Arader Galleries

The Age of Discovery at Arader Galleries

2012-01-16T15:07:00.000-08:00

Arader Galleries in San Francisco was thrilled to host Mrs.Deborah Krikorian’s 7th grade class from San Francisco's Waldorf School lastFriday, January 16th. For the second consecutive year, Gallery Director NicoleLopez presented an insightful lecture focused on the history of cartography andmap making during the Age of Discovery (16th through 19th centuries) coincidingwith the students’ in-class curriculum.

Students were shown maps and discussed the changing shape ofthe world as cartographers continued to explore and record their findingsthroughout the 16th to 19th centuries. Viewing these maps brought to lifeprevious history lessons and stories of explorers traveling the unknown for thestudents.

Season's Greetings from Arader Galleries

2011-11-17T16:48:00.000-08:00

As the holiday season draws near, the quest to find the perfect gift begins!

Please stop by Arader Galleries throughout the holiday season to view our
impressive collection of original maps, engravings,
lithographs, and watercolors.

Hours:

Monday - Friday 10am - 6pm

Saturday 11am - 5pm

Holiday Hours:

December 24th (Christmas Eve) - 11am - 3pm

December 25th - Merry Christmas!

December 26th - Closed

December 31 - Closed

January 1st - Happy New Year!

January 2 - Closed

An interview with Graham Arader

2011-11-15T14:48:00.000-08:00

Photograph by Ben Hoffmann

ForbesLife Magazine conducted an insightful interview with Graham Arader about his 40-plus years of experience in the map and rare book world. Beginning with a tour of the Rare Books Vault located in the New York Gallery, Mr. Arader presents an inside view into his world of collecting and dealing rare maps, books and prints and discusses those in his profession who have taken their love for rare maps too far.

"Maps combine art, power, psychology, history, commerce, and fantasy" states Mr. Arader from his gallery at 29th East 72nd Street in New York City. Mr. Arader began his business while in college at Yale. He was captain of the squash team and all–Ivy League for three years--but his life changed when he met Alexander Orr Vietor, the curator of Yale's map collection. "I am the only guy in history who used Yale as a trade school," Arader says. "Mr. Vietor let me use his personal reference library and taught me the standards of collecting. I sold $100,000 in maps my senior year in college.”

With an extensive collection of maps, globes, natural history and botanical prints and great love of history, Mr. Arader has amassed an inventory of over $600 million, spread throughout his five galleries nation-wide. He has also seen first hand the underside of the dealing world and has worked with the FBI and government agencies to capture and convict map and rare book thieves.

With no plans of stopping anytime soon, Mr. Arader continues to collect, deal and make charitable contributions to schools and organizations, hoping to entice and educate the public about these rare and fascinating pieces of history. As he dutifully states, “They tell history in a way you can't get in any other art form.”

To read the full interview, please visit: ForbesLife Magazine

Building Blocks for Education

2011-11-10T10:43:00.000-08:00

Arader Galleries is proud to announce that its founder and namesake, W. Graham Arader has gifted Northeastern University a number of historically significant maps, engravings, woodcuts and botanical watercolors. The Arader Galleries Collection is on display at Snell Library, and the pieces have been incorporated into a new course, “Picturing the World,” introduced by Georges Van Den Abbeele, founding dean of the College of Social Studies and Humanities and is co-instructed by English professor Beryl Schlossman.

“The Arader Galleries Collection has enhanced our course in a tremendous way,” said Dean Van Den Abbeele. “By giving students access to these works, we have quite literally brought history into the classroom. The pieces we’ve acquired from the nation’s leading expert on historically significant maps underscore Mr. Arader’s support of cultural institutions and his commitment to making these bits of history available to a greater audience.

“Dean Van Den Abbeele and Professor Schlossman have created an innovative curriculum that delves deeply into the historic relationships between early exploration and trade, and the beauty and science of nature, technology and art,” Arader said. “Arader Galleries and I are thrilled to provide Northeastern University with these important works so students can see firsthand their beauty and understand their historic importance.”

Early Streetcar Scene of San Francisco

2011-11-04T12:58:00.000-07:00

Eduard Hildebrandt (1818 - 1869)
San Francisco Streetcars
c.1864
Paper size: 14 1/2 x 10 1/2 inches; 16” x 21” framed
Watercolor on Whatman paper
Signed lower right: E. Hildebrandt
Inscribed lower left: San Francisco

This lovely street scene depicts a view of San Francisco up California Street past Montgomery Street. There is a wonderful sense of one-point perspective in the picture plane with notable local landmarks on either side of the prominently featured road: the Parrott Building and St. Mary's are seen off to the right, to the left is Grace Church, and in the background is Nob Hill. A steam-powered trolley car divides the foreground from the background while a scene of barrels being unloaded exists in along the picture’s center.

Born in Danzig in 1818, Edward Hildebrandt came from a family of artists, his brother being the notable marine painter Trite Hildebrandt (1819 - 1855). An influential time in his career spanned the dates 1860 - 1862 when he went on a grand world tour. His stops included the Middle East, India, Singapore, Siam (Thailand), Macao, Hong Kong, China, The Philippines, Japan and the United States. Hildebrandt worked primarily with watercolors to document the sites that he saw which were then published in Berlin as chromolithographs in 1864. Hildebrandt’s original watercolors were exhibited twice in the later years of his life: in London in 1866 and at an exhibition at the Crystal Palace in 1868, just a year prior to his death in Berlin. For more information on this fascinating watercolor, please call Arader Galleries at 415.788.5115, or visit our San Francisco location at 435 Jackston Street.

Arader Galleries is also pleased to present our new catalog, California, celebrating the rich history of Northern California, from the time of exploration, to the advances in photography that captured the beauty of the area, and including the birds and mammals that are native to Northern Calfornia. Please contact contact Arader Galleries San Francisco location to request a copy.

San Francisco Fall Antiques Show

2011-10-21T16:04:00.000-07:00

View of Hong Kong Island
Chinese, c. 1845-1855
Gouche on pith paper

Ernst Friedrich Carl Lang (1748-1782)
Gouache on vellum ornithological painting

Arader Galleries is happy to announce that we will be participating in the San Francisco Fall Antiques show this year!

The San Francisco Fall Antiques Shows runs from October 27th to the 30th, 2011 at the Festival Pavilion at Fort Mason. Tickets to the San Francisco Fall Antiques show may be purchased at http://www.sffas.org. We hope you will stop by to see our extraordinary collection of antique prints, maps and original watercolors!

Festival Pavilion at Fort Mason, San Francisco
October 27 to October 30, 2011
Thursday - Saturday, 10:30 a.m. to 7 p.m.
Sunday, Noon to 5 p.m.

Currier and Ives :: 19th Century Americana

2011-09-21T11:26:00.000-07:00

The publishing firm of Currier & Ives created the most popular and highly regarded lithographs of quintessentially American scenes ever produced. The quality, vast scope and engagingly populist style of their works have made their names synonymous with an idealistic vision of 19th-century American promise and optimism.

Nathaniel Currier began his lithographic career as an apprentice in 1828. By the mid-1830’s he had established his own firm on Spruce Street in New York City. In 1857 James Ives became a partner in the flourishing business, which went on to produce over 7,000 lithographs by 1907.

Currier & Ives was undoubtedly the most prolific firm of lithographers in America, its output greater than that of all the other firms combined. The remarkable scope of this production was matched by the company’s ability to anticipate popular themes and subject matter. Among their many works are lithographs depicting sporting, railroad and rural scenes, marine, and western views, as well as foreign and domestic city views, historical tableaux, and a wide range of sentimental, morally instructive and advertising images. Arader Galleries presently has available a remarkable number of the most spectacular lithographs produced by this renowned firm. Please visit our San Francisco gallery location to see our fine selection of these prints, or call us at 415.788.5115 to receive our Currier & Ives catalog.

man's best friend

2011-09-01T15:02:00.000-07:00

We are pleased to present our latest catalog highlighting our extraordinary collection of 19th century engravings, lithographs, photographs and paintings illustrating man’s best friend. The dog has long been man’s choice as a companion, guardian, assistant in hunting and friend.

Most of the dogs featured in this catalog belong to the sporting group, and were bred and trained primarily to assist with hunting game. Breeding for appearance was only introduced in the 19th century. Prior, dogs had been bred based on traits helpful for their intended duties. We hope you enjoy this fine selection of British, French and American illustrations of various breeds of dogs!

Please contact Arader Galleries' San Francisco location at 415.788.5115 with any questions or requests to receive this catalog. Also, please be sure to revisit our web site, www.aradersf.com, which contains updated images of other available inventory from our gallery.

A Special Distribution of John Gould's Hummingbirds

2011-08-19T10:56:00.000-07:00

Eriocnemis Alinae

Spathura Solstitialis

Chrysobronchus Viridicaudus

Arader Galleries is pleased to announce a syndicated distribution of authentic hand colored lithographs from John Gould's most famous work: A Monograph of the Trochilidae - the Hummingbirds. These beloved images were published between 1849 and 1881. They were based on specimens in Gould's own magnificent collection and on his own travels. They are renowned for their use of mineral inks that duplicate the iridescence that makes these birds so special. This is the finest natural history coloring of all time. Nothing else before or since compares. These 418 beautiful, hand colored lithographs in superb condition will be distributed on Saturday, September 17th at our gallery in New York at 1016 Madison Avenue between 78th and 79th street. A price list is available on request.

A syndication is a wonderful opportunity to build or add to a collection at tremendously discounted prices. 83 shares consisting of five lithographs are available at $4,800, or $960 each. The order of selection will be determined in three rounds by a random lottery. Numbers 1 through 83 will be drawn and beginning with "1" each owner will select one piece. The order will be reversed in the second round, with each owner beginning with "83" selecting two pieces. The final round will also be in reverse order, and two more pieces will be selected. The process is fun, and owner is guaranteed to receive lithographs having a retail value of at least $25,000. A deposit of $1,000 will hold your place in the syndication, with the balance due ten days prior to the sale. You have the right to return your share for any reason until December 31, 2012.

Please contact Arader Galleries at 415.788.5115 for additional questions and to purchase a share.

Summer Art Exhibitions

2011-07-29T11:49:00.000-07:00

Don't miss any of these spectacular art exhibitions in the San Francisco Bay Area and Southern California!

Source: San Francisco Botanical Garden Library

San Francisco Botanical Garden Library
"Dahlias! A Photographic Tribute to San Francisco's Official Flower"
Photography by Franck Avril May 4 – August 31, 2011

Asian Art Museum
Bali: Art, Ritual, Performance
February 25 – September 11

San Francisco Museum of Modern Art
The Steins Collect: Matisse, Picasso and the Parisian Avent-Garde
May 21 – September 6, 2011

De Young Museum
Picasso: Masterpieces from the Musée National Picasso, Paris
June 11, 2011 - October 9, 2011

San Francisco Maritime Museum
Mapping the Pacific Coast: Coronado to Lewis and Clark
Maritime National Historical Park
July 1 - October 31, 2011

Legion of Honor
Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection
July 9, 2011 - October 2, 2011

California Historical Society
A Century of Landscapes: Selections from the California Art Club
July 14 – October 15

University of California , Berkley Art Museum
Rome, Naples, Venice: Italian Masterworks from the BAM/PFA Collection
July 6, 2011 - October 15, 2011

In Southern California:

Source: The Huntington Library and Art Collections

The J. Paul Getty Museum
Paris: Life and Luxury
April 26–August 7, 2011

Timken Museum of Art
George Inness in Italy
June 10, 2011 - September 18, 2011

The Huntington Library and Art Collections
Out of the Shadows: Joshua Reynolds’ Celebrity Portraiture and the Market for Mezzotints in 18th-Century Britain
July 2, 2011–Sept. 26, 2011

McKenney & Hall Portraits of Native Americans

2011-07-15T16:00:00.000-07:00

Mo-Hon-Go An Osage Woman

No-Tim A Chippewa Chief

Petalesharoo A Pawnee Brave

Po-Ca-Hon-Tas

It is with the greatest pleasure that we introduce to you our latest catalog highlighting our extraordinary collection of portraits of Native Americans by McKenney and Hall. Thomas McKenney was Superintendent of Indian Affairs from 1816 until 1830, and one of a very few government officials to defend American Indian interests. When a large delegation of Indians came to see President Monroe in 1821, McKenney commissioned the portraitist Charles Bird King to paint the principal delegates, dressed in costumes of their choice. Many of the most prominent Indian leaders of the nineteenth century were among King’s sitters, including Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola.

McKenney later worked with James C. Hall, a Cincinnati judge and novelist, to compile copies of King’s portraits and produce History of Indian Tribes of North America in 1836. Most of King’s original portraits were subsequently destroyed in a fire at the Smithsonian in 1865, so their appearance in McKenney and Hall’s publication is the only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century:

These hand-colored lithographs by McKenney and Hall remain as the most complete and colorful record of the native leaders who made the long journey to Washington to speak for their people. Please call Arader Galleries San Francisco location at 415.788.5115 to receive the catalog. There is also a great display of McKenney and Hall lithographs hanging at the San Francisco 432 Jackson Street location.

Celestial Charts by Johann Bayer

2011-07-01T15:36:00.000-07:00

Though he was a lawyer and not an astronomer by profession, Johann Bayer created one of the most memorable seventeenth-century guides to the constellations, entitled Uranometria, in honor of Urania, the muse of astronomy. First published in Augsburg in 1603, the Uranometria included celestial maps that were not only highly appealing on a visual level, but also significant in the history of astronomy. They were the first charts to identify astral magnitude (brightness) with a lettering system, using Greek characters for the brighter stars and Roman letters for the fainter. Although the Italian cartographer Alessandro Piccolomini had earlier used a somewhat similar system, it was not until Augustin Royer used the Bayer letters in 1679, followed shortly by John Flamsteed, that the system gained currency among celestial chartmakers. Bayer’s atlas also added 12 new constellations, in the southern sky, to the 48 of Ptolemy.

Bayer’s stellar lettering system -- which we still use for stars visible to the naked eye -- and his presentation of the recently discovered constellations were significant contributions to celestial cartography. Ironically, it may be that his work on the atlas had an ulterior motive. Bayer, by profession a lawyer, was really an amateur astronomer. He dedicated his atlas to the city council and to two leading citizens of Augsburg, who rewarded him with an honorarium and, later, a seat on the council as legal adviser. In any event, these are important star charts of considerable charm from the early seventeenth century.

