Benefit for 'Project Education Sudan'

Hello!

Thank you for your interest in attending the event October 28th in the Palmer/Orkow home. Due to such unfortunate weather we had a small turnout and would like to extend the sale through 2009. Between now and Dec.31st you can come into the gallery and 20% of whatever is purchased will be donated to 'Project Education Sudan.'

Please let us know if you have any questions, and we hope to see you soon!

For more information about the organization, please visit:
http://www.projecteducationsudan.org/

Come see us in St. Louis

We will be exhibiting at the 'Meet Me in St.Louis' Antiques Show and Sale, Queeny Park.

Greensfelder Recreation Complex
550 Weidman Road

September 18-20
To benefit 'The Wiegand Foundation, Inc.'

Georg Boeckler’s Elegant Fountain Engravings from Architecturea Curiosa Nova Pars Tertia

Georg Boeckler (active 1644-1698)
A selection from Architecturea Curiosa Nova Pars Tertia
Engravings
Framed sizes: 19 ¼" x 15 ¾"
Nuremburg: Paulus Fürst, 1664
*Other plates are available




This is a selection of engravings from Georg Boeckler's four-part Architecturea Curiosa Nova Pars Tertia. This elegant four-part work contained elaborate designs of Baroque fountains that Boeckler hoped would be consulted during the construction of public squares and private country houses in France, Germany, Great Britain and Italy. Boeckler was a German engineer, author, and architect for the city of Nuremburg. He specialized in hydraulic architecture.

In all, Architectura Curiosa Nova Pars Tertia contains 200 decorative plates. The first of its three parts focuses on illustrating the theory and application of hydrodynamics for fountains, water-jets, spray-patterns, garden fountains and well heads. These sections also showcase complex and often impractical, albeit beautiful, designs for free-standing fountains. The fourth part of Boeckler's masterwork includes designs for grottoes and garden pavillions, and also contains a number of stunning views of European palaces.

Beyond Architecturea Curiosa Nova Pars Tertia, Boeckler also achieved fame for his Theatrum Machinarum Novum, the most significant seventeenth-century work on the subjects of windmills, pumps and other hydraulic machines. First published in 1661, it was re-issued in 1662 and 1686.

*Contact us for prices or questions!

Summer Inspirations...

To create a similar look see a sample of our inventory below. For information and price contact us directly. Please note we have additional images to choose from as well.






First two images are from 'Mrs. Howard' homepage

Join us in Aspen for the 'Aspen Antiques & Fine Arts Fair'

July 9-12, 2009
11am-7pm Thursday-Saturday
11am-5pm Sunday

Aspen Ice Garden
233 West Hyman
Aspen, Colorado

Fern Nature Prints

I always love seeing fern prints in a home, there is something so fresh and striking about them that lends them to both a more contemporary and traditional decor. We have a lovely set of Thomas Moore ferns here in the gallery ( see an example of two below) that would be a wonderful addition to any botanical collection.



Thomas Moore
Pressed nature-prints from Ferns of Great Britain and Ireland
27” x 20” framed. London, 1855.

In these magnificent pressed nature-prints, Thomas Moore has created the finest examples of nature-printing available. The 51 plates were produced by Henry Bradbury for Moore‘s book The Ferns of Great Britain and Ireland, published in London, 1855. Nature printing is a straightforward technique discovered in the fifteenth century, which involves using the plant specimen itself in the creation of an image. At its simplest, a plant is covered with ink and then pressed flat against a piece of paper, leaving an image or impression on the paper. This rather crude method was advanced and perfected during the nineteenth century by the Imperial Printing Office in Vienna. At its most refined, the technique involves passing the plant, under pressure, between two metal plates, one made of soft lead and the other of hard steel. This technique can be achieved by most artists, although the expense of the technique meant that it has never been widely adopted, and examples such as these ferns by Moore are rare.

