{"title":"U.S. City Views","description":"","products":[{"product_id":"bachmann-john-1814-1896-birds-eye-view-of-new-orleans","title":"Bachmann, John (1814-1896). Birds eye view of New-Orleans. New York, 1851 (First Edition).","description":"\u003cp\u003e\u003cspan\u003eBachmann, John (1814-1896).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBirds eye view of New-Orleans.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eColor printed lithograph.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNew York, 1851 (First Edition).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e26 x 34 3\/4\" sheet, 30 x 39 inches framed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRare view of New Orleans by John Bachman, or Bachmann.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJohn Reps, in \"Views and Viewmakers of Urban America\" p. 160, states \"No finer artist of city views worked in America than John Bachmann. Unfortunately, there is no artist about whom less is known...\" Bachman is believed to have emigrated from Germany to the United States in the late 1840s. The first image to carry his name was a view of New York City dated 1849. This New Orleans image from 1851 is one of his earliest of his long career (1885 is the latest date associated with his work) and considered one of his finest efforts. Much of his work was printed by others, but this multi-stone color lithograph was printed by Bachman himself. The birds'-eye view looks across the blue horseshoe bend of the Mississippi River to the brick-red buildings of the city to the north. Paddle-wheel steamers (including the Magnolia, Natchez, America, Creole, and Belle-Key) and sailing ships are seen in the foreground and the perspective view of the city recedes toward distant Lake Pontchartrain. Distinctive buildings include the St. Charles Hotel (built in 1851), the Customs House, the domed City Exchange, and Roman Catholic Cathedral of St. Louis. Reps 1151; Stokes p. 109.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":34522912129068,"sku":"","price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/68046453_1_x.jpg?v=1597307854"},{"product_id":"vanderlyn-john-a-distant-view-of-the-falls-of-niagara-london-1804","title":"Vanderlyn, John. A Distant View of the Falls of Niagara... London, 1804.","description":"\u003cp\u003eJohn Vanderlyn\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Distant View of the Falls of Niagara, including both branches of the island, and adjacent shores, taken from the vicinity of the indian ladder\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1804\u003c\/p\u003e\n\u003cp\u003e22 1\/2\" x 29 1\/2\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e Fine large-scale aquatint and engraved view of the falls after Vanderlyn's 1802 oil painting.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":41945404997676,"sku":"MB0037","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/MB0037_1.jpg?v=1697475720"},{"product_id":"carwitham-john-a-south-east-view-of-the-great-town-of-boston-in-new-england-in-america-london-1764-or-later","title":"Carwitham, John. A South East View of the Great Town of Boston in New England in America. London, 1764 or later.","description":"\u003cp\u003eJohn Carwitham\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA South East View of the Great Town of Boston in New England in America\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLondon, 1764 or later\u003c\/p\u003e\n\u003cp\u003e12\" x 17 3\/4\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eTaken from the vantage point of Castle Island and portraying the town from South Battery to the North End, the view was originally engraved circa 1736. The dominant features are Long Wharf, Fort Hill to its left (i.e., south) and in the background the three peaks of the Trimontane, of which only Beacon Hill remains today. Also notable are the many church spires, their height exaggerated probably for artistic purposes.\u003c\/p\u003e\n\u003cp\u003eCarwitham's view is copied from the first state of the monumental 3-sheet view of Boston by William Burgis,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA South East View of the Great Town of Boston in New England in America\u003c\/em\u003e, drawn in 1722, which was engraved by John Harris and printed in 1723 and is generally considered to be the earliest printed view of Boston. The first state of the Burgis view of Boston is apparently known in only two examples, one of which is in the Crown Collection of the British Museum, with that example having been pasted onto the original sheets printed with corrections up to 1736, approximately the same year as Carwitham's view of Boston was engraved. Carwitham's view of Boston pre-dates these revisions to the Burgis view made by William Price in 1736, which added 3 new places names, taking the total number of places on the key to 53. It should however be noted that Carwitham's view includes a \"3a\" and \"3b\" entry, bringing the total to 51 entries. As noted by Deak:\u003c\/p\u003e\n\u003cblockquote\u003eThe view shows Boston from the bay, showing the waterfront with the Long Wharf in the foreground, was apparently based on the first state of the 1723 Burgis view. When John Carwitham prepared the engraving, he added the Old South Meeting House and Hollis Street Meeting house, both built in 1731. The spire of Christ Church seen in the Burgis view -- then an architectural projection rather than a reality -- was retained by Carwitham even though the spire would not be built until about 1740.\u003c\/blockquote\u003e\n\u003cp\u003eCarwitham's view is apparently one of the \"lost engravings\" associated with an unpublished history of North America by William Byrd II. A number of the plates which were apparently intended for this work are a part of the Richard Rawlinson Collection of copper plates, which was given to the Bodleian Library in Oxford after Rawlinson's death in 1755. Other plates were acquired, revised and issued by Carrington Bowles, including the present view of Boston. As no example of the Boston view pre-dating the Carrington Bowles imprint survives, the first state of Carwitham's view of Boston has to date been unknown, although Deak surmised that the pre-Carrington Bowles state of the view existed, based upon the existence of a single example of the pre-Carrington Bowles state of the Manhattan view by Carwitham, currently in the collection of the Library of Congress.