{"title":"Watercolors","description":"","products":[{"product_id":"robert-nicolas-1614-1685-or-school-of-chevalier-combattant-philomachus-pugnax-paris-third-quarter-17th-century","title":"Robert, Nicolas (French, 1614-1685) or school of Chevalier combattant (Philomachus pugnax). Paris: 17th-century.","description":"\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003eROBERT, Nicolas (1614-1685), or school of Chevalier combattant (Philomachus pugnax). Paris: third quarter 17th-century.\u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003e$165,000.00\u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003eSingle sheet, vellum (14 4\/8 x 12 inches), fine original graphite, watercolour and guache drawing of a Ruff, surrounded by a border of liquid gold, and numbered \"167\" in pencil lower right.\u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003eProvenance: with Christie's Paris, 1st April, 2016, lot 41\u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003eNicolas Robert was one of the greatest natural history artists of the seventeenth century, and his work established standards combining scientific accuracy and aesthetic appeal that influenced generations of artists and won the respect and patronage of the French royal family.  \u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003eRobert created a vast, exquisite body of work for the French Crown. Along with other artists,  Robert was commissioned by Gaston d'Orleans, brother of Louis XIII, to create watercolors of the rare plants and exotic birds he had assembled in his garden at Blois and the Ménagerie at Versailles.  Robert's talent was recognized quickly as being superior to that of other artists working for the royal family, and after Gaston d'Orleans's death, he was quickly placed under the patronage of the Sun King, Louis XIV.\u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003eAs a reward for the stunning works he painted for the king's personal collection, Robert was named inches Peintre Ordinaire du Roiinches in 1666, a title that confirmed his continuing fame and patronage. Robert was the first significant contributor to a collection of fine watercolors on vellum that became known, collectively, as the Velins du Roi (the King's Vellums).\u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003eThe watercolors Robert completed under Gaston d'Orleans and then Louis XIV for the royal collection fed the interest and provided the inspiration for the great masters of botanical and ornithological art who followed: Jean Joubert, Nicholas Marechal, Gerard van Spaendonck and, of course, Pierre-Joseph Redouté. Thus the extremely fine print work of Parisian natural historians and flower painters as late as 1825 can be traced directly back to the strength of Robert's tradition.Recognising the greatness of the Velins, Napoleon Bonaparte continued work on this monumental and exquisite undertaking and these remarkable works were probably completed by Robert under his patronage. \u003c\/p\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\"\u003eFor more information about this work, or other watercolors in the Arader Galleries collection, please contact Alison Petretti at 646.673.4505 or by email alisonpetretti@aradergalleries.com\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":31140971380780,"sku":"SQ3205038","price":85000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/nicolas_robert_ou_son_atelier_chevalier_combattant_d5984208g_6c8736fb-72d4-46e1-90d5-48641be9b616.jpg?v=1574546750"},{"product_id":"robert-nicolas-1614-1685-or-school-of-passerin-nonpareil-sur-une-branche-passerina-ciris-paris-third-quarter-17th-century","title":"Robert, Nicolas (French, 1614-1685). Painted Bunting On A Branch [Passerin nonpareil sur une branche (Passerina Ciris)]  Pencil, watercolor and gouache, on vellum, with gold border","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eNICOLAS ROBERT (FRENCH, 1614-1685)\u003cbr\u003ePainted Bunting On A Branch [Passerin nonpareil sur une branche (Passerina Ciris)]\u003cbr\u003eNumbered ‘48’\u003cbr\u003ePencil, watercolor and gouache, on vellum, with gold border\u003cbr\u003eca. 1675\u003cbr\u003eVellum size: 15 1\/8 x 11 1\/8 in.\u003cbr\u003eProvenance: Private collection, France.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e$28,000.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eNicolas Robert was one of the greatest natural history artists of the seventeenth century, and his work established standards combining scientific accuracy and aesthetic appeal that influenced generations of artists and won the respect and patronage of the French royal family.  \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eRobert created a vast, exquisite body of work for the French Crown. Along with other artists,  Robert was commissioned by Gaston d'Orleans, brother of Louis XIII, to create watercolors of the rare plants and exotic birds he had assembled in his garden at Blois and the Ménagerie at Versailles.  Robert's talent was recognized quickly as being superior to that of other artists working for the royal family, and after Gaston d'Orleans's death, he was quickly placed under the patronage of the Sun King, Louis XIV.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eAs a reward for the stunning works he painted for the king's personal collection, Robert was named inches Peintre Ordinaire du Roiinches in 1666, a title that confirmed his continuing fame and patronage. Robert was the first significant contributor to a collection of fine watercolors on vellum that became known, collectively, as the Velins du Roi (the King's Vellums).\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eThe watercolors Robert completed under Gaston d'Orleans and then Louis XIV for the royal collection fed the interest and provided the inspiration for the great masters of botanical and ornithological art who followed: Jean Joubert, Nicholas Marechal, Gerard van Spaendonck and, of course, Pierre-Joseph Redouté. Thus the extremely fine print work of Parisian natural historians and flower painters as late as 1825 can be traced directly back to the strength of Robert's tradition.Recognising the greatness of the Velins, Napoleon Bonaparte continued work on this monumental and exquisite undertaking and these remarkable works were probably completed by Robert under his patronage. \u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eFor more information about this work, or other watercolors in the Arader Galleries collection, please contact Alison Petretti at 646.673.4505 or by email alisonpetretti@aradergalleries.com\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":31140974493740,"sku":"SQ7768481","price":55000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/nicolas-robert-passerin-nonpareil-sur-une-branche-_passerina-ciris.jpg?v=1574546741"},{"product_id":"jacques-le-moyne-de-morgues-french-ca-1533-1588-f-78-seville-orange-watercolor-and-gouache-on-paper-prepared-as-vellum","title":"Jacques le Moyne de Morgues (French, ca. 1533-1588). Seville Orange.","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cb\u003eJACQUES LE MOYNE DE MORGUES (FRENCH, CA. 1533-1588) \u003c\/b\u003ef.78: Seville Orange Watercolor and gouache on paper prepared as vellum ca. 1565 Paper size: 7 1\/2 x 5 5\/8 in Frame size: 16 1\/4 x 14 1\/4 in Provenance: DuMarry (from the inscription on the frontispiece) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe extraordinary career and oeuvre of the Huguenot artist Jacques Le Moyne de Morgues have only relative- \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ely recently been defined and described (see Paul Hulton, The Work of Jacques Le Moyne de Morgues, A Huguenot Artist in France, Florida, and England, 2 vols., London, 1977). The varied circumstances of his artistic production must surely be unique in the history of art; although large periods of his career are undocumented, he appears to have worked as a court artist in France, under Charles IX, is known to have traveled to Florida in 1564, as official artist and cartographer to the ill-fated French attempt to establish a colony there, and to have ended his career as a highly regarded botanical artist in Elizabethan London, where his patrons included Sir Walter Raleigh and Lady Mary Sidney. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLe Moyne was born around 1533, in Dieppe. The first thirty years of his life are undocumented, but it seems \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ereasonable to suppose that he trained as an artist in his native town, which was at the time a notable center both for cartography and for illumination. Hulton believed that Le Moyne probably worked at the court of the French King Charles IX, although there is no documentary record to that effect. Le Moyne’s highly important account of his transatlantic voyage, known today from a Latin edition published in Frankfurt in 1591 under the title Brevis narratio eorum quae in Florida Americai provincia Gallis acciderunt, does, however, clearly indicate that it was the King who instructed the artist to accompany the expedition, headed by the notable mariners Jean Ribault and Rene Goulaine de Laudonniere, as official recording artist and cartographer. Although only one original drawing by Le Moyne of an American subject is known today -- the depiction of Athore showing Laudonniere the Marker Column set up by Ribault, executed in watercolor an gouache on vellum, now in the New York Public Library -- the Brevis narratio, published by Theodore de Bry as the second volume of his great series of publications on voyages to the New World, contains forty-two engraved illustrations and maps made on the spot by Le Moyne. The text fully describes and analyses these images, and this volume constitutes a major landmark in the literature of the early exploration of the Americas. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaudonniere’s expedition, though resulting in the production of the fascinating Le Moyne\/de Bry publica- \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003etion and an important map of the coastal regions of Florida, was ultimately a disaster; the good relations initially established with the Indian tribes inhabiting the territories around the settlement site at St. Johns soon soured, in addition to which various members of the French party became disaffected, and revolted against their leaders. The final coup de grace came when a Spanish force attacked Laudonniere’s stronghold at Fort Caroline, and in the end Le Moyne was one of only fifteen or so survivors of the original party to return safely to Europe; having lost their way, they sailed half-starved into Swansea Bay in mid-November 1565, and finally reached Paris early in 1566. But life in France soon became untenable, due to the Huguenot massacres, and in 1572 Le Moyne fled to England. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUntil well into the present century, our knowledge of Jacques Le Moyne de Morgues was extremely limited, \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eand largely confined to the footnotes of inaccessible ethnographic bibliographies, where he figures as the writer and illustrator of a short history of Laudonniere’s attempt between 1564 and 1565 to establish a Huguenot settlement in Florida. In 1922, however, Spencer Savage, librarian of the Linnean Society, made a discovery that opened the way to the subsequent definition of Le Moyne as an artistic personality; he recognized that a group of fifty-nine watercolors of plants contained in a small volume, purchased by the Victoria and Albert Museum in 1856 solely for its fine sixteenth-century French binding, were in fact by Le Moyne. Savage’s publications relating to this discovery prepared the way for subsequent attribution to the artist of other important groups of drawings and watercolors, the most notable being held by the British Museum and the Oak Spring Library, Virginia. \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":31886477164588,"sku":"","price":170000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/Seville_orange.jpg?v=1579896805"},{"product_id":"jacques-le-moyne-de-morgues-french-ca-1533-1588-f-79-lemon-watercolor-and-gouache-on-paper-prepared-as-vellum","title":"Jacques le Moyne de Morgues (French, ca. 1533-1588). Lemon.","description":"\u003cp\u003e\u003cb\u003eJACQUES LE MOYNE DE MORGUES (FRENCH, CA. 1533-1588) \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ef.79: Lemon Watercolor and gouache on paper prepared as vellum ca. 1565 Paper size: 7 1\/2 x 5 5\/8 in Frame size: 16 1\/4 x 14 1\/4 in Provenance: DuMarry (from the inscription on the frontispiece) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe extraordinary career and oeuvre of the Huguenot artist Jacques Le Moyne de Morgues have only relative- \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ely recently been defined and described (see Paul Hulton, The Work of Jacques Le Moyne de Morgues, A Huguenot Artist in France, Florida, and England, 2 vols., London, 1977). The varied circumstances of his artistic production must surely be unique in the history of art; although large periods of his career are undocumented, he appears to have worked as a court artist in France, under Charles IX, is known to have traveled to Florida in 1564, as official artist and cartographer to the ill-fated French attempt to establish a colony there, and to have ended his career as a highly regarded botanical artist in Elizabethan London, where his patrons included Sir Walter Raleigh and Lady Mary Sidney. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLe Moyne was born around 1533, in Dieppe. The first thirty years of his life are undocumented, but it seems \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ereasonable to suppose that he trained as an artist in his native town, which was at the time a notable center both for cartography and for illumination. Hulton believed that Le Moyne probably worked at the court of the French King Charles IX, although there is no documentary record to that effect. Le Moyne’s highly important account of his transatlantic voyage, known today from a Latin edition published in Frankfurt in 1591 under the title Brevis narratio eorum quae in Florida Americai provincia Gallis acciderunt, does, however, clearly indicate that it was the King who instructed the artist to accompany the expedition, headed by the notable mariners Jean Ribault and Rene Goulaine de Laudonniere, as official recording artist and cartographer. Although only one original drawing by Le Moyne of an American subject is known today -- the depiction of Athore showing Laudonniere the Marker Column set up by Ribault, executed in watercolor an gouache on vellum, now in the New York Public Library -- the Brevis narratio, published by Theodore de Bry as the second volume of his great series of publications on voyages to the New World, contains forty-two engraved illustrations and maps made on the spot by Le Moyne. The text fully describes and analyses these images, and this volume constitutes a major landmark in the literature of the early exploration of the Americas. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaudonniere’s expedition, though resulting in the production of the fascinating Le Moyne\/de Bry publica- \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003etion and an important map of the coastal regions of Florida, was ultimately a disaster; the good relations initially established with the Indian tribes inhabiting the territories around the settlement site at St. Johns soon soured, in addition to which various members of the French party became disaffected, and revolted against their leaders. The final coup de grace came when a Spanish force attacked Laudonniere’s stronghold at Fort Caroline, and in the end Le Moyne was one of only fifteen or so survivors of the original party to return safely to Europe; having lost their way, they sailed half-starved into Swansea Bay in mid-November 1565, and finally reached Paris early in 1566. But life in France soon became untenable, due to the Huguenot massacres, and in 1572 Le Moyne fled to England. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUntil well into the present century, our knowledge of Jacques Le Moyne de Morgues was extremely limited, \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eand largely confined to the footnotes of inaccessible ethnographic bibliographies, where he figures as the writer and illustrator of a short history of Laudonniere’s attempt between 1564 and 1565 to establish a Huguenot settlement in Florida. In 1922, however, Spencer Savage, librarian of the Linnean Society, made a discovery that opened the way to the subsequent definition of Le Moyne as an artistic personality; he recognized that a group of fifty-nine watercolors of plants contained in a small volume, purchased by the Victoria and Albert Museum in 1856 solely for its fine sixteenth-century French binding, were in fact by Le Moyne. Savage’s publications relating to this discovery prepared the way for subsequent attribution to the artist of other important groups of drawings and watercolors, the most notable being held by the British Museum and the Oak Spring Library, Virginia. \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":31886489026604,"sku":"","price":130000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/Lemon.jpg?v=1579896925"},{"product_id":"huard-charles-1874-1965-birds-eye-view-of-6th-avenue","title":"HUARD, Charles (1874-1965). Brooklyn Bridge View of South Street. 1905. (New York as I Saw It)","description":"\u003cp\u003eHUARD, Charles (1874-1965)\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eBrooklyn Bridge View of South Street\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eOriginal drawing with pen and pencil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eNew York, 1905: From the series \"New York as I saw it.\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e8\" x 7\"\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBorn in Paris in 1874, Charles Huard began his career illustrating popular journals of the time; including Le Rire, Cocorico, Le Courrier Français, and L’Assiette au Beurre. His sketches of French personalities captured the joie de vive of Parisian life in the nineteenth century and quickly earned him acclaim. Huard studied at the Atelier Julian around 1900 and went on to illustrate the complete works of Honoré de Balzac in 1910. He also served the French Army in WWI from 1914-1918 in the capacity of Official Painter of the Sixth Army of France.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHuard possessed a passion for travel and published illustrated books of his voyages. He took particular care to faithfully report what he saw as objectively as possible without adding his personal judgements or bias. His journals, including London as I Saw It, Berlin as I Saw It, and New York as I Saw It are fascinating historical records of rapidly developing cities captured both in pen and ink sketches and also in Huard’s narrative voice: the voice of a ready explorer encountering the city for the first time.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCharles Huard’s framed sketches in the Arader collection originate from the complete original sketchbook for \u003cem\u003eNew York Comme Je l’ai Vu\u003c\/em\u003e [New York as I Saw It], created circa 1905. They are one-of-a-kind views, each drawn by the artist’s hand at the time they were observed. His travelogue, composed in French, was published to accompany the pictures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":34405497503788,"sku":"","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Huard_NewYork_4_BrooklynBridgeviewofSouthStreet.jpg?v=1707776666"},{"product_id":"pierre-joseph-redoute-belgian-1759-1840-giant-fourcroya-giant-agave-furcraea-gigantea","title":"Redouté, Pierre-Joseph (Belgian, 1759-1840), “Belladonna Lily\/ March Lily” Amaryllis pallida","description":"\n      \u003cp\u003ePierre-Joseph Redouté  (Belgian, 1759-1840)\u003cspan\u003e\u003c\/span\u003e \u003cbr\u003eWatercolor for plate 479: “Belladonna Lily\/ March Lily” Amaryllis pallida\u003cbr data-mce-fragment=\"1\"\u003ePrepared for Les Liliacées ca. 1802-1816\u003cbr data-mce-fragment=\"1\"\u003eWatercolor and graphite on vellum\u003cbr data-mce-fragment=\"1\"\u003eCompleted: ca. 1802-1816\u003cbr data-mce-fragment=\"1\"\u003eVellum size: 18 1\/2 x 13 1\/4 in.\u003cbr data-mce-fragment=\"1\"\u003eFramed size: 24 3\/4 x 19 1\/4 in.\u003cbr data-mce-fragment=\"1\"\u003eSigned ‘P.J. Redouté’ lower left\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of origin: South Africa (Western Cape).\u003c\/p\u003e\n    ","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":34760153759788,"sku":"","price":40000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/redoutewc_plate479BelladonnaLilyMarchLily_1024x1024_d1e8fc0b-c217-47ff-9bd2-4b8a80f2d7f4.jpg?v=1647467168"},{"product_id":"pierre-joseph-redoute-belgian-1759-1840-mountain-lily-amaryllis-humilis","title":"Pierre-Joseph Redouté  (Belgian, 1759-1840), “Fairlily\/Atamascolily” Amaryllis atamasco","description":"\n      \u003cp\u003ePierre-Joseph Redouté  (Belgian, 1759-1840)\u003cspan\u003e\u003c\/span\u003e \u003cbr\u003eWatercolor for plate 454: “Fairlily\/Atamascolily” Amaryllis atamasco\u003cbr data-mce-fragment=\"1\"\u003ePrepared for Les Liliacées ca. 1802-1816\u003cbr data-mce-fragment=\"1\"\u003eWatercolor and graphite on vellum\u003cbr data-mce-fragment=\"1\"\u003eCompleted: ca. 1802-1816\u003cbr data-mce-fragment=\"1\"\u003eVellum size: 14 1\/4 x 18 3\/4 in.\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eCountry of Origin: North America (southeast USA from Virginia to Missouri and to Alabama and Florida in the south).