Thursday, April 16, 2015

Upcoming Auction & Christopher Columbus Atlas

Watch Graham Arader discuss atlases that dramatically changed our world view during the Age of Discovery on Bloomberg T.V.

These atlases among other historically important works will be coming up for auction this Saturday at 1PM Eastern Time. To download a catalog, please visit our website, aradersf.com or register online at www.liveauctioneers.com

Thursday, March 26, 2015

Art in the Age of European & American Exploration Auction, April 18, 2015

Arader Galleries in conjunction with Mid-Hudson Auction Galleries will be hosting an Auction of Art in the Age of European & American Exploration on April 18, 2015 at 1 pm at 1016 Madison Avenue, New York City. 


The auction is filled with John James Audubon's masterpieces from two very different works - the first, of course, The Birds of America, has quite a few masterpieces for sale: the Snowy Owl (Lot 14) being the finest.  Audubon’s “Snowy Owl” is one of the most desirable images from his monumental Birds of America: one of his very few nocturnal scenes, and certainly one of the most vibrant and charming full-page illustrations of his 435-plate series.  Other highlights include the beautiful Scarlet Ibis (Lot 10), the Bird of Washington (Lot 18), and finally the Canvas Backed Duck (Lot 7), President Reagan’s favorite, he loved the images with cities in the background.  
 
The next part of the sale is a continuation of Audubon's "other" work the Viviparous Quadrupeds of North America published as lithographs in Philadelphia by J.T. Bowen between 1845 and 1848. This collection of 70 quadrupeds have the finest color, best pull, and right patina of paper and ink, with full margins, and no restoration or repairs. It is a wonderful collection of nature's smaller and more interesting creatures, which can be bought at very affordable prices. The highlights include the Swift Fox, Canada Porcupine, Armadillo, and Tawny Weasel (Lots 21-91).

The sale continues with a lengthy section of framed maps from renowned cartographers such as Ortelius, Mercator, Blaeu, and Jaillot, among many others. There are early examples of world maps, rare manuscript maps, views of American cities such as, New York and Minneapolis, as well as Celestial Charts showing the Zodiac including the most decorative 17th century chart of the heavens, and an exemplary collection of beautiful atlases from the 16th - 18th Centuries.
 
Additionally, there is a selection of Currier & Ives prints and other Historic and Genre Scenes on paper. Following is a wonderful selection of Natural History Flora and Fauna including engravings from Dr. Robert Thornton’s Temple of Flora; or Garden of Nature (Lots 194-201) watercolors for Pierre-Joseph Redouté’s Les Liliacées (Lots 202-211), and ), both watercolors and engravings by Jacques Barraband for his Histoire des Perroquets (Lots 212-221).Last is a section of paintings and watercolors including those by Thomas Birch, Charles Wimar, and Edward Moran, in addition to a superb sixteenth-century portrait of famed geographer Abraham Ortelius by Adrien Key, which was the only portrait painted of Ortelius during his lifetime (Lot 235).

Please contact Arader Galleries if you would like to be sent a catalog or if you would like to bid online. We would be happy to assist you.

415-788-5115

Saturday, February 14, 2015

Audubon's Quadrupeds and Auction on February 28, 2015


Arader Galleries is pleased to be presenting frequent auction opportunities featuring a wide variety of our exceptional inventory. Specializing in Natural History, Maps and Views, Furniture, Globes, originals and prints. Our auctions are perpetually revolving and bringing clients the finest works for fantastic prices. On February 28, Arader Galleries in conjunction with Mid-Hudson Auction Galleries will be hosting another auction. This particular event will feature an exceptional array of John James Audubon's finest Quadrupeds.

In the 1830s, as the final plates were being completed for John James Audubon's monumental Birds of America series, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as impressive and sweeping as that he used for his birds.  The result of the artist/naturalist's years of field research, travel, and seemingly endless study was the Viviparous Quadrupeds of North America, the outstanding work on American animals produced in the nineteenth century. 