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":41945445695532,"sku":"MB0101","price":7000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/MB0101_1.jpg?v=1697476520"},{"product_id":"fowler-t-m-parkersburg-blennerhasset-island-west-virginia-1899-1899","title":"Fowler, T.M. Parkersburg, Blennerhasset Island, West Virginia 1899. Morrisville, PA: 1899.","description":"\u003cp\u003eT.M. Fowler\u003c\/p\u003e\n\u003cp\u003eParkersburg, Blennerhasset Island, West Virginia 1899\u003c\/p\u003e\n\u003cp\u003eMorrisville, PA: 1899\u003c\/p\u003e\n\u003cp\u003e22 1\/2\" x 36 1\/2\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eStriking view of the town of Parkersburg, West Virginia, approximately 40 miles north of Charleston, West Virginia.\u003c\/p\u003e\n\u003cp\u003eA stiking and highly detailed view, showing street names, buildings and the river. A classic late 19th Century view.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":41945453363244,"sku":"SSV0211","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SSV0211_1.jpg?v=1697476742"},{"product_id":"copy-of-rollinson-william-custom-house-new-york-1799-1815","title":"Smith, B.F. New Haven, Conn. From Ferry Hill.. 1799-1815.","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eB.F. Smith\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-weight: 400;\"\u003eNew Haven, Conn[ecticut] From Ferry Hill\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e1849\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e21 1\/2\" x 38\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":41945895731244,"sku":"SSV0427","price":6600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/SSV0427.jpg?v=1697484008"},{"product_id":"papprill-henry-1817-1896-after-hill-john-william-1812-1879-new-york-from-the-steeple-of-st-paul-church-looking-east-south-and-west-new-york-1849-copy","title":"PIERRE CHARLES CANOT (1710-1777), after THOMAS HOWDELL A South East View of the City of New York in North America. 1768","description":"\u003cp\u003ePIERRE CHARLES CANOT (1710-1777),after THOMAS HOWDELL\u003cbr\u003e\u003cem\u003eA South East View of the City of New York in North America\u003c\/em\u003e\u003cbr\u003eMezzotint with exceptional original color\u003cbr\u003eLondon: John Bowles, 1768\u003cbr\u003e13 1\/2” x 19 7\/8” sheet\u003c\/p\u003e\n\u003cp\u003eThomas Pownall, a British statesman who arrived to America in 1753 and took positions in colonial government (Governor of Massachusetts,1757; Governor of South Carolina, 1760), organized leading print dealers in London to publish a series of plates related to military actions in North America. These views were either drawn by Pownell himself or by officers of the British Navy and Army, including Captain Thomas Howdell of the Royal Artillery. They began with images of sites and events of the French and Indian War (1755 - 1760). Later the views included cities and scenes of various locations from Canada to the Caribbean. Initially, the prints were sold individually or as small groups or parts. However by 1768, Pownell issued and sold the views as a set which consisted of twenty-eight prints with a title page bearing the title, “Scenographia Americana.\"\u003c\/p\u003e\n\u003cp\u003eIt holds the distinction as the first great published collection of American views.\u003c\/p\u003e\n\u003cp\u003eThe South East scene is taken from near today’s corner of Varick and Beach Streets in lower Manhattan. The main building shown is Kings College, now known as Columbia University. The buildings depicted from left to right are St. George's Church, the jail, the New Dutch Church, the French Church, the South Dutch Church, City Hall, the Presbyterian Church on Wall Street, King's College (with a cupola), and Trinity Church. In the foreground sit two young men in typical 18th century dress.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832305217580,"sku":null,"price":14000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/HowdellCanot_ASouthEastViewoftheCityofNewYork.jpg?v=1759432269"},{"product_id":"william-wal-1792-1864-engraved-by-john-hill-1770-1850-the-hudson-river-portfolio-copy","title":"NICOLINO CALYO (1799-1884). View of New York City as It Appeared on the Eve of the Fire, 1835.","description":"\u003cp\u003eNICOLINO CALYO (1799-1884)\u003cbr\u003e\u003cem\u003eView of the City of New York as appeared on the evening of the Fire 16th Dec.r 1835, from the Mill at Brooklyn\u003c\/em\u003e\u003cbr\u003eGouache on paper\u003cbr\u003eSigned at I.r.: \"From N. Calyo. 402. Broadway N. York\"\u003cbr\u003e20” x 27 1⁄2” visible, 28 3⁄8” x 36 1⁄2” framed\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOn the eve of December 16, 1835, a warehouse at 25 Merchant Street (now Beaver Street) in Lower Manhattan, New York City burst into flames. The weather conditions were the primary cause for the devestating wreckage to ensue. Frigid temperatures had frozen many of the city’s water sources, severely hampering firefighters’ ability to control the flames. Strong winds spread the fire rapidly and engulfed wooden buildings in the densely packed commercial district. Ultimately more than 600 structures were destroyed and resulted in around $20 million in damages—a staggering sum at the time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis historic event, known now as the Great Fire of 1835, was cemented in public memory in great part due to the Italian painter Nicolino Calyo. Born in Naples in 1799, Calyo studied at the Academy of Fine Arts in Naples. After participating in the 1820 rebellion against the Bourbon king of Naples, Ferdinand IV, he was forced to flee the territory, and briefly settled in Malta from 1829 to around 1832. He crossed the atlantic and eventually made his way to Baltimore by 1834. On June 16, 1835, the Baltimore Republican reported that Calyo was on his way north to Philadelphia and New York to paint views of those cities.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCalyo arrived in New York just in time to witness the great fire of December 1835, which destroyed much of the downtown business district. His large gouaches of the fire, reminiscent of Neapolitan views of the eruption of Mount Vesuvius, established Calyo’s reputation in the city. Two of his paintings were reproduced in aquatint by William James Bennett which led to the canonical status of Calyo’s depictions of the fire. Caylo’s remained deeply connected to the city that brought him fame and settled there for the rest of his life, with the exception of possible trips to Spain.