Stop by Arader Galleries San Francisco location to see our fine selection of these incredible star charts. For more information, visit our web site, or call us at 415.788.5115

An Amazing Collection of Japanese Carriages

2011-06-22T14:52:00.000-07:00

These extraordinary Japanese watercolors with stencil prints, from the Meiji Period, illustrate various types of Japanese carriages, Kago, or litter, and Jinrikisha, or rickshaws, of noble families from various cities in Japan. All of these types of transport would have been used by the Japanese nobility during the 19th century. From the end of the 12th century 1868, Japan was ruled by the samurai class, with each region being governed by a shogun (the highest military rank). In 1868, Japan underwent a series of events known as the Meiji Restoration, which restored the noble class.

The use of human-powered Kagu, or litter, for transport in Japan appeared as the population increased, and horses were restricted to military use. Kago were often used in Japan to transport the warrior class and nobility, most famously during the Tokugawa period when regional samurai were required to spend a part of the year in Edo (Tokyo) with their families, resulting in yearly migrations of the rich and powerful to and from the capital along the central backbone road of Japan. Jinrikisha, or rickshaws, first appeared in Japan in 1868, the beginning of the Meiji Restoration, and quickly became a popular mode of transportation.

The images are full body watercolor over a stenciled base and are still incredibly vibrant. A different family crest is shown on each carriage. We invite you to stop by the Arader Galleries San Francisco location to view the complete collection! Please call Arader Galleries at 415.788.5115 with any inquiries or questions.

Arader Galleries Charity Auction

2011-05-16T11:24:00.000-07:00

It is a great pleasure to announce Arader Galleries third annual charity auction in New Orleans where 20% of the hammer price goes to the institution of your choice. Over the last three years Arader Galleries has proudly raised over $2,000,000 for over 25 deserving schools, hospitals, settlement houses, libraries and academic institutions that are so important to our clients.

The auction will be held on June 25th and 26^th, 2011 and will include over 65 of John James Audubon’s iconic aquatints from the Elephant folio Birds of America, published in London by Robert Havell between 1826 and 1838. The aquatints of birds by John James Audubon are true masterpieces of natural history art from the last 500 years and the iconic images are brilliant in their flawless artistic composition, the way they depict the life and movement of the bird, as well as providing scientifically accurate Linnaean detail.

Other highlights of the auction are the first imperial folio edition of Audubon's famous work The Viviparous Quadrupeds of North America, complete in three volumes and with 150 fine hand-colored lithographed plates, and works from other 19^th-century natural history artists including John Gould, Daniel G. Elliot and John Robert Thornton. A selection of fine maps and other color plate books from our collection will also be included.

We have chosen Neal Auction House to hold this auction because they have always been honest, helpful and accurate in their transactions with us over the last 15 years. We assure you that all purchases made by you at the sale will be delivered to you promptly, professionally, and at the lowest possible price. Also as a bonus please note that most of these pieces have been framed in elegant gold leaf moldings to full museum specifications.

Please let us know if you would like more information or would like to be sent a complimentary auction catalog.

Los Angeles Antiques Show

2011-03-30T16:38:00.000-07:00

Arader Galleries is happy to announce that we will be participating in the Los Angeles Antiques show this year!

We hope you will stop by to see our extraordinary collection of antique prints and original watercolors!

The Los Angeles Antiques Show
Held at the Barker Hangar at the Santa Monica Air Center

Opening night Preview Party

Wednesday April 13 benefiting P.S. Arts

Show Dates/Times
April 14 - 17, 2010

Thursday 11am - 7pm

Friday 11am - 9pm

Saturday 11am - 7 pm

Sunday 11am - 5pm

For information on the Los Angeles Antiques show, and the lecture series, please visit www.losangelesantiqueshow.com .

Helios: Eadweard Muybridge in a Time of Change

2011-03-25T13:16:00.000-07:00

Eadweard Muybridge (1830-1904) was a brilliant, eccentric photographer, who gained worldwide fame photographing animal and human movement imperceptible to the human eye. A retrospective of Muybridge’s work currently on view at the SFMOMA is the first to examine the full scope of Muybridge's vision and his pivotal role in the creative transformation of 19th-century culture. The British-born Muybridge began his artistic career in the 1860s in California — then as now a fertile ground for innovation — and his images vividly capture a rapidly changing West. Bringing together hundreds of photographs and other objects made between 1858 and 1893, the exhibition offers a panoramic view of Muybridge's work within the landscape of his times.

Arader Galleries also has a fine collection of Muybridge’s photographs: the top image is a series of a bird in motion from his famous Animal Locomotion series, the bottom is a detail of a panorama of San Francisco dated 1877. Please contact Arader Galleries with any questions about these fascinating and historically important photographs.

Arader Galleries presents a syndication of John Gould's "A Monograph of the Trochilidae - the Hummingbirds"

2011-02-16T15:39:00.000-08:00

Topaza Pella -
Crimson Topaz

Cometes Sparganurus - The Sapphro Comet

Arader Galleries is pleased to announce a syndicated distribution of authentic hand-colored lithographs from John Gould's
most famous work: A Monograph of the Trochilidae - the Hummingbirds. These beloved images were published between
1849 and 1881, based on specimens in Gould's own magnificent collection and from his travels.

These engravings are renowned for their use of mineral inks that duplicate the natural iridescence that makes these birds so special. This is the finest natural history coloring of all time, nothing else before or since compares. These 418 beautiful, hand colored lithographs in superb condition will be distributed at 1:00 pm on March 12, 2011 at our gallery in New York
at 1016 Madison Avenue.

A syndication is a wonderful opportunity to build or add to a collection at tremendously discounted price. 83 shares consisting of five lithographs are available at $4,800, or $960 each. The order of selection will be determined in
three rounds by a random lottery.

For more information about the John Gould hummingbird syndication,
please contact our San Francisco gallery at (415) 788-5115.

Fremont's Map of California from 1848

2011-02-04T09:21:00.000-08:00

Captain John Charles Frémont (1813-1890)
Charles Preuss, cartographer
Map of Oregon and Upper California from the Surveys of Charles Fremont And other Authorities
Baltimore: E. Weber and Co., 1848
Lithograph with outline color
44 ½" x 37 ½" framed

Detail of area of Northern California including the San Francisco Bay area, the Sierras and Lake Tahoe, and the Gold Mining region

This attractive large-scale map of California and Oregon, which shows the results of Captain Frémont’s difficult third expedition, became a model for many later gold region maps, and was by far the most accurate map of the far west at its time of publication. Depicted are some timely updates from 1848, such as the official establishment of the Oregon Territory, and the clearly delineated boundary with Mexico as stated in the Treaty of Guadalupe Hidalgo.

John C. Frémont was born in Savannah, Georgia on January 21, 1813. He briefly taught mathematics to U.S. naval cadets before launching his legendary career as an American explorer. As an assistant surveyor in 1838, Frémont joined the U.S. Topographical Corps and helped map the country between the upper Mississippi and Missouri rivers. Two years later, Frémont eloped with Jessie Benton, daughter of Senator Thomas Hart Benton, the driving force behind the “Manifest Destiny” movement. After accepting the secret marriage, Senator Benton helped his son-in-law secure command in 1841 of an expedition to survey the Des Moines River in present-day Iowa.

Between 1842 and 1844, Frémont led two expeditions to the Rocky Mountains and to the Nevada, California, and Oregon territories with the help of legendary fur trapper and master guide Kit Carson. Frémont’s journals provide incredible, vivid details of these expeditions. During his expeditions in the Sierra Nevada, it is generally acknowledged that Frémont became the first European American to view Lake Tahoe. His reports generated great interest in the West and western settlement.

Frémont met with some difficulty on his third expedition west in 1845-1846. At this time, California was held by Mexico, and war between the United States and Mexico was imminent - but had not yet been declared. En route to Oregon, Frémont heard of the approaching war with Mexico, and joined the Bear Flag Rebellion against Mexico under the command of Robert F. Stockton. As a result of his actions in the rebellion, Frémont was court-martialed and resigned from the army. Frémont later led a fourth expedition to the west in 1848, and was one of the first senators from California (1850-51). He later was the first presidential candidate of the new Republican Party in 1856, losing to James Buchanan (and not carrying the state of California), fought in the Civil War, and was the governor of the Arizona Territory.

For more information about this historically important map, please contact Arader Galleries at 415.788.5115.

Architectural Engravings from the 16th - 18th Centuries

2011-01-11T14:35:00.000-08:00

Plate 9 - Sala all'uso degi antichi Romani con Colonne, e nicchie ornate di Statue (Hall according to the custom of the ancient Romans) by Giovanni Battista Piranesi

Plate 14 - Templum et Academicum Colleg. Societatis Jesu… by Salomon Kleiner (1703-1761)
Palazzo Delia Seren Casa Medici Nel Monte Pincio Archittura di Anibal Lippi che fu Pittore Romano…by Giovanni Giacomo de Rossi (1627-1691)

Arader Galleries is pleased to present a new catalog featuring our selection of architectural engravings from the 16th through 18th centuries. These extraordinary engravings showcase the both the Baroque and Neoclassical styles of architecture seen in great cities such as Rome, Vienna and London.

Please contact Arader Galleries at 415.788.5115 to request a copy of the Architecturals catalog.

Best wishes to you in the New Year!

Seasons Greetings from Arader Galleries

2010-12-07T14:46:00.000-08:00

Happy Holidays!

Holiday Hours:

December 24th (Christmas Eve) 10 a.m. - 2 p.m.

December 25th - Closed

December 31st 10 a.m. - 2 p.m.

January 1st - Closed

Arader Galleries is happy to announce our Holiday 2010 Catalog is now available. Showcasing a selection of favorite pieces from our collection, this catalog is perfect for gift giving ideas and holiday decorating!

India :: Botanicals, Natural History, Maps and Views

2010-11-24T15:08:00.000-08:00

A View at Lucknow
Henry Salt (1780-1827)
Twenty-four views in St. Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia, and Egypt
London: William Miller, 1809
Hand-colored aquatint engraving by Robert and Daniel Havell

Arader Galleries is pleased to present a special catalog of antique engravings, lithographs and original watercolors focusing on our fine selection of works relating to India. It is impossible not to be astonished by India. Its rich culture and history, especially its role in early trade routes, and its present-day status as one of the world’s largest economies has no doubt inspired the modern collector. Europeans fervently documented this vast region, and the works in the following pages offer a glimpse into the great influence of the Indian culture over Western societies, from the early sixteenth century to well into the nineteenth century.

From 16th century maps, to 19th century sporting scenes, Arader Galleries has a wide range of material highlighting India, including its exotic flora and fauna, and majestic views and architecture. Please contact Arader Galleries at 415-788-5115 if you have an interest in receiving our India catalog.

Arader Galleries at the San Francisco Fall Antiques Show

2010-11-12T11:24:00.000-08:00

Arader Galleries booths at

SF Fall Antiques Show

Arader Galleries was excited to participate in the San Francisco Fall Antiques Show benefiting Enterprise for High School Students held October 28 - 31 at the Fort Mason Festival Pavilion.

The theme for the 2010 show was Chinoiserie, an influential artistic and decorative style which reflects Chinese influences. The numerous lecturers spoke on an array of fascinating topics including an informative lecture on China and porcelain from Senior Vice President, Department Director, Chinese Works of Art and Head of European Ceramics and Chinese Export Porcelain at Sotheby’s, New York, Christina Prescott Walker. Using her own China cabinet as an example, she touched on the history of porcelain in China and the secrets of making it that Europeans tried to emulate. She also spoke of the different painting styles artists used to decorate the China, which were exported and coveted by Europeans for their delicacy and beauty.

Hey Royal Highness Princess Michael of Kent also gave a lively lecture on Chinoiserie influences in porcelain, art and design seen throughout the courts of Europe. Illustrated with pictures and examples from her own travels throughout Europe, Her Royal Highness gave a deep inside look into the collections of royalty and the histories behind the fascination with collecting these rare and beautiful pieces.

The 2010 San Francisco Fall Antiques Show was filled with lavish beauty, decoration and works from the finest galleries throughout the world and included an interesting and informative lecture series devoted to Chinoiserie.

San Francisco Fall Antiques Show

2010-10-20T17:09:00.001-07:00

Jacques Charton
Hippopotame d'Afrique
From Collection de plantes etrangeres en
fleurs, fruits, corail et coquillages
Paris: 1784
Hand-colored copperplate engravings

Arader Galleries in San Francisco is proud to be exhibiting at the upcoming 2010 San Francisco Fall Antiques Show, the oldest continually operating fine antiques show on the West coast, with exceptional dealers from across the world. Each year a special theme is selected highlighting a particular design influence. The 2010 San Francisco Fall Antiques show theme is “Chinoiserie”, a French term meaning “Chinese-esque”, and focuses on Western art that features or imitates the elements, techniques and designs that have been used in Eastern art for centuries.

With the influx of trade between Europe and China beginning in the 17th century, a new style of art, design and decoration was realized. Interests in whimsical Asian imagery and ornamentation, furniture, porcelain and design were abundant in European homes and in the art produced throughout the 17th to mid-18th century, when it further translated into the French Rococo style.

The San Francisco Fall Antiques Shows runs from October 28th to the 31st, 2010 at the Festival Pavilion in Fort Mason. Numerous guest speakers will be presenting throughout the show on a multitude of topics relating to Chinoiserie history, design and fashion. Please feel free to contact Arader Galleries in San Francisco for more details. Tickets to the San Francisco Fall Antiques show may be purchased at http://www.sffas.org .

Filoli Estate and Gardens

2010-10-19T13:00:00.000-07:00

Images:

View of Filoli house

View of Sunken Garden

Mural of Muckross House and Abbey

in Filoli ballroom

“Fight for a just cause; Love your fellow man; Live a good life”

Filoli is a magnificent estate located on the Peninsula in Woodside. The estate, still remaining on all of its 654 acres, was built by Mr. and Mrs. William Bowers Bourn II who lived on the estate from 1919 to 1936. The Bourn family owned the Empire Gold Mine, the Spring Valley Water Company and the Crystal Springs Reservoir and like many families during the early 20^th century, prospered during America’s “Gilded Age”.