\u003cbr\u003e\u003cspan style=\"font-size: 1.4em;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n    ","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":34760154611756,"sku":"","price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/redoutewc_plate454FairlilyAtamascolily_1024x1024_08318f30-a643-4b1e-b9c6-05f334624923.jpg?v=1647467209"},{"product_id":"pierre-joseph-redoute-belgian-1759-1840-pale-commeline-commelina-rubens","title":"Redouté, Pierre-Joseph (Belgian, 1759-1840), “Lobster Claw” Heliconia humilis","description":"\n      \u003cp\u003ePierre-Joseph Redouté  (Belgian, 1759-1840)\u003cspan\u003e\u003c\/span\u003e \u003cbr\u003eWatercolor for plate 382: “Lobster Claw” Heliconia humilis\u003cbr data-mce-fragment=\"1\"\u003ePrepared for Les Liliacées ca. 1802-1816\u003cbr data-mce-fragment=\"1\"\u003eWatercolor and graphite on vellum\u003cbr data-mce-fragment=\"1\"\u003eCompleted: ca. 1802-1816\u003cbr data-mce-fragment=\"1\"\u003eVellum size: 18 3\/4” x 13 3\/8 in.\u003cbr data-mce-fragment=\"1\"\u003eFramed size: 24 3\/4” x 19 1\/4 in.\u003cbr data-mce-fragment=\"1\"\u003eSigned ‘P.J. Redouté’ lower left\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin: South America.\u003c\/p\u003e\n    ","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":34760155004972,"sku":"","price":40000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/redoutewc_plate382LobsterClaw_1024x1024_6c2be626-05ed-4d32-ad94-73da6406dd6f.jpg?v=1647467084"},{"product_id":"copy-of-pierre-joseph-redoute-belgian-1759-1840-elegant-homeria-sisyrinchium-elegans","title":"Redouté, Pierre-Joseph (Belgian, 1759-1840), “Martinico Iris” Iris martinicensis","description":"\n      Pierre-Joseph Redouté  (Belgian, 1759-1840)\u003cspan\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan lang=\"EN-GB\" data-mce-fragment=\"1\"\u003eWatercolor for plate 172: “Martinico Iris” Iris martinicensis\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\" data-mce-fragment=\"1\"\u003ePrepared for\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLes Liliacées\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/i\u003eca. 1802-1816\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\" data-mce-fragment=\"1\"\u003eWatercolor and graphite on vellum\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\" data-mce-fragment=\"1\"\u003eCompleted: ca. 1802-1816\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\" data-mce-fragment=\"1\"\u003eVellum size: 18 1\/2 x 13 3\/8 in.\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\" data-mce-fragment=\"1\"\u003eFramed size: 26 x 20 5\/8 in.\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\" data-mce-fragment=\"1\"\u003eSigned ‘P.J. Redouté’ lower left\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCountry of Origin: Central and South America (Martinique etc.)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e \n    ","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":34760155299884,"sku":"","price":70000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/redoutewc_plate172MartinicoIris_1024x1024_8b9cc0ec-9d5c-4127-92b0-804ddd391075.jpg?v=1647467069"},{"product_id":"pierre-joseph-redoute-belgian-1759-1840-bird-of-paradise-strelitzia-reginae","title":"Pierre-Joseph Redouté (Belgian, 1759-1840), “Bilobed Epidendrum” Epidendrum bifidum","description":"\n      \u003cp\u003ePierre-Joseph Redouté (Belgian, 1759-1840) \u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eWatercolor for plate 84: “Bilobed Epidendrum” Epidendrum bifidum\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003ePrepared for\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLes Liliacées\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eca. 1802-1816\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eWatercolor and graphite on vellum\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eCompleted: ca. 1802-1816\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eVellum size: 14 1\/4 x 18 3\/4 in.\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eSigned lower left: P. J. Redoute\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin: Northern South America (French Guiana).\u003c\/p\u003e\n    ","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":34760156839980,"sku":"","price":28000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/redoutewc_plate84BilobedEpidendrumEpidendrumbifidum_1024x1024_a2c74123-d0f6-4ae0-89e7-4d0e319cdbb7.jpg?v=1647467063"},{"product_id":"pierre-joseph-redoute-belgian-1759-1840-bracteose-pitcairnea-piticarnia-latiforlia-detail","title":"Redouté, Pierre-Joseph (Belgian, 1759-1840), “Bird of Paradise” Strelitzia reginae","description":"\n      \u003cp\u003ePierre-Joseph Redouté (Belgian, 1759-1840) \u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eWatercolor for plate 77: “Bird of Paradise” Strelitzia reginae\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003ePrepared for\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLes Liliacées\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eca. 1802-1816\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eWatercolor and graphite on vellum\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eCompleted: ca. 1802-1816\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eVellum size: 18 1\/2 x 13 in.\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eFrame size: 23 1\/4 x 18 1\/8 in.\u003c\/span\u003e\u003cbr\u003e\u003cspan lang=\"EN-GB\"\u003eSigned ‘P.J. Redouté’ lower left\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin: Summer rainfall South Africa (Eastern Cape with an isolated area in\u003cbr\u003eKwazulu\/Natal).  Named for the English Queen Charlotte Sophia (1774-1818), wife of George II (1738-1820), former Princess of Mecklenburg-Strelitz, who gave birth to fifteen royal children.\u003c\/p\u003e\n    ","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":34760157003820,"sku":"","price":85000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/redoutewc_plate77BirdofParadiseStrelitziareginae_1024x1024_e815221f-575b-4bc2-969e-bd04109e4e78.jpg?v=1647467175"},{"product_id":"pierre-joseph-redoute-belgian-1759-1840-aloe-leaved-cymbidium-epidendrum-aloifolium-1","title":"Pierre-Joseph Redouté (Belgian, 1759-1840), “Sessile-Wake-Robin” Trillium sessile","description":"\n      \u003cp\u003ePierre-Joseph Redouté (Belgian, 1759-1840)\u003cbr\u003eWatercolor for plate 133: “Sessile-Wake-Robin” Trillium sessile\u003cbr\u003ePrepared for Les Liliacées ca. 1802-1816\u003cbr\u003eWatercolor and graphite on vellum\u003cbr\u003eUnframed. Vellum size: 18 1\/2 x 13 1\/2 in.\u003cbr\u003eSigned ‘P.J. Redouté’ lower left\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCountry of Origin: Northern America (eastern and central USA from New York and Virginia in the east to Kansa and Arkansas in the west and northern Alabama in the south).\u003c\/span\u003e\u003c\/p\u003e\n    ","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":34760157691948,"sku":"","price":38000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/redoutewc_plate133SessileWakeRobinTrilliumsessile_1024x1024_a069eb9b-a59b-418f-aa3c-6e14de707fa5.jpg?v=1647467016"},{"product_id":"grape-vine-jacques-le-moyne-de-morgues-french-ca-1533-1588","title":"Jacques le Moyne de Morgues (French, ca. 1533-1588). Grape-vine.","description":"\u003cp\u003e\u003cb\u003eJACQUES LE MOYNE DE MORGUES (FRENCH, CA. 1533-1588)\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e f.73: Grape-vine. Watercolor and gouache on paper prepared as vellum ca. 1565 Paper size: 7 1\/2 x 5 5\/8 in Frame size: 16 1\/4 x 14 1\/4 in Provenance: DuMarry (from the inscription on the frontispiece)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn antiquity grapes were a well-known attribute of the god Dionysus (Bacchus), who was credited with their invention. Adopted by Christian symbolism, grape or a vine leaf were an attribute of Christ, the “true vine” because according to the Song of Solomon, 1:13: ‘My beloved is unto me as a cluster of camphire in the vineyards of Engeddi. St. Augustine wrote that a bunch of grapes placed in the winepress symbolized Christ on the Cross. Thus, sweet grapes became representative of fruit of the grace of Resurrection.