{"title":"Paintings","description":"","products":[{"product_id":"francis-augustus-silva-seabright-from-galilee-new-jersey","title":"Francis Augustus Silva, Seabright from Galilee, New Jersey","description":"\u003cp\u003eFRANCIS AUGUSTUS SILVA (American, 1835-1886) \u003cbr\u003eSeabright from Galilee, New Jersey \u003cbr\u003eOil on canvas: 21\" x 42\"; \u003cbr\u003eFrame: modern; 32 ¾\" x 54” \u003cbr\u003eSigned and dated lower right: \"1880 Seabright from Galilee\/ Francis A. Silva\" \u003cbr\u003e1880 \u003cbr\u003eFrame: Contemporary wood and compo frame with hand-applied gesso and\u003cspan\u003e  \u003c\/span\u003e22K\u003cspan\u003e  \u003c\/span\u003egold\u003cspan\u003e  \u003c\/span\u003eleaf; an excellent reproduction nineteenth-century frame.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis evocative landscape is the work of prominent nineteenth-century American painter Francis Augustus Silva. The scene shows the coastal town of Sea Bright, New Jersey, as glimpsed from the small town of Galilee, which lies on the spit of land -- now Monmouth Beach -\u003cspan\u003e  \u003c\/span\u003ethat separates the Shrewsbury River from the Atlantic. This part of the northern New Jersey shore is now highly developed, but Silva shows it as a sleepy,\u003cspan\u003e  \u003c\/span\u003ebucolic seaside community.\u003c\/p\u003e\n\u003cp\u003eIn the distance, the village of Sea Bright appears on the low horizon as a cluster\u003cspan\u003e  \u003c\/span\u003eof clapboard houses rising beyond the inlet formed by the calm, marshy waters of the Shrewsbury River. At far left is Rumson, and behind that the Highlands of Navesink. In the foreground,\u003cspan\u003e  \u003c\/span\u003ea small girl feeds a group\u003cspan\u003e  \u003c\/span\u003eof chickens in a grassy boat- yard. The quality of the light -- redolent of a still, warm spring morning -- grants the composition a heightened\u003cspan\u003e  \u003c\/span\u003esense of naturalism and tranquility. This masterful treatment of light is the hallmark of Silva's style. The artist, known for exaggerating and intensifying natural effects of light and air for poetic purposes, is considered\u003cspan\u003e  \u003c\/span\u003ea leader in the American Luminist movement. His subtle manipulation of light and atmosphere was an aesthetic device that tran- scended naturalism and became an almost abstract means of expressing sentiment.\u003c\/p\u003e\n\u003cp\u003eSilva was born on October 4, 1835 in New York City, the son of a French-Portuguese barber and his wife. Silva was apparently a precocious talent: as a boy, he exhibited pen drawings at the American Institute. Silva's parents, however, did not want him to pursue art as a career, so he apprenticed in several trades before ending up in the workshop of a sign painter. He practiced this trade, which involved painting historical subjects on the wooden panels of vehicles\u003cspan\u003e  \u003c\/span\u003esuch\u003cspan\u003e  \u003c\/span\u003eas stage coaches and\u003cspan\u003e  \u003c\/span\u003efire engines, until the outbreak of the Civil War in 1861, when he signed on to serve in the Seventh Regiment of the New York State Militia.\u003c\/p\u003e\n\u003cp\u003eSilva's debut\u003cspan\u003e  \u003c\/span\u003eas a painter came soon after the end of the war, at the National Academy of Design's annual exhibition of 1868-1869. Thereafter, his rep- utation as a marine and landscape painter\u003cspan\u003e  \u003c\/span\u003egrew rapidly. In addition to the National\u003cspan\u003e  \u003c\/span\u003eAcademy of Design, Silva exhibited at the Brooklyn Art Association and the Union League Club. Many of his early works focused on the Hudson River or the New England shoreline, but not long after marrying Margaret A. Watts of Keyport, New Jersey, Silva turned his attention to the sand dunes and barrier islands of the New Jersey shore.\u003c\/p\u003e\n\u003cp\u003eBy 1870, Silva had evolved from a self-taught artist to one with a remarkably\u003cspan\u003e  \u003c\/span\u003eskillful technique and a reper- toire of marine subjects and atmospheric effects that varied little for the rest of his life. \"We have few artists who are so accurate in drawing or so conscientious in the rendering of detail,\" an Art Journal critic wrote in 1880: the very year Silva completed this superb composition. Silva's luminous technique led to his election to the American Water Color Society in 1872. The artist died relatively young -- at the age of fifty -- on March 31, 1886. His works are\u003cspan\u003e  \u003c\/span\u003ewell represented\u003cspan\u003e  \u003c\/span\u003ein\u003cspan\u003e  \u003c\/span\u003ehighly\u003cspan\u003e  \u003c\/span\u003eimportant American\u003cspan\u003e  \u003c\/span\u003ecollections,\u003cspan\u003e  \u003c\/span\u003eincluding\u003cspan\u003e  \u003c\/span\u003ethe National Gallery\u003cspan\u003e  \u003c\/span\u003eof Art\u003cspan\u003e  \u003c\/span\u003ein Washington, D.C., the Peabody Essex Museum in Salem, Massachusetts, and the Brooklyn Museum of Art in New York. This is a lovely work by an important American master.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":23131810561,"sku":"","price":225000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Seabright_from_Galilee.jpg?v=1470762827"},{"product_id":"frederick-de-bourg-richards-1822-1903-atlantic-city","title":"Frederick De Bourg Richards (1822-1903), Atlantic City","description":"Frederick De Bourg Richards (1822-1903)  \u003cbr\u003eAtlantic City \u003cbr\u003eOil on canvas  \u003cbr\u003eCanvas size: 18\" x 36\"  \u003cbr\u003eFrame size: 26 3\/4\" x 44 3\/4\"  \u003cbr\u003eSigned and dated l.l.: FDeB. Richards\/ 81  \u003cbr\u003eProvenance: Schwarz, Philadelphia Literature: Philadelphia Collection 75, plate 17. \n\u003cp\u003e\u003cbr\u003eBy 1880 Atlantic City had become an even greater tourist destination following the fare war between the Camden and Atlantic Railroad and the new Philadelphia and Atlantic Railroad. Artists, such as Frederick De Bourg Richards, eager to capture the growth of ever-changing appearance of the boardwalk, as well as to attract the attention of new patrons, painted evocative scenes of the beachfront. Sometime during the late 1870s Richards took a studio in Anglesea (renamed North Wildwood in 1906).  Between 1883 and 1889 he exhibited a number of paintings, etchings, and watercolors of that area and Hereford Inlet at the Pennsylvania Academy.  His first documented paining of a New Jersey landscape was Salt Marshes at Atlantic City in October (location unknown), which was exhibited at the Pennsylvania Academy's annual show in 1878.\u003c\/p\u003e\n\u003cp\u003eIn this beautifully composed painting, the eye of the viewer is drawn towards the distant Atlantic City by the curve of the beach, flanked on either side by the gently rolling waves of the sea to the right and sand dunes to the left.  The sky, with its restful clouds, in hues of pink, is almost the main focus of the painting, filling two-thirds of the composition and providing a feeling of tranquility.  The two figures wandering along the beach add a sense of depth and scale to the overall landscape.\u003c\/p\u003e\n\u003cp\u003eThe photographer and landscape painter Frederick De Bourg Richards was born in Wilmington, Delaware. Although little is known of his early training, he may have worked as an artist in New York between 1844 and 1845 before settling in Philadelphia by 1848.  Richards opened a daguerreotype gallery at 144 1\/2 Chestnut Street, opposite Independence Hall and the gallery remained in operation until 1855.  His \"life-size\" daguerreotypes were particularly noted and Richards' account book indicates that he sold photographs to such prominent Philadelphia artists as James Hamilton, William Trost Richards, Peter F. Rothermel, and others.  In 1853 he began to take photographs that documented the appearance of Philadelphia's historic buildings. \u003c\/p\u003e\n\u003cp\u003eRichards traveled extensively throughout Europe during the middle 1850s completing commissioned paintings of the Swiss Alps and Italian countryside. He published many of these views in 1857 under the title, Random Sketches, or, What I Saw in Europe (Philadelphia: G. Collins).   His experiences painting in Europe clearly had a profound effect upon the artist and he devoted himself to painting landscapes, most of which were of the Pennsylvania countryside and the New Jersey seashore, from 1865 onwards. Between 1848 and 1891, he exhibited regularly at the Pennsylvania Academy of the Fine Arts.  The painter's work was also shown at the National Academy of Design from 1865 to 1876, and the Brooklyn Art Association in 1875 and 1876. Frederick De Bourg Richards was also active in the Artists' Fund Society, the Philadelphia Society of Artists, the Art Club of Philadelphia, and the American Art Union in New York. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":23570025153,"sku":"","price":12500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Atlantic_City.jpg?v=1476198653"},{"product_id":"robert-salmon-1775-1844-leith-harbour-edinburgh-scotland","title":"Robert Salmon (American\/Scottish, 1775–1844), Leith Harbour [Edinburgh, Scotland]","description":"\u003cp align=\"center\"\u003eRobert Salmon’s painting of Leith Harbour, Edinburgh - Completed in the Year He Sailed for America\u003c\/p\u003e\n\u003cbr\u003e\u003cspan\u003eRobert Salmon (American\/Scottish, 1775-1844)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLeith Harbour [Edinburgh, Scotland]\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOil on panel \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePanel size: 16 1\/4” x 26”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFrame size: 22 1\/2” x 32”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSigned in monogram and dated lower right: RS 1828\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSigned, dated and numbered on reverse: No. 599\/ Painted by Robert Salmon\/ 1828\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eProvenance: Collection of Lawrence Park \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eExhibited: Robert Salmon, Lincoln, Massachusetts, De Cordova Museum, March 26-April 20, 1967, no. S.E. 307\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLeith was one of Scotland’s principal ports, and was independent from the City of Edinburgh until 1920. Robert Salmon shows a variety of boats in the harbor, possibly sheltering from the storm clouds fast approaching. The round building at the edge of the harbor and painted in the left foreground is the Signal Tower, built in 1686 by Robert Mylne. Originally it was a windmill, used to extract oil from rape-seed. In 1805, the sails and domed roof were replaced with a parapet, from which flags were flown as signals to ships.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAs this work makes evident, Robert Salmon was fully capable of sentiment in the best sense, of expressing his personal feelings about a place, and of capturing the particular character of what he saw before him. His ships are painted with a precision and clarity of tone that is reminiscent of the Roux family, while his sea has a distinct formality, carefully crafted and disciplined in his unique manner. However, it is his exquisite use of light illuminating this scene that makes this particular composition an extraordinarily romantic and expressive evocation of Leith Harbour.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSalmon’s painting of Leith Harbour was completed in the same year that the artist sailed from Britain to America. Born in Whitehaven, Cumberland, Robert Salmon settled in Liverpool in 1806 before moving to Greenock, Scotland in 1811. In 1828, he decided to sail for America and settled in Boston for the next thirteen years.   It was here that he achieved his greatest fame attracting pupils such as Fitz Hugh Lane (1804-1865). The artist brought with him a considerable number of works, with hopes for an American market for his British scenes. One hundred and eighteen paintings executed between 1826 and 1828 were sold at auction in Boston a few years later. This painting of Leith Harbour is undoubtedly one of those Salmon brought with him.