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"Apple-converted-space\"\u003eOne of at least 22 known depictions of the great fire completed by Calyo. Other examples found at the Metropolitan Museum of Art (54.90.174), Museum City of New York (60.119.8), MFA Houston (B.2013.3), New York Historical Society (1926.78) (1980.53) (1980.54)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn addition to his depictions of the Great Fire, his oeuvre consists of views of American cities, harbors, and natural wonders, as well as a series of images of local street vendors entitled New York Street Cries, Chanters and Views (1840- 44). He also created a diorama of the Mexican War in 1847 and a panorama of the Connecticut River in 1848.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832339034156,"sku":null,"price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Calyo_ViewofNewYorkasappearedontheeveningofthefire_8c26a70a-06c9-464b-9f68-445ebfeb9d82.jpg?v=1759432457"},{"product_id":"nicolino-calyo-1799-1884-view-of-new-york-city-as-it-appeared-on-the-eve-of-the-fire-1835-copy","title":"JOHN BACHMANN (1814–1896) Birds’ Eye View of New-York \u0026 Brooklyn. 1851","description":"\u003cp\u003eJOHN BACHMANN (1814–1896)\u003cbr\u003e\u003cem\u003eBirds’ Eye View of New-York \u0026amp; Brooklyn\u003c\/em\u003e\u003cbr\u003eNew York: J. Bachman, 1851\u003cbr\u003eLithograph with original hand color\u003cbr\u003e24 3\/4” x 31” sheet; 34 1\/2” x 41 1\/2” framed\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis marvelous view of New York and Brooklyn is based on a drawing by the Swiss-American artist John Bachmann (1814-1896), and shows a vibrant seaport teeming with commercial vessels, a testament to the city’s prominence as a bustling center of business and industry.\u003c\/p\u003e\n\u003cp\u003eThis scene includes meticulous renderings of the architectural landscape of lower Manhattan and Brooklyn, including Castle Garden, which was then an entertainment hall, he shown offshore of Battery Park. It would soon be surrounded with landfill as Manhattan’s shoreline was continually extended in the second half of the 19th century.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832345292844,"sku":null,"price":13000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Bachmann_BirdsEyeViewofNewYorkandBrooklyn_Framed_1.jpg?v=1759432693"},{"product_id":"pierre-charles-canot-1710-1777-after-thomas-howdell-a-south-west-view-of-the-city-of-new-york-in-north-america-1768","title":"PIERRE CHARLES CANOT (1710-1777), after THOMAS HOWDELL A South West View of the City of New York in North America. 1768","description":"\u003cp\u003ePIERRE CHARLES CANOT (1710-1777),after THOMAS HOWDELL\u003cbr\u003e\u003cem\u003eA South West View of the City of New York in North America\u003c\/em\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eMezzotint with exceptional original color\u003cbr\u003eLondon: John Bowles, 1768\u003cbr\u003e13 1\/2” x 19 7\/8” sheet\u003c\/p\u003e\n\u003cp\u003eThomas Pownall, a British statesman who arrived to America in 1753 and took positions in colonial government (Governor of Massachusetts,1757; Governor of South Carolina, 1760), organized leading print dealers in London to publish a series of plates related to military actions in North America. These views were either drawn by Pownell himself or by officers of the British Navy and Army, including Captain Thomas Howdell of the Royal Artillery. They began with images of sites and events of the French and Indian War (1755 - 1760). Later the views included cities and scenes of various locations from Canada to the Caribbean. Initially, the prints were sold individually or as small groups or parts. However by 1768, Pownell issued and sold the views as a set which consisted of twenty-eight prints with a title page bearing the title, “Scenographia Americana.\"\u003c\/p\u003e\n\u003cp\u003eIt holds the distinction as the first great published collection of American views.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe South West scene is taken from Mount Pitt, near present-day Henry and Montgomery streets in the lower east side of Manhattan. At the far left are two buildings from the Henry Rutgers' estate and on the far right are Trinity and Middle Dutch churches. Brooklyn, Nutting Island (now Governor's Island) and Staten Island can be see in the distance to the left. \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832352567340,"sku":null,"price":14000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/HowdellCanot_ASouthWestViewoftheCityofNewYork.jpg?v=1759432398"},{"product_id":"nathaniel-currier-1813-1888-james-merritt-ives-1824-1895-the-city-of-new-york-copy","title":"A. MAJOR. Bird’s-eye View of the Great Suspension Bridge connecting the cities of New York and Brooklyn. 1883","description":"\u003cp\u003eA. MAJOR.\u003cbr\u003e\u003cem\u003eBird’s-eye View of the Great Suspension Bridge connecting the cities of New York and Brooklyn\u003c\/em\u003e\u003cbr\u003eLithograph with original hand color\u003c\/p\u003e\n\u003cp\u003eWashington: Franklin Square Lithographic Company in the office of the Librarian of Congress, for the Judge Publishing Company, 1883\u003cbr\u003e21 1⁄8” x 37 1⁄8” visible, 29 3⁄4” x 45 3⁄4” framed\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFine large view of the Brooklyn Bridge looking southeast towards Brooklyn, celebrating the completion of the Bridge on May 24, 1883. The lively expansive view show the two connected towns, along with dozens of boats in the East River. The view is a tribute to the builders of the bridge in the truest sense, listing the Designer, Chief Engineers and Assistant Engineers at the bottom left and the Draughtsmen, Master Architect, Superintendent of Masonry and General Foreman of Laborers at the far right, but curiously not mentioning the important role played by Emily Warren Roebling, herself an engineer.