Thomas Moore (1821-87) was a gardener and writer on horticulture, who became curator of the Chelsea Physic Garden in 1848 and lived there until his death; he wrote and published extensively on ferns. The garden, renamed the Chelsea Physic Garden in 1875, increased the number of fern species cultivated there by fifty percent under his tenure. The Thomas Moore Fernery was built on the site of his original garden in 1907, and today contains a display of varieties of ferns described and cultivated by Moore and popular during the Victorian era. His patron and friend was the great botanist and horticulturalist John Lindley (1799-1865), who became the first Professor of Botany at the University of London, and was also the editor on Moore’s book. The third party involved in the publishing of The Ferns of Great Britain and Ireland was Henry Bradbury, who was a specialist and became acquainted with the nature-printing process at the Imperial Printing Office in Vienna. This new technique of nature printing was originally invented by Aloes Auer and Andreas Warring in 1852 and was thus improved by Bradbury and he patented his own version in London.

So well-received was Moore’s book that it heralded a craze for ferns during the nineteenth century, perhaps because of the exquisite delicacy of the images. Victorian’s, particularly the British, were fascinated by ferns, planting them in gardens and utilizing the fern form as a popular decorative arts motif. Collections of fern prints such as this one were extremely popular with both scientists and others who were simply entranced with the graceful and decorative forms. The fern craze, dubbed “pteridomania” by Charles Kingsley in 1855, raged between 1850 and 1890. It was fed, in part, by the excitement of discovery – even though ferns were plentiful throughout the damp woodlands of Britain, they had an exotic aura, having been little studied before 1840, and needing careful tending in order to be cultivated in urban settings. Fern motifs decorated nearly every type of utilitarian object from including china, furniture, wrought iron, textiles and even gravestones. Their cultivation, especially indoors in Wardian Cases and conservatories, led to a proliferation of books on ferns and their culture. We invite you to stop in and see these rare and exquisite prints!

Radical Cartography

The first map featured here I originally discovered on the 'radical cartography' website and was immediately drawn to the colors and abstract nature. A set of these would be so perfect in a more contemporary home.

THE ALLUVIAL VALLEY OF THE LOWER MISSISSIPPI RIVER
Harold Fisk, 1944
Part of an otherwise technocratic report for the Army Corps of Engineers, Fisk’s maps of the historical traces of the Mississippi River are a wonderful surprise—Fifteen maps, stretching from southern Illinois to southern Louisiana.

The Mississippi River map then reminded me of the wonderful selection of maps of the 'Aspen Mining District' we have here in Denver, that are also very abstract in nature and would make a powerful statement grouped as a set.

Josiah Edward Spurr
A selection of maps from the atlas to “The Geology of the Aspen District, Colorado”
United States Geological Survey: Washington, DC, 1898
Chromolithographs: each app.

These maps, issued by the US Geological Survey in 1898, are fascinating documents of Aspen’s first period of prosperity during the mining boom of the 1890s. The first prospectors crossed over the mountains from Leadville in the spring of 1877 and settled in the camp they called Ute City after the Ute Indians, the first residents of the area, who had aptly named it ‘Shining Mountains.’ By 1879, a number of hopeful prospectors had settled in the camp, and in the summer of 1880, the town, which had grown to 300 residents, was renamed Aspen. By 1890, thousands of fortune seekers had arrived in Aspen to stake their claims or work in the mines. During those boom days Aspen boasted 12,000 residents, 6 newspapers, 4 schools, 3 banks, 10 churches, a modern hospital, and an opera house. Many mining camps were temporary settlements (even the ghost town of Ashcroft, 11 miles from Aspen, had a population of 15,000), but Aspen residents strived for permanence. All of Aspen’s significant buildings and Victorian residences, many of which still stand, were built over a short ten year period. Aspen’s mining fortunes fell in 1893 when the silver was de-monetized. Many of the larger mines shut down and, as mining declined, the local economy became more and more dependent on ranching and farming. By the 1930's Aspen's population had shrunk to 700 people, and it would not revive plans were laid to make it into the ski resort and cultural center it is today. These geological maps stand as rare and engaging testaments to the town’s emergence and its early period of thriving, a time when the infrastructure -- which is still recognizable today in Aspen’s plan -- was first being developed, and when the natural beauty of the place was already competing with that which came out of the mines.

