).\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45398950281260,"sku":null,"price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Sacred_Heart_-_Saint_Anthony_Joining_the_Franciscan_Order_1697.jpg?v=1774044134"},{"product_id":"hungarian-late-17th-century-the-batthyany-and-nadasd-lunettes-pair-16971698","title":"HUNGARIAN (Late 17th Century). The Batthyany \u0026 Nadasd Lunettes (Pair). 1697–1698.","description":"\u003cp\u003e\u003cstrong\u003eHUNGARIAN (Late 17th Century)\u003c\/strong\u003e\u003cbr\u003eThe Batthyany \u0026amp; Nadasd Lunettes (Pair)\u003cbr\u003eCommissioned by Adam Batthyany (1698) and Thomas de Nadasd (1697)\u003cbr\u003eOil on canvas\u003cbr\u003eEach: 145\" x 53 3\/4\" canvas\u003c\/p\u003e\u003cp\u003eAn extraordinary matched pair of monumental lunette oil paintings, among the most important surviving artistic records of Hungary's political and religious identity at the close of the 17th century. Commissioned by two of the most powerful Hungarian magnates—both rebel princes with deep affiliations in Croatia and Hungary—these canvases represent two sides of the same coin: one political and military, the other spiritual and devotional.\u003c\/p\u003e\u003cp\u003eThe Batthyany lunette (1698) presents the Virgin Mary as \u003cem\u003ePatrona Hungariae\u003c\/em\u003e, presiding over the eleven united Slavic armies in a stirring call for national independence from Austrian and Ottoman domination. Richly layered with political symbolism—from the triumphant Lion of Hungary to the Pelican crowning the Palm tree of Victory—it celebrates Hungary's victory at the Battle of Zenta and the leadership of the Batthyany family. Beneath the military spectacle, John of Capistrano blesses the sons of John Hunyadi in a scene that weaves biblical prophecy with Hungarian national history.\u003c\/p\u003e\u003cp\u003eThe Nadasd lunette (1697) turns inward to the spiritual realm, depicting the Virgin appearing to Saint Anthony of Padua to bless the Franciscan Order, with the Sacred Heart of Jesus dominating the composition. It was commissioned in memory of Thomas de Nadasd, a rebel prince killed in 1671, and signed with his family's distinctive coat of arms.\u003c\/p\u003e\u003cp\u003eTogether, the paintings reflect the dual nature of Hungary's fight for self-determination—by the sword and by the cross. Their shared scale, format, and stylistic signatures strongly suggest they were conceived as a pair, likely intended for Adam Batthyany's Franciscan monastery in Güssing. A priceless and unparalleled offering for the serious collector of European Old Master paintings and Central European history.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45398950314028,"sku":null,"price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Virgin_Mary_-_Unification_of_the_Slavic_Nations_1698.jpg?v=1774044134"},{"product_id":"vail-eugene-ready-about-pare-a-virer-1888","title":"VAIL, Eugene. Ready About (Paré à Virer), 1888","description":"\u003cp\u003eVAIL, Eugene Lawrence (American\/French, 1857-1934)\u003cbr\u003e\u003cem\u003eReady About (Paré à Virer), 1888\u003c\/em\u003e\u003cbr\u003eoil on canvas\u003cbr\u003esigned, located Eug. Vail \/ Boulogne sur mer and dated (lower left)\u003cbr\u003e94 x 125 1\/2 in. (238.8 x 318.8cm)\u003c\/p\u003e\n\u003cdiv class=\"collapsible-section__content-container\" data-v-32bdb00f=\"\"\u003e\n\u003cdiv class=\"provenance__content\" data-testid=\"provenance\" data-v-32bdb00f=\"\"\u003e\n\u003cem\u003eReady About (Paré à Virer)\u003c\/em\u003e, 1888, is a monumental work by the artist Eugène Vail, who was born in France to a French mother and an American father. At the insistence of his father, he studied at the Stevens Institute of Technology in Hoboken, New Jersey, where he graduated with a degree in mechanical engineering in 1877. After college he joined the National Guard, traveling with a Western expedition led by Captain George Wheeler. At the end of his service, and now free to pursue his true interest, Vail became a student of William Merritt Chase and J. Carroll Beckwith at the Art Students League in New York before returning to France. In Paris, he entered the École des Beaux-Arts in 1882, where he was instructed by Alexandre Cabanel, Raphaël Collin, and Pascal Adolphe Jean Dagnan-Bouveret, the latter the leader of the Naturalist School.