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832360071212,"sku":null,"price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Major_Bird_s-eyeviewofthegreatsuspensionbridge_49254696-25c0-4775-b6f0-af3df2a060b2.jpg?v=1759436739"},{"product_id":"a-major-bird-s-eye-view-of-the-great-suspension-bridge-connecting-the-cities-of-new-york-and-brooklyn-copy","title":"LUIGI KASIMIR (1881-1962). View of [New York from] Governor’s Island. 1927","description":"\u003cp\u003eLUIGI KASIMIR (1881-1962)\u003cbr\u003e\u003cem\u003eView of [New York from] Governor’s Island\u003c\/em\u003e\u003cbr\u003ePastel and graphite on paper\u003cbr\u003e1927\u003cbr\u003e17 3\/4” x 12” sheet, 31 1\/4” x 24 1\/4” framed\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIn Pettau in 1881, Luigi Kasimir was born as part of the Austro-Hungarian monarchy. Later in his life, he studied at the Vienna Academy of Art, and it was here that the artist was introduced to colored etching from his teacher William Unger. As one of the first to really develop this technique, Kasimir lead the way to create etchings that were no longer colored in a casual manner. His process typically began with a sketch in pastel. He then would transfer the image to multiple plates, the number of plates depending on the number of colors used in the printed image. The artist would then apply the color to each plate by hand and print in succession. Kasimir’s subject matter centered on European and American urban landscapes and architecture. The watercolor represents the first step in Kasimir’s process: it is a study for the final, colored etching. Impressively, this study proves to be a frame-worthy work of its own. The scene becomes alive with every variation of line and change in tone. The trees on the left appear to come off the page, whereas the trees to the right fade off in a subtle yet noteworthy play on perspective.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832361709612,"sku":null,"price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Kasimir_ViewofGovernorsIsland_Framed.jpg?v=1759436625"},{"product_id":"luigi-kasimir-1881-1962-view-of-new-york-from-governor-s-island-copy","title":"RUDOLF DANIEL LUDWIG CRONAU (1855 - 1939) Lower Manhattan Island in 1894","description":"\u003cp\u003eRUDOLF DANIEL LUDWIG CRONAU (1855 - 1939)\u003cbr\u003e\u003cem\u003eLower Manhattan Island in 1894\u003c\/em\u003e\u003cbr\u003eWatercolor and gouache on paper\u003cbr\u003eSigned lower left: “R. Cronau”\u003cbr\u003eca. 1908-1913\u003cbr\u003ePaper size: 10 3\/8 x 13 3\/8 in.\u003cbr\u003eMat\/Mount size: 14 1\/8 x 19 1⁄4 in.\u003cbr\u003e\u003cbr\u003eTHE EARLY YEARS OF THE SKYLINE\u003c\/p\u003e\n\u003cp\u003eTo understand New York in the late 19th century, one must look to the sky, where the city’s first skyscrapers began reshaping its identity and skyline. Faced with limited land and a booming population, architects and developers turned to new technologies like steel-frame construction and the safety elevator to build upward rather than outward. These innovations enabled the creation of towering structures such as the New York World Building (1890) and the Park Row Building (1899), which symbolized progress, ambition, and economic growth. This era marked the beginning of New York City’s transformation into a vertical metropolis, setting the foundation for its future as a global center of commerce and architecture.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCronau's view here is shown taken from the vantage point in New Jersey,\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003elooking east out over the Hudson River and towards Manhattan. Rendered in Cronau's typical grisaille style, the skyline of lower Manhattan emerges from rolling clouds. The main identifiable buildings are, from left to right, City Hall (completed 1812), Park Row (completed 1899), Hudson Terminal (completed 1908), Singer Building (completed 1908), and the Bankers Trust Company (completed 1912).\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eConsidering the skyline pictured, the title on the mat \"Lower Manhattan Island in 1894\" sows some confusion. Foremost, both the Singer Building and the Bankers Trust Company did not start construction until after the noted year.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eAdding to the complication is the anomaly of the Woolworth building’s absence. Construction started for the Woolworth Building on November 4, 1910 and was completed in 1912, overlapping with the Bankers Trust Company, but only the latter building is pictured fully erected.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOn a special assignment for a German newspaper, Die Gartenlaube, artist Rudolph Cronau first traveled to America in 1881. There, he documented its cities, frontier lands, and the culture and customs of the Native American populations for curious European audiences fascinated by the American frontier. Upon his return to Germany in 1882, Cronau published 50 collotypes in a book about his American trip entitled \u003ci\u003eWunderland to Wunderland\u003c\/i\u003e which was widely circulated. His illustrations are noted for their detail and precise craftsmanship in the German romantic style, characteristic of the training he received at the Royal Academy in Düsseldorf.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 1894, Cronau returned to America as a foreign correspondent and was based in Washington, D.C.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eHowever, due to a falling out with his employers, he moved north to New York where he found work as a free-lance writer.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eCronau eventually settled in New York, becoming an American citizen in 1900.