 Audubon envisioned that his Quadrupeds would complete his record of the animal life of North America. The artist's enthusiasm at the start of the Quadrupeds was unbounded. In 1840, Audubon wrote to his friend and collaborator John Bachman, “I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs fully able to carry my body for ten years to come…Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman.”

 Despite his newly acquired wealth and celebrity, Audubon insisted on executing many of the preparatory drawings and watercolors personally, enlisting a select few to help. The contributors to the project included the Reverand Dr. John Bachman, a Lutheran minister who had been the artist's closest friend and supporter for many years, who wrote all of the descriptions and acted as a scientific editor for the work.  Audubon's two sons, John Woodhouse and Victor, also took critical roles, with John Woodhouse providing portraits and Victor working on the backgrounds. With his sons, Audubon traveled through the Eastern woodlands, and through Missouri to the Rocky Mountains. Together they collected and drew specimens along the Mississippi, as well as in coastal regions of Florida and the East Coast. 

 As Audubon's health and eyesight began to fail, the help of John Woodhouse and Victor became increasingly crucial to the Quadrupeds, now a family project. Audubon managed to complete seventy seven drawings before failing health kept him from his work.  Before he died in 1851, Audubon's sons managed to solicit some three hundred subscriptions for the Quadrupeds.  Together, the three men, along with John Bachman, produced an unequaled record of American wildlife, matching the great combination of art and science attained in the Birds of America. Audubon’s Quadrupeds are wonderfully animated, superbly rendered, and beautifully printed in large format.

The work was published by a respected Philidelphia-based printing house under J.T. Bowen.  Bowen used a newly developed technique of steel lithography, and hand colored each plate with remarkable consistency.

A fine selection of the Quadrupeds of North America, as well as his revered Birds of America are currently on display at Arader Galleries San Francisco. Please stop by our gallery at 432 Jackson Street to view these masterpieces and pick up a copy of your auction catalog today. You can also download the PDF HERE.



Friday, June 13, 2014

Inherent in all works of art is the notion of inspiration. The ancient Greeks attributed this phenomenon to the muses. In Christianity, the divine presence of the Holy Spirit anoints the artist with a stroke of genius. The revelation that functions as the starting point for the artist permeates the work - laying dormant, waiting for modern eyes to give it new life.

In the cultural landscape of 17th century Europe, many artists sought to represent this divine inspiration quite literally. This period, which came to be known as the Baroque, is characterized by opulence and drama. Artwork was grandiose and direct, designed to inspire piety in peasants and aristocracy alike. The term baroque, meaning a large, irregularly-shaped pearl, was attributed to art of the 17th century by 18th century critics, who disparaged the movement as absurd and grotesque – an aberration, like an irregularly-shaped pearl.[i]

The Baroque era was also a period of significant scientific and philosophical discovery. Monumental advancements in optics and measurement provided artists with new tools to more accurately represent the human experience, while Rationalist thought inspired artists to question the nature of representation.[ii] As powerhouse artists like Caravaggio and Velasquez were using novel scientific discoveries to address massive ideas about human existence, individuals like Giovanni Baptista (Battista) Ferrari (1584-1655) took on smaller, more specified pursuits of equal significance.

In line with the fashions of the time, Ferrari’s interest in orangeries – a precursor to the greenhouse – led him to produce the first scholarly study of lemons, limes, and oranges. This four-part, illustrated book about citrus was accurate and all-inclusive, touching on everything from the taxonomy to the mythology of these exotic fruits. Ferrari is noted for his imaginative compositions[iii] and scientific accuracy, which he achieved through close observation of his subject matter, made possible by scientific and technological innovations of the time. In fact, his first work, De Florum Cultura (1633), a study of ornamental plants and horticulture, includes an illustration of the seeds and seed pods of the Chinese Rose – the first ever botanical illustration produced using a microscope.[iv] As Caravaggio’s works were thought grotesque in their starkness, Ferrari’s, too, are fundamentally baroque. Ferrari presents the citrus fruit as it exists in nature, authentic and imperfect.