San Francisco architect Willis Polk designed this amazing estate using elements from different architectural eras and styles. The house, styled mainly in a modified-Georgian tradition has French and Spanish influenced architecture, with outstanding works of art from throughout the world. In the ballroom, Ernest Peixottoe, a San Francisco artist, was hired by the Bourn family to paint wall sized murals of their family estate, Muckross House and Abbey, with the surrounding Irish countryside, gifted to their daughter Maude on her wedding day.

The formal gardens at Filoli were designed by San Francisco artist and designer Bruce Porter and built between 1917 and 1921. The sixteen-acre garden is a true complement to the refinement of the estate and to the natural California countryside surrounding the home. The expansive gardens are divided into two parallel north-south walks, yet within each, walkways wrapping through gardens, doors and terraces give each division of the garden a feeling of total immersion and intimacy.

In 1937, Filoli was sold to Mr. and Mrs. William P. Roth, owners of the Matson Navigation Company. Mrs. Roth, a horticultural enthusiast, brought worldwide recognition to the Filoli gardens and to Isabella Worn, whom assisted with plant selection and design. Worn’s detail in selection and plating design brought remarkable color and life to the gardens.

Mrs. Roth donated the estate to the National Trust for Historic Preservation in 1975 in order to ensure the estate would be available for all to enjoy years later. Filoli is open Tuesday through Sunday, mid-February to late October and is a true pleasure for architectural, design and garden enthusiasts alike.

Dynamic Botanical Photographs

2010-09-28T17:11:00.000-07:00

Photo courtesy of the SF Botanical Gardens

Now being exhibited at the San Francisco Botanical Garden's Library are brilliant photographic images of plants and flowers bursting with color, texture and geometry. The title of the show, by photographer Julie Jaycox, "Nature's Geometry: Surprises of Botanical Design," perfectly describes these beautiful and detailed images and the symmetry they present.

Many of the pieces are composed of two pictures to show the similarity and differences between the plants and the elements that make them unique. Julie's images showcase the beauty, elegance and often unseen details of plants that surround us daily, as many of these photographs were taken while she walked through parks and found the plants in different stages of growth and flowering.

"Nature's Geometry: Surprises of Botanical Design" will be on display at the Helen Crocker Russell Library of Horticulture in the San Francisco Botanical Garden until December 30, 2010 and are a must see for any botanical or photograph enthusiast.

The Exquisite Manuscript Florilegia of Jacques le Moyne

2010-09-08T12:34:00.000-07:00

One of the rare Jewels to be found in the collections of both the British Museum and the Victoria and Albert Museum in London are sixteenth manuscript florilegium of wildflowers and fruits painted by Jacques le Moyne de Morgues. Only five compendiums to date have been identified as original works by le Moyne, the finest of which can be found at Arader Galleries.

Le Moyne, a French Huguenot, best known for his vivid account of the ill fated 1564 transatlantic voyage to Florida which he accompanied as official artist and cartographer to the French King Charles IX, ended his career in Elizabethan London as a highly regarded botanical artist whose patrons included Sir Walter Raleigh and Lady Mary Sidney. Le Moyne was among a rare and exclusive group of 16th century botanical artists who specialized in the creation of florilegia, most of which were printed, however a small number of such works commissioned by wealthy aristocrats, were painted by hand. Le Moyne was among the first artists to revive the practice of drawing from nature and working from real plants instead of following the tradition of copying from earlier botanical illustrations. A shining example is Le Moyne’s watercolor of the wild strawberry, exhibiting delicately upturned and curling leaves, subtle gradations in stem color and exquisitely imperfect strawberries shown in varying stages of ripeness, all of which strongly suggest that he was in fact working from a live plant specimen. Versions of Le Moyne’s magnificent Wild Strawberry are included in the compendiums held at the Victoria and Albert Museu m,

the British Museum, and the collection at Arader Galleries.

Image from the Victoria and Albert Museum

The Wild Strawberry watercolor at the Victoria and Albert Museum is most likely the earliest of the albums, probably painted in Paris after he returned from his expedition to Florida in 1566 and before he fled to London in 1572. This album is thought to have been intended to serve as a design reference for jewelry, embroidery and other crafts. Le Moyne has included a magnificent female emperor moth which he edited from the composition in later works. This is the largest format of the three albums, and generally the watercolors are of entire plants, and sometimes contain incomplete sketches. It seems Le Moyne was less concerned with overall composition and more focused on realistically portraying the natural details of the various specimens.

Image from the British Museum

The Le Moyne Album at the British Museum, completed in London in 1585, is probably the latest of the three works. The Wild Strawberry watercolor in this album considerably more stylized than the version at the Victoria and Albert museum and has been lined with a red ink border, consistent with the accompanying watercolors in this compendium. Le Moyne has altered and tightened the composition by editing the least visually interesting components of the plant to fit within the border.

The Le Moyne Album at Arader Galleries is by far the most lavish and deluxe version when compared to the collections at the British Museum and the Victoria and Albert Museum. The paper has been prepared as vellum to give a subtle sheen and the exquisitely illustrated flowering and fruiting plants are composed with in a distinctively sumptuous gold leaf border. Le Moyne retains the fine and delicate detail found in the collection at the Victoria and Albert Museum while employing his elegant understanding of composition to frame the illustrations within the border to create a more compact and arresting overall image.

If you would like more information, or the chance to view this magnificent 16^th century manuscript by one of the most exceptional botanical artists of the 16^th century, please do not hesitate to contact us.

Rare Books and Magnificent Maps

2010-08-30T16:47:00.000-07:00

Arader Galleries has, for the fourth year in a row, participated in the London Rare Books School (http://ies.sas.ac.uk/cmps/events/courses/LRBS/index.htm) , a series of intensive courses on a variety of book-related subjects taught by internationally renowned scholars, with privileged access to the treasured collections of London’s finest libraries and museums, including the British Library, the British Museum, the National Archives, and the Royal Geographic Society, to name a few.

Catherine DeLano-Smith, the editor of Imago Mundi, and Sarah Tyack, former chief Executive of the National Archives (UK), lead The History of Maps and Map Making and Mapping Land and Sea before 1900 seminars respectively. Highlights included a private tour and lecture of the British Library’s current exhibition Magnificent Maps: Power, Propaganda and Art with curator and director Peter Barber. (http://www.bl.uk/magnificentmaps/)

Featuring over 80 of the most impressive wall maps ever created, this exhibit tells the cumulative story of how maps, and the underlying agendas of their creators and commissioners, have been used to wield power and control throughout history, from 200AD to the present day.

The exhibition beautifully exemplifies one of the main themes of modern cartographic study; that maps are subjective images that convey much more than geographic information. This rich world of nuanced yet complex purposes comes to light as one begins to see each map through the eyes of its originally intended audience.

The magnificent Maps exhibition at the British Library will be on display until September 19, 2010.

Oakland Museum of California

2010-08-16T12:14:00.000-07:00

Albert Bierstadt

Yosemite Valley

1868

Oil on canvas

Photo courtesy of the

Oakland Museum

Discreetly located in downtown Oakland is a gem of California culture and art, the Oakland Museum of California. The museum, divided into three levels, tells the history of California and the Bay Area through numerous forms of media and allows for visitors to interact with the displays and leave their own images, writings and experiences along the way.

The history gallery is based around the theme “Coming to California.” Vividly illustrated and extremely detailed, this exhibition gives a broad view of the development California over time: from Native American life in the west, the impact of Spanish colonization, construction of major cities and railways and the impact of the ever changing political climates in California, with a special focus on the Bay Area. The interactive exhibition is fun and interesting for children and adults alike and gives a unique insight into the evolution of California.

Interactive display at the Oakland Museum

Photo courtesy of www.curatedmag.com

The art gallery at the Oakland Museum includes over 70,000 works by California artists, ranging in disciplines and topics with subject matters significant to the California region and ideologies. Large-scale landscape paintings by Albert Bierstadt, Thomas Hill and William Keith, also in the Arader Galleries collection, show the great skill of the artists and refined beauty of the Sierras in the late 1900’s.

The photography collection includes Dorothea Lange’s documentation of the Great Depression across the US and a dynamic book of Carleton Watkins photographs of Yosemite. Figurative and abstract paintings by local and California artists bring life and color to this diverse collection.

The Oakland Museum is filled with fascinating information about California history, beautifully translated and displayed with an inviting and aesthetic approach, appealing to all of the senses.

A Maps Lecture by Margaret Pritchard

2010-08-06T15:16:00.000-07:00

Thomas Conder, Map of the Interior Travels Through America
London, c. 1789

Margaret Pritchard made the journey from Williamsburg, VA to deliver an incredibly insightful presentation and lecture for The American Decorative Arts Forum at San Francisco’s De Young Museum. The Arader Galleries San Francisco team was in attendance and hosted Margaret for a private reception in the San Francisco Gallery. Margaret received a bachelor’s degree from Hollins College. After working with Winterthur’s needlework collection for a year, she received a fellowship at Colonial Williamsburg to assist with the refurnishing of the Governor’s Palace.Margaret subsequently became the curator of Colonial Williamsburg’s collections of prints, maps and wallpaper. Her responsibilities include acquisition of new objects for the collections and research in the medium of paper. She selects appropriate prints, maps, and wallpaper to hang on the walls of buildings in the historic district, such as the Brush-Everard House, the George Wythe House and the recently recreated Richard Charlton Coffeehouse. Margaret Prichard’s publications include William Byrd II and His Lost History: Engravings of the Americaswith Virginia Sites (1993); Empire’s Nature: Mark Catesby’s New World Vision with Amy Meyers (1998); andDegrees of Latitude: Mapping Colonial America with Henry Taliaferro (2002). She combined her study of geography with living nature for “A Protracted View: The Relationship between Mapmakers and Naturalists in Recording the Land,” her contribution to Curious in our Way: The Culture of Nature in Philadelphia, 1740-1840 (2009).

Margaret’s lecture focused on maps in the 17th and 18th centuries and their importance for documenting new discoveries and promoting settlement in the New World. These documents — created by empirical observation and scientific equipment — authoritatively documented claims of boundaries between colonies and empires. Land titles and rents, and trade — aided by nautical atlases, hung in the balance. As the struggle between France and Britain for control of North America intensified in the 18th century, the need for reliable maps for military use also increased.

Maps also embodied intellectual attainment and social aspiration. Prominently displayed maps, charts, atlases and globes became status symbols for the enlightened, genteel 18th century gentleman whose library might well have included works on commerce, navigation, geography, mathematics, physics, natural history and travel. Maps were ordinarily displayed in the hall (not today’s passageway but the name for the primary room for welcoming guests to the home) or dining room, literally and figuratively demonstrating the host’s expanded world view to guests.

Margaret explained the role of maps as powerful visual symbols during the 17th and 18th centuries. They were useful devices for mapmakers and colonial expansionists to convey a host of attitudes and values. She dissected the meaning behind many of the elements in the maps’ cartouches, adding engaging insight into these stunning antique maps. Examples of many of the maps discussed can be found in the Arader Galleries collection. See our section on Maps on the home page of our website (www.aradersf.com).

Exquisite Japanese Watercolors of a Rooster, Hen and Chicks

2010-07-19T12:07:00.000-07:00

These two exquisitely detailed Japanese watercolors of a rooster, hen and chicks were most likely created in the 19th century.

Japanese long-tailed fowl have been breed by the Japanese aristocracy for over 350 years. Depictions of these Japanese roosters began to appear in Japanese art in the 1630s, near the time when Japan closed its ports to outside trade. It is suggested that these roosters were brought to Japan by Dutch traders from Java, which was a Dutch colony, as depictions of long-tailed roosters appear in Dutch art of the same era. Breeding these exotic fowl is a hobby for many today.

The symbol of the rooster has some significance in Japanese culture. The use of animal symbol as part of the zodiac, which originated in China, was adopted in Japan in 604. The Asian zodiac is divided into 12 years, each named after an animal: the rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog and boar. People that are born in the same animal year are said to share similar traits. Those born during the year of the rooster are said to be profound thinkers and devoted to their work.

These wonderful watercolors are currently on view at the 435 Jackson St., San Francisco location of Arader Galleries. Please call 415.788.5115 for any additional questions you may have.

In the Garden

2010-06-28T09:08:00.000-07:00

French School
An Allegorical Garden
Gouache on vellum with contemporary frame
Framed size: 23 1/4” x 23 1/8”
France, Seventeenth century

Johann Christoph Volckamer (1644-1720)
Plate 20 from Hesperidum Norimbergensium
First Latin Edition: Nuremberg, 1713
Hand-colored copperplate engraving; 14” x 9”

François Duvillers (1807-1881)
Plate 57 - Plan du Parc Sericicole, Agricole, Gruitier, Potager ... des Proprietes de Mr. Eugene Chaband
From Les Parcs et Jardins
Paris: 1871-78
Hand-colored engraving; 14 ¼" x 21 ¼"

Arader Galleries is pleased to present you our latest catalog, In the Garden, featuring our fine collection of art relating to gardens, including sweeping views of garden estates, garden design diagrams, garden ornament and botanicals. Gardens became very important in Western Europe beginning in the 17th century. The medieval period had seen gardens turn inward with cloisters and private, walled environments. During the Renaissance, a revival in garden design, first reflected in Italian gardens, saw the outdoor environment as more an extension of the home. This Italian style of formal, or Baroque, gardens would dominate European garden design through the early 18th century, with many countries adopting their own styles. The French style of the Baroque garden, or Garden à la française was known for its elaborate, geometric designs, as seen in gardens at Versailles.

The characteristics of a typical Baroque garden include a grandness of scale, rich ornamentation and sweeping vistas. The decoration of the Baroque garden reflected the culture of the time. There was a wide interest in botanicals and natural history, due to the 17th century world explorations, which affected the appearance of gardens. Exotic plants, such as citrus trees, animals, shells and stones imported from all around the world were incorporated into garden design. Fountains, hydraulics and painted perspectives reflected the scientific and technological innovations of the era. Additionally, there was a wide interest in antiquities, and thus classical sculpture became a main element of garden design.

If you have an interest in receiving the In the Garden catalog, please call Arader Galleries at 415.788.5115.

Impressionism Masterpieces

2010-06-19T14:45:00.000-07:00

The Magpie
Claude Monet
1869
Oil on canvas

Arader Galleries had the privilege to visit the De Young Museum in San Francisco and view the wonderful exhibition “Birth of Impressionism: Masterpieces from the Musée d’Orsay”. The collection includes masterpieces by influential artists including Claude Monet, Edouard Manet, Edgar Degas, Pierre-Auguste Renoir, Gustave Calliebotte and more.

