The Exquisite Manuscript Florilegia of Jacques le Moyne

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 Museum,

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

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

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

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

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

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

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.