\u003cbr\u003e\u003cbr\u003eLike many artists of the late 19th century, Vail frequented Pont-Aven and Concarneau in Brittany, but eventually was attracted to Étaples, in Boulogne, along the northern coast of France. With its traditional fishing industry and rustic seafarers, Étaples appealed to both French and foreign painters alike. Vail was drawn to the life of the hardworking sailors, who he accurately depicted engaging in fishing activities, often with a sober palette of cool colors and in enormous formats.\u003cbr\u003e\u003cbr\u003eIt was here in Étaples that the artist executed\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReady About (Paré à Virer)\u003c\/em\u003e, in 1888. Measuring at an impressive 94 x 125 ½ inches, the painting won a third-class gold medal in the Paris Salon of 1888, then in the following year, it won a first-class gold medal at the Paris Exposition Universelle. The composition is close-cropped, as if the viewer is sitting in the bow of the diagonally rocking boat. Two sailors strain to pull a rope in the immediate foreground and are depicted at almost life-sized. In the stern and at an elevated position, the captain powerfully grips the helm as he looks out over the rolling waves that threaten to capsize his vessel. With its uniform use of rectangular strokes, Vail's vigorous brushwork emphasizes the dynamic movement of the image. The overall green-gray tonalities likewise evoke the cold and wet conditions of the rough waters, with only the vivid red flesh of the day’s catch in the boat’s lower right corner to punctuate the chilly atmosphere. Theodore Child wrote about this painting: \"very beautiful in color, and amongst the very strongest and best pictures of this kind in the Exhibition.\" (T. Child, \"American Artists at the Paris Exposition.\" \u003cem\u003eHarper's New Monthly Magazine\u003c\/em\u003e, September 1889, p. 518)\u003cbr\u003e\u003cbr\u003eIn 1897, the Corcoran Gallery of Art in Washington, DC, acquired the present work directly from Vail for a sum of $1,000. Vail reportedly instructed the gallery that it should be examined \"at some distance, as it was painted with the object of carrying best at about twelve feet.\" The same year, the Mancini Gallery in Paris welcomed:\u003cbr\u003e\u003cbr\u003e\u003cem\u003eEugène Vail, whose previous successes had long since brought him to the attention of the discerning, who is currently in full development, and it is to a new form of art that he now devotes his fully mature talent. He is an evocative artist. His vigorous and calm colorings give a deep emotion, for this painter translates nature without sentimentality and knows how to convey to the mind of the spectator the feeling and impression that emerge from beings and things. A happy mixture of symbolism and reality, a disturbing evocation of art, such is the work of Eugène Vail, who has managed to imprint on his canvases a conscientious, bold, original individuality, which deserves to capture the attention of the most enlightened art lovers.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cem\u003eL'Intransigeant\u003c\/em\u003e, December 25, 1897, p. 3)\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"provenance__content\" data-testid=\"provenance\" data-v-32bdb00f=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"provenance__content\" data-testid=\"provenance\" data-v-32bdb00f=\"\"\u003e\n\u003cspan\u003e\u003cspan style=\"text-decoration: underline;\"\u003eProvenance\u003c\/span\u003e:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe Artist.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eCorcoran Gallery of Art, Washington, DC, 1897-1951 (accession no. 97.7).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eM. Knoedler \u0026amp; Company, New York, 1951.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTobias Fischer Gallery, 1951.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eEstate of Davis Bennett, until 1991.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eR. H. Love Galleries, Inc., Chicago, Illinois.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePrivate Collection, Chicago, Illinois.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eExhibited:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eParis Salon, 1888, no. 2422 (awarded Third Class Gold Medal).