Impressionism was an art movement stemming from Paris, France in the 19^th century and is characterized by painting with visible brushstrokes, opening the composition, moving away from fixed lines and creating a natural lightness on the canvas. Throughout the exhibition, viewers are treated to an array of interpretations of the style of impressionism and receive a broad education in the differences among these revolutionary artists.

Highlights of the show include Edouard Manet’s The Fife Player (1866), The Dancing Lesson (1873-76) by Edgar Degas and Saint-Lazare Station (1877) by Calude Monet, each a staple in the teachings of art history. Each of these almost 100 brilliant masterpieces are sure to be enjoyed by all, as the exhibition is open through September 6, 2010, and is followed by a post-Impressionism exhibition at the De Young Museum from September 21, 2010 - January 18, 2011.

San Francisco Decorator Showcase

2010-05-18T10:49:00.001-07:00

The 2010 San Francisco Decorator Showcase is being held in a magnificent 1929 French Normandy mansion at 3450 Washington Street (between Walnut and Laurel) in Presidio Heights .

Open from May 1st to 31st, the proceeds from visitors and the silent auction benefit the financial aid program at San Francisco University High School.

More than twenty San Francisco designers were chosen to decorate the rooms of this fabulous house, each with their distinctive flair and style. From the rich horologists room to the playful au pair room, and every floor in between, the designers embellished this home to perfection.

French Decorative Styles: 17-18th Centuries

2010-05-07T16:31:00.000-07:00

Model of Marie Antoinette's Room in the Neoclassical style
Photo courtesy of iald.org

Within the vast halls and exhibitions of the Metropolitan Museum of Art in New York City, are the Wrightsman Galleries featuring models of the rooms and some original decorative pieces of European rulers and aristocrats. A guided tour takes visitors through these halls and three separate rooms fashioned in the styles of Kings Louis XIV, XV and XVI, which reflect the changing styles of French decoration through the 17^th and 18^th centuries.

King Louis XIV, also known as the Sun King, ruled in France from 1643-1715, the longest reign of any monarch in Europe. Louis chose a royal hunting lodge at Versailles to become his grand palace and home to the French government and noblemen. Over the following decades expanded it into the largest palace and grounds in the world. When decorating his private rooms in Versailles, King Louis XIV favored the Baroque style, popular throughout Europe. The room, as modeled in the Metropolitan Museum of Art, is rich with tapestries, lush dark red coloring and intricate wood and metal craftsmanship adorning the furniture. King Louis XIV’s decorations are imbued with images and metaphors of himself, his family and “sun” emblems. A particular piece of furniture, his personal writing table, is a permanent piece in the MET collection and on display in the room. The desk, made by Dutch-born cabinetmaker Alexandre-Jean Oppenordt, illustrates how materials such as tortoise shell were used to create a rich and multi-tonal veneer with brass inlay in intricate and symbolic patterns referring to King Louis XIV.

Following Louis XIV was his great-grandson Louis XV. The styles throughout his reign of France and at the Palace of Versailles shifted into an even more ornamental, sculptural style that retained a delicate and playful elegance, called Rococo. The term Rococo is a combination of the French word rocaille, meaning stone, and coquilles, meaning shell and alludes to the elaborate ornamentation on the walls of salons and rooms throughout France. Statuettes and stucco decorations on the walls of the salon featured in the MET combine symmetry with ornate decoration. Movement within the rooms was important to Louis XV and the furniture was lighter for easy rearrangements, more curvaceous and rounded and inviting to be used.

King Louis XVI, who reigned from 1774 until 1792, when he was tried and executed for treason, was a young king growing up in Versailles. Louis XVI and his young Austrian bride, Marie Antoinette, favored a simpler style called Neoclassical. Throughout the 18^th century, straight legged furniture replaced the curves of the Louis XV style and the ornate wall designs and fixtures were transformed into straightforward designs. Symmetry and simplicity were the models used for decoration and color palette was lighter and fresh. A room in the MET describes this style and is modeled after Marie Antoinette’s private quarters. Containing her original writing desk and a chest sent from her mother, visitors see the dramatic change from the highly decorative and fluid Rococo style to the symmetrical, simple yet Neoclassical style.

"Wild About Parrots"

2010-04-23T16:27:00.000-07:00

Maya
Photo courtesy of
Drew Altizer Photography

Arader Galleries, San Francisco, had the pleasure of hosting the San Francisco Zoological Society’s Benefactor party in our galleries on Tuesday, April 20th, 2010. The lively event was co-hosted by Barnaby and Martha Conrad and MacGregor and Mary Read.

The event comes days before the highly anticipated annual ZooFest, the San Francisco Zoological Society’s most celebrated fundraiser, held on April 30th, 2010 at the zoo. This year, the ZooFest's theme is “Wild About Parrots” and focuses on South American parrots whose habitats and lives are continually destroyed through illegal trafficking and deforestation.

A portion of the money raised by ZooFest will go towards the restoration of the San Francisco Zoo’s South American Tropical Forest Aviary and parrot habitat. A moving speech delivered by Executive Director and President of the San Francisco Zoo, Tanya Peterson, highlighted the importance of preserving the lives and habitats of these beautiful birds.

Along with the many benefactors of the San Francisco Zoo, Mark Bittner, author of The Wild Parrots of Telegraph Hill attended the party and signed copies of his book. Live owls, a chatty parrot and a peregrine falcon, presented by handlers from San Francisco Zoo, also greeted attendees and served as a reminder of the great impact the Zoological Society has on these animals.

The event at Arader Galleries provided the perfect platform for the celebration of ZooFest and the many outstanding accomplishments made by the supporters of the San Francisco Zoo for the care and conservation of animals.

Arader Galleries @ Los Angeles Antiques Show

2010-04-13T15:56:00.000-07:00

Arader Galleries is happy to announce that we will be participating in the Los Angeles Antiques show this year! Hope you will stop by to see our extraordinary collection of antique prints and original watercolors!

The Los Angeles Antiques Show
Held at the Barker Hangar at the Santa Monica Air Center

Preview Gala to benefit P.S. Arts
Wednesday, April 21, 2010; 6 to 10 p.m.

Show Dates/Times
April 22 - 25, 2010
Thursday - Saturday, 11 a.m. to 7 p.m.
Sunday, 11 a.m. to 5 p.m.

For information on the Los Angeles Antiques show, and the lecture series, please visit www.losangelesantiqueshow.com.

Beautiful Chinese Watercolors by Tingqua and his Studio

2010-04-02T15:02:00.001-07:00

Whampoa Anchorage with American, British and Danish Shipping

View of Hong Kong Island

Macao from the North

Boca Tigris on the Pearl River

The studio of the artist Tingqua was perhaps the most prolific source of Chinese export painting during the nineteenth century. Located at 16 China Street, Guangzhou, the school specialized in gouache and watercolor paintings influenced by Western artistic traditions. These works became known in America primarily through the American China trader Augustine Heard, who brought a substantial collection of Tingqua paintings back to the United States in ca. 1855. These are now located at the Peabody Museum in Salem, Massachusetts.

Tingqua was from a family of Chinese artists, each of whom were recognized for there skills in painting scenes suitable for the export market. His father, Guan Zuolin, often known by his western name, Spoilum, was the first identifiable artist of the Cantonese export school. These exquisite little views absolutely typify Tingqua’s style and technique. All four works display the Tingqua denotation of the sea by regular parallel lines, sometimes with ripples in the foreground. Moreover, his characteristic mannerism of representing trees as thick clusters of yellow-green leaves is amply demonstrated in his paintings of the Canton Waterfront with the U.S. Steamer “Spark” and Whampoa Anchorage with American, British and Danish Shipping. These watercolors also illustrate the diversity of countries trading in China, particularly in the former work, with the flags of the American, British, French and Danish nations displayed prominently along the skyline.

Above all, Tingqua’s work is perhaps most recognized for its exquisite characterization of daily life and for its exceptional detail. The precision of the brushwork and concentration upon light effects is superb, and in each scene the importance of world trade with China is beautifully displayed.

These stunning watercolors are currently on display at Arader Galleries' 432 Jackson Street location in San Francisco. Please visit www.aradersf.com or call 415.788.5115 for more information.

The Cartier Legacy

2010-03-24T15:15:00.000-07:00

Cartier bib necklace made for the Duchess of Windsor, 1947

Cartier in America, a fascinating exhibition at the Legion of Honor through May 9, 2010, blends social history, fashion and jewelry design. The exhibition takes the viewer through the eras of Cartier’s reign as the “King of Jewelers” since its foundation in Paris by Louis-François Cartier in 1847.

The pieces displayed, most from the private Cartier collection, range from traditional white diamonds placed into magnificent tiaras, bangles and rings, colorful baubles like the famed “Tutti Frutti” necklace, small accessories and purses and the infamous Mystery Clocks, produced between 1913 and 1954, collectibles that still remain an innovative Cartier secret.

Cartier opened its first US store in New York City in 1909, and for the first time celebrities and socialites in America had to look no further than their own backyards for their desired jewels. Many of these famous socialites, actresses and the international elite had their stories told throughout the exhibition with pictures of them and the jewels they once wore. The exhibition also centers on Cartier as a pioneer, one of the first to use platinum settings and to use cultural influences from Asia, India and Egypt in his designs while always using the finest and most precious gems.

This breathtaking and informative exhibition also includes examples of drafts and drawings of the jewelry in the first stages of design and a video showcasing the many laborious steps and hours needed to creating such fines pieces of art. Many of the pieces displayed had been altered or reset over time, in order for their wearer keep up with the ever changing fashion and style trends throughout the 20th century.

Cartier, the man and the brand, is truly pioneering in all fields of accessory and jewelry design and manufacturing, having lavished the most precious jewels on some of the most famous members of 20th century society and creating the most outstanding empire of jewelry worldwide for over 100 years.

"The Bird Man", a splendid biography on John Gould

2010-03-18T13:27:00.000-07:00

This lively account of the life and work of John Gould,'The Bird Man; The Extraordinary Story of John Gould' by Isabella Tree, reveals a fascinating story of how John Gould, a self taught man of modest origins, became the most celebrated ornithologist of Victorian Britain, producing over forty folio volumes of scientifically revolutionary and aesthetically magnificent ornithological works containing more than 3,000 hand colored plates.

Tree vividly portrays Gould as a shrewd business man fiercely devoted to the pursuit of ornithological study and the financial success of his vast and celebrated publications. She sheds light on the inner workings of what she coins, ‘the Gould Machine’, Gould’s massively successful publishing ventures made up of illustrators, colorists and specimen collectors.

Tree suggests that Gould may have been a less than desirable colleague and employer as she recounts one example after the next of the many people employed by, yet not acknowledged by Gould - several of which, including his wife, Elizabeth Gould, who illustrated many of the plates in Gould’s works, lost their lives under his seemingly never tiring demands. She contrasts the romantic artist, Edward Lear, who illustrated many of the magnificent plates for ‘The Birds of Europe’ and ‘A Monograph of the Ramphastidae, or Family of Toucans’ with the pragmatic and rigid Gould who failed to acknowledge Lear’s artistic brilliance that transformed Gould’s somewhat stiff and rigid scientific depictions of birds into expressive work of art. Tree inserts an image of Lear's plate of the Culminated Toucan '(Ramphastos cumenatus), which we at Arader Galleries have in our outstanding collection of exceptionally fine lithographs from the works of John Gould, as an example of Lear's dynamic and expressive artistic abilities.

Tree devotes a large portion of the book to Gould’s travels in Australia. In September 1838, John Gould and his wife, Elizabeth arrived in Van Diemen’s land (Tasmania) and spent the following 18 months exploring Tasmania and the adjacent islands, South Australia, and new South Wales. Upon the discovery that she was pregnant, Elizabeth resolved to remain in Tasmania while her husband set about discovering the birds of Australia’s interior. She was to stay with the Governor of Tasmania, John Franklin, during this time and became fast friends with the Governor’s wife. Thus, it was that Captain Franklin became a subscriber to ‘The Birds of Australia’. At its time of publication the birds of this region were essentially unknown to a European audience and as Gould himself admitted in the preface to the book, “the field was comparatively a new one”.

‘The Birds of Australia’ is John Gould’s largest and most important work. Because he himself spent so much time in the field making his own observations, the text that accompanies the illustrations is by far the most accurate and detailed of all his works. Moreover, it is such a complete study that very few additions have ever been made to the study of Australian ornithology.

We, at Arader Galleries are proud to have a complete set of John Gould’s monumental ‘Birds of Australia’ including many birds that were first described by Gould such as this stunning and vibrant depiction of Platycerus semitorquatus.

A letter accompanying our complete set, dated April 1877 and written by Henry Elliot, sheds light on the provenance of the present edition. He writes:

“This copy of Gould’s Birds of Australia belonged to Sir John Franklin to whom I was aide de camp, and in whose house, while Governor of Tasmania, Gould lived many months while making his Collection. I had myself made a collection of the Birds of Tasmania, and gave many of the specimens to Gould. After the death of Sir J. Franklin’s widow in 1876 this copy of the work was given to me by his niece . . .”

The letter is inserted into the first volume of the book and indeed, Gould acknowledges the assistance of both Elliot and Franklin in his preface.

Isabella Tree’s biography, ‘The Bird Man’, eloquently recounts the amazing and astonishing life and work of John Gould peppered with excerpts from Gould’s correspondences with such influential people such as Sir William Jardine, members of the Zoological Society, and Charles Darwin, who Gould aided in his theory of natural selection. I encourage all that are interested in learning more about one of the most influential pioneers of ornithological study and illustration, John Gould, to read Tree’s biography and to visit our gallery to view our impressive and complete set of Gould’s‘The Birds of Australia’ and our large selection of exquisite hand colored lithographs from many of his other monumental works such as‘The Birds of Europe’, ‘A Monograph on the Trochilidae’, ‘The Birds of Asia’, and ‘The Birds of New Guinea and the Adjacent Papuan Islands’.