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe extraordinary career and oeuvre of the Huguenot artist Jacques Le Moyne de Morgues have only relative- \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ely recently been defined and described (see Paul Hulton, The Work of Jacques Le Moyne de Morgues, A Huguenot Artist in France, Florida, and England, 2 vols., London, 1977). The varied circumstances of his artistic production must surely be unique in the history of art; although large periods of his career are undocumented, he appears to have worked as a court artist in France, under Charles IX, is known to have traveled to Florida in 1564, as official artist and cartographer to the ill-fated French attempt to establish a colony there, and to have ended his career as a highly regarded botanical artist in Elizabethan London, where his patrons included Sir Walter Raleigh and Lady Mary Sidney. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLe Moyne was born around 1533, in Dieppe. The first thirty years of his life are undocumented, but it seems \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ereasonable to suppose that he trained as an artist in his native town, which was at the time a notable center both for cartography and for illumination. Hulton believed that Le Moyne probably worked at the court of the French King Charles IX, although there is no documentary record to that effect. Le Moyne’s highly important account of his transatlantic voyage, known today from a Latin edition published in Frankfurt in 1591 under the title Brevis narratio eorum quae in Florida Americai provincia Gallis acciderunt, does, however, clearly indicate that it was the King who instructed the artist to accompany the expedition, headed by the notable mariners Jean Ribault and Rene Goulaine de Laudonniere, as official recording artist and cartographer. Although only one original drawing by Le Moyne of an American subject is known today -- the depiction of Athore showing Laudonniere the Marker Column set up by Ribault, executed in watercolor an gouache on vellum, now in the New York Public Library -- the Brevis narratio, published by Theodore de Bry as the second volume of his great series of publications on voyages to the New World, contains forty-two engraved illustrations and maps made on the spot by Le Moyne. The text fully describes and analyses these images, and this volume constitutes a major landmark in the literature of the early exploration of the Americas. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaudonniere’s expedition, though resulting in the production of the fascinating Le Moyne\/de Bry publica- \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003etion and an important map of the coastal regions of Florida, was ultimately a disaster; the good relations initially established with the Indian tribes inhabiting the territories around the settlement site at St. Johns soon soured, in addition to which various members of the French party became disaffected, and revolted against their leaders. The final coup de grace came when a Spanish force attacked Laudonniere’s stronghold at Fort Caroline, and in the end Le Moyne was one of only fifteen or so survivors of the original party to return safely to Europe; having lost their way, they sailed half-starved into Swansea Bay in mid-November 1565, and finally reached Paris early in 1566. But life in France soon became untenable, due to the Huguenot massacres, and in 1572 Le Moyne fled to England. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUntil well into the present century, our knowledge of Jacques Le Moyne de Morgues was extremely limited, \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eand largely confined to the footnotes of inaccessible ethnographic bibliographies, where he figures as the writer and illustrator of a short history of Laudonniere’s attempt between 1564 and 1565 to establish a Huguenot settlement in Florida. In 1922, however, Spencer Savage, librarian of the Linnean Society, made a discovery that opened the way to the subsequent definition of Le Moyne as an artistic personality; he recognized that a group of fifty-nine watercolors of plants contained in a small volume, purchased by the Victoria and Albert Museum in 1856 solely for its fine sixteenth-century French binding, were in fact by Le Moyne. Savage’s publications relating to this discovery prepared the way for subsequent attribution to the artist of other important groups of drawings and watercolors, the most notable being held by the British Museum and the Oak Spring Library, Virginia. \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39509889581100,"sku":"","price":130000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/MediciShowCatalogueFINAL_91bdf589-eb2c-4dfe-bc83-ece96deac90a.jpg?v=1628194238"},{"product_id":"wild-cherry-jacques-le-moyne-de-morgues-french-ca-1533-1588","title":"Jacques le Moyne de Morgues (French, ca. 1533-1588). Wild Cherry.","description":"\u003cp\u003e\u003cb\u003eJACQUES LE MOYNE DE MORGUES (FRENCH, CA. 1533-1588)\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e f.68: Wild Cherry. Watercolor and gouache on paper prepared as vellum ca. 1565 Paper size: 7 1\/2 x 5 5\/8 in Frame size: 16 1\/4 x 14 1\/4 in Provenance: DuMarry (from the inscription on the frontispiece)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe cherry tree was brought to Italy by Lucullus in 74 B.C. from the town of Cerasus in Pontus, and hence it got its Latin name of cerasus. In Christian symbolism, the cherry symbolized Spring because it is the first tree that bears fruit after winter. Because of this symbolism, the cherry became the fruit of the Annunciation and Incarnation of Christ. Given the sweetness of its fruit, the cherry also stood for the sweetness to be derived from good works.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe extraordinary career and oeuvre of the Huguenot artist Jacques Le Moyne de Morgues have only relative- \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ely recently been defined and described (see Paul Hulton, The Work of Jacques Le Moyne de Morgues, A Huguenot Artist in France, Florida, and England, 2 vols., London, 1977). The varied circumstances of his artistic production must surely be unique in the history of art; although large periods of his career are undocumented, he appears to have worked as a court artist in France, under Charles IX, is known to have traveled to Florida in 1564, as official artist and cartographer to the ill-fated French attempt to establish a colony there, and to have ended his career as a highly regarded botanical artist in Elizabethan London, where his patrons included Sir Walter Raleigh and Lady Mary Sidney. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLe Moyne was born around 1533, in Dieppe. The first thirty years of his life are undocumented, but it seems \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ereasonable to suppose that he trained as an artist in his native town, which was at the time a notable center both for cartography and for illumination. Hulton believed that Le Moyne probably worked at the court of the French King Charles IX, although there is no documentary record to that effect. Le Moyne’s highly important account of his transatlantic voyage, known today from a Latin edition published in Frankfurt in 1591 under the title Brevis narratio eorum quae in Florida Americai provincia Gallis acciderunt, does, however, clearly indicate that it was the King who instructed the artist to accompany the expedition, headed by the notable mariners Jean Ribault and Rene Goulaine de Laudonniere, as official recording artist and cartographer. Although only one original drawing by Le Moyne of an American subject is known today -- the depiction of Athore showing Laudonniere the Marker Column set up by Ribault, executed in watercolor an gouache on vellum, now in the New York Public Library -- the Brevis narratio, published by Theodore de Bry as the second volume of his great series of publications on voyages to the New World, contains forty-two engraved illustrations and maps made on the spot by Le Moyne. The text fully describes and analyses these images, and this volume constitutes a major landmark in the literature of the early exploration of the Americas. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLaudonniere’s expedition, though resulting in the production of the fascinating Le Moyne\/de Bry publica- \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003etion and an important map of the coastal regions of Florida, was ultimately a disaster; the good relations initially established with the Indian tribes inhabiting the territories around the settlement site at St. Johns soon soured, in addition to which various members of the French party became disaffected, and revolted against their leaders. The final coup de grace came when a Spanish force attacked Laudonniere’s stronghold at Fort Caroline, and in the end Le Moyne was one of only fifteen or so survivors of the original party to return safely to Europe; having lost their way, they sailed half-starved into Swansea Bay in mid-November 1565, and finally reached Paris early in 1566. But life in France soon became untenable, due to the Huguenot massacres, and in 1572 Le Moyne fled to England. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eUntil well into the present century, our knowledge of Jacques Le Moyne de Morgues was extremely limited, \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eand largely confined to the footnotes of inaccessible ethnographic bibliographies, where he figures as the writer and illustrator of a short history of Laudonniere’s attempt between 1564 and 1565 to establish a Huguenot settlement in Florida. In 1922, however, Spencer Savage, librarian of the Linnean Society, made a discovery that opened the way to the subsequent definition of Le Moyne as an artistic personality; he recognized that a group of fifty-nine watercolors of plants contained in a small volume, purchased by the Victoria and Albert Museum in 1856 solely for its fine sixteenth-century French binding, were in fact by Le Moyne. Savage’s publications relating to this discovery prepared the way for subsequent attribution to the artist of other important groups of drawings and watercolors, the most notable being held by the British Museum and the Oak Spring Library, Virginia. \u003c\/span\u003e\u003c\/p\u003e","brand":"aradernyc","offers":[{"title":"Default Title","offer_id":39509891743788,"sku":"","price":120000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/MediciShowCatalogueFINAL_880864ac-e532-4afe-8907-2c0a2d18b0fe.jpg?v=1628194356"},{"product_id":"white-bass-reduced-sept-1-1845","title":"White Bass Reduced Sept 1 1845","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eWhite Bass Reduced Sept 1 1845\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719222316,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5236.jpg?v=1635399146"},{"product_id":"green-woodpecker","title":"Green Woodpecker","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eGreen Woodpecker\u003cbr\u003eWatercolor\u003cbr\u003ePaper size: 12 3\/8 x 10 1\/4 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719255084,"sku":"","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5237.jpg?v=1635399148"},{"product_id":"sparrow-hawk-y-m-young-male","title":"Sparrow Hawk y.m. (young male)","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eSparrow Hawk y.m. (young male)\u003cbr\u003ePen and ink and watercolor Paper size: 11 x 15 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719320620,"sku":"","price":9000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5238.jpg?v=1635399151"},{"product_id":"trog-europons-leach","title":"Trog Europons Leach","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eTrog Europons Leach\u003cbr\u003ePen and ink and watercolor Paper size: 9 7\/8 x 6 7\/8 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719353388,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5239.jpg?v=1635399153"},{"product_id":"the-rock-bass","title":"The Rock Bass","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Rock Bass\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719386156,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5240.jpg?v=1635399154"},{"product_id":"the-pike","title":"The Pike","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Pike\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719451692,"sku":"","price":2400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5241.jpg?v=1635399156"},{"product_id":"cat-fish-reduced-august-30-1865","title":"Cat fish Reduced August 30 1865","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eCat fish Reduced August 30 1865\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719484460,"sku":"","price":2300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5242.jpg?v=1635399158"},{"product_id":"the-pickerel-reduced-size","title":"The Pickerel Reduced size","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Pickerel Reduced size\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719517228,"sku":"","price":2200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5243.jpg?v=1635399160"},{"product_id":"the-sheephead-june-1845","title":"The Sheephead June 1845","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Sheephead June 1845\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719648300,"sku":"","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5244.jpg?v=1635399162"},{"product_id":"american-shrike-feb-25-1835-lanius-ex-cubiton-wilson","title":"American Shrike Feb 25 1835 Lanius ex cubiton Wilson","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eAmerican Shrike Feb 25 1835 Lanius ex cubiton Wilson\u003cbr\u003ePen and ink and watercolor Paper size: 14 1\/2 x 10 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719681068,"sku":"","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5245.jpg?v=1635399164"},{"product_id":"the-golden-crowned-thrush-sylvia-auracapilla-bonap-june-10th-1834","title":"The Golden Crowned Thrush Sylvia auracapilla Bonap. June 10th 1834","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Golden Crowned Thrush Sylvia auracapilla Bonap. June 10th 1834\u003cbr\u003eSong Sparrow Fringilla melodia Wilson\u003cbr\u003ePen and ink and watercolor\u003cbr\u003ePaper size: 9 7\/8 x 15 1\/4 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719746604,"sku":"","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5246.jpg?v=1635399165"},{"product_id":"untitled-unfinished-composition-bird-head","title":"Untitled [Unfinished composition, bird head]","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eUntitled [Unfinished composition, bird head]\u003cbr\u003ePen and ink and watercolor Paper size: 10 3\/8 x 14 3\/4 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719779372,"sku":"","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5247.jpg?v=1635399167"},{"product_id":"carolina-rail-young-m-sept-23-1834-raelus-carolinu-linn-wils","title":"Carolina Rail (young m) Sept 23 1834 Raelus Carolinu Linn \u0026 Wils.","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eCarolina Rail (young m) Sept 23 1834 Raelus Carolinu Linn \u0026amp; Wils.