Giovanni Baptista (Battista) Ferrari - copperplate engraving from Hesperides sive de Malorum Aureorum Cultura et Usu Libri Quatuor (Concerning the Cultivation and Uses of the Golden Apple in Four Volumes), 1646
Giovanni Baptista (Battista) Ferrari - copperplate engraving from Hesperides sive de Malorum Aureorum Cultura et Usu Libri Quatuor (Concerning the Cultivation and Uses of the Golden Apple in Four Volumes), 1646
Influenced by the work of Ferrari, the wealthy German silk merchant, Johann Christoph Volckamer (June 7, 1644 - August 26, 1720) sought to show off his own collection of exotic citrus through his book of engravings titled, Nürbergisches Hesperides. Volckamer’s book expresses the zeitgeist of Europe in the 17th century unambiguously.  In Nürbergisches Hesperides, grotesque citrus fruits float above charming views of the gardens and palaces of Germany, Austria, and Italy[v], showcasing the Baroque architecture of the period. Volckamer’s book addresses the relationship of objects to the space they inhabit, extending the “meaning” of the citrus fruits beyond the scientific. With no source information, a viewer looking at an engraving from Nürbergisches Hesperides could identify the locale and even hypothesize about the cultural significance of the citrus depicted. For instance, one could deduce from visual clues that citrus trees were a fashionable staple of European gardens during the Baroque period[vi], and furthermore, the more monstrous the fruit, better. Visual clues reveal meaning, yet the illustration is not overtly didactic. Volckamer dissolves traditional notions of perspective, as his citrus exists neither in the foreground or the background, but is collaged on top, creating an effect that brings to mind artwork produced three centuries later by the surrealists - in particular that of Belgian artist René Magritte (1898-1967).

Johann Christoph Volckamer - copperplate engraving from Nürnbergische Hesperides, oder gründliche Beschreibung der edlen Citronat-, Citronen- und Pomeranzen-Früchte, 1708
Johann Christoph Volckamer - copperplate engraving from Nürnbergische Hesperides, oder gründliche Beschreibung der edlen Citronat-, Citronen- und Pomeranzen-Früchte, 1708
Magritte, perversely inspired by works of the Rationalist order, utilized the aesthetics of a tradition he rejected to challenge the status quo, which he deemed oppressive. In his attempt to subvert the skeletal structure of bourgeois society, he scrambled the puzzle that Rationalist thinkers committed to solving. The aura of mystery that characterizes the Surrealist movement is achieved through Magritte’s application of symbolic non sequiturs. As Ferrari imparted the knowledge, this is an orange and these are its characteristics, Volckamer fine-tuned his achievements, adding the “where, when, and why” to his “who and what.” This empirical evidence functions as a point of departure for Magritte’s own artistic integrity as he attests of his realistic rendering of a pipe, this is not a pipe. Despite Magritte’s repudiation of history, glaring consistencies endure, including an interest in the identity of objects and a penchant for the grotesque. Magritte’s representations of the human body - distorted, amputated, veiled, and fused with other species, objects, and elements of setting – have a similar impact on the human psyche as Volckamer and Ferrari’s disfigured citrus fruits. Through imagery of the strange and unusual, our instinctive curiosity is peaked and our senses engaged, inviting us to meditate on the inspiration that motivated the work of art before our eyes.

René Magritte - La trahison des images (The Treachery of Images), 1928-29, oil on canvas
René Magritte - L'invention Collective (Collective Invention), 1935, oil on canvas

René Magritte -  Le Château des Pyrénées (The Castle of the Pyrenees), 1959, oil on canvas
René Magritte -  La Chambre d'Écoute (The Listening Room), 1952, oil on canvas
Here at Arader Galleries we have a fantastic selection of original, hand-colored engravings from the striking and historically significant works published by Volckamer and Ferrari. The plates were prepared by some of the most esteemed painters and draughtsmen of the Baroque era, including Paulus Decker, The Elder and Cornelis Bloemaert. Please contact Arader Galleries for further information.