\u003c\/span\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":28191704705,"sku":"","price":140000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Salmon_Leith.jpg?v=1478122830"},{"product_id":"thomas-birch-1779-1851-philadelphia-from-the-delaware-river","title":"Thomas Birch (1779 - 1851), Philadelphia from the Delaware River","description":"\u003cp\u003eThomas Birch (1779 - 1851) \u003cbr\u003ePhiladelphia from the Delaware River \u003cbr\u003eOil on canvas \u003cbr\u003eca. 1840 \u003cbr\u003eInscribed on stretcher: City front Philadelphia Penna Delaware River Old Navy Yard in Distance \u003cbr\u003eCanvas size: 18\" x 27 1\/4\" \u003cbr\u003eProvenance: E.L. Fisher; J. Welles Henderson; Exhibited: Philadelphia, Pennsylvania;  Philadelphia Maritime Museum, Thomas Birch, 1779-1851: Paintings and Drawings, 1966 \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAn Evocative View of Philadelphia from the Delaware River \u003c\/p\u003e\n\u003cp\u003eThis stunning river view of the Philadelphia City front was painted by Thomas Birch, one of the most important American landscape and marine painters of the early 19th century. Though Birch was not a sailor, and had little direct experience with boats, he made sufficient firsthand observation of his subjects to convey accurately not only the structure of boats but their refined beauty as well. He blends a close observation of details, exemplified in his ability to capture the intricacy of ship mechanics, with historical overtones that appealed to contemporary tastes and continues to resonate with modern viewers. \u003c\/p\u003e\n\u003cp\u003eThe sailboat in this serene painting catches the last rays of sun at dusk, which illuminate the sails of the craft so that they appear to emerge from the canvas. The soft light creates a sense of balance in the painting, as the eye of the viewer roams from each unique craft and rests on the softly lit sails of Birch’s main subject. His sensitivity to the different ways in which light interacts with water, causing reflections and highlighting contours of the vessels he laboriously studied, is arguably what propelled Birch’s career. By the time he painted this masterpiece, he was lauded as one of the most accomplished painters of his time; and he had carved a niche for the previously overlooked genre of Marine painting. \u003c\/p\u003e\n\u003cp\u003eThroughout his prolific career, Birch painted a variety of landscapes, though his most accomplished works by far are hisseascapes. He first took up marine painting at the outbreak of the War of 1812, and immediately found an audience eager for depictions of battles at sea. Although he continued to paint landscapes, particularly with river views and country estates, many of his works from the second half of his career are naval scenes that reflect his mastery of the Anglo-Dutch tradition of marine painting. His mature work is characterized by a break from the rigid lines of his early paintings, with clear coloring and a clean palette that served well his desire to transmit the freshness of light and the fluidity of water that is evident in Philadelphia from the Delaware River. While many of these later compositions depict shipping on the Delaware and in New York harbor, he also executed a series of important canvases chronicling major naval engagements of the war. His seascapes depicting ships buffeted by storms along rocky coasts recall the compositions of Joseph Vernet, whose work Birch knew first hand, and those of Vernet's followers in England, such as Philippe de Loutherbourg. \u003c\/p\u003e\n\u003cp\u003eBirch immigrated to America in 1794 with his father William Birch (1755-1834), a painter and engraver from whom he received his artistic training. The family settled in Philadelphia, where William, armed with letters of introduction from Benjamin West to leading citizens of that city, became a drawing-master. Early in their American careers both Birches executed cityscapes, several of which were engraved. Aside from stylistic affinities, the works of both father and son tended to emphasize the cultural progress and commercial prosperity of the young United States as well as its almost Edenic natural beauty. \u003c\/p\u003e\n\u003cp\u003eThomas Birch was a frequent exhibitor at the Pennsylvania Academy, where he served as keeper from 1812 to 1817, as well as at other artistic institutions in Philadelphia and New York. His paintings are considered some of the finest in the genre of landscape and marine painting, and his highly recognizable style is a successful union of classic Dutch painting and pure imagination. \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":28211549057,"sku":"","price":475000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Thomas_Birch_1.jpg?v=1478184602"},{"product_id":"chinese-school-19th-century-the-american-clipper-ship-neptunes-car-in-hong-kong-harbor","title":"Chinese School, 19th Century The American Clipper Ship \"Neptune's Car\" in Hong Kong Harbor","description":"\u003cp\u003e\u003cspan\u003eThe Only Large Clipper Ship ever Constructed in Virginia: \u003c\/span\u003e\u003cspan\u003eone that played an important role in the Gold Rush\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eChinese School, 19th Century\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe American Clipper Ship \"Neptune's Car\" in Hong Kong Harbor\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOil on canvas\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eCanvas size: 17\" x 22 3\/4\"\u003c\/span\u003e\u003cbr\u003eFrame size: 22 1\/4\" x 27 5\/8\" \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis is a splendid painting of the clipper ship \"Neptune's Car\" in Hong Kong Harbor in the mid-19th century, a classic marine \"portrait\" showing the vessel in profile with its sails fully rigged and pennants flying high. \"Neptune's Car\" had a long and illustrious history.\u003c\/p\u003e\n\u003cp\u003eShe was launched in 1853 from the yard of Page \u0026amp; Allen at Portsmouth, Virginia for Foster \u0026amp; Nickerson of New York, the only large clipper ship ever to be built in Virginia. This stately portrait was probably painted between 1855 and 1858, when she made commercial voyages to Hong Kong; more important, \"Neptune's Car\" was used to amass a fortune during the gold rush, sailing to and from California at the height of the boom. Though highly profitable, these voyages also proved to be risky. On one voyage, the ship was heavily damaged in a hurricane while rounding Cape Horn, and then during the Civil War the vessel was seized by the U.S. as a part-Rebel owned vessel when she arrived in San Francisco. In February of 1863, she was sold at auction in Liverpool, and eventually perished due to neglect, like so many other clipper ships from the time.\u003c\/p\u003e\n\u003cp\u003eThis is a masterful painting of \"Neptune's Car.\" In the distance, hills rise above the misty, calm harbor, and the light suggests dusk or dawn. The landscape setting is more evocative and atmospheric than is usual for such naval portraits, indicating the skill of the unknown Chinese artist who executed this painting. Hong Kong was a bustling international port, and local artists found a niche in the lucrative market for naval paintings, many of them rivaling their European counterparts in skill. This striking oil represents some of the best work in naval painting to emerge from 19th-century Hong Kong, on a par with the best in Western marine painting, and it captures this important ship at the beginning of its history. This is a rare and magnificent glimpse of this splendid and significant clipper ship.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":28211882817,"sku":"","price":75000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Chinese_School_-_Clipper_Ship.jpg?v=1478186724"},{"product_id":"thomas-chambers-1808-1869-view-of-the-hudson","title":"Thomas Chambers (1808 - 1869), View of the Hudson","description":"\u003cp\u003eThomas Chambers (1808-1869)\u003cbr\u003eView of the Hudson\u003cbr\u003ec. 1830-1860\u003cbr\u003eOil on canvas\u003cbr\u003eCanvas: 18 x 24 1\/2\"\u003cbr\u003eFrame: 26 x 32\"\u003c\/p\u003e\n\u003cdiv\u003eUntil recently, little was known about Chambers' life and work, and even now he remains an elusive figure. Since signed and dated paintings are few, and documents scarcer still, scholars have tracked his career through U.S. census data and entries in various city directories. New research suggests that Chambers was born in 1808 in Whitby, England, to a merchant sailor father and a laundress mother. He probably learned to paint from his older brother, George (1803-1842) -- a self-taught artist who advanced from painting trunks and buckets to ship portraits, theatrical scenery, panoramas, and eventually \"fine art\" marine paintings for the King William IV and the Royal Academy. Thomas may well have tagged along on these endeavors, since their influence is evident in the signature style he later developed.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eChambers left London for New Orleans in 1832 to pursue his painting career. He was in New York two years later and listed himself in city directories and newspaper advertisements as a marine, landscape, and \"fancy\" painter from 1834 to 1840. Over the next two decades, he worked in Baltimore, Boston, Albany and New York. While his prolific output suggests a strong base of patrons, Chambers lived on the fringe of academic art communities and did not exhibit with any official art organizations of his time. He did, however, sell his works at auction, as evidenced by a recently recovered Newport, R.I. auction list from 1845. Chambers disappeared from American city directories and census records after 1866; evidently, he returned to Whitby, penniless and disabled, as suggested by the newly-discovered record of his death in the city's poorhouse in 1869.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eAs an artist, Chambers was obscure in his own day and was likely frowned upon for his connection to sign and decorative painting and for his habit of working from print sources. His imaginative style was further eclipsed by the mid-19th-century passion for realism and his newly-built market for inexpensive popular art was revolutionized by chromolithography. Long consigned to barns and attics, his work was rediscovered in the 1930s when American folk art caught the attention of modern artists and antique collectors. Chambers' distinctive hand was identified by name in 1942 when collectors uncovered a signed painting, The Constitution and the Guerrière (c. 1840-50). The same year, an exhibition at the Macbeth Gallery in New York heralded the arrival of \"T. Chambers, First American Modern,\" and highlighted Chambers' use of color, pattern, and decorative design that appealed to many 20th-century curators and collectors. Thomas Chambers, the first gathering of the artist's work since 1942, revisits the perspective of champions of American folk art who recognized the roots of national culture and modernism in the work of Chambers and his contemporaries. The course of Chambers' critical fortunes, from popular or lowbrow status to highbrow acclaim a century later also tells a fascinating story of American cultural history.\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":28212169921,"sku":"","price":30000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Chambers_-_View_of_the_Hudson.jpg?v=1478188012"},{"product_id":"john-woodhouse-audubon-1812-1862-tawny-weasel-putorius-fuscus","title":"John Woodhouse Audubon (1812-1862), Tawny Weasel - Putorius Fuscus","description":"\u003cp\u003eJohn Woodhouse Audubon (1812-1862).\u003cbr\u003eTawny Weasel - Putorius Fuscus - New York: 1845-1848\u003cbr\u003eCorresponds to plate CXLVIII in the The Viviparous Quadrupeds of North America\u003cbr\u003ePublished: New York 1845-1848\u003cbr\u003eOil on canvas\u003cbr\u003e22 x 28 inches (canvas)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eJohn Woodhouse Audubon, the son of renowned ornithologist and wildlife artist John James Audubon, devoted his entire career to continuing and supporting the work of his father. He assisted in the completion of original works and the execution and distribution of lithographs.\u003c\/p\u003e\n\u003cp\u003eAfter the completion of the Double Elephant Bird Portfolio, John James and John Woodhouse embarked on a similar venture, The Quadrupeds of North America, which set out to document America's mammalian inhabitants. By the late 1830s, John James Audubon showed signs of mental illness and could no longer continue painting with much accuracy. John Woodhouse continued the series, eventually completing at least half of the work.\u003c\/p\u003e\n\u003cp\u003eBecause of the difficulty of safely studying wild animals, both Audubons often sketched caged or dead animals, causing some of their renderings to appear primitive and sinister. Artists also used explorers' written accounts of their wildlife experiences and observations on the frontier to aid in the completion of the wildlife paintings. Although John Woodhouse Audubon's artistic career has been overshadowed by his father's success, his contribution to early wildlife documentation is significant.\u003c\/p\u003e\n\u003cp\u003eAudubon's work is recognized in many private collections and museums, including the National Gallery of Art, the National Portrait Gallery, the Metropolitan Museum of Art, the Brooklyn Museum of Art, the Mill Grove Audubon Wildlife Sanctuary, and the National Museum of Wildlife Art.