Holiday Hours

Arader Galleries Holiday Schedule:

Wednesday, December 24th– OPEN until 3 p.m.

Thursday, December 25th – CLOSED

Friday, December 26th - CLOSED

Saturday, December 27th through
Tuesday, December 30th – OPEN (regular hours)

Wednesday, December 31st – OPEN until 3 p.m.

Thursday, January 1st – CLOSED

Happy Holidays!

John Gould’s The Birds of Australia: A Copy Once Owned by the Governor of Tasmania, Captain John Franklin

John Gould (1804-1881)
The Birds of Australia (and Supplement)
Eight bound volumes including supplement
Folio size: 21 3/8” x 14 3/8”
Printed by Richard and John E. Taylor
Published by the Author, 1840-1848; 1851-1869
681 hand-colored lithograph plates

John Gould’s monumental Birds of Australia magnificently displays the author’s scientific skill and attention to detail and provides a more complete study than his Synopsis of the Birds of Australia and The Birds of Australia, and the Adjacent Islands. 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”.

In September 1838, the author and his wife, Elizabeth, arrived in Australia 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 Gould 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 Van Diemen’s land (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. An autographed letter, dated April 1877 and written by Henry Elliot, sheds additional 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.

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 are pleased to announce that this landmark work in ornithology is currently at the San Francisco location and available for viewing upon request. Please call Arader Galleries at 415.788.5115 for price inquiries and to request the catalog.

Engravings from the Landmark Publication on British Georgian Architecture

Colen Campbell (1676–1729)
From Vitruvius Britannicus
London, [1715-1725] 1767
Copperplate engravings

Colen Campbell (1676–1729) was a Scottish-born architect who published the single most influential work of architecture published in the Georgian era (1714-1811). As the title suggests, the work focuses upon the writings of the Roman architectural author, Vitruvius, and testifies to Campbell's outright rejection of the French influence upon British architecture, so prevalent during the reign of the late Stuart monarchs. The book champions the classical purity of line, which pervaded the work of the English court architect, Inigo Jones (1753-1652) and the Italian architect, Andrea Palladio (1508-1580), both considered exemplars of the style by Campbell.

Additionally, the book represents the rise of the nobility and professional designer as arbiters of fashion, a facet of British culture previously dominated by royalty. The British countryside, as we know it today, was the creation of the Georgian period. The nobility now enjoyed new found wealth largely due to the Seven Years’ War, when the Crown had given land to loyal supporters. This land was mainly concentrated into large estates, and its owners either sat in the House of Commons or knew people who did. Thus, the land enclosure acts, which allowed for the most modern methods of farming, were easily passed and as a result agriculture became a profitable enterprise. For the first time the elite could afford to build grand homes for themselves and to receive members of the royal family. While ‘Capability’ Brown supplied the design for magnificently landscaped gardens, Campbell’s Vitruvius Britannicus provided a marvelous template for the design of the house.

To view Arader Galleries' selection of Campbell architectural engravings currently available for purchase, visit www.aradersf.com, call 415.788.5115 to request a Campbell catalog, or visit our San Francisco gallery location.

Gifting Art

Jacques Barraband (1767-1809)
La Perrruch Lori Pl. 52
From Histoire Naturelle des Perroquets
Paris: 1801-5
Hand-colored copperplate engravings

Pierre Joseph Redoute (1759-1840)
From Choix des Plus Belles Fleurs
Paris: 1827-1833
Hand-colored stipple engravings
12 3/4” x 9 1/2”

William Hamilton
From Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Honorable William Hamilton…
Naples: 1766-1767
Aquatint engraving in black and terra-cotta ink
25” x 35” framed

As Christmas nears, the dilemma of gift giving becomes more and more evident. Everyone is sure to have one or two difficult people, where coming up with an inspiring gift for him or her seems impossible. Art can be a memorable gift that provides enjoyment for a lifetime. Indeed, art is similar to a perpetuity—the reward potential has no definite end. Furthermore, gifting art can be more than a vehicle for providing someone with a memorable gift, but also an exciting and rewarding process for the benefactor.