\u003cbr\u003ePen and ink and watercolor\u003cbr\u003ePaper size: 11 7\/8 x 17 1\/8 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719812140,"sku":"","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5248.jpg?v=1635399169"},{"product_id":"the-virginian-rail-rallus-virginianus-may-1-1843","title":"The Virginian Rail Rallus Virginianus May 1 1843","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Virginian Rail Rallus Virginianus May 1 1843\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 10 1\/2 x 14 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719844908,"sku":"","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5249.jpg?v=1635399171"},{"product_id":"rusty-grackle-c-ferigineaus-young-m-nov-15-1846","title":"Rusty Grackle C. Ferigineaus young m Nov. 15 1846","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eRusty Grackle C. Ferigineaus young m Nov. 15 1846\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 9 1\/2 x 10 5\/8 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719910444,"sku":"","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5250.jpg?v=1635399173"},{"product_id":"untitled-two-birds","title":"Untitled [Two Birds]","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eUntitled [Two Birds]\u003cbr\u003ePen and ink and watercolor Paper size: 10 1\/8 x 14 3\/8 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649719975980,"sku":"","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5251.jpg?v=1635399174"},{"product_id":"untitled-bird-on-a-rock","title":"Untitled [Bird on a Rock]","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eUntitled [Bird on a Rock]\u003cbr\u003ePencil and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 10 3\/8 x 14 5\/8 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720008748,"sku":"","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5252.jpg?v=1635399176"},{"product_id":"tell-all-snipe-wilson-s-snipe-oct-10-1834-tollarus-melano-leucos-viell","title":"Tell-all Snipe [Wilson’s snipe?] Oct 10 1834 Tollarus Melano- leucos? Viell.","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eTell-all Snipe [Wilson’s snipe?] Oct 10 1834 Tollarus Melano- leucos? Viell.\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower right\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720074284,"sku":"","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5253.jpg?v=1635399178"},{"product_id":"sparrow-hawk-female-jun-21-1834-falco-sparverias-linn","title":"Sparrow Hawk Female Jun 21 1834 Falco Sparverias linn","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eSparrow Hawk Female Jun 21 1834 Falco Sparverias linn\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower right Paper size: 17 1\/8 x 12 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720139820,"sku":"","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5255.jpg?v=1635399181"},{"product_id":"the-redeyed-flycatcher-myscieapa-chivacea-july-5-1845","title":"The Redeyed Flycatcher Myscieapa Chivacea July 5 1845","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Redeyed Flycatcher Myscieapa Chivacea July 5 1845\u003cbr\u003ePen and ink and watercolor Paper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720270892,"sku":"","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5256.jpg?v=1635399183"},{"product_id":"the-rose-breasted-grosbeak-ioxia-rosea-june-1845","title":"The Rose-breasted Grosbeak Ioxia Rosea June 1845","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Rose-breasted Grosbeak Ioxia Rosea June 1845\u003cbr\u003ePen and ink and watercolor Paper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720336428,"sku":"","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5257.jpg?v=1635399185"},{"product_id":"musguerula-wils-the-small-green-crested-flycatcher-sept-8-1834-the-tree-sparrow-fringilla-arborea-wils-jan-27-1835","title":"Musguerula, Wils. The small green crested flycatcher Sept 8 1834\/The tree sparrow fringilla arborea Wils. Jan 27 1835","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eMusguerula, Wils. The small green crested flycatcher Sept 8 1834\/The tree sparrow fringilla arborea Wils. Jan 27 1835 Pen and ink and watercolor\u003cbr\u003ePaper size: 12 x 17 1\/4 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720369196,"sku":"","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5258.jpg?v=1635399189"},{"product_id":"the-mallard-a-bosches-april-1847","title":"The Mallard A. Bosches April 1847","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Mallard A. Bosches April 1847\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 10 1\/2 x 14 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720434732,"sku":"","price":22000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5259.jpg?v=1635399192"},{"product_id":"the-peowit-flycatcher-april-4-1836-muscicapa-nunciola-wils-snow-bird-mar-31-1835-fringilla-nivales-wilson","title":"The Peowit Flycatcher April 4 1836 Muscicapa nunciola Wils.\/ Snow bird Mar 31 1835 Fringilla nivales Wilson","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Peowit Flycatcher April 4 1836 Muscicapa nunciola Wils.\/ Snow bird Mar 31 1835 Fringilla nivales Wilson\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 14 \u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e1\/2 x 10 1\/2 in.","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720467500,"sku":"","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5260.jpg?v=1635399194"},{"product_id":"solitary-sandpiper-triage-solitaria-wils","title":"Solitary Sandpiper Triage Solitaria Wils.","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eSolitary Sandpiper Triage Solitaria Wils.\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 10 1\/2 x 14 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720598572,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5261.jpg?v=1635399196"},{"product_id":"spotted-sandpiper-1837","title":"Spotted Sandpiper 1837","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eSpotted Sandpiper 1837\u003cbr\u003ePencil and watercolor Paper size: 11 x 13 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720664108,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5262.jpg?v=1635399197"},{"product_id":"hermit-thrush-t-solitarius-may-20-1847","title":"Hermit Thrush T. Solitarius May 20 1847","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eHermit Thrush T. Solitarius May 20 1847\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720696876,"sku":"","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5263.jpg?v=1635399199"},{"product_id":"the-american-bittern-reduced-a-minor-july-18-1845","title":"The American Bittern Reduced A. Minor July 18 1845","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe American Bittern Reduced A. Minor July 18 1845\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size: 15 x 10 7\/8 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720729644,"sku":"","price":14000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5264.jpg?v=1635399201"},{"product_id":"grebe-nov-8-1834","title":"Grebe Nov 8 1834","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eGrebe Nov 8 1834\u003cbr\u003ePen and ink and watercolor\u003cbr\u003ePaper size: 12 x 17 in.