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832363708460,"sku":null,"price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Cronau_Lower_Manhattan_Island.jpg?v=1759437537"},{"product_id":"john-carwitham-1723-1741-a-view-of-fort-george-with-the-city-of-new-york-from-the-sw-1764","title":"JOHN CARWITHAM (1723-1741). A View of Fort George with the City of New York from the SW. 1764","description":"\u003cp class=\"p2\"\u003eJOHN CARWITHAM (1723-1741)\u003cbr\u003e\u003cem\u003eA View of Fort George with the City of New York from the SW\u003c\/em\u003e\u003cbr\u003eEngraving with original hand color\u003cbr\u003eLondon: Carrington Bowles, ca. 1764\u003cbr\u003e11 5\/8\" x 17 5\/8\" sheet; 19 3\/4\" x 25 3\/4\" framed\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis early view of New York depicts the southern tip of\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eManhattan Island as it appeared sometime between 1731 and 1736 (likely around 1734). Almost certainly the view originated from a drawing by the English immigrant artist William Burgis (active 1717–1730s) since the right half of the print showing the fort and the large ship in the foreground replicates a mezzotint that Burgis dedicated to John Montgomerie, the colonial governor of New York. King George II appointed Montgomerie in 1728, but he governed only a few years before dying in 1731 during a small pox epidemic. The view is one of the earliest depicting New York from the west with the broad Hudson River in the foreground. Stokes refers to the view as “one of the most important, interesting, and sought-after prints of Old New York” (Volume 1, plate 31, page 269).\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832446283820,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Carwitham_AViewofFortGeorgewiththeCityofNewYorkfromtheSW.jpg?v=1759437184"},{"product_id":"rudolf-daniel-ludwig-cronau-1855-1939-lower-manhattan-island-in-1894-copy","title":"REGINALD MARSH (1898-1954) New York Skyline","description":"\u003cp\u003eREGINALD MARSH (1898-1954)\u003cbr\u003e\u003cem\u003eNew York Skyline\u003c\/em\u003e\u003cbr\u003eWatercolor and pencil on paper\u003cbr\u003ePaper size: 14” x 20”\u003cbr\u003eSigned and dated, lower right:\u003cbr\u003eReginald Marsh Aug 1, 1937”; stamped lower right: “Marsh Collection”\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eReginald Marsh is the most celebrated of the “Fourteenth Street School,” a group of dedicated urban realists who comprised the second generation of painters devoted to depicting the everyday life of the populace of New York City. In that, they succeeded the group later to become known as “The Ashcan School,” who developed around their leader, Robert Henri, and achieved fame especially with the exhibition of “The Eight,” held at New York’s Macbeth Galleries in February, 1908. The later painters tended more to emphasize rather individuals than urban scenes; along with Marsh, this group would include Isabel Bishop, the brothers Raphael and Moses Soyer, Kenneth Hayes Miller and others. Marsh’s fame was established beginning in the late 1920s and in 1943 he was made a full Academician of the National Academy of Design in New York. Marsh taught at the Art Students’ League from 1935 until his death in Dorset, Vermont in 1934.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMarsh was born in Paris to American parents; his father, Fred Dana Marsh, was a well-known painter and muralist also especially devoted to the urban scene; affluent, he more or less stopped painting in early middle age. The younger Marsh grew up in an artistic enclave in Nutley, New Jersey, where the family settled In 1900. After graduating from Yale University in 1920, Marsh began his career as a free-lance illustrator in New York City for the Daily News, Vanity Fair, the New Yorker, and other publications, while studying at the Art Students’ League. Much influenced by John Sloan and George Luks among “The Eight,” he also studied with Kenneth Hayes Miller, probably the most important of his teachers, who made a specialty of painting women shoppers and shopkeepers. Marsh went to Paris in 1925-26 for further instruction in order to achieve his ambition to render contemporary art in the style of the Old Masters. About 1929, Marsh began to use tempera rather than oil paint, and his search for older traditions is especially evident in his use of glazing. He was also an excellent watercolorist, and created vivid, large brush and ink drawings. Marsh chose as his most familiar subjects everyday figures on the street, in subways, bums, vaudeville and burlesque houses, scenes at Coney Island, and amusement parks, rendering these gritty themes in the procedural traditions of the Old Masters. A great admirer of Rubens and Delacroix, his figures are rendered broadly, even extravagantly in a baroque manner, with great exuberance and rowdiness. Though much of his visual material reflected the Depression era, Marsh remained aloof from political entanglements.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs early as 1927, Marsh undertook to add a very different theme to his repertoire-the shoreline of Manhattan Island, always devoid of figures. He had always had a strong interest in the New York waterfront, and created many panoramic views of Manhattan in oil, watercolor, tempera, as well as a group of eight etchings. The watercolor, New York Skyline, is one of the finest of these. He painted this subject over and over again with variations, though they almost always appear to be views from across the East River from Brooklyn or Queens, looking down from Midtown at the right, toward the Battery. Only a few appear to be painted from across the Hudson River Here, The Chrysler Building is the tall structure at the right, and the Empire State Building is the tallest structure near center. But one should probably not search too far for topographical accuracy. This series of paintings differ from one to the other, sometimes quite similar, sometimes differing widely, yet depicting some of the same structures. Here, for instance, the large structure on the near right would seem to suggest one of the forts located in Brooklyn, lower Manhattan, or even Governors Island. Other structures would seem to be missing here-such as the Woolworth Building; or omitted is the landmass of Roosevelt Island. Marsh was celebrating the city, not creating topographical views for atlases or tourists. He was enjoying the artist’s prerogative of choosing, moving, and creating the visual content of his work, all in celebration of the modern city.