In this financial climate, where we are all spending a little more carefully, the pursuit of appropriate gift giving requires additional consideration.* In this spirit, Arader Galleries humbly offers some guidance on the purchase of art and artful things for every budget. First, we are fortunate to live in San Francisco a city with such fine culture, arts foundations, and retail galleries staffed with knowledgeable scholars and gallery owners. When you consider purchasing art, be comforted by the assurance you are selecting from some of the best collections and from the most knowledgeable professionals in the world. Second, art dealers do not expect that just because you came into their store that you are going to buy.

Some questions to ask, particularly if you want to purchase an item as a gift, concern the gallery’s return/exchange policy. For example, if you purchase the work as a gift it is prudent to ask whether the recipient has the option of going back to the gallery and selecting something else if they do not find it suited exactly to his or her taste. Like most galleries and antique dealers in the Jackson Square district of San Francisco, Arader Galleries allow gift recipients to exchange items.

Also, reputable dealers will produce documentation for authenticity and insurance purposes. We, like many gallery owners, offer assurance on the authenticity of everything in our inventory. If it is your first time purchasing from a gallery, do not hesitate to inquire about their authenticity standards and policy.

Gift certificates are a fine option as well. For example, suppose you found a gallery you want to purchase from but are having trouble selecting a piece. Talk to one of the dealers about allocating a sum of money for a certificate, enabling the recipient to select their ideal work of art.

Art galleries can provide valuable installation advice for light sources, hanging fixtures, and climate controls. Arader Galleries provides these services free of charge. Also, we have a terrific collection of reference books to enrich your understanding and appreciation of newly acquired pieces. Indeed, the mark of a collector involves keeping careful documentation on the work, such as place of purchase, value, and respective historical importance.

So with these guidelines in mind, Jackson Square is the premier Bay Area destination for gifting art. If you are interested in antique prints please stop by Arader Galleries. We have the world's largest selection of the works of John James Audubon, Pierre-Joseph Redoute, Giovanni Battista Piranesi, historically important maps, natural history engravings and watercolors, lithographs of the American West, Californiana, Hawaiiana and Western Americana.

The significance of gifting art lies in its ability to generate a communal appreciation for beauty. A true collector buys art for a purpose that stems beyond a show and tell, conversation piece. Rather, a true collector purchases art to share their passion for art with others and what better way to do so than by gifting art. We wish you an entertaining and exquisite holiday season!

*Lucinda Edinberg, “Art for the Holidays,” The Capital 8 Dec. 2008: 1.

Yosemite Valley by Andrew Melrose

Andrew W. Melrose (1836-1901)
“Yosemite Valley” California (from Mariposa Trail)
Washington, DC: 1887
Chromolithograph
35 ½” x 47” framed

The son of the artist George Melrose, Andrew Melrose was born in Selkirk, Scotland in 1836. He later moved to the United States, keeping a studio in New Jersey until his death in 1901. A painter of landscapes, Melrose traveled the United States and Ireland in search of majestic natural beauty. His best-known works are of the landscapes of Yosemite.

This iconic view of Yosemite Valley, from the vantage point of Sentinel Dome with El Capitan, Cathedral Rock, the Merced River and the Bridal Veil Falls in the distance, is a chromolithograph created from a painting by Melrose. After the completion of the transcontinental railroad in 1869, many more tourists where able to visit the Yosemite Valley. Chromolithographs, often sold for a few cents a piece, were an affordable souvenir.

Works by Melrose are included in the collections of the New York and New Jersey Historical Societies, the Newark Museum and Oberlin College.

This iconic view of Yosemite, along with other California landscapes by noted artists such as Albert Bierstadt, Thomas Hill and William Keith, is currently on display at Arader Galleries San Francisco location. For more information visit www.aradersf.com or call us at 415-788-5115.

W. Graham Arader on the Economics of Maps

W. Graham Arader III was recently interviewed by Bloomberg radio for their ‘On the Economy’ series. Mr. Arader gives his expertise, from 35 years in the rare map business, on map collecting and current market for antique maps. We think you will find this a very interesting interview!