Printmaking: A Continuous Dialogue

2010-03-09T12:23:00.000-08:00

Sorbum
Leonhart Fuchs (1501-1567)
From De Historia Stirpium
Basel: 147
Hand-colored woodcut engraving

On Tuesday, February 23, 2010, Arader Galleries in San Francisco had the pleasure of attending “Art Sandwiched In,” a series of noontime luncheons held at the San Francisco Museum of Modern Art, which presents prominent members of the art community in panel discussions on a myriad of art related topics. “Printmaking at the Heart of the Creative Process,” a discussion on the history and current practices of printmaking, featured a panel including Kathan Brown, founder of the Crown Point Press artist Laura Owens, Griff Williams, owner of Gallery 16/Urban Digital Color, artist Darren Waterston and was moderated by the SFMOMA’s curator of painting and sculpture, Janet Bishop.

An informative video, filmed at the Crown Point Press, introduced the process of printmaking. Viewers witnessed the different steps to making prints and saw as Laura Owens, an artist-in-residence at the time, carefully created her works. Kathan Brown and Griff Williams spoke about their interests in printmaking and how their respective workshops and galleries have developed the process with modern technology while using the same skill, dedication and preciseness as artists in the 15^th century. Laura Owens spoke about her influences in printmaking, the images and ideas she uses and her process and how they may relate to, but become far removed from her other formal paintings and works.

Griff Williams and Darren Waterson also discussed their interests in using digital technology to create images which are then engraved and printed. In their collaborative book, “The Flowering,” thirteen images by Waterson were inspired by the experience and readings of St. Francis of Assisi and produced through relief printing, digital pigment printing and hand-coloring.

The dialogue between original and contemporary printmakers is still strong, as the process and desire for originality remain the same. Arader Galleries is proud to have numerous printmaking artists in its collection including Leonhart Fuchs’s woodcut herbals from the 16th century, Giovanni Battista Ferrari’s copperplate engraving from the 17th century and Pierre-Joseph Redoute’s botanical stipple engravings, all of which are meticulously created and expertly hand-colored.

John Gould’s Lithographs and the Importance of Original Color

2010-02-17T13:22:00.000-08:00

Rich, vibrant color is an important attribute of the best 19th Century prints. Many prints by John Gould found on the market today have modern color that affects both the appearance and the value of these great works.

John Gould died in 1881 still actively illustrating and producing fine bird books. His stock of unsold copies, unbound text and plates in various states, lithographic stones, drawings and paintings, amounted to nearly three tons. Many of the uncolored pulls from his works have been recolored in the last thirty years, and these are often found on the market.

Fortunately, the difference between original and modern color can be discerned by looking carefully at the print. When modern color is applied to 180 year old paper, the application is inconsistent; the cellulose of the aged paper has begunt o breakdown and can no longer evenly absorb the watercolors, resulting in a splotchy uneven appearance.

All of the Gould bird prints in Arader Galleries' inventory have exquisite original color. The vastly superior quality of original color can be clearly differentiated from new color by its smooth and even appearance. The inks have noticeably deeper, richer tones. The difference can also be seen in the lovely surface "sheen" that results from the application of gum arabic when the lithograph was first pulled.

The hand coloring of engravings and lithographs reached its zenith in the 19th Century. Works that still display their original color are more rewarding to view, and will better hold their value in the years to come.

Find Arader Galleries Exhibiting at the Most Prestigious Art and Antiques Shows From Coast to Coast!

2010-02-09T11:17:00.000-08:00

Arader Galleries has been busy exhibiting at simultaneous art and antiques shows in New York and Los Angeles. Lori Cohen, the director of our gallery in Philadelphia, designed and managed our booth at The Winter Antiques Show, held at the Park Avenue Armory in New York City; While Stephanie Waskins represented Arader Galleries at the Los Angeles Art Show. Both were certainly well attended and an experience not to be missed next year!

Arader Galleries booth at the LA Art Show
January 20^th-24^th2010

Arader Galleries booth at the Winter Antiques Show
January 22^nd – 31^st 2010

For more information about this and next years shows please follow these links;

Winter Antiques Show: www.winterantiquesshow.com

FADA Los Angeles Art Show: www.laartshow.com

Extraordinary Wall Map of the Americas

2010-02-02T10:50:00.000-08:00

Aaron Arrowsmith’s “Map of America” (1804) is one of the rarest and most significant maps he ever produced. An acclaimed British cartographer, Aaron Arrowsmith drafted accurate, detailed charts that earned him the titles of Hydrographer to the King of England and Geographer to the Prince of Wales, extremely important distinctions during an era when Britain ruled the seas. One of the first great British cartographers of North America, Arrowsmith introduced a new standard of excellence in mapmaking in the late eighteenth century and almost single-handedly made London the center for the cartographic trade. Arrowsmith built his great success on his ability to attract both commercial and general viewers through his combination of visual and scientific appeal.

This extraordinary wall map, engraved onto 4 sheets, depicts North and South America. It also shows the oceans that stretch between the Sandwich (Hawaii) and Cape Verdes Islands. Responding to the public’s demand for up-to-date maps of the newly acquired Louisiana Purchase, Arrowsmith drew on a number of sources in order to create his much heralded “Map of America.” Building on his earlier map of North America, “A Map Exhibiting all the New Discoveries in the Interior Parts of North America” (1795), Arrowsmith made use of the accounts of Cook, Vancouver, Mears, and La Perouse in order to create his updated 1804 wall chart. Though Meriwether Lewis and William Clark and Alexander von Humboldt had not yet concluded their own expeditions of the continent, Arrowsmith was, nevertheless, able to incorporate the recent findings of Alexander Mackenzie. In 1789, Mackenzie had been commissioned by the North-West Fur Company of Canada (a rival of the Hudson Bay Company) to explore the Rocky Mountains and the Canadian Arctic. Mackenzie’s tour of some 2,990 miles was achieved in the astonishing period of 120 days, from Slave Lake to the Arctic shore and back. Mackenzie’s atlas, which was published with the account of Vancouver’s Pacific voyages in 1798, provided much of the coastal detail for Arrowsmith’s highly accurate depictions of British-controlled western Canada and Russian Alaska.

Please contact Arader Galleries San Francisco (tel: 415.788.5115) with any additional questions about this amazing map.

Arader Galleries at Los Angeles Art Show

2010-01-15T14:02:00.000-08:00

A View of Huaheine

John Cleveley (1747-86)

Arader Galleries is happy to announce that we are participating in the 15th annual Los Angeles Art show! Hope you will stop by to see our extraordinary collection of antique prints and original paintings!

The Los Angeles Art Show
Los Angeles Convention Center
West Hall A, 1201 South Figueroa Street
Los Angeles, CA 90015

Opening Night Gala:
Wednesday, January 20, 2010, 7 - 10:30pm
2010 proceeds raise funds and awareness for two exceptional non-profits: the Los Angeles County Museum of Art (LACMA), LACMA's Art Museum Council and its Prints & Drawings Council, and Inner-City Arts.

General Show Hours:
Thursday, January 21, 2010, 11am - 8pm
Friday, January 22, 2010, 11am - 8pm
Saturday, January 23, 2010, 11am - 8pm
Sunday, January 24, 2010, 11am - 5pm

Developing California

2009-12-30T12:21:00.000-08:00

Carleton Watkins
Three Brothers
Yosemite, CA
c. 1861

Thirty years ago, in the fall of 1979, Fraenkel Gallery in San Francisco opened with an exhibition of photographs by noted nineteenth century photographer Carleton Watkins (1829-1916). Those original pieces have since been placed at auction and acquired by different museums nationwide, yet recently twenty-four of Watkins’s photographs, made between 1865 and 1881, were discovered and exhibited at Fraenkel Gallery in Carleton Watkins: Discoveries.

Carleton Watkins was born in upstate New York and arrived in San Francisco in 1851 during the gold rush. Watkins became one of the most important photographers of the nineteenth century, beginning his practice in 1861. He became interested in landscape photography and opened “Yosemite Gallery” on Montgomery Street. Watkins experimented with a number of developing photographic techniques of the time, favoring the “Mammoth Camera,” which used large glass plate negatives and a stereographic camera. Famous for his series of photographs of Yosemite Valley, these glass plates, cameras, tripods, chemicals and equipment had to be carried up and down the mountains, a monumental feat in its self. The contact albumen prints on display at the Fraenkel Gallery, with some exposures taking up to an hour each, include many of these Yosemite images as well as a diptych panorama of San Francisco and images taken in Menlo Park.

Further highlighting the development of California is the exhibition, Incompletely Visible: The Legacy of the Bay Area Missions at The Society of California Pioneers in San Francisco. This exhibition investigates the arrival of Spanish Missionaries to California’s Pacific Coast and the integration of their teachings and practices with those of the Native Americans. The exhibition included photographs of the 21 California Missions, including Mission San Antonio (1880), Mission Santa Barbara (1880) and Mission Santa Clara (1855) by Carleton Watkins; as well as maps, models, clothing, textiles and religious pieces and imagery. The arrangements of these pieces aim to develop the history, purpose and practices of the Missionaries and their effect and influences over the Native Americans. The Spanish Missionaries attempted to convert the Native Americans to Christianity and brought new livestock, fruits, grains and industry; while at the same time introduced diseases that killed thousands and destroyed their cultural traditions and practices.

These two exhibitions, through the use different mediums, inform viewers on the long history and development of California, and the influences that people, culture and technological advancements have had as the state developed. Arader Galleries in San Francisco is proud to have maps of early and modern-day California and engravings of early Native Americans and California Missions.

Holiday Schedule

2009-12-23T12:29:00.000-08:00

Thursday, December 24th (Christmas Eve) –
Open 10 a.m. to 1 p.m.

Friday, December 25th (Christmas Day) and Saturday, December 26th – Closed

Monday 12/28 through Wednesday 12/30 – Open, regular hours

Thursday 12/31/09 (New Year’s Eve) – Open 10 a.m. to 1 p.m.

Friday 1/1/10 (New Year’s Day) – Closed

Saturday 1/2/10 – Open, regular hours

Happy Holidays!

Charity Shopping Event - December 10th

2009-12-01T15:43:00.000-08:00

Arader Galleries Charity Shopping Event
December 10, 2009
11 am – 7 pm

Don’t miss this chance this find a truly unique gift while supporting your favorite charity!
Arader Galleries is celebrating the holidays with their first annual charity shopping event. 20% of any purchase you make during the event will go to the charity of your choice.

For inspiration on gifting art, visit our previous blog post on this topic.

Location: 432 and 435 Jackson Street, Historic Jackson Square, San Francisco
Please call 415.788.5115 for more information.

Botanical Mezzotints by Thornton

2009-11-24T16:30:00.000-08:00

The Snowdrop by Dr. Robert John Thornton

There are many different techniques of printmaking from woodcut to aquatint, but only one style, mezzotint, allows the engraver to produce finite shades of gray and subtle details for “smoother transition between line and shade.” As the article, Made in the Shade, in the November 2009 Arts & Antiques magazine states, mezzotint is a printmaking technique developed in 1642 in the Netherlands by Ludwig von Siegen, who served as an aid to nobles of the Holy Roman Empire. In the mezzotint process, the engraver creates a very detailed and luxurious print by pressing a rocker, a chisel-like tool with evenly spaced teeth onto copper plate to create peaks and valleys. Mezzotints start black and work their way lighter through this process. When finished with the engraving, the engraver “scrapes and burnishes the surface to shape the image” bringing forth the desired image from the background. Through the use of color, the image comes alive as the ink sinks deep into the valley of the copper plates and the black of the peaks creates the lines and shadows.

The mezzotint technique traveled across Europe and became widely popular in England in the mid-eighteenth to early nineteenth centuries. It was at this time, in the late eighteen century that English physician and botanical writer Dr. Robert John Thornton began engraving and printing a series of botanical illustrations using the mezzotint technique. Assembling the finest flower painters to paint original designs for the engravings, the series, Temple of Flora, was unsurpassed as a botanical document of the Romantic era. Mezzotint was a popular engraving technique in England because it was a faster process and less expensive than line engravings and other more intensive forms of printing. Arader Galleries in San Francisco is proud to exhibit Dr. Robert John Thornton’s mezzotint engravings from the Temple of Flora.

Thornton began to indulge his lifelong love for botany in 1799 when he began the engraving and printing process for the Temple of Flora, which includes five frontispieces, portraits and allegorical compositions with thirty-two plates of flowers. As with all of his brilliantly colored plates, in The Snowdrop, the blue, orange and white flowers stand vividly in the foreground against rolling, snow covered hills behind. This whimsical landscape engraving, in excellent condition, shows the range of tone and shade that the mezzotint process brings to an image, while the coloring and background adds to the dramatic velvety effect. Arader Galleries currently has a wide selection of Dr. Robert John Thornton’s mezzotints from The Temple of Flora available. For more information, please visit www.aradersf.com or call 415.788.5115.

Envisioning the World; The First Printed Maps

2009-11-13T10:09:00.000-08:00

Ptolemy (Claudius Ptolemaeus),
Alexandrian Greek, active 146–c. 170

Envisioning the World; The First Printed Maps, 1472-1700
October 2, 2009 – January 17, 2010 at the Sonoma County Museum
A selection of 30 of the earliest printed maps from the private collection of Henry and Holly Wendt to explore the major trends in Western intellectual history from the early Renaissance through the scientific era of the Enlightenment.

Henry Wendt describes this selection of maps in the audio guide for this exhibition as a ‘collection of stories that is the grand story of the progress of knowledge and understanding of our environment and how people understood the world’. Wendt goes on, however to point out that ‘every map serves more than one purpose’ whether it be decorative, navigational, informative, for commerce or marking the outpost of an empire.’

Envisioning the World is divided into four major chronological sections, each one associated with a pioneer in scientific concepts of the time. As one walks through the exhibition, the maps display the evolution in understanding of geography and the nature of our solar system and our place in it. The exhibition also shows innovations in printing beginning with maps printed from woodcuts and graduating to detailed copperplate engravings.

The educational opportunities offered in this exhibition are accessible for those new to the world of cartography as well as those well versed. We recommend visiting the Sonoma County Museum especially to all that are interested in cartography and world history.

Arader Galleries has a fine collection of antique maps from the 16th to the 20th centuries. For more information, visit our locations at 432 and 435 Jackson Street, or call 415.788.5115.