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":28218124993,"sku":"","price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/audubonweasel.jpg?v=1478202895"},{"product_id":"frederick-judd-waugh-1861-1940-70-degrees-north-1932-also-known-as-80-degrees-north-90-degrees-north-the-polar-bear","title":"FREDERICK JUDD WAUGH (1861-1940) 70 Degrees North, 1932 Also known as 80 Degrees North; 90 Degrees North; The Polar Bear)","description":"\u003cdiv\u003eFREDERICK JUDD WAUGH (1861-1940)\u003c\/div\u003e\n\u003cdiv\u003e70 Degrees North, 1932\u003c\/div\u003e\n\u003cdiv\u003eAlso known as 80 Degrees North; 90 Degrees North; The Polar Bear)\u003c\/div\u003e\n\u003cdiv\u003eSigned lower right, 'Waugh'\u003c\/div\u003e\n\u003cdiv\u003eOil on canvas\u003c\/div\u003e\n\u003cdiv\u003eCanvas size: 60\" x 72\"\u003c\/div\u003e\n\u003cdiv\u003eFrame size: 68\" x 80\"\u003c\/div\u003e\n\u003cdiv\u003eFramed to full museum specifications.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cspan\u003eFrederick Judd Waugh was one of the finest American marine painters of the twentieth century, or perhaps more accurately, one of the greatest painters of the sea, for while ships do appear in many of his paintings, it was with his paintings of the sea and coast that he achieved his greatest success. As a seascapist he was unsurpassed in American art during his lifetime. Though a work from his late career, 70 Degrees North was painted at the height of this artist's fame, indicated by its successful appearance in the 1931 Corcoran Biennial in Washington, D.C. Here one can see Waugh's mastery of the sea - the swelling and breaking of waves, the sense of unending flow, and the capture of light on water. While natural history was an atypical subject matter for the artist, his polar bear drew accolades. A writer for the Wall Street Journal who reviewed the painting during its exhibition at the Grand Central Art Galleries noted: \"his large version of a huge white polar bear standing lonely sentinel before a glistening white crag tests Mr. Waugh's powers to the limit.\" Waugh's polar bear, surveying his artic kingdom, would seem to be the most profound rendition of this noble beast in American art of the period. The title, 70 Degrees North, defines the region in two ways: when the latitude of 70 degrees north is crossed one is within the Arctic Circle; and, though it changes with time, in the early 30's, 70 degrees north was the location of the magnetic North Pole.\u003c\/span\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":28503500621,"sku":"","price":585000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Polar_Bear.jpg?v=1479155554"},{"product_id":"thomas-birch-1779-1851-falconers-shipwreck","title":"Thomas Birch (1779 - 1851),  \"Falconer's Shipwreck\"","description":"\u003cp class=\"m_5216320909887682571gmail-MsoNoSpacing\"\u003eThomas Birch (1779 - 1851) \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"m_5216320909887682571gmail-MsoNoSpacing\"\u003e\"Falconer's Shipwreck\" \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"m_5216320909887682571gmail-MsoNoSpacing\"\u003eSigned and dated lower right: T. Birch\/Phila 1828\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"m_5216320909887682571gmail-MsoNoSpacing\"\u003eOil on canvas\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"m_5216320909887682571gmail-MsoNoSpacing\"\u003e40\" x 60\" (canvas)\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"m_5216320909887682571gmail-MsoNoSpacing\"\u003eThomas Birch was one of the most important American landscape and marine painters of\u003cbr\u003ethe early 19th century. He moved to America in 1794 with his father William Birch (1755-1834), a painter and engraver from whom he received his artistic training. The family settled in Philadelphia, where William, armed with letters of introduction from Benjamin West to leading citizens of that city, became a drawing-master. Early in their American careers both Birches executed cityscapes, several of which were engraved. Aside from stylistic affinities, the works of both father and son tended to emphasize the cultural progress and commercial prosperity of the young United States as well as its almost Edenic natural beauty.\u003cbr\u003e\u003cbr\u003eBirch's most accomplished works are his seascapes. It was at the time of the War of 1812 with Britain that Birch took up marine painting. Although he continued to paint landscapes, particularly with river views and country estates, many of his works from the second half of his career are naval scenes that reflect his mastery of the Anglo-Dutch tradition of marine painting. While these compositions frequently depict shipping on the Delaware and in New York harbor, he also executed a series of important canvases chronicling major naval engagements of the war. His seascapes with shipping along rocky coasts buffeted by storms recall the compositions of Joseph Vernet, whose work Birch knew first hand and through prints, and those of Vernet's followers in England, such as Philippe de Loutherbourg. Birch was a frequent exhibitor at the Pennsylvania Academy, where he served as keeper from 1812 to 1817, as well as at other artistic institutions in Philadelphia and New York.\u003cbr\u003e\u003cbr\u003eThis dramatic, large-scale seascape is a foremost example of Birch's work. The subject of the disastrous shipwreck with survivors tossed against a rocky shore was a favorite theme in late 18th and early 19th-century French and English painting. Shipwrecks being a common occurrence at this time, some of Birch's paintings of the subject were commissioned by survivors. This particular work, however, is believed to have been inspired by William Falconer's popular poem, The Shipwreck, published in England in 1762 and well-known in America by the early 1800s. A version of this work, entitled The Rescue, is in the collection of the Washington County Museum of Fine Arts in Hagerstown, Maryland.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":35494504461,"sku":"","price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Oil_painting.jpg?v=1491420788"},{"product_id":"victor-dubreuil-active-1880-1910-the-international-contest-between-heenan-and-sayers","title":"Victor Dubreuil (active 1880-1910), The International Contest Between Heenan and Sayers","description":"\u003cp\u003eVictor Dubreuil (active 1880-1910)\u003c\/p\u003e\n\u003cp\u003eThe International Contest Between Heenan and Sayers\u003c\/p\u003e\n\u003cp\u003ec. 1880\u003c\/p\u003e\n\u003cp\u003eOil on canvas\u003c\/p\u003e\n\u003cp\u003eSigned lower right \"V. Dubreuil\" \u003c\/p\u003e\n\u003cp\u003eCanvas size: 31 1\/2 x 41 1\/2\"\u003c\/p\u003e\n\u003cp\u003eFrame size: 36 1\/8 x 46 3\/8\" \u003c\/p\u003e\n\u003cp\u003eT\u003cspan\u003ehe heavyweight title fight between the English boxer Tom Sayers and his American counterpart John .C. Heenan was fought in 1860. It took place at Farnborough, England because pugilism was still officially outlawed in the United States. However, it was the first title fight to draw attention from both sides of the Atlantic. Heenan outweighed Sayers by 46 pounds and towered six inches above him. Up to this time an American had not been regarded as a serious contender for the world title, but the discrepancy in the weights was expected to give Heenan a real chance. The fight was bloody from the beginning. In the sixth round, Sayers broke his right arm blocking a punch and in the eighth, Heenan broke his left hand. In the 37th round someone cut the ropes and the referee deserted. The fight continued for five more rounds until it ended in a draw. Victor Dubreuil's painting, \u003c\/span\u003e\u003ci\u003eThe International Contest between Heenan \u0026amp; Sayers\u003c\/i\u003e\u003cspan\u003e recreates the 1860 lithograph by the same name in the trompe l'oeil manner that Dubreuil used to paint his well-known depictions of money. He painted money in barrels, money tied in stacks and money pinned to a wall. His skill at trompe l'oeil was so good that he was suspected by the government of being a counterfeiter. Born in New York City to French émigré parents, he spent all of his known career in the place of his birth.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39393927885,"sku":"","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Dubreuil_Contest_Between_Heenan_and_Sayers.jpg?v=1497385203"},{"product_id":"francois-auguste-biard-french-1798-1882-shipwreck-victims-on-icefloe-the-castaways-of-the-lucie-marguerite-view-taken-in-magdalena-bay-spitzbergen","title":"François-Auguste Biard (French, 1798-1882), Shipwreck... [View taken in Magdalena-Bay (Spitzbergen)]","description":"\u003cdiv id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eFrançois-Auguste Biard (French, 1798-1882) \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eShipwreck Victims (View taken in Magdalena-Bay (Spitzbergen)] \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eOil on canvas \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eSigned and dated lower right Biard 1876 - 1877 \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eInscription on the verso: “Les Naufragés du Spitzberg” \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eCanvas size: 49 x 77 3\/8 in. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003eFrame size: 56 3\/4 x 83 3\/4 in. \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eProvenance: Private collection, France. Purchased by the current owner’s father in the 1930s. Exhibitions: Probably, Salon, Paris, 1877 titled Les Naufragés de la Lucie-Marguerite, Vue prise à Magdalena-Bay (Spitzberg), par le 80e degré de latitude Nord (Souvenir du voyage de l’auteur au Pôle Nord en 1839 à bord de la corvette La Recherche).\u003c\/span\u003e\u003c\/div\u003e\n\u003cp id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eA monumental canvas of Magdalena Bay, with its chain of white mountains, by French genre painter FrançoisAuguste Biard. This is an exceptional example of Biard’s ability to portray both the dramatic landscape and beauty of meteorological events in the Arctic. The artist first exhibited this work at the 1877 Salon as Les Naufragés de la Lucie-Marguerite, Vue prise à Magdalena-Bay (Spitzberg) [The Castaways of the Lucie-Marguerite, View taken in MagdalenaBay (Spitzbergen)]. It is a very fine example of the artist’s lasting passion for Arctic, as well as the public’s continued interest for these romantic scenes untouched by mankind.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eFrançois-Auguste Biard painted several compositions of the Arctic following an expedition there in 1843. Our painting, executed in 1876-77, illustrates an event that took place in 1843, as indicated in the title at the Salon. The left portion of the composition shows a beautiful aurora borealis. This phenomenon captures the spectator’s entire attention at first, before they discover the shipwreck on the right of the composition. On the right, the castaways on a rocky precipice try desperately to gain the attention of a boat in the background. The wreck seems a result of a failed sealing expedition, indicated by the iron hooked sealing gaff strewn alongside lifeless seals on the icy shore in the lower right corner of the composition. The situation is clearly dire, a kneeling man raises his arms like child begging to be lifted, several passengers are injured and carried by fellow crew members, one has died and is mourned by a man sitting and covering his head with his hands in despair, those that are able bodied try to keep the fire burning, while others wave flares, hats, and wreckage to grab the attention of the passing ship. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eBiard’s fascination for grand landscapes goes back to the journeys he made in Switzerland and Scotland in the 1830s. His first painting with and Arctic theme: Embarcation attaquée par des ours blancs, was completed in 1839, before his trip to the High North. The painting was admired by Louis-Philippe at the 1839 Salon, he suggested the artist go with the scientific mission soon leaving for Spitzberg. Biard happily accepted the invitation which indulged his ardor for risk and for long journeys, he took his future wife, Léonie d’Aunet. After 14 days at sea on the ship La Recherche, the mission finally arrived in Magdalena Bay. The crew spent 13 days there, after which Biard and Léonie continued their voyage to Lapland. Biard was amazed by the variety and the splendor of the landscape and skies, as well as the impressive aurora borealis and other meteorological manifestations. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp id=\"m_4901289738568211776m_-1796564114461013488Signature\"\u003e\u003cspan\u003eUpon his return in Paris, Biard painted a series of 18 studies showing Magdalena Bay and its aurora borealis. His vivid memories along with these studies inspired a dozen of paintings which he presented at the Salon between 1841 and 1880. The first paintings, more romantic, emphasized human frailty before the immense ice desert. The most famous being Magdalena Bay, vue prise de la presqu’île des Tombeaux au nord du Spitzberg, presented in 1841 and now kept at the Musée du Louvre, Paris. The Louvre composition is similar to our own in that it concentrates on a shipwreck lost in a large landscape surrounded by snow and mountains, under an exquisite aurora borealis. He continued this theme for his painted decoration in the Galerie de minéralogie in the Museum of Natural History, Paris: a 360° panorama showing Magdalena Bay, open to the public in 1864.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":3588061659149,"sku":"","price":185000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/biard_magdalena_painting.jpg?v=1517518971"},{"product_id":"paul-brown-cascades-in-the-alleghenies","title":"Paul Brown, Cascades in the Alleghenies","description":"\u003cp\u003ePaul Brown \u003c\/p\u003e\n\u003cp\u003eCascades in the Alleghenies \u003c\/p\u003e\n\u003cp\u003efrom the artist's portfolio\u003c\/p\u003e\n\u003cp\u003esigned \u003cspan\u003eand dated \u003c\/span\u003elower left \"Paul Brown 1883\"\u003c\/p\u003e\n\u003cp\u003etitled on portfolio page \u003c\/p\u003e\n\u003cp\u003eoil on paper, laid on portfolio 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1\/4\"\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":13224947253309,"sku":"","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Paul_Brown_2.jpg?v=1540921051"},{"product_id":"paul-brown-virginia-cabin","title":"Paul Brown, Virginia Cabin","description":"\u003cp\u003ePaul Brown \u003c\/p\u003e\n\u003cp\u003eVirginia Cabin \u003c\/p\u003e\n\u003cp\u003efrom the artist's portfolio\u003c\/p\u003e\n\u003cp\u003esigned\u003cspan\u003e and dated \u003c\/span\u003elower left \"Paul Brown 81\"\u003c\/p\u003e\n\u003cp\u003etitled on portfolio page \u003c\/p\u003e\n\u003cp\u003eoil on paper, laid on portfolio page \u003c\/p\u003e\n\u003cp\u003eImage size:\u003cspan\u003e \u003c\/span\u003e5 5\/8\u003cspan\u003e \u003c\/span\u003ex 3\u003cspan\u003e \u003c\/span\u003e1\/2\"\u003c\/p\u003e\n\u003cp\u003ePortfolio page size: 11 4\/4 x 17 1\/4\"\u003c\/p\u003e","brand":"Arader 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The magnificent flowers cascade over the plinth upon which they are arranged, leading the viewers eye to the nest of eggs unsteadily perched at the edge of the stone ledge. Each sumptuous bloom sways at the end of an elegantly meandering stem, stimulating visual interest and creating an ever-moving composition. Yet within this image of perfection is hidden reality. The fly and butterfly remind us of the transience of natural beauty while at the same time giving the composition vitality.\u003c\/p\u003e\n\u003cp\u003eBorn at Zuid Polsbroek, Holland, Brussel was a pupil of Jan Augustini at Haarlem. His first employment was in designing and painting wallpapers, but after his marriage in 1774, the artist turned to the creation of fruit and flower paintings. As can be seen in this example, he found inspiration in the works of Jan van Huysum. Brussel later lived at Amsterdam where he died at the age of forty-one, it is said by drowning.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":13972620279869,"sku":"","price":45000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/PaulTheodorvanBrussel-AStilllifeofsummerflowersFRAMED.jpg?v=1703012328"},{"product_id":"severin-roesen-circa-1816-1872-still-life-with-fruit","title":"Severin Roesen (circa 1816-1872), Still Life with Fruit","description":"\u003cp\u003eSeverin Roesen (American, 1816-1872)\u003cbr\u003eStill Life with Fruit\u003cbr\u003eca. 1855\u003cbr\u003eOil on canvas\u003cbr\u003eSigned l.r. “Roesen”\u003cbr\u003eCanvas size: 14 3\/4 x 18 3\/4”\u003cbr\u003eFrame size: 25 x 29”\u003c\/p\u003e\n\u003cp\u003eBorn in Germany, Severin Roesen exhibited in Cologne in 1847 and is thought to have studied in Düsseldorf. Originally trained in the decorative arts tradition as a painter on porcelain, Roesen developed a style which included a great attention to detail and an interest in brilliant color. The artist emigrated to the United States in 1848, living, working and exhibiting in New York City until 1852, when he moved to Pennsylvania, settling eventually in Williamsport.\u003cbr\u003e \u003cbr\u003eRoesen's complex, lavish still-lifes of fruit and flowers established the tradition for the genre in 19th-century America as well as the style for large canvases suitable for dining-room decoration. These works reveal his training as a painter of enamels and china with their crisp drawing, bright colors and smooth surfaces. This particular painting anticipates Roesen's fully mature style, exhibiting his synthesis of 17th-century Dutch still life, the Düsseldorf Academy's sharp naturalism and the era's strong interest in botany. The composition unfolds across an oval format, with a variety of fruits that, in their abundance, seem to spill over into the viewer's space from their perch atop a marble ledge. 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Davis 1864\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e15 x 17 1\/8\" (canvas), 23 ¾ x 25 ¾\" (frame)\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePeriod gilt wood frame and composition frame.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWilliam Moore Davis, no relation to the president of the Confederate States, found fame in New York by painting Civil War subjects. His most famous image was of Jefferson Davis, painted in 1862, and was widely distributed in printed form. This image of Davis on horseback shows him in a planter's hat, grey uniform, carrying a version of the Confederate Flag, against a backdrop of the war ravaged landscape.\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39968670416957,"sku":"","price":75000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/WilliamMooreDavis-JeffersonDavisTheForlornCavalier.jpg?v=1654034479"},{"product_id":"copy-of-thomas-birch-1779-1851-philadelphia-from-the-delaware-river","title":"Thomas Birch (1779 - 1851), Boston from the Ship House, West End of the Navy Yard","description":"\u003cp\u003eThomas Birch (1779 - 1851)\u003cbr\u003eBoston from the Ship House, West End of the Navy Yard \u003cbr\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003eCa. 1833\u003cbr data-mce-fragment=\"1\"\u003eCanvas size: 20 x 30 in.\u003cbr data-mce-fragment=\"1\"\u003eFrame size: 28 x 38 in. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39999330517053,"sku":"","price":275000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Birch-BostonHarborFramed.jpg?v=1655305512"},{"product_id":"thomas-birch-1779-1851-castle-williams-new-york-harbor-1","title":"Thomas Birch (1779 - 1851), Castle Williams, New York Harbor","description":"\u003cp\u003eThomas Birch (1779 - 1851)\u003cbr\u003eCastle Williams, New York Harbor\u003cbr data-mce-fragment=\"1\"\u003eOil on canvas\u003cbr data-mce-fragment=\"1\"\u003eca. 1827\u003cbr data-mce-fragment=\"1\"\u003eCanvas size: 17 1\/4 x 26 in.\u003cbr data-mce-fragment=\"1\"\u003eFrame size: 25 x 34 in.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39999346737213,"sku":"","price":120000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Birch-CastleWilliamNewYorkHarbor.jpg?v=1655305866"},{"product_id":"thomas-birch-1779-1851-coastal-view-with-beached-boat-and-figures","title":"Thomas Birch (1779 - 1851), Paul Beck’s “Shot Tower”","description":"\u003cp\u003eThomas Birch (1779 - 1851)\u003cbr\u003ePaul Beck’s “Shot Tower”\u003cbr data-mce-fragment=\"1\"\u003eOil on canvas laid down on panel\u003cbr data-mce-fragment=\"1\"\u003eCanvas size: 31 1\/4 x 41 1\/4 in.\u003cbr data-mce-fragment=\"1\"\u003eFrame size: 37 1\/4 x 47 in.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: Thomas Leiper Jean Duval Leiper \u0026amp; John Kent Kane, by 1856 (by descent); Elizabeth \u0026amp; Charles W. 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A Tropical View","description":"\u003cp\u003eNorton Bush (1834-1894) \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eA Tropical View \u003c\/span\u003e\u003cbr\u003eOil on Canvas \u003cbr\u003eCanvas size: \u003cspan data-mce-fragment=\"1\"\u003e14 x 10 in. \u003c\/span\u003e\u003cbr\u003eFrame: \u003cspan data-mce-fragment=\"1\"\u003e20 1\/2 x 16 3\/4 in. \u003c\/span\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eSigned lower left \"N Bush\" \u003c\/span\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eProvenance: Cincinnati Art Galleries, Cincinnati, Ohio (label verso); Hollis Taggart Galleries, New York, NY, 2005; A Private New Jersey Estate \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":40566194372669,"sku":"","price":35000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/NortonBush-ATropicalViewleft.jpg?v=1680272602"},{"product_id":"johan-laurentz-jensen-1800-1856-still-life-of-roses-in-a-basket-with-raspberries","title":"Johan Laurentz Jensen (1800-1856), Still Life of Roses in a Basket with Raspberries","description":"\u003cp\u003eJohan Laurentz Jensen (1800-1856) \u003cbr\u003eStill Life of Roses in a Basket with Raspberries \u003cbr\u003eOil on canvas, 1826 \u003cbr\u003eCanvas size: 15 x 17 3\/4 in. \u003cbr\u003eFrame: 21 x 23 1\/2 in. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJensen's \"Still life of Roses in a Basket with Raspberries\" represents one of the principal examples of Danish botanical art of the 19th Century. Jensen's tremendous paintings were some of the only examples of Danish art that could rival the best being produced in the Netherlands, long held to be foremost in the field of botanical art. With this stunning work, Jensen created a subtle but powerful tour de force, challenging Holland's claim to supremacy in flower painting. Out of a neutral, light brown background, the vibrant, rotund roses emerge with striking clarity. Jensen's ability to convey texture is unrivalled. Ripe, plump raspberries fill the rough wicker basket underneath the roses, their opaque surfaces contrasting with the translucent, soft rose petals. The roses appear heavy, bending gracefully towards the table top. Every leaf is beautifully detailed, every vein discernible, adding to the appearance of lush abundance.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":40684903792701,"sku":"","price":35000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/JohanLJensen-RosesinaBasketwithRaspberries.jpg?v=1689619828"},{"product_id":"nicolino-calyo-1799-1884-american-landscape-with-indians","title":"Nicolino Calyo (1799 - 1884),  American Landscape with Indians","description":"\u003cp\u003eNicolino Calyo (1799 - 1884) \u003cbr\u003eAmerican Landscape with Indians \u003cbr\u003eSigned Nicolino Calyo and dated 1853. (lower left) \u003cbr\u003eOil on canvas \u003cbr\u003eCanvas size: 32 x 43 in. \u003cbr\u003eFrame size: 40 1\/2 x 52 in. \u003c\/p\u003e\n\u003cp\u003eNicolino Calyo's career reflects a restless spirit of enterprise and adventure. Descended in the line of the Viscontes di Calyo of Calabria, the artist was the son of a Neapolitan army officer. (See the brief biographical sketch by Kathleen Foster, prefacing catalogue entry no. 257 in Philadelphia Museum of Art, Philadelphia: Three Centuries of American Art, exhib. cat., [1976], pp. 299-301.) Calyo received formal training in art at the Naples Academy. His career took shape amidst the backdrop of the political turbulence of early nineteenth century Italy, Spain, and France. He fled Naples after choosing the losing side of struggles of 1820-21, and, by 1829 was part of an Italian exile community in Malta. This was the keynote of a peripatetic life that saw the artist travel through Europe, to America, to Europe again, and back to America. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eParadoxically, Calyo's stock-in-trade was close observation of people and places, meticulously rendered in the precise topographical tradition of his fellow countrymen, Antonio Canale (called Canaletto) and Francesco Guardi. In search of artistic opportunity and in pursuit of a living, Calyo left Malta, and, by 1834, was on the opposite side of the great Atlantic Ocean, in Baltimore, Maryland. He advertised his skills in the April 16, 1835, edition of the Baltimore American, offering \"remarkable views executed from drawings taken on the spot by himself, . . . in which no pains or any resource of his art has been neglected, to render them accurate in every particular\" (as quoted in The Art Gallery and The Gallery of the School of Architecture, University of Maryland, College Park, 350 Years of Art \u0026amp; Architecture in Maryland [1984], p. 35). Favoring gouache on paper as his medium, Calyo rendered faithful visual images of familiar locales executed with a degree of skill and polish that was second nature for European academically-trained artists. Indeed, it was the search for this graceful fluency that made American artists eager to travel to Europe and that led American patrons to seek out the works of ambitious newcomers. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCalyo, wielding his palette and brush, offers a picturesque combination of nature, and untouched civilization for the visual delight of the viewer. \u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":40814949498941,"sku":null,"price":225000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/AmericanLandscapewithIndians.jpg?v=1698095646"},{"product_id":"james-everett-stuart-1852-1941-yellowstone-canyon","title":"James Everett Stuart (1852-1941), Yellowstone Canyon","description":"\u003cp\u003eJames Everett Stuart (1852-1941) \u003cbr\u003eYellowstone Canyon \u003cbr\u003e1887 \u003cbr\u003eOil on canvas board \u003cbr\u003eCanvas size: 32 x 20 in. \u003cbr\u003eFrame size: 39 1\/2 x 27 1\/2 in. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJames Everett Stuart was a prolific painter of the west coast. Stuart lived for a time in Portland, Oregon and became a leading member of the art scene there for several years. His name appears first in a list of the founding members of the Portland Art Club, preceding those of such fine painters as Cleveland Rockwell and Grafton Tyler Brown. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":40894217945149,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/JamesEverettStuart-YellowstoneCanyonFRAMED.jpg?v=1701460455"},{"product_id":"frederick-de-bourg-richards-1822-1903-coastline-at-atlantic-city","title":"Frederick De Bourg Richards (1822-1903), Coastline at Atlantic City","description":"Frederick De Bourg Richards (1822-1903)  \u003cbr\u003eCoastline at Atlantic City \u003cbr\u003eOil on canvas  \u003cbr\u003eCanvas size: 13 1\/2 x 27 1\/2 in.  \u003cbr\u003eFrame size: 22 1\/2 x 36 in.  \u003cbr\u003eSigned lower right: F De B Richards \u003cbr\u003e\n\u003cp\u003e\u003cbr\u003eBy 1880 Atlantic City had become an even greater tourist destination following the fare war between the Camden and Atlantic Railroad and the new Philadelphia and Atlantic Railroad. Artists, such as Frederick De Bourg Richards, eager to capture the growth of ever-changing appearance of the boardwalk, as well as to attract the attention of new patrons, painted evocative scenes of the beachfront. Sometime during the late 1870s Richards took a studio in Anglesea (renamed North Wildwood in 1906).  Between 1883 and 1889 he exhibited a number of paintings, etchings, and watercolors of that area and Hereford Inlet at the Pennsylvania Academy.  His first documented paining of a New Jersey landscape was Salt Marshes at Atlantic City in October (location unknown), which was exhibited at the Pennsylvania Academy's annual show in 1878.\u003c\/p\u003e\n\u003cp\u003eIn this beautifully composed painting, the eye of the viewer is drawn towards the distant Atlantic City by the curve of the beach, flanked on either side by the gently rolling waves of the sea to the right and sand dunes to the left.  The sky, with its restful clouds, in hues of pink, is almost the main focus of the painting, filling two-thirds of the composition and providing a feeling of tranquility.  The two figures wandering along the beach add a sense of depth and scale to the overall landscape.\u003c\/p\u003e\n\u003cp\u003eThe photographer and landscape painter Frederick De Bourg Richards was born in Wilmington, Delaware. Although little is known of his early training, he may have worked as an artist in New York between 1844 and 1845 before settling in Philadelphia by 1848.  Richards opened a daguerreotype gallery at 144 1\/2 Chestnut Street, opposite Independence Hall and the gallery remained in operation until 1855.  His \"life-size\" daguerreotypes were particularly noted and Richards' account book indicates that he sold photographs to such prominent Philadelphia artists as James Hamilton, William Trost Richards, Peter F. Rothermel, and others.  In 1853 he began to take photographs that documented the appearance of Philadelphia's historic buildings. \u003c\/p\u003e\n\u003cp\u003eRichards traveled extensively throughout Europe during the middle 1850s completing commissioned paintings of the Swiss Alps and Italian countryside. He published many of these views in 1857 under the title, Random Sketches, or, What I Saw in Europe (Philadelphia: G. Collins).   His experiences painting in Europe clearly had a profound effect upon the artist and he devoted himself to painting landscapes, most of which were of the Pennsylvania countryside and the New Jersey seashore, from 1865 onwards. Between 1848 and 1891, he exhibited regularly at the Pennsylvania Academy of the Fine Arts.  The painter's work was also shown at the National Academy of Design from 1865 to 1876, and the Brooklyn Art Association in 1875 and 1876. Frederick De Bourg Richards was also active in the Artists' Fund Society, the Philadelphia Society of Artists, the Art Club of Philadelphia, and the American Art Union in New York. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":40897960017981,"sku":null,"price":12500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/FrederickDeBourgRichards-CoastlineatAtlanticCityFRAMED.jpg?v=1701726933"},{"product_id":"robert-salmon-american-scottish-1775-1844-a-departing-brig-off-maryport-harbor","title":"Robert Salmon (American\/Scottish, 1775–1844), A Departing Brig Off Maryport Harbor","description":"\u003cp\u003e\u003cspan\u003eRobert Salmon (American\/Scottish, 1775-1844)\u003c\/span\u003e\u003cbr\u003eA Departing Brig Off Maryport Harbor\u003cbr\u003e\u003cspan\u003eOil on canvas \u003c\/span\u003e\u003cbr\u003e31 1\/4 x  45 in.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProvenance: Vose Galleries, Boston, Massachusetts. Private collection, New England.\u003c\/p\u003e\n\u003cp\u003eChristie's, New York, 16 March 1995, lot 16, sold by the above.\u003c\/p\u003e\n\u003cp\u003ePrivate collection, Newton, Connecticut, acquired from the above.\u003c\/p\u003e\n\u003cp\u003ePrivate collection, Palm Beach, Florida.\u003c\/p\u003e\n\u003cp\u003eBarridoff Auctions, Portland, Maine, 6 August 2004, lot 48, sold for $138,000.\u003c\/p\u003e\n\u003cp\u003eQuester Gallery, Greenwich, Connecticut.\u003c\/p\u003e\n\u003cp\u003eAcquired by private collector from above, 2005.\u003c\/p\u003e\n\u003cp\u003eRobert Salmon was both an exceptionally fine artist and one of historical significance in the history of American art. He was only the second professional marine specialist to work in the United States-Thomas Birch, in Philadelphia, preceded him-and the first in New England. Thus, Salmon represents the beginning of a vital artistic tradition which would include Fitz Henry Lane at mid-century, and Winslow Homer in the last decades of the nineteenth century.\u003c\/p\u003e\n\u003cp\u003eLike Birch, Salmon was born in England, but unlike the former, whose father, William, was a noted artist in his native land, Thomas Birch developed his art in the new American republic. Salmon was a well-established marine painter in both England and Scotland before he immigrated to the United States in 1828. Thus, he was very much a part of the impressive tradition of marine painting in Great Britain that began as early as 1673 when both Willem Van de Veldes, Senior and Junior, brought the Dutch artistic naval tradition from The Netherlands to England. British and foreign-born artists worked and were well-patronized in Great Britain in the eighteenth century, including such painters as Peter Monamy, Samuel Scott, Nicholas Pocock, Thomas Luny, and Domenic Serres. These artists specialized primarily in two forms of marine art: naval battles and ship portraiture.\u003c\/p\u003e\n\u003cp\u003eThis tradition continued in Great Britain well into the nineteenth century, inaugurated by Salmon. Unlike those artists, however, Salmon's oeuvre was quite varied. He remains categorized as a \"marine artist,\u003cem\u003e\" \u003c\/em\u003efor ships and water figure in almost all of his paintings. But, while much of his attention was given to ship portraiture, he essayed many other aspects of marine painting-storms at sea, shipwrecks, fleet regattas, and other subjects such as landscapes, usually with a distant view of the sea. Unlike many of the British artists, and also unlike Birch, Salmon was only seldom given to paint naval battles, though he listed as his earliest picture a now-lost \u003cem\u003eBattle of Trafalgar\u003c\/em\u003e, painted in 1806, and immediately after his arrival in the United States he painted and then exhibited, between 1828 and 1830, a series of large, fifteen-foot paintings of the 1816 bombardment of Algiers by an Anglo-Dutch fleet, probably based upon a panorama which he had seen when it had circulated in Great Britain. A further influence upon the nature of Salmon's artistry-shared with the earlier Samuel Scott-was the tight and meticulous strategies of the great Italian artist, Antonio Canaletto, much admired and collected in England, who spent a decade there beginning in 1746. And like Canaletto, though transformed into his own very personal style, Salmon was especially a painter of ports and harbors, fascinated both by the activities he found there, and by the distinctive layout and buildings, distinguishing between each of these cities and towns he depicted.\u003c\/p\u003e\n\u003cp\u003eSalmon was born in the port city of Whitehaven in Cumberland, England, and was inspired to his specialty by the environment in which he grew up. Much of his career in Great Britain was spent there and in Liverpool. In 1811 he travelled to work in the ship-building town of Greenock on the west coast of Scotland, moving between there and Liverpool; he was, therefore, both an English and Scottish painter. In 1827 he traveled extensively—he was in London, on the southern coast in Southampton, and then up in the far northwestern city of North Shields at the mouth of the Tyne River, near Newcastle. He left North Shields in May of 1828, and the following month departed on the packet ship, \u003cem\u003eNew York \u003c\/em\u003efrom Liverpool, the major port of embarkation for the United States. Arriving in New York, Salmon immediately departed for Boston and appears to have abandoned the more peripatetic life he had led in Great Britain. He was a prolific artist of scenes and subjects similar to those he had painted in his native land. Furthermore, while the majority of his pictures painted in Boston are recognizable American subjects, he also continued to paint or perhaps replicate his British ones--his \u003cem\u003eShields, England, \u003c\/em\u003ein the collection of the United States Naval Academy Museum, Annapolis, was painted around 1833---- suggesting an appreciation and demand for foreign subjects among his New England clientele. By 1840, it appears that his eyesight had begun to fail and he is thought to have returned to England, but large panoramas of Palermo and Venice are known from 1845 (Fundacion Coleccion, Thyssen-Bornermizsa, Madrid), which exhibit no diminishing of abilities and are, perhaps, even closer to the aesthetics of Canaletto. Otherwise his final years and his date of death remain unknown. \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42571330519101,"sku":null,"price":95000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/ADepartingBrigOffMaryportHarbor.jpg?v=1757019058"},{"product_id":"robert-salmon-american-scottish-1775-1844-the-ship-liverpool-in-the-mercey-seen-from-wallasey","title":"Robert Salmon (American\/Scottish, 1775–1844), The Ship Liverpool in the Mercey, seen from Wallasey","description":"\u003cp\u003e\u003cspan\u003eRobert Salmon (American\/Scottish, 1775-1844)\u003c\/span\u003e\u003cbr\u003eThe Ship Liverpool in the Mercey, seen from Wallasey\u003cbr\u003e\u003cspan\u003eOil on canvas \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e1810\u003c\/p\u003e\n\u003cp\u003eSigned with initials and dated lower right: “RS 1810”\u003c\/p\u003e\n\u003cp\u003e31 ¼” x 42 ¼” canvas, 37” x 47 ¾” framed\u003c\/p\u003e\n\u003cp\u003eAuction history: Phillips London, 19th Century British and European Paintings sale, 3 April 2001, Lot 26, sold for $40,149\u003c\/p\u003e\n\u003cp\u003eChristie’s New York, Maritime sale, 3 February 2005, lot 199, sold for $132,000\u003c\/p\u003e\n\u003cp\u003eLike a number of both Salmon's British and American subjects, \u003cem\u003eThe Ship Liverpool in the Mercey, seen from Wallasey\u003c\/em\u003e, offers a fascinating combination of genre and cityscape as well as a marine view. In the foreground, center, a few men appear to be lowering the mast on a small vessel and walking on to the beach, while a larger Dutch ship, identified by the flag, is at the right, and in the middle distance is a British ship in full sail in the harbor. Unusual for the artist, Salmon identifies the vessel as the \"Liverpool,\" its name delineated across its stern. This was a six-year old ship built in Philadelphia, and voyaging between that city and Liverpool. In the distance is the shoreline of Liverpool, then nearing by 1810, a population of 100,000. Salmon endows his picture with the accuracy of the identifiable buildings in the distance, along with the vigorousness of the lapping waves, the strong gray cloud formations contrasting with the bright blue sky, and the billowing sails of the British ship.