Please contact us for prices and additional images.

Antique Prints in a Mountain Home

It is always very exciting to see the inventory of Arader Galleries, Denver in our clients' homes, and of course it is so thoughtful for them to share with us. Below are pictures of a cabin home in Montana, designed by DM Leuschen Designs.

Contact Info:
Diane M Leuschen
Bozeman, Montana
Studio 406.586.9684
dleuschen@aol.com

Here is Audubon's 'Snowy Owl' over the fireplace

Above features a set of misc. Western views from the 18th century

Please feel free to contact us for similar works.

Sale

Arader Gallery, Denver is having a Sale! Limited Time Only! Please contact us for more Info.!

How to Decorate with Maps

Typically when one thinks of decorating with maps, a study or office comes to mind....which is certainly a most appropriate room for maps where one can demonstrate their love of history and travel, and in which this room above so beautifully demonstrates. However, maps can be featured in any part of the home....

Here are some examples of maps for sale at the Arader Gallery, Denver location. Please contact us for prices and more information.

Henri Abraham Chatelain, “Carte Tres Curieuse de la Mer du Sud...”From Atlas Historique, Paris: 1719. Hand-colored copperplate engraving, 33” x 55 1/2”; 39” x 63”

Gerard and Rumold Mercator, Orbis Terrae Compendiosa Descriptio... Engraving with original hand color: 111/2” x 203/4” Duisburg, 1587 (1595)

Abraham Ortelius (1527-1598) America sive novi Orbis, nova descriptio… Hand-Colored copperplate engraving

Charles Varle, Map of the United States Partly from the New Surveys Dedicated to the citizens thereof, by their humble servant Chas. Varle. Engineer and Geographer 1817. Published Baltimore 1817, Engraving. This is also framed.

McKenney & Hall Early 19th Century Native American Portraits from History of the Indian Tribes of North America

Thomas L. McKenney and James Hall, A selection of portraits from the History of the Indian Tribes of North America, Philadelphia, 1836

From 1816 until 1830, Thomas McKenney was Superintendent of Indian Affairs 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 fashionable 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. The portraits hung in the War Department until l858, when they were moved to the Smithsonian Institute. 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: Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola were numbered among King's sitters.

Andrew Jackson dismissed McKenney in 1830, but allowed him to have the portraits copied by Henry Inman, so that lithographs could be made from McKenney's "Indian Gallery." Additional images were taken from paintings by James Otto Lewis, George Catlin and other artists. James C. Hall, a Cincinnati judge and novelist, contributed an historical and anecdotal text. Both authors, not unlike George Catlin, whom they tried to enlist in their own publishing enterprise, saw their work as a means of preserving an accurate visual record of a rapidly disappearing culture. The portfolio nearly bankrupted McKenney as well as the two printing firms who invested in its publication. But their work proved to be much more valuable contribution than they imagined. Catlin's paintings of Indians were destroyed in a warehouse fire; and James Otto Lewis' watercolors burned along with those by King in the Smithsonian fire of l865. The McKenney and Hall portraits remain as the most complete and colorful record of the native leaders who made the long journey to Washington to speak for their people.

Chief of 6 Nations, Chippeway Widow, Hoo Wan, Ojibway Woman

* Additional Plates are available, please contact us for prices

Highlights from the 2009 Denver Antique Show

Featuring prints from the Arader Gallery, Denver collection and design trends in black and white!


Pictured above: Georg Boeckler (active 1644-1698)A selection from Architecturea Curiosa Nova Pars Tertia, Engravings, Framed sizes: 19 ¼" x 15 ¾"Nuremburg: Paulus Fürst, 1664

William Hamilton. A selection from Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Honorable William Hamilton…Aquatint engravings in black and terra-cotta ink, Naples, 1766-1767


Furniture Prints, C. 18th Century

The International Year of Astrology


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, Denver celebrates the numerous astronomical and scientific milestones by highlighting our favorite celestial cartographer, Johann Bayer. Indeed, the history of astronomy can be traced through its imagery—particularly through the development of celestial maps.