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlternative versions might include the Brooklyn Bridge at the left, sometimes introducing a panorama of New York, at other times the primary feature, with the skyline as a backdrop. In New York Skyline here, a small tug appears at the very far left; in other versions tugs are more prominently placed, and during this period Marsh also painted close-up views of the tugs which obviously held interest for him. The apogee of his interest in tugs along the New York waterfront was reached in the murals he painted for New York Customs House in 1937, one of two WPA mural projects he undertook; the others were for the Post Office Building in Washington, D. C. In the New York murals, the tugboats loom large along with longshoremen, dock woks, ocean liners and cargo vessels. One might even suggest that the tug was, for Marsh, the equivalent of the everyday folk of his interior views of the city; just as he shunned the upper classes, so he generally omitted luxury liners. Nevertheless, these pictures celebrate New York City, perhaps purposely in the face of economic hardship, for the river streams smoothly, while the city’s tall buildings reach up into a placid blue sky. On his return from, Europe in 1926, Marsh wrote: “I felt fortunate indeed to be a citizen of New York, the greatest and most magnificent of all cities in a new and vital country whose history had scarcely been recorded in art...New York City was in a period of rapid growth, its skyscrapers thrilling by growing higher and higher. There was a wonderful waterfront with tugs and ships of all kinds…” New York Skyline is testimonial to Marsh’s celebratory sentiments and convictions.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832452050988,"sku":null,"price":36000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/ReginaldMarsh-NewYorkSkylinewithFrame.jpg?v=1759438040"},{"product_id":"reginald-marsh-1898-1954-new-york-skyline-copy","title":"ANGELO MAGNANTI (1879-1969)  Pennsylvania Station New York. 1946; HAWLEY HUGHSON (1850-1936), after Pennsylvania Station, New York City Seventh Avenue and Thirty-Second Street. 1910","description":"\u003cp\u003eANGELO MAGNANTI (1879-1969)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePennsylvania Station New York\u003c\/em\u003e\u003cbr\u003eGraphite, ink and gouache on artist’s board\u003cbr\u003eNew York: for McKim, Mead \u0026amp; White; ca. 1946\u003cbr\u003e63” x 32” visible; 73 1⁄2” x 42 1⁄2” framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHAWLEY HUGHSON (1850-1936), after\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePennsylvania Station, New York City Seventh Avenue and Thirty-Second Street\u003c\/em\u003e\u003cbr\u003eChromolithograph on card\u003cbr\u003ePhiladelphia: Ketterlinus for the Pennsylvania Railroad Co., 1910\u003cbr\u003e33 1⁄4” x 57 1⁄2” sheet, 39 1⁄2” x 61 3⁄4” framed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn 1910, the New York terminus of the Pennsylvania Railroad Company opened on two full blocks between Seventh and Eighth Avenues and West Thirty-First and Thirty-Third Streets. Charles Follen McKim was the lead architect at McKim Mead and White, the firm responsible for some of America’s great buildings: the East and West Wings of the White House, Symphony Hall in Boston, the major clubs of New York (Century, Metropolitan, University, Harvard, Harmonie, Racquet \u0026amp; Tennis). The original Penn Station was considered the greatest of them all.\u003c\/p\u003e\n\u003cp\u003eHawley Hughson (1850–1936) was born in London but became one of the preeminent chroniclers of American buildings. Although romanticized, his building portraits and panoramas are among the best documents of a period of rapid change that shaped the cities of the United States. His depiction of the brand new Penn Station is among his most recognizable, and documents much of midtown Manhattan (the Plaza Hotel at 59th and Fifth is depicted in part at the left-hand side, the Hotel Martha Washington (now the Redbury on 29th St.) is at the right), as well as Queens and Brooklyn beyond. The skyscrapers were still to come; the tallest building in New York in 1910 was the Metropolitan Life Insurance Building. The station’s flow of passengers increased and hit its zenith in 1945-1946, precisely when MMW commissioned the “decorator” Angelo Magnanti (1879–1969) to depict their renovation of the station to accommodate the surge of pedestrian traffic. This would eventually be installed as a mural in the station master’s office (other surviving Magnanti murals are at the Dollar Savings Bank, the Frick Art Reference Library and the conference room of the U.S. Supreme Court; he also designed mosaic ceiling at the Williamsburg Savings Bank). The New-York Historical Society in its MMW archives holds a less-developed sketch (2”:1’ scale) executed in color with gilt, presumably as a proposal to the firm, signed and dated “A. Magnanti\/1946.” The\u003cbr\u003epresent work is drafted quite precisely, with washes of gouache and ink in a quasi-grisaille depiction of a sectional view of the station. At the lower left is a view of lower Manhattan from the South, rendered in near photographic accuracy.\u003c\/p\u003e\n\u003cp\u003eThe combination of the age of air travel and the 1956 Federal Aid Highway Act signed by Eisenhower ended the dominance of railroads. The mural stood in the station-master’s office until the destruction of the station in 1963, widely considered one of the great architectural travesties, and the proximate cause of modern historical preservation. The new Penn Station is generally reviled; only in 2021 was the sin somewhat redeemed with the opening of the Moynihan Train Hall in the James A. Farley Building across Eighth Ave. — also, luckily, designed by McKim, Mead \u0026amp; White.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44832453001260,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Magnanti_PennStation.jpg?v=1759438375"},{"product_id":"american-school-19th-century-view-of-new-york-taken-from-brooklyn-on-the-hudson-fire-december-1835","title":"AMERICAN SCHOOL (19TH CENTURY). View of New York taken from Brooklyn on the Hudson (?) Fire...December..1835","description":"\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eAMERICAN SCHOOL (19TH CENTURY)\u003cbr\u003e\u003cem\u003eView of New York taken from Brooklyn on the Hudson (?) Fire...December..1835\u003c\/em\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eWatercolor and pastel on paper\u003cbr\u003eInscribed at lower edge: \"V\u003cmeta charset=\"utf-8\"\u003eiew of New York taken from Brooklyn on the Hudson (?) Fire...December..1835\"\u003cbr\u003e19 3\/4\" x 29\" visible, 22 1\/4\" x 31 1\/4\" framed\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThis daytime view of New York taken from Brooklyn following the great fire is another popular interpretation of the tremendous event. Examples by Calyo of this diurnal scene can be found at the Metropolitan Museum of Art and New York Historical City.