\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eParis, Exposition Universelle, 1889 (awarded First Class Gold Medal)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eParis, American Women's Club, 1928\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNew York, American Fine Arts Society Galleries, 1939, no. 10.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWashington, DC, Corcoran Gallery of Art, 1897-1951\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline;\"\u003eLiterature:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eF. G. Dumas, ed., \u003c\/span\u003e\u003cem\u003eThe Illustrated Catalogue of the Paris Salon\u003c\/em\u003e\u003cspan\u003e, London, 1888, pp. 41; 223, illus.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEugene Montrosier, \u003c\/span\u003e\u003cem\u003eSalon de 1888, Cent Planches en Photogravure\u003c\/em\u003e\u003cspan\u003e, Paris, 1888, p. 106.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBiographical Sketches of American Artists\u003c\/em\u003e\u003cspan\u003e, Lansing, Michigan, 1924, p. 94.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLouise Gebhard Cann, \"The Art of Eugene Vail,\" \u003c\/span\u003e\u003cem\u003eThe Bulletin of the American Women's Club of Paris, Inc.\u003c\/em\u003e\u003cspan\u003e, Paris, 1928, introduction and p. 5, illus.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Pan's Art Notes,\" \u003c\/span\u003e\u003cem\u003eThe New York Herald\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e(European Edition), May 19, 1935.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLouise Gebhard Cann, \u003c\/span\u003e\u003cem\u003eEugene Lawrence Vail\u003c\/em\u003e\u003cspan\u003e, Paris, 1937, n.p., illus.\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eNew York Times\u003c\/em\u003e\u003cspan\u003e, January 26, 1939.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Memorial Exhibition of Eugene Vail Paintings,\" \u003c\/span\u003e\u003cem\u003eThe Sunday Star\u003c\/em\u003e\u003cspan\u003e, Washington, DC, January 28, 1940, p. F5, illus.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"provenance__content\" data-testid=\"provenance\" data-v-32bdb00f=\"\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"provenance__content\" data-testid=\"provenance\" data-v-32bdb00f=\"\"\u003e\u003cspan\u003eSJF0001\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45564364652588,"sku":null,"price":55000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/vail.jpg?v=1779388532"},{"product_id":"roux-frederic-vancluse-captain-raymond-l-gillchirst-entering-port-of-havre-may-10th-1832","title":"Roux, Frederic. Vancluse Captain Raymond L. Gillchirst\/ Entering Port of Havre, May 10th 1832","description":"\u003cp\u003eROUX, Frederic (1805-1870).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eVancluse Captain Raymond L. Gillchrist \/ Entering Port of Havre, May 10th 1832.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWatercolor, pen, ink on paper. \u003c\/p\u003e\n\u003cp\u003eSigned and dated \"Havre, June 1832\". 27 1\/2\" x 33 3\/4\" framed.\u003c\/p\u003e\n\u003cp\u003eSJF0002\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45566776115244,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Roux_VancluseCaptainRaymondLGillchristenteringleHavre.jpg?v=1779462605"},{"product_id":"lear-edward-british-1812-1888-the-tor-di-schiavi-on-the-via-labieana-rome","title":"LEAR, Edward (British, 1812-1888). The Tor di Schiavi on the Via Labieana, Rome","description":"\u003cp\u003e\u003cspan\u003eLEAR, Edward (British, 1812-1888).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe Tor di Schiavi on the Via Labieana, Rome\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOil on canvas.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSigned: \"E. Lear, 1842\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9\" x 17 1\/2\" canvas, 18 1\/4\" x 26 1\/4\" framed.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eProvenance: Painted for Captain and Miss Phipps Hornby of Shooters Hill, Kent; Miss Edith Jones, and thence by descent.