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 twelve new constellations, in the southern sky, to the forty-eight 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.

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.

*Please contact us if you would like more information on the set of four (framed) pictured above.

Decorating with Antique Prints

One of my favorite design blogs, Mrs. Howard Personal Shopper, posted a beautiful story on how to hang a grouping of pictures. Here is what they said and some of their images, mixed with samples of our antique prints to give you an idea of what is available to create a similar look. Enjoy!

"Hanging pictures in groups is a fantastic way to make a statement in a room. This can be done in both even and uneven numbers, and the pictures can also all be from one set of prints or rather an assorted collection that works well together. While they don't need to match exactly, the key is combining pictures that have a similar feel in both color and frame. Grouping pictures is a great technique for giving order to a room, as pairs quickly bring balance to a space. A collection is also a simple way to cover a large wall without buying one, big expensive piece. Try flanking a mirror with a pair of prints, or consider hanging a large group in a symmetrical layout to serve as the focal point for the room. From stairways the bedrooms, it is timeless and appropriate for so many settings. And, if you ever get tired of an arrangement, just break up the pictures and rethink the display in a different space. Below are some examples of how Phoebe has grouped pictures for clients. As you can see, there is no one, single way that is best. Some run horizontally, some vertically and some in a more circular pattern. Do what works for your style and your space. If it makes sense both in color and scale and you cannot go wrong. "
To get a similar feeling as this lovely image above, try hanging a set of Campbell architectural prints.....

To create a similar feel, a set of Mathews views of Colorado would look stunning in a mountain home.....

Bird prints make a wonderful, whimsical addition to any home decor, especially the charming Martinet prints...

Botanicals look good with any style, see our new set of framed Fuchs botanicals....


For prices and more information on the work above, please contact us!

Collecting in Today's Market

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 Clayton St. Feel free to call and make an appointment.

Hello and Welcome!

It is our pleasure to introduce you to Arader Galleries in Denver, CO. We are located in Cherry Creek North, the city’s finest shopping district, at the corner of Third and Clayton. The Denver Gallery is pleased to offer a unique selection of engravings and lithographs pertaining to Colorado history. Highlights include some of the first maps of Colorado, as well as the Alfred E. Mathews views which feature splendid images of the West, and were among the earliest to show the Colorado territory in all its natural glory. In addition, the Denver Gallery also houses a comprehensive collection of original paintings and watercolors, antique prints, maps, natural history, botanical and architectural engravings.

Arader Galleries maintains a wonderful clientele of private collectors, museums, interior designers and art consultants. We feature the largest collection of Audubon prints and rare maps in the world. You are invited to visit the gallery or call us with any special requests.

W. Graham Arader III began dealing maps over thirty-five years ago, while still an undergraduate at Yale University. While there, he studied cartography with Alexander Orr Vietor, the curator of the Yale map collection at the Beinecke Rare Book and Manuscript Library. By the late 1970’s, Mr. Arader had established himself as the leading antique map dealer in America. Today, with galleries in San Francisco, New York, Philadelphia, Houston and now Denver, W.Graham Arader III is proud to offer the finest and most comprehensive collection of original antique prints and maps in the country.

Much of the art that we carry documents the results of European and American exploration. The 16th to 19th centuries saw an incredible expansion of knowledge, and artists were called upon to document the discovery of new places, flora, fauna and cultures. Our holdings include work by the premier painters, printmakers and cartographers of the last four centuries, including the ornithologists, John James Audubon and John Gould; botanists and flower painters, Pierre-Joseph Redoute and Basil Besler; explorers Karl Bodmer and George Catlin; and cartographers, Abraham Ortelius and Gerard Mercator. Other categories represented include Colorado history, architectural drawings, sporting, marine, as well as many other topics of interest.

For thirty-nine years we have maintained our mission 'experts working as your personal curators' to assist in assembling important collections, public and private. We truly look forward to the opportunity to work with you in the near future.


Arader Galleries, 275 Clayton St. Denver, CO 80206, 303-321-0113, Kasey Collins, Director