\u003c\/p\u003e\n\u003cp\u003eWallasey, from which Salmon has chosen to paint, is situated at the northeastern corner of the Wirral peninsula. It had been sparsely populated until the beginning of the nineteenth century, and had been known as a base for smuggling. But about the time this work was painted, Liverpool merchants and ship captains were just beginning to build homes in the area. Meanwhile, it was an ideal spot from which to survey the mouth of the Mersey River, with the ships for fishing, commerce, and naval activities, along with the panoramic shoreline of Liverpool beyond. Salmon's accuracy in delineation is not confined to his intimate knowledge of ship construction and rigging. His panorama of the distant port of Liverpool is amazingly accurate. On the left of Liverpool is seen the Townsend windmill, its arms turned to face the southerly wind. The dome on the skyline to the right of the ship is that of St. Paul's; then that of the Town Hall, followed by the spire of St. George's. Just to the left of the ferry's mizzen mast is the spire of St. Nicholas (the spire collapsed in 1810, the year of the painting; its replacement in 1814 having a more sophisticated \"lantern\" design)..\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003cem\u003eThe Ship Liverpool in the Mercey, seen from Wallasey \u003c\/em\u003ewould seem to be one of Salmon's most admired and successful paintings. It would appear that he painted the subject at least three times, with only slight variations. The earliest was painted in 1801 (sold at Christie's on December 3, 1908) with the ships having different flag identifications, the figural arrangements are slightly different, and Salmon displays a less exacting rendition of the Liverpool skyline. This also belies Salmon's own statement that he painted his first work only in 1806, since, in fact, other pictures created in the first years of the century are also known; Salmon's earliest dated painting was created in 1800 and he began exhibiting his work in 1802.. On the 21st of March, 2002, a much later version, painted in 1825 was sold at Phillip, de Pury and Company, with very different ships-one flying the Swedish flag, and the water painted closer to the scallop-like waves which were regularly used once Salmon settled in Boston three years later. And the basic format of this painting reappears in one of his last Boston pictures, Liverpool, \u003cem\u003eMercy River, \u003c\/em\u003epainted in 1840, in the collection of the Peabody-Essex Museum, Salem, Massachusetts, though there is far more traffic on the Mersey River, and the primary ship (British) is seen port side, parallel to the picture plane.\u003c\/p\u003e\n\u003cp\u003eRobert Salmon was both an exceptionally fine artist and one of historical significance in the history of American art. He was only the second professional marine specialist to work in the United States-Thomas Birch, in Philadelphia, preceded him-and the first in New England. Thus, Salmon represents the beginning of a vital artistic tradition which would include Fitz Henry Lane at mid-century, and Winslow Homer in the last decades of the nineteenth century.\u003c\/p\u003e\n\u003cp\u003eLike Birch, Salmon was born in England, but unlike the former, whose father, William, was a noted artist in his native land, Thomas Birch developed his art in the new American republic. Salmon was a well-established marine painter in both England and Scotland before he immigrated to the United States in 1828. Thus, he was very much a part of the impressive tradition of marine painting in Great Britain that began as early as 1673 when both Willem Van de Veldes, Senior and Junior, brought the Dutch artistic naval tradition from The Netherlands to England. British and foreign-born artists worked and were well-patronized in Great Britain in the eighteenth century, including such painters as Peter Monamy, Samuel Scott, Nicholas Pocock, Thomas Luny, and Domenic Serres. These artists specialized primarily in two forms of marine art: naval battles and ship portraiture.\u003c\/p\u003e\n\u003cp\u003eThis tradition continued in Great Britain well into the nineteenth century, inaugurated by Salmon. Unlike those artists, however, Salmon's oeuvre was quite varied. He remains categorized as a \"marine artist,\u003cem\u003e\" \u003c\/em\u003efor ships and water figure in almost all of his paintings. But, while much of his attention was given to ship portraiture, he essayed many other aspects of marine painting-storms at sea, shipwrecks, fleet regattas, and other subjects such as landscapes, usually with a distant view of the sea. Unlike many of the British artists, and also unlike Birch, Salmon was only seldom given to paint naval battles, though he listed as his earliest picture a now-lost \u003cem\u003eBattle of Trafalgar\u003c\/em\u003e, painted in 1806, and immediately after his arrival in the United States he painted and then exhibited, between 1828 and 1830, a series of large, fifteen-foot paintings of the 1816 bombardment of Algiers by an Anglo-Dutch fleet, probably based upon a panorama which he had seen when it had circulated in Great Britain. A further influence upon the nature of Salmon's artistry-shared with the earlier Samuel Scott-was the tight and meticulous strategies of the great Italian artist, Antonio Canaletto, much admired and collected in England, who spent a decade there beginning in 1746. And like Canaletto, though transformed into his own very personal style, Salmon was especially a painter of ports and harbors, fascinated both by the activities he found there, and by the distinctive layout and buildings, distinguishing between each of these cities and towns he depicted.\u003c\/p\u003e\n\u003cp\u003eSalmon was born in the port city of Whitehaven in Cumberland, England, and was inspired to his specialty by the environment in which he grew up. Much of his career in Great Britain was spent there and in Liverpool. In 1811 he travelled to work in the ship-building town of Greenock on the west coast of Scotland, moving between there and Liverpool; he was, therefore, both an English and Scottish painter. In 1827 he traveled extensively—he was in London, on the southern coast in Southampton, and then up in the far northwestern city of North Shields at the mouth of the Tyne River, near Newcastle. He left North Shields in May of 1828, and the following month departed on the packet ship, \u003cem\u003eNew York \u003c\/em\u003efrom Liverpool, the major port of embarkation for the United States. Arriving in New York, Salmon immediately departed for Boston and appears to have abandoned the more peripatetic life he had led in Great Britain. He was a prolific artist of scenes and subjects similar to those he had painted in his native land. Furthermore, while the majority of his pictures painted in Boston are recognizable American subjects, he also continued to paint or perhaps replicate his British ones--his \u003cem\u003eShields, England, \u003c\/em\u003ein the collection of the United States Naval Academy Museum, Annapolis, was painted around 1833---- suggesting an appreciation and demand for foreign subjects among his New England clientele. By 1840, it appears that his eyesight had begun to fail and he is thought to have returned to England, but large panoramas of Palermo and Venice are known from 1845 (Fundacion Coleccion, Thyssen-Bornermizsa, Madrid), which exhibit no diminishing of abilities and are, perhaps, even closer to the aesthetics of Canaletto. Otherwise his final years and his date of death remain unknown.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42571341824061,"sku":null,"price":90000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/TheShipLiverpoolintheMercey_seenfromWallasey.jpg?v=1757019241"},{"product_id":"jean-louis-prevost-c-1760-1810-still-life-with-a-bouquet-of-flowers-and-a-birds-nest-with-eggs","title":"Jean Louis Prévost (c. 1760-1810), Still-life with a bouquet of flowers and a bird's nest with eggs","description":"\u003cp\u003e\u003cspan\u003eJean Louis Prévost (French, ca 1760-1810) \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eStill-life with a bouquet of flowers and a bird's nest with eggs\u003c\/em\u003e \u003c\/span\u003e \u003cbr\u003eOil on canvas\u003cbr\u003eSigned and dated in lower left, \"J. L. Prevost 1795.\"\u003cbr\u003e15 1\/2\" x 12\" canvas, 24\" x 20\" framed\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJean Louis Prévost was a successful and widely renowned flower painter, respected his watercolor and oil paintings, and for his engraved works.  His paintings were consistently exhibited in the prestigious Paris Salon, and his original watercolors served as models for a series of exquisite color-plate botanical books.  His “Collection des Fleurs et des Fruits” is one of the greatest French flower books of the early 19th century.  Unlike Redouté, his great contemporary, Prévost’s intention with his works was not primarily scientific.  His great “Collection” was intended as a reference work for china and fabric pattern designers.\u003cbr\u003e\u003cbr\u003ePrévost here demonstrates his mastery of the traditional still-life genre.  These strong compositions indicate his aesthetic concerns, while the delicate, detailed, and highly accurate depiction of each flower also exemplifies the artist’s exceptional rendering skill.  Although he was not primarily a botanist, all of Prévost’s works were based on careful observation of specimens.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003ePlease feel free to contact us with questions by phone at 215.735.8811,\u003cbr\u003e\u003cspan\u003eor by email at \u003ca rel=\"noopener noreferrer\" href=\"mailto:loricohen@aradergalleries.com\" target=\"_blank\"\u003eloricohen@aradergalleries.\u003cwbr\u003ecom\u003c\/wbr\u003e\u003c\/a\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585859424317,"sku":null,"price":120000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/Prevost-Still-lifewithabouquetofflowersandabird_snestwitheggs_e7d650d4-4b33-4976-ba79-11eca01613bb.jpg?v=1757613209"},{"product_id":"severin-roesen-circa-1816-1872-still-life-with-strawberries-and-flowers","title":"Severin Roesen (circa 1816-1872), Still Life with Strawberries and Flowers","description":"\u003cp\u003eSeverin Roesen (American, 1816-1872) \u003cbr\u003eStill Life with Strawberries and Flowers \u003cbr\u003eOil on canvas\u003cbr\u003eCanvas size: 35 x 45 in.  \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003eThis gorgeous Victorian oil painting by Severin Roesen is considered one of the finest of the still-life genre. Though Roesen was widely acclaimed for his work during his lifetime, it wasn't almost 100 years after his death that his paintings were brought back to the attention of the larger public by First Lady Jackie Kennedy, when she hung several of his paintings in the newly refurbished White House. This vibrant still-life is a splendid example of this important artist’s work. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003eRoesen's complex, lavish still-life paintings of fruit and flowers established the tradition for the genre in 19th-century America as well as the style for large canvases suitable for dining-room decoration. These works reveal his training as a painter of enamels and china with their crisp drawing, bright colors and smooth surfaces. This particular painting anticipates Roesen's fully mature style, exhibiting his synthesis of 17th-century Dutch still life, the Düsseldorf Academy's sharp naturalism and the era's strong interest in botany. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003eThe composition of the painting unfolds across the canvas, drawing the eye to the center where a cream colored marble dish sits brimming with strawberries. The fruit seems to spill over the edge of the elegant dish, and into the viewer’s space. To the left of the strawberries, a gorgeous arrangement of flowers is gathered in a vase, which is also filled to capacity. Flowers flow onto the table, unable to squeeze in with the rest. On the right, Roesen depicts luscious grapes, a peach , and small pears. The fullness of the painting evokes a sense of abundance; a theme in many of his rich still-life paintings. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan\u003eBorn in Germany, Severin Roesen exhibited in Cologne in 1847 and is thought to have studied in Düsseldorf. Originally trained in the decorative arts tradition as a painter on porcelain, Roesen developed a style which included a great attention to detail and an interest in brilliant color. The artist emigrated to the United States in 1848, where he lived, worked and exhibited in New York City until 1852, when he moved to Pennsylvania, and settled eventually in Williamsport. Roesen is a painter known for his abundant fruit and flower still lifes and is today recognized as one of the major American still-life painters of the mid-nineteenth century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eRoesen's complex, lavish still-lifes of fruit and flowers established the tradition for the genre in 19th-century America as well as the style for large canvases suitable for dining-room decoration. These works reveal his training as a painter of enamels and china with their crisp drawing, bright colors and smooth surfaces. This particular painting anticipates Roesen's fully mature style, exhibiting his synthesis of 17th-century Dutch still life, the Düsseldorf Academy's sharp naturalism and the era's strong interest in botany. The composition unfolds across an oval format, with a variety of fruits that, in their abundance, seem to spill over into the viewer's space from their perch atop a marble ledge. Two vines of white grapes form opposing diagonals around which the other fruits -- apples, plums, cherries, black berries, and a peach -- are arranged, while a bird's nest holding three eggs is nestled in the lower-right hand corner. \u003cbr\u003e\u003cbr\u003eAlthough Roesen was acclaimed for his work, it wasn't until almost 100 years after his death that his paintings were brought to the attention of the larger public by First Lady Jackie Kennedy, when she hung several of his paintings in the newly refurbished White House.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585864470589,"sku":null,"price":75000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/SeverinRoesen-StillLifewithStrawberriesandFlowerswithframe.jpg?v=1757613732"},{"product_id":"george-frederick-bensell-1837-1879-closing-in","title":"George Frederick Bensell (1837-1879), Closing In","description":"\u003cp\u003eGeorge Frederick Bensell (1837-1879) \u003cbr\u003eClosing In \u003cbr\u003eOil on board \u003cbr\u003eCirca 1855 \u003cbr\u003eBoard: 29 3\/4 x 36 in. board; Frame: 35 x 41 1\/2 in. \u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eProvenance: Edward Eberstadt \u0026amp; Sons, New York; Mr. William B. Ruger. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eThe American West was a captivating subject for artists of the nineteenth-century. The American War of Independence had inspired a national need for an identity divorced from that of Britain and American artists found this in the majestic landscape and people of the American West. Their paintings answered such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Moreover, they responded to the call of their fellow countrymen who greatly desired images of their newly founded nation. In an 1816 address delivered at the opening ceremonies of the American Academy of the Fine Arts, the governor of New York state, De Witt Clinton, exalted both the American wilderness and the American cultural landscape as appropriate subjects for native arts, questioning: \"And can there be a country in the world better calculated than ours to exercise and to exalt the imagination - to call into activity the creative powers of the mind, and to afford just views of the beautiful, the wonderful, and the sublime?\" George Frederick Bensell's painting, Closing In, shows a direct response to such desires. Born in Philadelphia, he trained with John Lambdin and quickly became a skilled painter of historical subjects, genre and portraits. He exhibited annually at the Pennsylvania Academy of the Fine Arts between 1856 and 1868 and was a founder and active member of the Philadelphia Sketch Club. In this exceptional painting, Bensell captures the essence of frontier life as the hunter draws his gun fearful of a confrontation with the Native Americans he has glimpsed through the trees. Frontier life was a popular genre for American painters and such subject matter was commonly depicted by the famous publishing firm of Currier and Ives. Indeed Arthur Fitzwilliam Tait's American Frontier Life, was produced as a lithograph from 1862 to 1863, by Currier and Ives, and shares a similar theme to that of Bensell's Closing In. Like Tait, Bensell's Indians are of the Eastern frontier and the scene is most probably a product of his imagination. The considerable skill displayed in both his painting technique and compositional arrangement make Closing in an exceptional example of George Frederick Bensell's work. His paintings are highly regarded but difficult to acquire due to the artist's untimely death at the age of 42, cutting short his accomplished career.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585882656829,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/GeorgeFrederickBensell-ClosingIn.jpg?v=1757614955"},{"product_id":"henry-arthur-elkins-american-1847-1884-indian-encampment-estes-park-colorado","title":"Henry Arthur Elkins (American, 1847-1884), Indian Encampment. Estes Park, Colorado","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eHenry Arthur Elkins (American, 1847-1884) \u003cbr\u003eIndian Encampment. Estes Park, Colorado \u003cbr\u003eOil on canvas \u003cbr\u003eSigned and dated lr: HA Elkins\/ 1867  \u003cbr\u003eCanvas size: 30 x 45 in. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame: 35 x 41 1\/2 in. \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eProvenance: Vose Galleries, Boston \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFrom the moment of her discovery, America's history has been dominated by the push westward, mainly in the pursuit of economic prosperity. From the first explorers to later immigrants, all have headed west in search of riches and as a result much of American history and art is dominated by the exploration of her land and, in consequence, her indigenous people. In the search for prosperity America also found her very identity in the topography and magnificent of her landscape.\u003c\/p\u003e\n\u003cp\u003eFascination with the landscape of the West continued throughout the nineteenth and into the early twentieth century. After the establishment of independence, artists began to respond to the need for a distinctive form of American painting and answer such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Exploration of America's interior had revealed a wondrous landscape marked by its variety of open plains and majestic mountains. The traditional European academies regarded history painting to be the highest art form, but in America topography was her history as exploration had guided the nation's course. It was here in the nation's landscape that her identity was to be found and was beautifully manifested in the paintings of Henry Arther Elkins.\u003c\/p\u003e\n\u003cp\u003eHenry Arthur Elkins was born in Vershire, Vermont and in 1856 moved to Chicago where he taught himself to paint and began to receive recognition for his paintings. After the Civil War he was one of the first artists to cross the plains to the Rocky Mountains and he quickly became known for his paintings of Colorado and California. Elkins career was sadly cut short by his early death in 1884 at Georgetown, Colonel.\u003c\/p\u003e\n\u003cp\u003eIn this view of Estes Park, Colorado, Elkins skillfully captures the majesty of the landscape. From the first inhabitants, the Ute, Shoshone and Comanche, to the early explorers in the mid-nineteenth century, hunters and ranchers, Estes Park has been regarded as the eastern gateway to the Rocky Mountains. The enormous scale of the mountains is emphasized by the diminutive scale of the native American encampment, seen to the left of the canvas. The subtly modulated pastel tones of the sky are reflected in the background landscape forming a harmonious and well-balanced composition, as well as adding an overwhelming sense of depth to the work.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585952878653,"sku":null,"price":27000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/HenryArthurElkins-IndianEncampment.jpg?v=1757620418"},{"product_id":"henry-arthur-elkins-american-1847-1884-mountain-landscape","title":"Henry Arthur Elkins (American, 1847-1884), Mountain Landscape","description":"\u003cp style=\"margin-bottom: 0in;\" class=\"MsoNormal\"\u003eHenry Arthur Elkins (American, 1847-1884) \u003cbr\u003eMountain Landscape\u003cbr\u003eOil on canvas \u003cbr\u003eSigned l.l.: \"HA. Elkins 79\" \u003cbr\u003eCanvas size: 12 x 20 1\/4 in. \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in;\" class=\"MsoNormal\"\u003eFrame: 17 1\/2 x 25 1\/2 in. \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003eFrom the moment of her discovery, America's history has been dominated by the push westward, mainly in the pursuit of economic prosperity. From the first explorers to later immigrants, all have headed west in search of riches and as a result much of American history and art is dominated by the exploration of her land and, in consequence, her indigenous people. In the search for prosperity America also found her very identity in the topography and magnificent of her landscape.\u003c\/p\u003e\n\u003cp\u003eFascination with the landscape of the West continued throughout the nineteenth and into the early twentieth century. After the establishment of independence, artists began to respond to the need for a distinctive form of American painting and answer such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Exploration of America's interior had revealed a wondrous landscape marked by its variety of open plains and majestic mountains. The traditional European academies regarded history painting to be the highest art form, but in America topography was her history as exploration had guided the nation's course. It was here in the nation's landscape that her identity was to be found and was beautifully manifested in the paintings of Henry Arther Elkins.\u003c\/p\u003e\n\u003cp\u003eHenry Arthur Elkins was born in Vershire, Vermont and in 1856 moved to Chicago where he taught himself to paint and began to receive recognition for his paintings. After the Civil War he was one of the first artists to cross the plains to the Rocky Mountains and he quickly became known for his paintings of Colorado and California. Elkins career was sadly cut short by his early death in 1884 at Georgetown, Colonel. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585976930365,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/HenryArthurElkins-MountainLandscape.jpg?v=1757620581"},{"product_id":"john-woodhouse-audubon-american-1812-1862-red-texan-wolf","title":"John Woodhouse Audubon (American, 1812-1862), Red Texan Wolf","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eJohn Woodhouse Audubon (American, 1812-1862) \u003cbr\u003eRed Texan Wolf \u003cbr\u003eOil on canvas \u003cbr\u003e\u003cspan\u003eCirca 1845 for plate LXXXII in the Viviparous Quadrupeds of North America (New York: J.J. Audubon, 1845-1849). \u003c\/span\u003e\u003cbr\u003eCanvas size: 25 x 30 in. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame: 30 x 35 in. \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Chase Bank of Texas, Houston, Texas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIllustrated: Sarah E. Boehme. John James Audubon in the West: The Last Expedition Mammals of North America. New York: Harry Abrams, 2000, p. 66.\u003cbr\u003e\u003cbr\u003eA unique oil painting of the Red Texan Wolf was painted by John James Audubon's son John Woodhouse Audubon for the Viviparous Quadrupeds of North America. Father and son visited Galveston and Houston in the Republic of Texas in 1837. They again visited Texas from 1845 to 1846, where Sam Houston hosted them. During both trips, John Woodhouse Audubon studied Texan Animals, and this magnificent oil painting is the result. This is Audubon's most important original oil painting relating to his time in Texas that has ever come on the market.\u003cbr\u003e\u003cbr\u003eThis engaging composition was the basis for plate LXXXII, \"Red Texan Wolf\" (example illustrated below.) The corresponding text for this plate provides a lot of detail related to the habits of this southwestern mammal. First, Audubon explains the nuances of the composition. Writing, \"We have represented a fine specimen of this Wolf, on a sand-bar, snuffing at the bone of a buffalo, which, alas! is the only fragment of \"animal matter\" he has in prospect for breakfast.\" The location on sandbar indicates the a location near a body of water.