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDuring the nineteenth century, artists and tourists alike flocked to Italy to observe the country's countless ruins and bask in its mythical golden sunlight. Edward Lear (1812-1888), author of books of nonsense, purveyor of limericks, and prolific creator of exquisite landscape art, captures both Italian wonders within these two marvelous paintings of the Roman environs. The first, The Tomb of Cecilia Metella on the Via Appia, Rome (1842), depicts the final resting place of the Roman Consul Creticus' daughter and member of the first Roman Triumvirate Crassus's son's wife. The tomb, whose occupant Cecilia Metella died in 50 B.C., is located on the Via Appia, the most important ancient Roman road connecting the Italian capital to Brindisi, Apulia in southeast Italy. The second work, The Tor di Schiavi on the Via Labicana, Rome (1842) illustrates the remains of an extensive villa built during the time of Diocleation and is situated on another chief Roman thoroughfare.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEdward Lear was born into a middle-class family at Holloway, North London, the penultimate of twenty-one children (and youngest to survive) of Ann Clark Skerrett and Jeremiah Lear. He was brought up by his eldest sister, also named Ann, twenty-one years his senior. Owing to the family’s limited finances, Lear and his sister were required to leave the family home and live together when he was aged four. Lear suffered from lifelong health afflictions starting from the age of six, his ailments included frequent grand mal epileptic seizures, and bronchitis, asthma, and during later life, partial blindness.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLear was already drawing “for bread and cheese” by the time he was aged sixteen and soon developed into a serious “ornithological draughtsman” employed by the Zoological Society and then from 1832 to 1836 by the Earl of Derby, who kept a private menagerie at his estate, Knowsley Hall. He was the first major bird artist to draw birds from real live birds, instead of skins. Lear’s first publication, published when he was nineteen years old, was Illustrations of the Family of Psittacidae, or Parrots in 1830. One of the greatest ornithological artists of his era, he taught Elizabeth Gould while also contributing to John Gould’s works and was compared favorably with John James Audubon.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn 1842, Lear began a journey into the Italian peninsula, traveling through Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily. In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. He eventually settled in San Remo, on his beloved Mediterranean coast, in the 1870s, at a villa he named “Villa Tennyson.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAmong other travels, he visited Greece and Egypt during 1848–49, and toured India during 1873–75, including a brief detour to Ceylon. While traveling he produced large quantities of colored wash drawings in a distinctive style, which he converted later in his studio into oil and watercolor paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of color.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThroughout his life Lear continued to paint seriously, even as his health steadily declined. He had a lifelong ambition to illustrate Tennyson’s poems and in the final years of his life a volume with a small number of illustrations was published.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLear died at his villa in 1888 of heart disease, from which he had suffered since at least 1870.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e---- Lear as Author In 1846, Lear published A Book of Nonsense, a volume of limericks that went through three editions and helped popularize the form and the genre of literary nonsense. In 1871, he published Nonsense Songs, Stories, Botany and Alphabets, which included his most famous nonsense song, “The Owl and the Pussycat,” which he wrote for the children of his patron Edward Stanley, 13th Earl of Derby. Many other works followed. Lear’s nonsense books were highly popular during his lifetime, but a rumor developed that “Edward Lear” was merely a pseudonym, and the books’ true author was the man to whom Lear had dedicated the works, his patron the Earl of Derby. Promoters of this rumor offered as evidence the facts that both men were named Edward, and that “Lear” is an anagram of “Earl.” Lear’s nonsense works are distinguished by a facility of verbal invention and a poet’s delight in the sounds of words, both real and imaginary. A stuffed rhinoceros becomes a “diaphanous doorscraper.” A “blue Boss-Woss” plunges into “a perpendicular, spicular, orbicular, quadrangular, circular depth of soft mud.” His heroes are Quangle-Wangles, Pobbles, and Jumblies. One of his most famous verbal inventions, the phrase “runcible spoon,” occurs in the closing lines of The Owl and the Pussycat and is now found in many English dictionaries.