Click here for the interview

Empress Eugenie to the Prince of Chintz: a Short History of Furnishing with Antiques

Empress Eugénie (1853-1871)

Two members of the Arader Galleries team attended the American Decorative Arts Forum lecture on Tuesday, November 11, 2008. The topic was “Empress Eugenie to the Prince of Chintz: a Short History of Furnishing with Antiques.” Jared Goss, Metropolitan Museum of Art, New York, spoke with enthusiasm and, might I add, velocity on the interesting history of antique decorating. In today’s designer conscience world it is hard to believe that before the 19th century there was no such thing as decorating with antiques. The Renaissance marks the transition to a new type of collecting as people no longer sought out art and artifacts solely for their devotional purposes but for their intellectual, historical, scientific, nostalgic, or commercial significance, yet not for their aesthetic value.* Indeed, prior to the 19th Century people did collect old objects but generally only as a means of demonstrating their intellect.

Mr. Goss began his presentation by tracing the influence of the English Country Home on antique furnishing. The romance of the English Country House décor evolved from the incorporation of fashions from previous generations with current ones, which explains why it has such deep roots in the history of antique decorating. The idea of mixing the “old with the new” first manifested itself here. In 1897 Country Life Magazine was published which showed off Britain’s country homes and contributed to the advancement of country home décor. Nancy Lancaster (1898-1994) perfected and popularized English Country Home decorating with her signature swaggered curtains, large fire places, and upholstered couches.

The Industrial Revolution contributed to the phenomenon of antique decorating for several reasons. Firstly, the emergence of the nouveau riche from the cities, combined with advances in transportation systems (creation of railroads), made countryside homes less remote and therefore the décor more assessable and popular than ever. Secondly, industrialization drastically drove down the cost of furniture, allowing people of modest income the ability to afford new furniture for the first time. The rich, always wanting things that others couldn’t afford, looked to antiques as a means of maintaining their visual social hierarchy.

Accredited for incorporating her nostalgia for aristocratic France into décor, Empress Eugénie (1853-1871) is a classic example of someone using the “cult of the past” to assert her legitimacy. Married to Napoleon the III, the last empress of the France aligned herself with Empress Josephine and, above all, Marie Antoinette because like Marie Antoinette she was foreign at court—herself a Spaniard in the French Court as Marie was an Austrian in the French Court—in order to emphasize her stateliness. Famous for her restoration projects, Empress Eugénie refurbished the Petite Trion and Malmaison, among others, with period pieces. Her desire to align herself with the past was so great she even painted rooms blue due to the fact it was Marie Antoinette’s favorite color.

By the end of the 19th Century, the first design schools were founded during this time, including the Road Island School of Design and Parsons in 1877 and 1896, respectively. Education was crucial in differentiating between amateurs and legitimate designers. Furthermore, the first books on interior design were published in by the end of the 19th, early 20th century as well: “The Decoration of Houses” by Edith Wharton and Oyden Codman Jr (1897) and “The House in Good Taste” by Elsie du Wolfe (1914), which are still in publication today. The concept of interior decorating is a 20th century concept and Du Wolf has earned the accreditation as the first official decorator.

The Great Depression of the 1930’s caused many Americans to move to smaller living quarters as they could no longer afford servants. This event caused interior design to take a turn towards functionality. It follows then that contemporary interior design, Mario Buatta or the “Prince of Chintz” designs rooms that are full of chintz, color, classicism and, most importantly, comfort. Mr. Buatta incorporates elements from English Country Home décor with comfort and functionality, bringing the evolution of antique furnishings full circle.

All in all, Mr. Goss educated and captivated us from beginning to end. I hope our summation leaves you enlightened on the history of antique furnishings. The last lecture of the ADAF 2008 season will take place on December 9 at 8pm at the de Young Museum on “Pets in America: Their History through Portraits and Possessions.” Hope to see you there!

* Miles Harvey, “The Island of Lost Maps,” (New York: Random House, 2000) 70.