[i] Camara, Esperança. “The Baroque: Art, Politics & Religion in 17th-century Europe.” Smarthistory at Khan Academy. Web. Accessed 4 June 2014.

[ii] Brown, Betty Ann. “Art & Mass Media: Second Edition Revised.” California State University, Northridge. 2005. Web. Accessed 4 June 2014.

[iii] DeLaurentis, Denise and Hollie Powers Holt. The Art of the Garden: Collecting Antique Botanical Prints. Atglen, PA: Schiffer, 2006. Print.

[iv] Erickson, Robert F. “Giovanni Battista Ferrari.” Rare Books from the MBG Library. Missouri Botanical Garden. Web. Accessed 4 June 2014.

[v] Blunt, Wilfrid. The Art of Botanical Illustration: An Illustrated History. New York: Dover, 1994. Print.

[vi] Kaden, Vera. The Illustration of Plants & Gardens: 1500-1850. England: Crown, 1982. Print. 

Saturday, September 14, 2013

The Art of Natural History at Prescott College

            Natural history--the practice of focused attentiveness to nature—is as old as humanity: there have never been people without natural history.  Natural history field observations have adorned cave walls in France and canyon walls in Arizona, as well as served as the foundation for sophisticated scientific theories in museums and universities in great cities of the world.  And as readers of this newsletter well know, the artistic traditions inherent in natural history art are endlessly captivating. Natural history represents the integration of sciences, arts, and humanities in a unified approach to understanding the world around us, and plays a central role in a liberal arts education.  In recent years, however, natural history has been marginalized—many academic institutions have removed natural history curricula—and shrunken—the arts and humanities have too often been wrung out of remaining natural history programs.
            Prescott College has long been recognized nationally as a leader in field natural history.  Students have engaged in field study of habitats through North America and beyond for decades—the commitment to the centrality of natural history has never wavered.  Recently, faculty, alumni, and students from the college have been at the core of a national renaissance in natural history. 
            We continue our attempts to lead the way in an integrative, interdisciplinary approach to natural history, facilitated by the Arader Galleries and several kind donors.  We are now proud and grateful stewards of the Josephine Michell Arader Collection of natural history prints--a major collection of works by Audubon, Catesby, Gould, and many other renowned artists.  The collection is named for Josephine Arader, a distinguished alumna of the college and proprietor of the Arader Galleries operation in San Francisco.  This collection is being co-curated by the Prescott College Art Gallery at Sam Hill Warehouse (www.prescottcollegeartgallery.org) and the college’s new Natural History Institute (www.naturalhistoryinstitute.org), which I serve as Director.  This exciting collaboration between the Art Gallery at Sam Hill and the Institute exemplifies a unified approach to understanding nature, drawing on all aspects of human psyche.  This November we’ll be hosting a special weekend, The Art of Natural History, the Art Gallery at Sam Hill will feature a special exhibition of selections from the Arader Collection (open through December 14), as well as the grand opening of the Natural History Institute.  There’ll be a panel discussion on the relationship between arts, sciences, and observation, a series of nature hikes, a stream restoration workshop, lectures, and more. 
            This weekend is just the beginning for the Natural History Institute, and for its collaboration with the Art Gallery at Sam Hill.  The Institute consists of a small Natural History Gallery, featuring a portion of the Arader Collection on permanent display, along with exhibitions of natural history art by students and others.  Additionally, the Institute will offer programs of natural history on- and off-campus workshops and field explorations, public events and outreach programs, including a distinguished speaker series, as well as hosting research collections (both digital and physical), research space for faculty and students, and a natural history lab for teaching. The Institute strives to live up to its slogan--“Integrating Art, Science, and Humanities.”
            This new Natural History Institute, working closely with the Art Gallery at Sam Hill, will allow Prescott College to build on its long, continuous history of integrated natural history education and offer more of its distinctive programs to greater communities, and to the world at large.  We welcome all friends of the Arader Galleries—to The Art of Natural History weekend, and beyond. 