The San Francisco Fall Antiques Show

2009-11-05T15:32:00.000-08:00

The Arader Galleries team, from left: Tim Hamilton, Stephanie Waskins and Nicole Lopez

Below: Photographs of the Arader Galleries booth:

Object from Egyptomania exhibition

Andreas Cellarius celestials from the Arader Galleries collection on display in installation by Sutro Architects

The oldest continuously run antique show on the west Coast, The San Francisco Fall Antique Show, was held in the Marina at the Fort Mason Center October 29-November 1st. Arader Galleries San Francisco was pleased to participate in the show and was honored to be able to exhibit amongst the world’s premier antique dealers. Along with about 70 exhibitors, Arader Galleries debuted its impressive collection of maps, natural history and botanical engravings and lithographs from the 16th – 19th centuries, iconic images of California, the Pacific Islands and Asia as well as beautiful antique furniture, globes and more. On exhibition from Arader Galleries were some of the world’s most well renowned naturalists, cartographers and artist’s works, including John James Audubon, Dr. John Robert Thornton, Maria Sibylla Merian, Andreas Cellarius and Alexis-Hubert Jalliot.

The San Francisco Fall Antiques Show is the major fundraising event for Enterprise for High School Students, a non-profit job referral and career development agency in San Francisco. The theme of the show this year was Egyptomania: Imitation as Timeless Flattery and the lecture series for the show focused on cultural and historical artifacts and their relation to the ancient Egypt, as well as present day fascination with the culture and preservation of Egyptian life. In keeping with this theme, Arader Galleries displayed its own collection of Egyptian maps by Abraham Ortelius as well as mezzotints, engravings and lithographs of Egyptian landscape views, architecture, iconic imagery, animals and more. Arader Gallery was proud to be apart of the San Francisco Fall Antique Show and thankful for the opportunity to share and exhibit our vast collection of antiques.

Audubon’s Illustration of the Endangered California Condor

2009-10-12T14:45:00.001-07:00

John James Audubon (1785-1851)
Plate 426 - California Vulture (California Condor) from The Birds of America

Of the three species of Vulture which inhabit the southern parts of North America, this is so much superior in size to the rest that it bears to them the same proportion as a Golden Eagle to a Goshawk. It inhabits the valleys and plains of the western slope of the continent, and has not been observed eastward of the Rocky Mountains. John James Audubon

John James Audubon is without rival as the most celebrated American Natural History artist. Audubon devoted his life to realizing his dream of identifying and depicting the birds of North America, and his work has had profound cultural and historical significance. In the second decade of the 19th century, he set out to travel throughout the wilderness of the United States, drawing every notable species of native bird. His remarkable ambition and artistic talent culminated in the publication of the monumental Birds of America betweem 1827 and 1838, a series of 435 aquatints that have only grown in fame since the time of their first appearance. This work established Audubon as an early American artist who could attract European attention, and for many, he personified New World culture and its emerging independent existence.

This enormous bird, now endangered, was widespread in Audubon’s time, although he never actually visited the Pacific slope where it was found. His friend, Dr. Townsend, sent him the following account, “The Californian Vulture...is most plentiful in spring at which season it feeds upon the dead salmon that are thrown upon the shore [of the Columbia River] in great numbers...The Californian vulture cannot, however, be called a plentiful species as even in the situations mentioned it is rare to see more than two or three at a time and these so shy as not to allow an approach to within a hundred yards unless by stratagem.”

One of the world’s rarest and most imperiled birds, the California Condor was rescued from the brink of extinction by captive breeding and release. The California Condor was once found throughout the Southwestern U.S. into Mexico (as well as pockets in New York and Florida), by the early 1900s they were largely confined to the rugged mountains and foothills of Central and Southern California, where they remained until 1987. In that year, the last free-flying wild bird was captured and integrated into an existing captive breeding program. (source: The Audubon Society)

From 1987 to 1992, no California Condors flew free in the California skies. In 1992 captive-bred condors were released into the wild at Hopper Mountain National Wildlife Refuge north of Ventura, California, with additional captive-reared birds added to the flock each year thereafter. Today, the condor remains imperiled, with just 279 condors living, including 70 wild birds in California.

Audubon's hand-colored aquantint of the California Vulture/Condor is currently on display at Arader Galleries San Francisco location at 435 Jackson Street, and is available for purchase. For more information, please call 415.788.5115.

History of Botanical Art

2009-09-28T14:43:00.000-07:00

Stephanie Waskins, Director, Arader Galleries San Francisco

Catherine M. Watters

Last Thursday, September 24th, Arader Galleries hosted a reception and presentation on the history of botanical art from the 16th century to the present day in our 435 Jackson Street location in collaboration with the artist, Catherine M. Watters. Catherine has been teaching botanical illustration and watercolor at Filoli in Woodside, California since 1999 and is a primary instructor and curriculum developer for the Filoli Botanical Art Certificate Program. She lectures regularly on The History of Botanical Art and The Gardens of Normandy, and served on the Board of Directors of the American Society of Botanical Artists from 2000-2006.

San Francisco gallery director, Stephanie Waskins, began the lecture showcasing spectacular examples from the Arader Gallery inventory of original botanical watercolors and prints dating as early as 1547 with illustrated texts devoted to herbals and florilegiums. The lecture included the works of Leonhart Fuchs, Basil Besler, Maria Sybilla Merian, Pierre-Joseph Redoute, and George Brookshaw among other artists. Catherine’s original watercolors of botanical subjects were shown alongside these historic examples.

We encourage you to visit the Filoli and inquire about Catherine’s classes should you have an interest in pursuing the art of botanical illustration. Please do not hesitate to contact us if you would like to obtain a copy of a catalog from our gallery on the history of botanical art from the 16th through the 19th centuries.

The Lords of the Samurai exhibition at The Asian Art Museum

2009-09-14T16:56:00.000-07:00

Japanese Watercolors of Irises from the Collection of Arader Galleries

The Lords of the Samurai is an exhibition not to be missed at the Asian Art Museum in San Francisco. This fascinating exhibition takes an intimate look at the daimyo, or provincial lords of the warrior class in feudal Japan. More than just professional warriors, Japanese samurai of the highest rank were also visionaries who strove to master artistic, cultural, and spiritual pursuits.

The exhibition features more than 160 works from the Hosokawa family collection housed in the Eisei-Bunko Museum in Tokyo, and from Kumamoto Castle and the Kumamoto Municipal Museum in Kyushu. Objects on view include suits of armor, armaments (including swords and guns), formal attire, calligraphy, paintings, tea wares, lacquerware, masks, and musical instruments.

The Arader Galleries team was particularly interested to see a beautiful album of Japanese watercolors of irises in the exhibition. In fact, we have recently received for inventory a set of delicately rendered 19th century Japanese watercolors very similar to the iris watercolors in this exhibition! The iris is a symbol of high importance in Japanese culture, and during the Edo period in Japan there was a renaissance of iris cultivation.

Please stop by the 435 Jackson Street location of Arader Galleries in San Francisco to see these extraordinary watercolors, or call us at 415.788.5115 to request a copy of our “The Japanese Iris” catalog.

Also, this is your last chance to see The Lords of Samurai at the Asian Art Museum, the exhibition closes on September 20th!

The First Official State Map of California

2009-08-24T14:52:00.000-07:00

William M. Eddy

Approved and Declared to be the Official Map of the State of California by an Act of the Legislature Passed March 25th 1853.
New York: J.H. Colton, 1854
Hand-colored lithograph
Paper size: 52 1/5” x 43 1/2”
Framed size: 51 1/4” x 59 3/4”

The need for an “Official Map” of California was recognized at the founding of the California state government. An act of the state legislature passed on April 4, 1850 ordered the State Surveyor General to make an accurate map of the state. This was William Eddy.

Not much is known about William Eddy’s earlier career or education, however it is fairly certain that he was an experienced surveyor, and had some education in engineering before being appointed City Surveyor of San Francisco in 1849 during San Francisco’s first charter election. Eddy and his staff surveyed numerous city and private locations, and the majority of early maps of San Francisco were based upon Eddy’s various surveys, thus putting Eddy Street on the map!

With his new position as State Surveyor General, William Eddy, submitted a budget of $12,850 to pay for expenses to be incurred while surveying and drafting the development of the “Official Map” of California. He received only $3,000, greatly limiting his ability to travel to sites to make accurate, first hand surveys. He submitted his map in 1853 and was ordered to have the map engraved on copper and supply copies to various state officials. The map was sent to J. H. Colton in New York for engraving and printing.

William Eddy’s map was the best of the state of California up to this time, however, Eddy was unable to ascertain critical information resulting in errors that eventually met with harsh criticism. In fact, the map was criticized by government and military officials as “disgraceful”. One major error in Eddy’s map showed the Colorado River running to the east, but the river was found to run almost north. Also county boundaries were still obscure in areas, as it had been difficult for Eddy to obtain accurate data from county surveyors who were mostly unaware themselves.

In spite of the critics, Eddy’s map of the state of California was a substantial improvement over the commercial maps previously published. For the first time the map showed the eastern slope of the Sierra Nevada in approximately the correct location. It also showed Lake Bigler, whose name officially changed to Lake Tahoe in 1863, very close to its actual position. Also the beautiful, large scale of the map allowed Eddy to depict many mines, ranches, trails and routes. The Oregon Trail is prominent to the north, and Fremont’s route of 1844 is equally prominent in the south. The inset of San Francisco is based upon Eddy’s map of 1851.

Eddy’s California map was further reviewed and determined not up to the standards of an “Official Map” thus tossed aside. It was not until 1873 that California had an accurate map of the state produced by the California Geological Survey. That map was based on a trigonometric survey of the whole state that took over 10 years of work to produce.

This map is currently on display at Arader Galleries' 432 Jackson Street location in San Francisco.

A wonderful trip to Hidcote Manor Gardens in Gloucestershire

2009-08-05T16:31:00.000-07:00

Hidcote Manor is a delightful surprise, hidden down a series of twisting country lanes in the Cotswolds. I had the opportunity to pay these incredible gardens a visit last month and spend time in the many ‘rooms’ of this fabulous estate run by The National Trust, Europe’s largest conservation organization.

The gardens at Hidcote Manor were designed and developed by Maj. Lawrence Johnston, a wealthy and well educated American, scion of a Baltimore stock broking family, who became a naturalized British subject and fought with the British Army in the Boer and First World Wars. Johnston was an avid plant collector and horticulturalist who sponsored and participated in plant hunting expeditions to secure rare and exotic species for this truly unbelievable garden.

Maj. Johnston's mother, Gertrude Winthrop, bought the Hidcote estate for her son in 1907. During the 1920s and 30s, Johnston worked with 12 full time gardeners to design and plant the garden. He was advised by many of the top artists and garden designers of the day including Alfred Parsons and Gertrude Jekyll. Johnston traveled the world in his search for unusual plants, participating in plant collecting expeditions to the Swiss Alps, the Andes, South Africa, Kenya, Burma, the South of France, Formosa, the Maritime Alps and the Atlas Mountains. Johnston is known to have introduced more than 40 new plants to the United Kingdom. Many of them now bear his name.

Hope you will enjoy these recent photos and plan a trip the next time you find yourself in London. It is just a 2 hours drive from the city center.

Tycho Brahe and the Island of Hven

2009-07-29T16:51:00.000-07:00

Inside the Tycho Brahe Museum on Hven

Arader Galleries, San Francisco recently had the opportunity to attend the International Conference for the History of Cartography held in Copenhagen, Denmark this year. During our trip to Denmark, we traveled to the island of Hven, Sweden to visit the Tycho Brahe Museum and Observatory . Tycho Brahe was a Danish scientist and astronomer who dedicated 20 years to the study of the celestial heavens on Hven. He is best known in history for the astronomical observations which led Kepler to his theories of the Solar system. Hope you enjoy reading about his life below.

Tycho Brahe was born to Danish nobility in 1546 and by the age of 13, he was sent to the University of Copenhagen to study philosophy and rhetorics. A solar eclipse in 1560 awoke his interest in astronomy, and he began reading books on the subject. He attended the universities of Leipzig, Wittenberg, Rostock and Basel to study law, humanities and science. In Leipzig he started astronomical studies without permission, but was soon forgiven after demonstrating successes. He found that old observations were very inaccurate, and started to design methods and instruments for high-precision measurement of positions of celestial bodies.

On November 11th, 1572 he observed a new brilliant star in the constellation of Cassiopeia. Brahe's measurements showed that it really was a distant star and not any local phenomena. This was very intriguing at that time, since the sphere of the stars was considered to be divine and perfect. Brahe observed its brightness evolve until it faded away the next year. He reported the event in his book "De stella nova", which made him famous all over Europe.

Because of his scientific observations, Brahe was granted the island of Hven by the Danish King Frederick II in 1574. The site and other sites, which created the basis for financing the research project that he so strongly wished to devote his life to. On Hven he had a library, laboratory and platforms for observations of the skies. He also had assistants who lived with him on the island which were recruited from universities and from his colleagues in Europe that he maintained correspondence with. Brahe entered into multiple-year contracts with them. In these contracts, they committed themselves to assisting Brahe in his scientific work, and not to reveal the results that were achieved to any outside parties. In return, they received food, lodging and clothing. More than 100 assistants are mentioned by name, as being active on Hven, in the observation protocols, letters and other documents from this time. The research was carried out in subjects such as astronomy, chemistry, medicine, horticultural refinement, meteorology and cartography.

We strongly encourage you to visit the Tycho Brahe Museum on the beautiful island of Hven during your future travels to learn more about Brahe’s life and contributions to modern science.

Egyptomania

2009-07-20T16:59:00.000-07:00

Memphis; Vue des Ruines, Prise du Sud-Est
From Description de l'Egypt

In 1922, Howard Carter opened a tomb in Egypt’s Valley of the Kings, unearthing the undiscovered tomb of King Tutankhamen. The furniture, thrones, model boats and figurines, ornate jewelry and game boards, all meant to service a purpose in the afterlife, were found in the tomb as well as the mummy of King Tut himself. These fascinating items are on display at the Tutankhamen and the Golden Age of the Pharaohs exhibition at the de Young Museum. The exhibition successfully puts these objects in context with the changing political and religious times of King Tut’s lifetime (1333-1324 BC).

Inspired by this fabulous exhibition, Arader Galleries is pleased to present our latest catalog, The Rediscovery of Egypt. The catalog includes views and architectural studies from the landmark publication on Egypt, Description de l’Egypte, as well as maps, ornamental studies and natural history.