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRelative to Calyo's paintings, the present work concedes a better view of the Brooklyn Heights which sits just above the bluff on the near right. The yellow and white buildings are reminiscent of the Four Chimneys House in Brooklyn where George Washington held his headquarterers during the Battle of Long Island.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":44842576314412,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/AmericanSchool_ViewofNewYorktakenfromBrooklynontheHudson_Fire...December..1835.jpg?v=1759960009"},{"product_id":"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":"Arader Galleries","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":"bennett-william-james-1787-1844-after-j-g-chapman-1808-1889-new-york-taken-from-the-bay-near-bedlow-s-island","title":"BENNETT, William James (1787-1844), After J. G. Chapman (1808-1889), New York, Taken from the Bay Near Bedlow's Island","description":"\u003cp\u003eBENNETT, William James (1787-1844), After J. G. Chapman (1808-1889).\u003cbr\u003eNew York, Taken from the Bay Near Bedlow's Island.\u003cbr\u003eAquatint engraving with original hand color.\u003cbr\u003eNew York: Henry I. Megeary, 1836.\u003cbr\u003e19 1\/8\" x 26 7\/8\" sheet, 30 5\/8\" x 37 7\/8\" framed.\u003c\/p\u003e\u003cp\u003eBennett was the Master of the Aquatint View.\u003c\/p\u003e\u003cp\u003eWilliam James Bennett was born in England, and was educated in painting, sculpture, and engraving at the Royal Academy of Arts in London. He was an active exhibitor of watercolors in London in the years between 1808 and 1825, and produced aquatint plates for many illustrated books. He immigrated to the United States in 1826, where his reputation as a watercolorist ensured his election the next year as associate member of the National Academy of Design. In addition to his skill with watercolors, Bennett was also a master of aquatint, and made prints after many of his own paintings. His first set of commissioned prints in New York, which were published as Megarey's Street Views in the City of New-York; are all scenes of Manhattan which he rendered first in watercolor, then as aquatints. While many other painters and printers worked on bucolic landscape views which were increasingly popular with the public, Bennett often chose cityscapes or street scenes as his subject. These subjects proved to be popular as well; Bennett exhibited his work regularly in the United States, and was sought after as an engraver and illustrator. In 1843 and 1844 he engraved ten illustrations for the pages of the New Mirror, a New York City literary publication issued weekly by George P. Morris and Nathaniel P. Willis. Bennett died in May of 1844. He is buried in Green-Wood Cemetery in Brooklyn. (Deak. William James Bennett: Master of the Aquatint View. (New York: New York Public Library, 1988.)\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":46328505040940,"sku":null,"price":22000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/107_f951fd71-3021-4222-b882-132c3af23966.jpg?v=1791082974"},{"product_id":"des-barres-joseph-frederick-wallet-1721-1824-after-pierie-william-fl-late-18th-century-james-newton-1748-1804-view-of-boston-taken-on-the-road-to-dorchester","title":"DES BARRES, Joseph Frederick Wallet (1721-1824), after PIERIE, William (fl. late 18th century) \u0026 James NEWTON (1748-1804), View of Boston taken on the road to Dorchester","description":"\u003cp\u003eDES BARRES, Joseph Frederick Wallet (1721-1824), after PIERIE, William (fl. late 18th century) \u0026amp; James NEWTON (1748-1804).\u003cbr\u003eView of Boston taken on the road to Dorchester.\u003cbr\u003eCopperplate engraving.\u003cbr\u003eLondon: F.W. DeBarres, 1776.\u003cbr\u003e21 1\/4\" x 32\" sheet, 33\" x 43 1\/2\" framed.\u003c\/p\u003e\u003cp\u003eFinest 18th Century View of Boston\u003c\/p\u003e\u003cp\u003eFirst edition. Engraved by Newton after the drawing by British soldier and artist Pierie. \"The artist William Pierie (Pierrie is presumably a misspelling by the engraver) was a British artillery officer who drew a series of views of the town and environs of Boston in 1773\" (Deak, p. 87).\u003c\/p\u003e\u003cp\u003e-----------\u003c\/p\u003e\u003cp\u003e\"Although Des Barres was contemptuos of land surveying in comparison to sea charting, his maps shows differences in soil structure and types of beaches, and often include details of the fields, woods, and houses adjacent to the shore. His plans of harbors and the number of soundings in them, especially of those he surveyed himself, are impressive in contrast to any previous work. But it is the artistic excellence of his views, the sheer beauty of the work on them that he did or supervised, that gives a pleasure only those who open the pages of The Atlantic Neptune can realize. Contrast the engravings of the profiles of shoreline in an English Pilot or a West-India Pilot. In a time when there were no photographs, when the seaman could not count on his charts to be accurate, the identifying profiles and directions accompanying the charts were of vital importance. Des Barres, in such views as are shown in the figures here reproduced, raised the drawings of coastal profiles to a high art.\u003c\/p\u003e\u003cp\u003eDes Barre's achievement as a hydrographer was immediately and widely recognized. In Paris, L'Esprit des Journaux, in reviewing The Atlantic Neptune, said: \"[It is] one of the most remarkable products of human industry that has ever been given to the world through the arts of printing, and engraving... the most splendid collection of charts, plans and views ever published. Two hundred years later, the judgement has not changed.\" (Cumming, British Maps of Colonial America).\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":46328511299628,"sku":null,"price":38000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/88.jpg?v=1791083301"},{"product_id":"seymour-samuel-active-1797-1823-after-william-birch-1755-1834-the-city-of-new-york-in-the-state-of-new-york-north-america","title":"SEYMOUR, Samuel (Active, 1797-1823), After William BIRCH (1755-1834), The City of New York in the State of New York, North America","description":"\u003cp\u003eSEYMOUR, Samuel (Active, 1797-1823), After William BIRCH (1755-1834).