\u003c\/p\u003e\u003cp\u003e*A hand-written description on verso indicates this bird was shot on the Thames River, Canada.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720762412,"sku":"","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5265.jpg?v=1635399203"},{"product_id":"the-scarlet-tanager-t-rubra-july-1-1835","title":"The Scarlet Tanager T. Rubra July 1 1835","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eThe Scarlet Tanager T. Rubra July 1 1835\u003cbr\u003ePen and ink and watercolor Paper size: 7 1\/2 x 9 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720795180,"sku":"","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5266.jpg?v=1635399205"},{"product_id":"hermit-thrush-may-18th-1836-turdus-minor-gmel","title":"Hermit Thrush May 18th 1836 Turdus minor gmel","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eHermit Thrush May 18th 1836 Turdus minor gmel\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower right Paper size: in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720860716,"sku":"","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5267.jpg?v=1635399207"},{"product_id":"wood-duck-female-anas-sponsa-april-1847","title":"Wood Duck female Anas Sponsa April 1847","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eWood Duck female Anas Sponsa April 1847\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower left\u003cbr\u003ePaper size 10 1\/2 x 14 3\/8 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720926252,"sku":"","price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5268.jpg?v=1635399209"},{"product_id":"untitled-gull","title":"Untitled [Gull?]","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eUntitled [Gull?]\u003cbr\u003ePen and ink and watercolor\u003cbr\u003ePaper size: 12 x 17 in.\u003c\/p\u003e\u003cp\u003e*A hand-written description on verso indicates this bird was shot on Lake Erie.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720959020,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5269.jpg?v=1635399210"},{"product_id":"sharp-shinned-hawk-sept-6-1834-falco-velac-wilson","title":"Sharp Shinned Hawk Sept 6 1834 Falco Velac Wilson","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eSharp Shinned Hawk Sept 6 1834 Falco Velac Wilson\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower right Paper size: 17 x 12 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649720991788,"sku":"","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5270.jpg?v=1635399212"},{"product_id":"killdeer-plover-april-9th-1835-charvociferus-linn","title":"Killdeer Plover April 9th 1835 Charvociferus Linn.","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eKilldeer Plover April 9th 1835 Charvociferus Linn.\u003cbr\u003ePen and ink and watercolor Paper size: 10 1\/2 x 14 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649721024556,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5271.jpg?v=1635399214"},{"product_id":"rusty-grackle-female-oct-8th-1834-quis-calus-ferusineus-bonap","title":"Rusty Grackle female Oct 8th 1834 Quis calus Ferusineus Bonap.","description":"\u003cp\u003eWILLIAM POPE (British\/Canadian, 1811-1902)\u003cbr\u003eRusty Grackle female Oct 8th 1834 Quis calus Ferusineus Bonap.\u003cbr\u003ePen and ink and watercolor\u003cbr\u003eSigned “W.P” lower right Paper size: 14 1\/2 x 10 1\/2 in.\u003c\/p\u003e\u003cp\u003eProvenance The artist’s family and thence by descent.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eExhibited:\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eSimcoe Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).\u003c\/li\u003e\n\u003cli\u003eSimcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eLike his fellow artist-naturalists in the nineteenth century, William Pope was a lover of nature and a sportsman. Contrary to popular belief, sport hunters are, in fact, often passionate about nature and wildlife. They do not see their actions as simply killing the animal but rather about their skill and ability to outwit their prey. The artist and naturalist William Pope was no exception and he enjoyed capturing evocative drawings of North American wildlife while traveling through the wilderness and enjoying the pursuit of the hunt.\u003c\/p\u003e\u003cp\u003eBorn in Kent, England, Pope came to North America for the first time in 1834. He traveled in the United States, eventually moving on to southwestern Ontario on and off through the 1850s, finally settling permanently in Ontario.\u003c\/p\u003e\u003cp\u003eWilliam Pope is universally considered Canada’s first artist-naturalist. His detailed drawings of birds and other native fauna are often compared to John James Audubon’s works. This collection comes directly from the art­ist’s family and is the most extensive grouping of Pope watercolors in private hands. Other examples can be found in the Baldwin Collection of Canadiana at the Toronto Public Library.\u003c\/p\u003e\u003cp\u003eWilliam Pope made a conscious decision to highlight wildlife by giving the primary subject delicate coloring in wa­tercolor; whereas, the foreground and background are in a monotone pen and ink. The scenes often show a fish or bird on the ground or a shoreline, sometimes with a fishing or hunting scene in the background. The scenes are not generic. The inclusion of figures and sport hunting indicates that it was personal; he intimately knew the landscape, setting, hunting, and species.\u003c\/p\u003e\u003cp\u003eSmall delicate details raise these compositions beyond the documentary checklist of a trophy hunter. Pope includes boats, worms, and small insects for context.\u003c\/p\u003e\u003cp\u003eEach work is a combination of in-the-field and studio works. There is evidence of erasures he titled them in pencil with common names, then added a more finished formally drawn title in a pale grey (after erasing the pencil writ­ing), then added the Latin Linnean name later in dark brown ink.\u003c\/p\u003e\u003cp\u003ePope was familiar with the leading ornithologists and naturalists of the period. He titled many of the works with common and scientific names and noted their sources, such as Linneaus, Bonaparte, and Alexander Wilson.\u003c\/p\u003e\u003cp\u003eSeveral unfinished pieces offered here provide some insight into his drawing process. He created the bird first, then devised a complementary foreground and background around it, first in pencil, then in ink.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39649721057324,"sku":"","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/products\/IMG_5272.jpg?v=1635399216"}],"url":"https:\/\/aradernyc.com\/collections\/watercolors.oembed?page=12","provider":"Arader Galleries","version":"1.0","type":"link"}