The Description de l’Egypte was a publication now considered the foundation work on Egyptology, and had a huge aesthetic impact on art and architecture of 19th century Europe. In 1798, Napoleon Bonaparte invaded Egypt, in what would become a failed campaign, with the intent to undermine Britain’s access to India and protect French Trade interests. In addition to his soldiers, Napoleon was accompanied by 150 engineers, scientists, mathematicians, naturalists and artists, called the Commission des Sciences et des Arts d’Egypte, whose mission was to explore and record Egypt: its ancient and modern buildings and monuments, its people and customs, its geography, and its flora and fauna. The product of this exhaustive research was the publication of Description de l’Egypte, which includes extraordinary illustrations of Ancient Egyptian temples.

Please call Arader Galleries at 415.788.5115 to request a copy of the Rediscovery of Egypt catalog.

This exhibition is not to be missed!
Tutankhamen and the Golden Age of the Pharaohs
De Young Museum
June 27, 2009–March 28, 2010
http://www.tutsanfrancisco.org/

Modernizing Antiquity

2009-07-10T16:57:00.001-07:00

Postcard from Aleksandra Mir's Venezia installation

Piranesi's Aranzi d'un Portico coperto...

The Grand Tour is a tradition that affects all modern travelers as it laid the foundation for the tourist industry we know today. Beginning in the mid-seventeenth century, young European men of means traveled through Italy in search of art, culture, and the roots of Western civilization. The main purpose and value of the Grand Tour was to experience the cultural legacy of classical antiquity and the Renaissance, which translated into commissioning paintings, perfecting secondary languages, and mingling with European nobility. Having recently participated in a modern take on the Grand Tour, studying Renaissance art in Florence and contemporary art in Venice, I would like to share an interesting comparison between the master engraver, Giovanni Piranesi and contemporary Polish artist, Aleksandra Mir.

Aleksandra Mir is one of the artists participating in the 53rd International Art Exhibition of La Biennale di Venezia, an event that is the closet thing the art world has to the Olympics, where seventy-seven countries present pavilions devoted to artists of their choice. Mir’s installation, Venezia (all places contain all others), was among my favorites at the Biennale and prompted my reflection on the Grand Tour tradition. The piece consisted of a million free postcards, presented in open cardboard boxes. Walking through the vast arsenale (Venice’s massive former shipping yard), filled with the most incredible and outrageous displays of contemporary art, coming across relatively conventional items, such as postcards, I was somewhat tempted to keep walking. However, skepticism is a useful mentality to implore at the biennale and what looks seemingly commonplace is, of course, so much more.

In Mir’s installation, various places characterized by the presence of water were substituted for traditional images of Venice, with the word “Venezia” printed over the appropriated landscapes, effectively disorienting the observer. The artist therefore redefines the essence of tourism, freeing tourists of its stereotyped images while simultaneously challenging paradigms. In a similar way, Giovanni Piranesi disregarded realism to make a statement to the tourists of his day, the grand tourists. Indeed, he took creative liberties in an effort to augment the sense of antiquity in Rome, and even though his views weren’t necessarily realistic, they became the standard images of ancient Rome. Piranesi sold his prints to grand tourists, who brought them back to every corner of Europe, where their awestruck neighbors conceived a desire to see the amazing antiquities in person. Thus the artist not only capitalized on the Grand Tour—he intensified it. Naturally, Mir’s postcards will also be circulated by the public to every part of the world as nonrepresentational mementos, serving as evocations of the Biennale experience.

By printing a million copies, Mir transforms the ephemeral nature of postcards into a powerful medium, transmitting the meaning of the artwork across time and space. Piranesi pioneered this concept—using copperplate prints as a medium, he routinely pulled over 3,000 prints from a single plate, way above the then average of 100 prints. Undoubtedly, Mir hopes that one day one of these postcards will end up on the stall of an antique dealer similar to the way Piranesi’s etchings of Rome hang in antique galleries today. I found Mir’s installation a brilliant piece of contemporary art, categorized by its interesting connection with Piranesi and capacity for long-term resonance. Indeed, Mir, as well as tourists like me, have Piranesi to thank for popularizing the idea of the visual memento, for what are postcards if not the modern day equivalent of the 17th century vedute?

Astronomy Astounds All

2009-06-24T16:36:00.000-07:00

Farnese Atlas, Palazzo Strozzi, Florence

Example of Arader Galleries' selection of
Diderot's Astronomy Instruments

Diderot's Astronomy Instruments

“The strongest affection and utmost zeal should, I think, promote the studies concerned with the most beautiful objects. This is the discipline which deals with the universe’s divine revolutions, the stars’ motions, sizes, distances, risings, and settings . . . for what is more beautiful than heaven?” Copernicus, 1543

In celebration of the International Year of Astronomy, the Palazzo Strozzi in Florence, Italy has staged the exhibit: Galileo: Images of the Universe from Antiquity to the Telescope. Florence is home to one of the world’s leading research centers for astronomic research and the birthplace of Galileo, making it the perfect destination to accommodate the greatest exhibition on the history of astronomy. This exhibit traces the history of astronomy through its images and tools, illustrating how the heavens have been a source of mystery and fascination for all civilizations. Participants are taken back to the beginnings of the study of the heavens with the mystical and poetic visions of ancient Egypt and Mesopotamia. It then moves on to the Greek cosmogonies, through the planetary architectures of Ptolemy and Arab astronomy, revoking the Christian interpretations and finally arriving at the heliocentric theories of Copernicus that inspired Galileo and Kepler.

Highlights include the Farnese Atlas (on loan from the Museo Achelogico Nazionale, Naples) which is the oldest surviving celestial globe and the only map of the heavens from Greek and Roman antiquity, as well as the infamous telescope Galileo pointed up to the heavens exactly 400 years ago. The exhibition does an incredible job exploring the relationship between astronomy and astrology and the fascination that cosmology has always exerted on architecture and art.

Inspired by this world-class exhibit, Arader Galleries is pleased to present newly acquired prints, depicting astrological tools from Denis Diderot’s Dictionnaire Raisonné des Sciences et des Arts. These engravings are not only aesthetically striking but also serve to deepen our appreciation for how technology aids us in our desire to understand the universe. Namely, the telescope, more than any other tool, has enabled scientists to probe deeper into the cosmos, into the vastness of the heavens, and by consequence, completely change our conceptions of the universe and our relationship to it.

Please call 415.788.5115 for more information on Diderot’s Astronomy prints.
Please visit www.galileofirenze.it for more information on the Galileo exhibit.

Arader Galleries at Audubon Richardson Bay Center and Sanctuary

2009-06-17T09:24:00.000-07:00

Arader Galleries would like to thank would like to thank the Richardson Bay Audubon Center and Sanctuary, along with all attendees of the Audubon exhibition for making this event a success. A spectacular collection of hand-colored engravings from John James Audubon's Birds of America was on display at the Lyford House, a historic landmark on the edge of the San Francisco Bay, throughout this past weekend. The Lyford House, one of the oldest houses surviving from the ranching era in Marin County, was the perfect setting for extraordinary collection of Audubon engravings. We were happy to see the enthusiastic reactions to the collection of Audubon as well as artwork by the naturalists Mark Catesby (1682-1749) and John Gould (1804-1881) also on display.

If you would like to inquire about any of the artwork on display, please call contact Arader Galleries at 415.788.5115.

For more information about the Richardson Bay Center and Sanctuary, visit www.tiburon.org.

Special Audubon Exhibition at the Lyford House: June 13th & 14th

2009-06-05T11:17:00.000-07:00

John James Audubon (1785-1851)
Plate 161 - Hooping Crane (Sandhill Crane)

Lyford House at Richardson Bay, Tiburon

The Richardson Bay Audubon Center & Sanctuary and Arader Galleries welcome you to attend a special exhibition of works by John James Audubon at the Lyford House in Tiburon. Arader Galleries’ spectacular collection of original engravings from John James Audubon’s Birds of America (1827-1838) will be on display in this historic landmark on the edge of San Francisco Bay.

This special collection will be on view Saturday, June 13th and Sunday, June 14th from 11 a.m. – 3 p.m.

Arader Galleries will donate 20% of all proceeds directly to The Richardson Bay Audubon Center & Sanctuary.

Please visit www.aradersf.com or call 415-788-5115 for more information. We hope to see you there!

Arader Galleries Hosts Botanical Watercolor Class

2009-05-28T15:54:00.000-07:00

Arader Galleries was pleased to coordinate a botanical exhibition in honor of Mary Harden (botanical artist and educator) and her students Wednesday afternoon. Approximately 50 art enthusiasts gathered to study the splendor of Arader Galleries’ magnificent botanical collection. The exhibition included works by Georg Ehert, Baldassare Cattrani, Jacques Le Moyne, and lastly Pierre Joseph Redoute—the indisputable star.

Everyone was pleased to learn an exciting fact regarding the influence of Redoute on botanical art: Mary pointed out that stippling (technique in printmaking of carving small dots to which ink is applied to produce a greater or lesser density of ink, which simulates varying degrees of shading) is seen in numerous 19th century, hand drawn, botanical illustrations because artists drew directly from the minute study of Redoute’s hand-colored stipple engravings rather than from nature itself—therefore including unnatural elements such as stippling. The implication is clear: artists felt Redoute had depicted the elusive character of nature so exquisitely that it made drawing from nature seem obsolete!

Like most still-lifes, flowers permit artists to display refinement in their artistic methods, yet botanical artists distinguish themselves in that they examine their objects with scientific rigor while simultaneously employing sensitivity for the aesthetic means of its reproduction. Indeed, few subjects in art are more beguiling and universally admired than flower still-lifes.

Arader Galleries’ material provided the perfect platform for Mary as she found numerous examples enabling her to relay her extensive knowledge of the technical and aesthetic challenges botanical artists face, as well as history of botanical illustration. Arader Galleries would like to thank Mary and her students for joining us in our appreciation for rare works on paper. Please contact Arader Galleries at 415.788.5115 for more information on upcoming events!

2009 Designer Showcase

2009-05-18T13:07:00.000-07:00

Cabinet of Curiosities designed by Nicole Hollis

Stairwell designed by Nicole Hollis

Garden View of Salzburg by Mathias Diesel

Natural history undeniably marks one of the standout trends from this year’s Designer Showcase. Upon entering the magnificent Georgian mansion, visitors are greeted by a monumental cabinet of curiosities—a tradition dating back to Renaissance Europe, where objects, whose categorical boundaries were yet to be defined, were showcased. It is easy to comprehend the design community’s interest in natural history as well as its lasting appeal, when considering the history of collecting. Initially, collections acted as a library, museum, and means of displaying an individual’s wealth. Indeed, these objects (on loan here from the California Academy of Sciences) invite observers to touch or study objects that are not only beautiful but also serve as remnants from the beginnings of collecting.

Along the main stairwell, butterflies and various other natural history prints hang, further indicating how living among references to the natural world can be richly fulfilling. Other examples of an adherence to natural history, include a prehistoric skeleton of a predatory marine reptile, located on the upper hallway, and pet portraiture which hangs along the stairwell leading to the penthouse.

The Study, designed by John Wheatman, achieves a timeless conformable retreat, making it one of our favorite rooms. Near the bookcase, hang lovely 18th century views of the Mirabelle Gardens in Salzburg, Austria. These engravings prove the importance of integrating art with design, for their presence contribute in large to the scholarly and leisurely atmosphere. Examples of picturesque Baroque gardens, these views are available through Arader Galleries.

Needless to say, the Designer Showcase is one of our favorite times of year. Inspiring elegant new design ideas, this event keeps us coming back year after year. Arader Galleries is pleased to offer a special catalog highlighting our natural history material. Please contact Arader Galleries at 415.788.5115 or email us to receive our Exploring the Natural World catalog.

The 2009 San Francisco Decorator Showcase is open through May 25 at 2830 Pacific Ave., San Francisco. Hours are 10 a.m.- 3 p.m. Tues., Wed. and Fri.; until 7 p.m. Thurs.; 11 a.m.- 4 p.m. Sunday and Memorial Day. Closed Mon., except Memorial Day. $30 at the door; $25 seniors. Proceeds benefit the financial aid program at San Francisco University High School. Please call (415) 447-5830 for more information.

2009 Los Angeles Art and Antiques Show

2009-05-06T17:12:00.000-07:00

Arader Galleries had the pleasure of participating in the Los Angeles Art and Antique Show last month. Some of the world’s finest art and antiques dealer's gathered in the Barker Hangar at Santa Monica Air Center to display their treasures to Los Angeles’ most prominent designers and collectors. The money raised through The Antiques Show Catalogue and The Opening Night Preview Party went directly to P.S. ARTS, a non-profit organization that restores arts education programs to schools in California. Despite the adverse economic climate, approximately 5,000 – 7,000 patrons of the art and antiques world attended the show, indicating how richly fulfilling it is to live with pieces of history.

Arader Galleries would like to thank those who attended the show and we hope to see you again next year! Please contact the gallery at 415.788.5115 for more information on upcoming shows, or visit www.aradersf.com.

Beautiful Science: Ideas that Changed the World

2009-04-25T16:43:00.000-07:00

Mark Catesby
From Natural History of Carolina, Florida, and the Bahama Islands
London, 1731-43

Science, which is beautiful in various and sometimes unexpected ways, has an unsurpassed power to bring about change. Often, scientific work has been accompanied by an alchemical mixture of creativity and logic, making art a likely and suitable affiliate. Indeed, art is part of the rich tapestry of expressing the history of science.

We highly recommend visiting the Huntington Library in Pasadena to see a wonderful permanent exhibition focusing on the magnificence of scientific discovery. The Beautiful Science: Ideas that Changed the World exhibit examines ideas from the history of science with respect to astronomy, natural history, medicine, and light. Through books, manuscripts, and objects, the exhibit highlights numerous ground breaking discoveries. For example, viewers will find Mark Catesby’s Natural History of Carolina, Florida, and the Bahama Islands, a publication which illustrates his observations of animals and plants in their natural environment in the eighteenth century. Similarly, Maria Sibylla Merian’s Metamorphosis insectorum Surinamensium is also on display, which documented many tropical species from Suriname for the first time in the late seventeenth century. These are two of several examples on display in this exhibit which demonstrate the exciting Age of Discovery.