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45841538187308,"sku":null,"price":165000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/78.jpg?v=1784904534"},{"product_id":"beck-george-jacob-1748-1812-the-falls-on-the-potomac-circa-1801","title":"BECK, George Jacob (1748-1812), The Falls on the Potomac, circa 1801","description":"\u003cp\u003eBECK, George Jacob (1748-1812).\u003cbr\u003eThe Falls on the Potomac, circa 1801.\u003cbr\u003eOil on paper mounted on board.\u003cbr\u003eWith a paper label inscribed by the artist Great Falls, Potomac on the reverse.\u003cbr\u003e16 1\/2\" x 22 1\/2\" board.\u003c\/p\u003e\u003cp\u003eProvenance: Kennedy Galleries, Inc., New York.\u003c\/p\u003e\u003cp\u003eExhibited: Washington, D.C., The Corcoran Gallery of Art, Views and Visions: American Landscapes Before 1830, traveling, September 21, 1987-March 29, 1988.\u003cbr\u003eWashington, D.C., The Smithsonian Institution, National Museum of American Art, Capital Image: Painters in Washington, 1800-1915, October 19, 1983 to January 22, 1984.\u003c\/p\u003e\u003cp\u003eLiterature: \"Reality, Romanticism, Realism: Two Centuries of American Painting\", The Kennedy Quarterly, 1967, Volume VII, Number 4, pp. 242-243.\u003c\/p\u003e\u003cp\u003eIn 1796\/7 President George Washington purchased two companion views of George Beck's The Great Falls of the Potomac. Although one of the paintings was commissioned from Beck by President Washington, both were purchased through Samuel Salter of Philadelphia.  They are now part of the Mount Vernon Ladies' Association of the Union collection. The Great Falls is a series of cascades and rapids in a 200 foot gorge in the Potomac River.\u003c\/p\u003e\u003cp\u003eThis version, a closeup of the Great Falls, has a fresh, spontaneous and painterly quality absent in the Washington interpretations, and suggests that the artist painted it from nature.\u003c\/p\u003e\u003cp\u003eBeck \"was one of the first individuals to push beyond the representational limits of topographical draughtsmanship\" (Olsen). These watercolor gouaches of Washington is clearly a companion in style as well as subject to The Potomac River Breaking through the Blue Ridge and Great Falls of the Potomac (ca.1796-1797), combining as it does topographical detail with a Romantic atmosphere. Both of these works were purchased by George Washington in January 1797, from Samuel Salter (1768-1834) as Beck's agent, for $158.75. There were to be hung in the New Room that Washington had built at Mount Vernon following the Revolutionary War, where they can be viewed today. The original entry in Washington's account book recording the acquisition can be seen amongst the Papers of George Washington at the University of Virginia.\u003c\/p\u003e\u003cp\u003eGeorge Beck and his wife emigrated to America in 1795, drawn to the newly settled wilderness, which Beck was to portray so successfully in this paintings as well as his others. They settled in Baltimore where George first painted scenes of the Potomac, and achieved immediate success. Following Washington's commission William Hamilton, \"the well-known patron of English and American artists, commissioned Beck to paint a view of the Woodlands, Hamilton's elaborately landscaped estate in Philadelphia. At Hamilton's suggestion, in 1798 Beck settled in that city, then the capital of the country and its largest, most cultivated urban center; he opened drawing schools for men and women to subsidize his income, and his wife established a ladies' seminary\" (Olsen). However their time in Philadelphia was relatively short-lived. Beck first appears in the Philadelphia directory of 1798 as a landscape painter at 106 Walnut Street; in 1799 and 1800 on South Fifth Street near Chestnut; in 1801, 1802, 1803, at 51 South Fifth Street; and in 1804 ad 1805 as living near 51 South Fifth Street, all in very close proximity to Samuel Salter's properties... he may well have been a tenant.