\u003cbr\u003e\u003cbr\u003eFurther, the text for this plate includes an extract from the journal kept by J. W. Audubon while in Texas. It gives us a glimpse of an adventure with a hungry wolf, relayed by Texan Ranger named Powell [possibly Capt. J. S. Powell]:\u003cbr\u003e\u003cbr\u003e\"Like all travellers, the ranger rides over the wide prairie in long silences of either deep thought or listless musings, I have never been able to decide which; hut when, riding by the side of Walker or Hays [presumably this is referring to Capt. John Coffee \"Jack\" Hays, arguably the most famous Texas Ranger], who would like to say that a vacant mind was ever in the broad brow or behind the sparkling eye either of him with the gray, or of him with the brown 1 but at times when watching closely I have thought I could trace in the varying expression, castle after castle mounting higher and higher, till a creek \"to water at,\" or a deer which had been sound asleep and to windward of us, started some 30 or 40 yards off our path to wake up the dreamers of our party. No one is certain that his queries will be welcome to the backwoodsman on a march through a strange country, any more than would be those of a passenger, put to the captain of a vessel as he leans over the weather-rail looking what the wind will be, or thinking of the disagreeable bustle he will have, when he gets into port, compared to his lazy luxury on shipboard: but as I rode by the side of Powell we started no deer, nor came to a \"water hole,\" but a Red Wolf jumped up some two or three hundred yards from us, and took to the lazy gallop so common to this species; \"Run you ,\" cried Powell, and he sent a yell after him that would have done credit to red or white man for its shrill and startling effect, the Wolf's tail dropped lower than usual, and now it would have taken a racer to have overtaken him in a mile; a laugh from Powell, and another yell, which as the sound reached the Wolf made him jump again, and Powell turned to me with a chuckle, and said, \"I had the nicest trick played me by one of those rascals you ever heard of.\" The simple, how was it, or let's have it, was all that he wanted, and he began at the beginning. I was out on a survey about 15 miles west of Austin, in a range that we didn't care about shooting in any more than we could help, for the Comanches were all over the country; and having killed a deer in the morning, I took the ribs off one side and wrapping them in a piece of the skin, tied it to my saddle and carried it all day, so as to have a supper at night without hunting for it; it was a dark, dismal day, and I was cold and hungry when I got to where I was to camp to wait for the rest of the party to come up next day; I made my fire, untied my precious parcel, for it was now dark, with two sticks put up my ribs to roast, and walked off to rub down and secure my horse, while they were cooking; but in the midst of my arrangements I heard a stick crack, and as that in an Indian country means something, I turned and saw, to my amazement, for I thought no animal would go near the fire, a large Red Wolf actually stealing \"my ribs\" as they roasted; instinct made me draw a pistol and let drive at him; the smoke came in my face and I saw nothing but that my whole supper was gone. So not in the most philosophical manner 1 lay down, supperless, on my blanket; at daylight I was up to look out for breakfast, and to my surprise, my half-cooked ribs lay within twenty feet of the fire, and the Wolf about twenty yards off, dead; my ball having been as well aimed as if in broad daylight.\"\u003cbr\u003e\u003cbr\u003eBen Love, Chairman of Texas Commerce Bank, purchased this painting 40 years ago. Mr. Love eventually sold his bank in December of 1986 to Chemical Bank, which became part of JP Morgan Chase. If the bank had stayed independent, this incredible masterpiece of Texana never would have been sold. Now, 40 years later, it is available.\u003cbr\u003e\u003cbr\u003eCondition report: In overall very fine condition. Examined under UV light: Minor aged varnish and light scattered in painting in the sky region, particularly the top corners. The wolf appears untouched. Canvas relined but appears to retain its original stretcher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585984892989,"sku":null,"price":550000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/JohnWAudubon-RedTexanWolf.jpg?v=1757621638"},{"product_id":"seth-eastman-1808-1875-sunset-on-the-texas-coastal-plains","title":"Mary Jane Peale (1827 – 1902), Eleanor Tubman Wilmer, circa 1872","description":"\u003cdiv\u003e\n\u003cspan class=\"im\"\u003eMary Jane Peale (American, 1827-1902)\u003cbr\u003e\u003c\/span\u003e\u003ci\u003ePortrait of Eleanor Tubman Wilmer, circa\u003c\/i\u003e 1872\u003cbr\u003eInscribed \u003ci\u003e#4 \/ Property of Pamela Shippen Patterson \/ Portrait of Eleanor Tubman Wilmer \/ 1970 Relined- original back contains handwriting: \"Mrs. Wilmer painted from small photograph by M. J. Peale 1872\u003c\/i\u003e on the stretcher\u003cbr\u003eOil on canvas\u003cbr\u003eCanvas 27 x 22 inches\u003c\/div\u003e\n\u003cdiv\u003eFramed 34 1\/4 x 29 1\/8 inches\u003cbr\u003e\u003cbr\u003eProvenance:\u003cbr\u003eThe artist Mary Rebecca Frisby Wilmer, 2nd wife of James Burd Peale, MD, and daughter of the portrait subject.\u003cbr\u003eDaughters Caroline Elise and Elisabeth \"Elsie\" Burd Peale (1875-1931)\u003cbr\u003eSister Caroline Elise Peale (1872-1943)\u003cbr\u003eSister Rebecca Burd Peale Patterson (1881-1952)\u003cspan class=\"im\"\u003e\u003cbr\u003eGranddaughter Pamela Shippen Patterson (Roach) (1943-2013)\u003cbr\u003eTrust of Pamela Patterson Roach, 2013\u003cbr\u003eTrust of Joseph Ashley Roach, 2024-present\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan class=\"im\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eNotes:\u003cbr\u003eMother of artist’s sister-in-law, Mary Rebecca Frisby Wilmer, 2nd wife of James Burd Peale, MD. Eleanor Tubman Wilmer is the wife of Rev. Simon Wilmer (see Charles Willson Peale's painting of him as a young man). He was her second husband.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585988759613,"sku":null,"price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/EleanorTubmanWilmer.jpg?v=1778864283"},{"product_id":"alfred-sully-american-1820-1879-untitled-deer","title":"Alfred Sully (American, 1820-1879), Untitled (Deer)","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eAlfred Sully (American, 1820-1879) \u003cbr\u003eUntitled (Deer) \u003cbr\u003eOil on canvas \u003cbr\u003eMid-19th century \u003cbr\u003eVisible size: 13 1\/2 x 19 in.  \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame size: 19 1\/2 x 24 3\/4 in. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp\u003eSully was a military officer during the American Civil War and during the Indian Wars on the frontier. He was also a noted painter. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585993281597,"sku":null,"price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/AlfredSully-Deer_4be1df13-17d0-4133-8239-d197691bbe52.jpg?v=1757623013"},{"product_id":"alfred-jacob-miller-1810-1874-schim-a-co-che-high-lance-crow","title":"Alfred Jacob Miller (1810-1874), Schim-a-co che High-Lance Crow","description":"\u003cp\u003eAlfred Jacob Miller (1810-1874) \u003cbr\u003eSchim-a-co che High-Lance Crow \u003cbr\u003eOil on paper, mounted to board \u003cbr\u003eCirca 1860 \u003cbr\u003eOval: 11 3\/4 x 10 1\/4 in. \u003c\/p\u003e\n\u003cp\u003eCaptioned at lower-center in paint: “Schim-a-co che\/ High-Lance\/ Crow” with the final line expanded in ink to “A [Crow] Indian”. Numbered “108” in graphite at lower-left. A signed conservator’s photograph mounted to a letter mounted to the back of the board records the now-obscured inscription (in the same hand as the painted title) verso: “Schim-a-co-che\/ High Lance\/ Crow”. \u003cbr\u003eA very little peripheral darkening, with a small chip at the upper edge. Remarkably well-preserved, with impasto in the clouds at right and to the figure’s jewelry. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e\u003cu\u003eProvenance \u003c\/u\u003e\u003c\/p\u003e\n\u003cul style=\"margin-top: 0in;\" type=\"disc\"\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eThe collection of the artist \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003ci\u003eby descent from the above to\u003c\/i\u003e Mr. L. Vernon Miller, \u003ci\u003ethe artist’s grand-nephew \u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003ci\u003eby inheritance from the above to\u003c\/i\u003e Mrs. L. Vernon Miller (Katherine, ca. 1965) \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eGraham Gallery, New York, NY, no. 28818 \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eGerald Peters (The Peters Corporation), Santa Fe, NM \u003c\/li\u003e\n\u003cul style=\"margin-top: 0in;\" type=\"circle\"\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in;\"\u003e\n\u003ci\u003econserved \u003c\/i\u003e20 September 1978 by Gustav A. Berger \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003ci\u003eby acquisition from the above to \u003c\/i\u003eThe John F. Eulich Collection of American Western Art, Dallas, TX (1980) \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003ci\u003esold (by the above?) at Sotheby’s New York 3 December 1998, lot 177, into a \u003c\/i\u003ePrivate collection \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eAlfred Jacob Miller (1810–1874) was a Baltimore-born Paris-trained painter celebrated for his depictions of the people and landscape of the American interior. Although later life would see him settle in Baltimore as a portrait-painter, Miller in his late twenties set out for New Orleans and accompanied the queer Scottish aristocrat Sir William Drummond Stewart to the Rockies. There he the chance to draw the wild men of the fur trade as well as western Native Americans in the late 1830’s — just as they were being pushed to the margins by white settlement. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eIn July 1858, the railroad magnate William Thompson Walters commissioned 200 portraits from Miller (at $12 each), and a picture of the subject, also numbered 108, is at the Walters Art Museum in Baltimore. Miller commonly made multiple iterations of a single subject, and three — all watercolor and gouache on paper — are recorded of Shim-a-co-che (the usual orthography) in addition to the present work: \u003c\/p\u003e\n\u003col style=\"margin-top: 0in;\" start=\"1\" type=\"1\"\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eThe Walters \u003cu\u003e\u003ca href=\"https:\/\/art.thewalters.org\/object\/37.1940.39\/\" target=\"_blank\"\u003e37.1940.39\u003c\/a\u003e\u003c\/u\u003e (Tyler 299A) \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eThe Gilcrease Museum \u003cu\u003e\u003ca href=\"https:\/\/collections.gilcrease.org\/object\/021024\" target=\"_blank\"\u003e02.1024\u003c\/a\u003e\u003c\/u\u003e (Tyler 299) \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eThe Library and Archives of Canada \u003cu\u003e\u003ca href=\"https:\/\/central.bac-lac.gc.ca\/.redirect?app=fonandcol\u0026amp;id=2833868\u0026amp;lang=eng\u0026amp;ecopy=c000404k\" target=\"_blank\"\u003e2833868\/1946-111 PIC\u003c\/a\u003e\u003c\/u\u003e (Tyler 299B) \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eThe present picture (Tyler 299C, mistakenly called “Oil on board”) differs in medium: oil on paper. Whereas watercolors and gouache could be easily used in the field, or else in rough circumstances, oil paint was traditionally made by the artist in their studio (the storage and sale of oil paint in metal tubes was patented in 1841, but traditionalists such as Miller were resistant). Thus an oil painting represents the culmination of a longer process for which the above pictures might be understood to be preparatory. Indeed, Miller’s having kept the picture throughout his life suggests that it was a work of  which he was particularly proud. Comparison of the four versions shows just how much more refined the oil composition is.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eThe work was perhaps from what has come to be known the “L. Vernon Miller Family Album,” an assemblage kept by his grand-nephew L. Vernon Miller of Baltimore. As with many of these, the work passed to Miller’s widow and was then dispersed. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eTyler, Ron, ed. \u003ci\u003eAlfred Jacob Miller: Artist of the Oregon Trail.\u003c\/i\u003e Fort Worth, TX: Amon Carter Museum, 1982: 299C (p. 299). \u003cbr\u003eRick Stewart. \u003ci\u003eThe American West: Legendary Artists of the Frontier\u003c\/i\u003e. Dallas, 1986: pp. 18-19, illustrated. \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42818887712829,"sku":null,"price":475000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/Miller.Schim-a-coche_1_1.jpg?v=1766007796"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/collections\/Waugh_-_70_Degrees_North.jpg?v=1603377122","url":"https:\/\/aradergalleries.com\/collections\/paintings\/peale.oembed","provider":"Arader Galleries","version":"1.0","type":"link"}