(The Natural History Institute is currently raising funds for staffing and programming; thanks to a generous donor, all contributions through November 10th will be matched.  Donations can be made at http://naturalhistory.kintera.org/.   The Art Gallery at Sam Hill, which manages the Arader Collection, hopes to raise funds for upgrading of its archival capacity; donations can be made at http://samhill.kintera.org)

Thomas L. Fleischner, PhD, is the Director of the Natural History Institute at Prescott College in Prescott, Arizona.  He can be reached at tfleischner@prescott.edu, and found at tfleischner.net.

Thursday, May 16, 2013

Results of the Arader Audubon Auction, 5/11/2013

Barney Lipscomb, the Leonhardt Chair of Texas Botany at the BRIT (Botanical Research Institute Texas), renowned for his award-winning and unusual approach to bringing the science of botanical taxomony to the non-scientist 'performed' his lecture Art and Science: A Botanist's Eye: Redouté and the Art of Floral Illustration, to a full and enthusiastic house at Arader Galleries, at 29 E. 72nd Street, NYC on Friday evening. He presented a very lively look at the history and evolution of art and botanical science from the first century AD through the life of Pierre-Joseph Redouté, one of the greatest botanical illustrators and flower painters of all time, complete with slide-show and musical score, against the spectacular back drop of some of Redoute's original watercolours on vellum from his magnum opus "Les Liliacees", and John James Audubon's hand-coloured aquatints from his magnificent double-elephant folio "The Birds of America" (London, 1827-1838), all offered for public auction the following day.

Lipscomb's inspirational lecture was followed by a sumptuous dinner generously hosted by Mr. Arader at the famous Nickerbocker Club on 62nd Street, at which he honoured Professor Lipscomb for his pioneering efforts which bring the art of natural history into the classrooms of America: a cause very close to Mr. Arader's own heart, who has just donated an extraordinarily fine and comprehensive collection of works of art that reflect the history of the discovery of the natural world, and how that knowledge was brought from the new to the old world, to the University of South Carolina students studying subjects from art history to environmental science, a donation valued at $30,000,000.

Saturday's auction of hand colored aquatints from John James Audubon's magnificent double-elephant folio "The Birds of America", the single most important work on North American ornithology; hand-colored lithographs from his Imperial folio "The Viviparous Quadrupeds", the first great all-American color-plate book; and exquisitely beautiful original watercolors on vellum from Pierre-Joseph Redoute's magnum opus "Les Liliacees", conducted by Guernsey’s at Arader Galleries at 72nd Street, in New York, this last Saturday, was a triumph, for Arader Galleries and for the universities that Mr. Arader supports through his philanthropic educational programs , as 20% of the hammer price of each lot sold will be donated to one of these programs, or a charity of the purchaser's choice.

More than one third of the plates from the original publications of "Birds of America" and "The Viviparous Quadrupeds" went under the hammer and were more than 85% sold by lot. Not surprisingly some exceptionally high prices were achieved for some iconic images: $100,000 for plate number, and lot number, one "The Male Turkey"; $110,000 for the "Snowy Owl"; and $90,000 for the Long-Billed Curlew. The normally tranquil Arader Gallery at 72nd Street, was buzzing with more than 125 potential private and institutional bidders jostling for standing room only, as many of the other 230 lots sold for well over their high estimates. Arader Galleries retains a comprehensive gallery of works of art by both Audubon and Redoute, and we welcome all visitors at our galleries in New York, Philadelphia, Houston and San Francisco, or to our website www.aradernyc.com.

At this point cash gifts to Arader Galleries' Client's charities appear to be headed well over $400,000 as a result of giving programs established by this auction. The idea of all auctions generating a minimum of a 10% of hammer donation to the buyer's charity makes sense and is clearly being embraced by collectors. The art museums, libraries and 3600 four year colleges in the United States that create interest in fine art and the decorative arts should be rewarded for creating and maintaining the interest in collecting that is such a major fabric in American life today.