\u003c\/p\u003e\u003cp\u003eThe legendary beauty of the American west tempted the Becks to leave Philadelphia in 1804 and explore the western frontier: Pittsburgh, Niagara Falls, Ohio and Kentucky. \"The newly settled wilderness held a great appeal for [Beck], providing the opportunity of exploring relatively unspoiled nature while living in a social milieu where he and his wife hoped to attract patrons and students. In Kentucky he developed a freer style, and his works increasingly celebrated the unspoiled richness of the frontier. They reveal his fascination with the subjective power and mystery of nature\" (Roberta Olsen \"Drawn by New York\", pages 63-66).\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510349356,"sku":null,"price":375000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/49_9797d92c-2458-489b-b575-67a2b9ae1eed.jpg?v=1791083252"},{"product_id":"birch-thomas-1779-1851-on-the-delaware-river-philadelphia-old-navy-yard","title":"BIRCH, Thomas (1779 - 1851), On the Delaware River, Philadelphia (Old Navy Yard)","description":"\u003cp\u003eBIRCH, Thomas (1779 - 1851).\u003cbr\u003eOn the Delaware River, Philadelphia (Old Navy Yard).\u003cbr\u003eOil on canvas.\u003cbr\u003eca. 1840.\u003cbr\u003eInscribed on stretcher: \"City front Philadelphia Penna Delaware River Old Navy Yard in Distance\".\u003cbr\u003e18\" x 27 1\/4\" canvas.\u003c\/p\u003e\u003cp\u003eProvenance: E.L. Fisher; J. Welles Henderson; Exhibited: Philadelphia, Pennsylvania; Philadelphia Maritime Museum, Thomas Birch, 1779-1851: Paintings and Drawings, 1966\u003c\/p\u003e\u003cp\u003eThe Classic View of Philadelphia at the height of its Economic Power.\u003c\/p\u003e\u003cp\u003eThis stunning river view of the Philadelphia City front was painted by Thomas Birch, one of the most important American landscape and marine painters of the early 19th century. Though Birch was not a sailor, and had little direct experience with boats, he made sufficient firsthand observation of his subjects to convey accurately not only the structure of boats but their refined beauty as well. He blends a close observation of details, exemplified in his ability to capture the intricacy of ship mechanics, with historical overtones that appealed to contemporary tastes and continues to resonate with modern viewers.\u003c\/p\u003e\u003cp\u003eThe sailboat in this serene painting catches the last rays of sun at dusk, which illuminate the sails of the craft so that they appear to emerge from the canvas. The soft light creates a sense of balance in the painting, as the eye of the viewer roams from each unique craft and rests on the softly lit sails of Birch's main subject. His sensitivity to the different ways in which light interacts with water, causing reflections and highlighting contours of the vessels he laboriously studied, is arguably what propelled Birch's career. By the time he painted this masterpiece, he was lauded as one of the most accomplished painters of his time; and he had carved a niche for the previously overlooked genre of Marine painting.\u003c\/p\u003e\u003cp\u003eThroughout his prolific career, Birch painted a variety of landscapes, though his most accomplished works by far are his seascapes. 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 Philadelphia from the Delaware River. 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.\u003c\/p\u003e\u003cp\u003eBirch 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 Benjamin 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.\u003c\/p\u003e\u003cp\u003eThomas 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 landscape and marine painting, and his highly recognizable style is a successful union of classic Dutch painting and pure imagination.\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":46328510382124,"sku":null,"price":475000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/50.jpg?v=1791083254"}],"url":"https:\/\/aradernyc.com\/collections\/paintings.oembed?page=3","provider":"Arader Galleries","version":"1.0","type":"link"}