\u003cbr\u003eThe City of New York in the State of New York, North America.\u003cbr\u003eEngraving with hand color by William H. Morgan, Philadelphia.\u003cbr\u003eBristal, PA: Birch, 1803.\u003cbr\u003e22 1\/4\" x 26 5\/8\" sheet, 33 3\/4\" x 38\" framed.\u003c\/p\u003e\u003cp\u003e\"This rendering of New York from across the East River is a companion to William Birch's view of Philadelphia ... and was issued by the artist to arouse interest in a projected series of views of New York, which never appeared.\" (Stokes I, plate 77, pp.468-469).\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":46328511332396,"sku":null,"price":28000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/89.jpg?v=1791083300"},{"product_id":"currier-charles-19th-c-after-drawing-by-george-holland-a-view-of-the-federal-hall-of-the-city-of-new-york-as-appeared-in-the-year-1797-with-the-adjacent-buildings-thereto","title":"CURRIER, Charles (19th c.), after drawing by George Holland, A View of the Federal Hall of the City of New York, as appeared in the year 1797; with the Adjacent buildings thereto","description":"\u003cp\u003eCURRIER, Charles (19th c.), after drawing by George Holland.\u003cbr\u003eA View of the Federal Hall of the City of New York, as appeared in the year 1797; with the Adjacent buildings thereto.\u003cbr\u003eLithograph with original hand color, \"Drawn expressly for D. T. Valentines Manual\".\u003cbr\u003eNew York: Currier, c. 1850.\u003cbr\u003e18 1\/4\" x 23\" sheet.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":46328511496236,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/97.jpg?v=1791083310"},{"product_id":"bodmer-karl-1809-1893-entry-to-the-bay-of-new-york-taken-from-staten-island-vig-xxxiii","title":"BODMER, Karl (1809-1893), Entry to the Bay of New-York taken from Staten Island, Vig. XXXIII","description":"\u003cp\u003eBODMER, Karl (1809-1893).\u003cbr\u003eEntry to the Bay of New-York taken from Staten Island, Vig. XXXIII.\u003cbr\u003eAquatint engraving with original hand color.\u003cbr\u003eFrom \"Travels in the Interior of North America\".\u003cbr\u003eJ. Holscher, Coblenz; Bertrand, Paris; Ackermann \u0026amp; Co., London: 1832-1843.\u003cbr\u003e17 1\/4\" x 23 1\/2\" sheet.\u003c\/p\u003e\u003cp\u003eKarl Bodmer was a little-known Swiss painter when he was chosen by Prince Maximilian of Prussia to accompany his voyage to America. With the rest of Maximilian's company, the two traveled among the Plains Indians from 1832 to 1834, a time when the Plains and the Rockies were still virtually unknown. They arrived in the West before acculturation had begun to change the lives of the Indians, and Bodmer, who was a protege of the great naturalist von Humboldt, brought a trained ethnologist's eye to the task. The Bodmer\/Maximilian collaboration produced a record of their expedition that is incontestably the finest early graphic study of the Plains tribes. These prints rank with the finest Western art in any medium, and they are the most complete record of the Plains Indians before the epidemics of the mid-19th century had decimated their numbers, and before the white man's expansion had taken their lands.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":46328512086060,"sku":null,"price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/128_613b6823-6469-49ac-aa2c-a86e397360c4.jpg?v=1791083339"},{"product_id":"billing-frederick-william-1835-1914-panoramic-view-of-new-york-city-from-new-jersey-1","title":"BILLING, Frederick William (1835-1914), Panoramic View of New York City from New Jersey","description":"\u003cp\u003eBILLING, Frederick William (1835-1914).\u003cbr\u003ePanoramic View of New York City from New Jersey.\u003cbr\u003eGraphite Drawing on wove paper.\u003cbr\u003eSigned and dated lower right: \"F. W. Billing, 1856\".\u003cbr\u003e19 1\/4\" x 48 1\/2\" sheet, 25 1\/2\" x 55\" framed.\u003c\/p\u003e\u003cp\u003eVery Fine large scale original drawing of Manhattan across the Hudson River. A truly spectacular panorama of Manhattan drawn from life in 1856 by noted German-born landscape artist Frederick William Billing (1835-1914), who settled in Brooklyn in that same year. The large view looks across and down the Hudson River from New Jersey as figures stand about the cliffs of the Palisades and Hoboken farmland in the foreground. Scant beginnings of Jersey City and Paulus Hook are seen in the lower right as the view fades into the distant Narrows. Recognizable landmarks appear on the New York side such as the Crystal Palace, Trinity Church and Castle Williams on Governors Island. A remarkable, skillfully rendered and completely original mid-nineteenth century view of New York City. of Manhattan from across the Hudson River, showing figures standing about the cliffs of the Palisade and Hoboken farmland. Jersey City is seen in the middle ground (right). Landmarks include Trinity Church and the New York Crystal Palace (destroyed in 1858; the Latting Observatory burnt down on August 30, 1856 and is not shown here).\u003c\/p\u003e\u003cp\u003eBorn in Germany in 1835, Billing developed an interest in painting from a very early age, but never received formal training. In 1856, he emigrated to the United States and settled with his wife Wilhelmine Sickett (from Düsseldorf) in Brooklyn. The Civil War Records list Billing as a First Lieutenant and Quartermaster fighting in the 54th Infantry Regiment on the side of the Union. After the War, he opened a brokerage business on Wall Street. \"By the mid-1860s Billing turned to landscapes encouraged by a German-American painter named Johann H. Carmienke, with whom he studied. During the 1870s most of his paintings were European landscapes he recalled from earlier travels. He also continued painting scenes in the New York region. He exhibited once at the Brooklyn Academy of Painting\" (STEVENS). Billing died in Santa Cruz in 1914. Thomas Moran praised him as the most talented amateur painter he knew.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":46328515657772,"sku":null,"price":16000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/109_1357470f-4f8d-476d-85bc-5f62d1e9ec6d.jpg?v=1791084878"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/collections\/howdell.jpg?v=1759429803","url":"https:\/\/aradernyc.com\/collections\/u-s-city-views.oembed?page=2","provider":"Arader Galleries","version":"1.0","type":"link"}