Arader Galleries is not only pleased to offer selections from both of the influential and groundbreaking works by Catesby and Merian, but many other significant artists who also sought to understand and organize the living world. Our material visually illustrates how the wonder, curiosity, and discovery of artists like Catesby and Merian enriched the understanding of the natural world for contemporary as well as current audiences.

We encourage you to stop by the gallery at 435 Jackson Street to experience the beauty of these exceptional and historically important works of art. Please visit www.aradersf.com or call 415.788.5115 for more information.

The Superb Engravings from Risso & Poiteau’s Histoire Naturelle des Orangers

2009-04-22T09:34:00.000-07:00

The magnificence Pierre Joseph Redouté brought to the art of rose and lily illustration was equaled by his pupil, Pierre Antoine Poiteau, in the splendid engravings of oranges, lemons and grapefruit presented in the Histoire Naturelle des Orangers. This spectacular publication has long been admired by botanical art connoisseurs and was singled out by Wilfrid Blunt for providing “a Hesperidean holiday among the orange and citrus groves.” He went on to state that this beautiful and inspiring work is in no way inferior to Redouté’s Les Liliacées or Les Roses and given the opportunity Poiteau might have enjoyed the same renown as his master.

However, among those who studied under Redouté, Poiteau is perhaps one of the most successful. Born at Ambleny, near Soissons, his skill in botanical illustration was undoubtedly helped by an apprenticeship at the Paris Jardin des Plantes where he was singled out by Thouin and trained as a botanist. He went on to found the Bergerac botanical garden and later traveled to San Domingo to collect plant specimens.

Poiteau’s watercolor technique was learned from Redouté and it is likely that the master also influenced the choice of stipple engraving in the production of the plates for the Histoire Naturelle des Orangers. Redouté used this process in the creation of his own Les Liliacées and Les Roses and was thus able to give his illustrations a softness and graduation of tone previously unachievable in botanical engraving and also witnessed in Poiteau’s images.

Orangeries began to appear in European gardens during the seventeenth century and their popularity continued for several centuries. They quickly became a favorite area for strolling no doubt due to the plants exotic and sweet-smelling aroma. However, the orangeries were also the location for the creation of new citrus cultivars and Poiteau’s text beautifully illustrates not only the wide selection of strangely shaped fruits from around the world, but also new citrus varieties. The foliage, exterior and interior of each fruit is exquisitely displayed and each golden orb glows upon the sheet. The images are testaments to the amazing advances in scientific investigation and yet also provide the observer with aesthetically beautiful and accomplished depictions.

The Histoire Naturelle des Orangers was dedicated to the Duchesse de Berry and its vibrant illustrations can be considered glowing masterpieces of French botanical illustration, completed during the period in which France excelled in the field.

These extraordinary hand-colored stipple engravings are currently on display at Arader Galleries' 435 Jackson Street, San Francisco location. For more information, please visit www.aradersf.com or call 415.788.5115.

A Magnificent Etching of a Roman Column by Piranesi

2009-04-14T08:44:00.000-07:00

Giovanni Battista Piranesi (1720-1778) and Francesco Piranesi (1758-1810)
Veduta del Prospetto principale della Colonna Antonina (Front view of the column of Marcus Aurelius)
From Trofeo o Sia Magnifica Colonna Coclide or The Trophy or Magnificent Spiral Column of Marble
Rome: 1774-79
Etching, mounted on 20th century wove paper
112 ½" x 26 ½"

Giovanni Battista Piranesi was an Italian etcher, draughtsman and architect best known for his monumental volume Vedute di Roma. A lifelong champion of Rome, Piranesi published more than a thousand etchings depicting the 18th century city and ancient Roman monuments. Piranesi’s images were thought to be so magnificent that travelers visiting Rome on their grand tours were left disappointed by the actual city.

This engraving, printed on six sheets, is from the series Trofeo o Sia Magnifica Colonna Coclide, dedicated solely to the illustration of Trajan’s column and the column of Marcus Aurelius in Rome. This series is thought to be from the last phase of Piranesi’s career, when a number of works in progress were finished with assistance from his son, Francesco. The column depicts the story of Roman Emperor Marcus Aurelius’ Danubian wars, waged by him from 166 to his death, and the column itself is thought to date to the year 193.

This magnificent engraving is currently on display at our new location at 432 Jackson St., San Francisco and is available for purchase. Please contact Arader Galleries at 415.788.5115 for additional information.

The International Year of Astrology

2009-04-02T10:31:00.000-07:00

Andreas Cellarius

From Harmonia Macrocosmica
Amsterdam: 1708

This year commemorates the 400th anniversary of Galileo's use of a telescope to study the skies and Kepler's publication of Astronomia Nova. With the quadricentennial of modern astronomy upon us, Arader Galleries celebrates the numerous astronomical and scientific milestones by highlighting a particular celestial cartographer or work of art each month. Indeed, the history of astronomy can be traced through its imagery—particularly through the development of celestial maps. This month, we highlight the extraordinary work of Andreas Cellarius.

Science and art come together in celestial maps to an effort to shape a rational image of the heavens. Andreas Cellarius’s Atlas Coelestis seu Harmonia Macrocosmica, published in Amsterdam in 1708, in one of the most historically and artistically important manifestations of such an effort. Certainly, in addition to their lavish aesthetic appeal, the celestial charts of Andreas Cellarius comprise the most sweeping, ambitious project in the history of celestial cartography, one which also illustrates the historical tensions of the time. In his distinctive visual language, Cellarius portrayed the often conflicting theories that prevailed. In addition to the relatively obscure notions of Tycho Brahe and Schiller, Cellarius’s charts track the theories of Ptolemy, dating from the 2nd century AD, and Copernicus’s 16th-century challenge to the venerable ancient astronomer.

Cellarius’ project was not devoid of political motivation. Up to his time of artistic activity, the Netherlands had been the unquestioned center of scientific discovery, and Dutch mapmakers had reigned supreme above all others. In the early 18th century, Louis XV of France sought to bring his country to the forefront of science, and by association, to imply political dominance. His efforts led to a great competition between France and the Netherlands, and Cellarius’ sweeping project was an attempt to thwart French attempts completely. In some cases, Cellarius incorporated French elements into his maps, like acanthus leaves which can be seen often on French furniture of the period. By attempting to use French visual elements more skillfully than they themselves could, Cellarius implied the Netherlands’ artistic superiority. Consequently, Cellarius’ work remains a landmark of the Golden Age of Exploration, combining great artistic beauty with scientific documentation. The vibrant hues, spanning the color spectrum, give amazing animation to the images, and the skies appear to come alive with bright figures.

Of all the sciences, the history of astronomy is the most resonant with a sense of mystery and intellectual excitement. We believe that maps and other images of the heavens succeed in some degree in conveying that resonance. We invite you to stop by the gallery at 432 Jackson Street to see our magnificent collection of Celarius prints or call 415.788.5115 to request a catalog.

Please check back next month as Arader Galleries will be presenting the extraordinary masterpiece Uranometria by Johann Bayer.

A Distribution of Watercolors by Pierre-Joseph Redoute

2009-03-25T12:29:00.000-07:00

Plate 170 - Stoloniferous Golden Winter-Star
Original watercolor on vellum for Les Liliacées

Art is commonly understood to denote skill used to produce aesthetic result. Applying this definition to the work of Pierre-Joseph Redoute, reveals an artist who has produced the highest quality of art. Indeed, Redoute’s Les Liliacees displays his mastery of both technical and artistic skill. Les Liliacees challenges limitation and delicately captures the infinite beauty of nature.

Les Liliacees was Redoute’s largest and most ambitious work, for he carefully recorded the anatomical details of blossom and bulb that allow a scientist to classify the plant according to the Linnean System. Produced under the patronage of Empress Josephine at Malmaison, these watercolors have been legendary for over 200 years.

Arader Galleries is pleased to invite you to join us on Saturday, April 25th, 2009 at 1:00 p.m. in New York City at our 1016 Madison Avenue gallery for the distribution of 100 of the original watercolors on vellum. Painted by Pierre-Joseph Redoute for the Empress Josephine between 1802 and 1814, these 100 watercolors are from his iconic masterpiece Les Liliacees. 50 shares are available and each share will contain 2 watercolors.

Arader Galleries San Francisco currently has a selection of Redoute watercolors available for viewing that will be included in the syndication. The exquisiteness of these watercolors cannot be represented in a photograph and must be viewed in person! We would be happy to bring these watercolors to your home should a visit to the gallery not be convenient for you.

Don’t miss this opportunity to own an original watercolor by the artist considered to be the greatest flower painter! For more information, or to reserve your share in the syndication, please call Arader Galleries at 415.788.5115.

Jackson Square: Where Art and Architecture Integrate

2009-03-23T17:02:00.000-07:00

For those unfamiliar with the Historic Jackson Square District, it is roughly bounded by Broadway, Sansome Street , Washington Street, and Columbus Avenue in San Francisco. The historical districts often challenge the public to expand its understanding of the integration of architecture, art, and urban development. Indeed, Jackson Square provides the perfect environment for such contemplation.

It remains a mystery as to how so many San Franciscans remain unaware of this historic district. Jackson Square is the most important integration of art and architecture in San Francisco, providing its guests with bas-relief buildings, showcasing the cities finest art and antique dealers. Approximately two dozen dealers are open for retail or to the trade. From American and European fine art and furnishings, to Asian carpets and vintage posters, every store has a specialty, and all are appointed like small museums.

For anyone drawn to the allure of European cities, romanced by their nostalgic architecture, Jackson Square is sure to please. The 19th century architecture faces tree lined streets and quiet alleys. The evocation of time and history is aroused by the fact that these buildings survived the devastating 1906 earthquake and fire, as well at the 1989 Loma Prieta earthquake. Although, a historic presence is undeniable, its contemporary setting is perhaps equally as engaging. Indeed, Jackson Square's proximity to the financial district enables a backdrop of high-rises, most notably of the Transamerica building.

Quite simply, Jackson Square offers world-class art and antiques, in a setting that warrants a special trip. Spend the whole day indulging your senses and conclude with a gourmet meal at one of Jackson Square ’s award-winning restaurants. No matter what your sphere of interest might be, Jackson Square offers collectors luxurious sophistication.

Arader Galleries Presents: The Collection of Dr. Russell Abrams

2009-03-19T16:28:00.000-07:00

Arader Galleries is pleased to invite you to an opening reception for a special exhibition of the collection of Dr. Russell Abrams. Dr. Russell Abrams, educated at Harvard (BA) and Yale (PhD), teaches aesthetics as well as philosophy of mathematics at California State University East Bay. Formerly a professor at Caltech and Dartmouth, he has been collecting art for over 20 years. He specializes in late 19th and early 20th century drawings, however his interests also extend into the areas of paintings and sculpture.

The artworks are on display and avilable for sale at Arader Galleries from March 25 - March 29, 2009.

Reception:
Wednesday, March 25, 2009
12 p.m. - 6 p.m.

Exhibition:
March 25th - March 29, 2009

For more information please call 415.788.5115

Arader Galleries San Francisco is expanding!

2009-03-12T10:29:00.000-07:00

Arader Galleries is thrilled to announce that it is opening a new gallery location at 432 Jackson Street, across the street from our existing location at 435 Jackson in the Historic Jackson Square district of San Francisco. Featured in the new location will be Arader Galleries’ extraordinary collection of cartography, Californiana, travel books, and architectural material as well as a collection of antique furniture. Of course we still have a fantastic collection of botanical and natural history material, which will remain at 435 Jackson.

We invite you to stop by on Friday, March 20th for a special open house to view the new space and for coffee, tea and refreshments.

Open House Reception
Friday, March 20, 2009: 11 a.m. – 6 p.m.
432 Jackson Street, San Francisco

For more information, please call 415.788.5115 or visit www.aradersf.com.

Collecting in Today's Market

2009-02-27T12:12:00.000-08:00

The Sense of Sight, John the Elder

"The purchase of art in periods of economic uncertainty represents a logical fulfillment of mankind’s deep need to preserve a sense of stability. In the absence of consistent monetary value, what could be more reassuring than to play for very different stakes—so that money becomes linked, not to some arbitrary standard like gold or the dollar, but to another human activity which implies a level of sensibility and high intelligence, both functional and concrete?" (Pierre Restany, Art Aktuell)

It comes as no surprise that the present economic environment encourages careful analysis of the art market in order to understand the unique buying opportunities that occur when the markets are down. As part of our efforts to better serve our cliental, members of the Arader team attended Collecting in Today’s Market at the SFMOMA. Janet Bishop, curator of painting and sculpture at the SFMOMA, lead a panel which included respected gallery owners, chairmen of established auction houses, art advisors and prominent Bay Area collectors. The panel addressed the way economic shifts affect the art market and the speakers’ respective strategies for collecting in today’s market.

Most notably, respected gallery owners revealed insightful feedback regarding collectors’ attitudes about the market. The feeling is that collectors are less interested in the buzz and more focused on art that has historical, personal, or simply even aesthetic value. Indeed, the fastest way to destroy art is to make it part of the profit-making setup, so corrective periods such as these are needed to remind collectors and artists: ars gratia artis! Nonetheless, a serge of optimism revived dealers on Monday, as the auction of Yves Saint Laurent and Pierre Bergé’s Collection pulled in over $266 million. The result shattered the record for a single-owner, single-session sale and almost all pieces sold for well above their estimates, indicating that collectors have returned. Indeed, the results will be a huge boost for the nervous art market and collectors alike.

All in all the discussion left us informed but, most importantly, inspired about the opportunistic climate. True collectors will continue to love art and will continue to make smart investments in quality art pieces. Fortunately, current market conditions allow collectors more art to choose from, allowing them to acquire pieces previously unattainable. Collectors should in fact be rejoicing! Indeed, as the art market experiences a time of correction, now is the time for scrutiny but also for enthusiasm and appetite. We invite you to visit us on Jackson Street and to view our collection online at www.aradersf.com.

Arader Galleries in Los Angeles Area

2009-02-24T08:57:00.000-08:00

We invite you to stop by to see our extraordinary collection of antique prints and original paintings at the upcoming art and antique shows in the Los Angeles area:

Art International Pasadena/Los Angeles
Friday, March 13 – Sunday, March 15, 2009
Gala Preview Thursday, March 12, 2009

Los Angeles Antique Show
Thursday, April 23 – Sunday, April 26, 2009
Opening Preview Party Wednesday, April 22, 2009

We hope to see you at one of these shows!