A Silent Auction of Rare Audubon Prints,
Natural History Art, and Historic Maps
in Support of the Quebec-Labrador Foundation
Tuesday, 28 April 2015
Hosted by Arader Galleries
Snowy Owl (Bubo scandiacus)
~ John James Audubon, Amsterdam Edition ~
A
QLF
Q U E B E C- L A B R A D O R F O U N DAT I O N
ATLANTIC CENTER FOR THE ENVIRONMENT
QLF exists to promote global leadership
development, to support the rural
communities and environment of
eastern Canada and New England,
and
to create models for stewardship of
natural resources and cultural heritage
that can be shared worldwide.
Bonne Bay, Gros Morne National Park
FOR OVER HALF A CENTURY, the Quebec-Labrador Foundation (QLF) has been defined through its unique approach
of working across borders. In the early days of the organization, those borders were geographic — state, provincial,
and U.S./Canada. In recent years, the regional model in North America is now shared with places as diverse as Latin
America and Southeast Asia.
QLF is distinguished by its emphasis on connecting environmental problem-solving with associated needs of culture
and community. Environmental issues cannot be addressed without making sure that solutions include people. QLF
has always promoted the potential of individual initiative and leadership — that one person can make a difference.
For example, QLF taps the energy and commitment of high school Volunteers, university Interns, and young
professionals worldwide to provide experiential training opportunities for the next generation of leaders. QLF Alumni
number several thousand.
Quebec-Labrador Foundation • 55 South Main Street Ipswich, Massachusetts 01938 U.S.A. • 978.356.0038
Fondation Québec Labrador • 606 rue Cathcart, bureau 430, Montréal, Québec H3B 1K9 CANADA • 514.395.6020
www.QLF.org
Dear QLF Friends:
Arader Galleries and the Quebec-Labrador Foundation have celebrated a mutual interest in
conservation in many ways over the past several years. Thanks to the inspiring leadership of
QLF President Larry Morris, we have had the pleasure of attending QLF events at The Explorers
Club as well as hosting many of you here at the New York gallery. We have found that Larry’s
commitment to global leadership and environmental awareness is absolutely contagious.
Therefore, we are thrilled to host this event and to share the excitement of “Audubon’s Aviary:
the Final Flight” at the New York Historical Society. Our mutual respect for wildlife, natural
history and conservation led inevitably to the idea of joining forces for a memorable spring
reception, and we could not be more pleased to host this event.
We want to benefit QLF’s cause in a tangible way as well, through a silent auction benefiting
programs in biodiversity conservation. The Auction will be held here at the gallery on the
evening of April 28th, 2015. The 20% buyer’s premium charge for each auction lot will go directly
to supporting QLF!
This auction offers a variety of Audubon’s images from his beloved Birds of America, as well
as other natural history offerings and a selection of rare maps representing QLF’s global
involvement. From the majestic Snowy Owl, to one of the most recognized early maps of the
northeast by Nicholas Visscher, there is something for every participant.
John James Audubon spoke truly when he said “A true conservationist is a man who knows
that the world is not given by his fathers, but borrowed from his children.” Whether in person
or by absentee bid, we hope that you can join us in celebrating QLF and the art that continues
to remind each generation of the importance of the wildlife around them.
Most Sincerely,
Mike Foley and Morgan Beckwith for Arader Galleries
1
A Silent Auction Benefiting the Quebec-Labrador Foundation
Hosted By Arader Galleries
The 20% Buyer’s Premium fee will be directed to fund QLF programs ~
AUCTION: The evening of Tuesday, April 28th, 2015
Bidding opens on April 1st!
SALE PREVIEW: Selected works are available to view at Arader Galleries
SALE LOCATION:
Arader Galleries
1016 Madison Avenue
New York, NY 10075
+1 212 628 7625
ABSENTEE BIDDING: By telephone or by submitting an absentee bidding form
(located in the back of this catalogue)
CATALOGUE: To order additional catalogues please contact QLF
SALE CONTENTS:
Audubon Aquatint Engravings . . . . . . . . . . . . . . Lots 1-8
Audubon Octavo Birds . . . . . . . . . . . . . . . . . . . Lots 9-16
Audubon Amsterdam Edition . . . . . . . . . . . . . Lots 17-21
Audubon Quadrupeds Imperial Edition . . . . . Lots 22-23
Mark Catesby Natural History Prints . . . . . . . Lots 24-29
Rare Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lots 30-40
*Questions regarding lots in the auction can be directed to Morgan Beckwith*
(212) 628-7625 or [email protected]
2
A Selection of Aquatints by John James Audubon (1785–1851)
Elephant Folio. First Edition Engravings with Original Hand-Color
London: Robert Havell, 1827–1838
Lots 1- 8
Audubon pursued his birds with an unusual passion for accuracy and painterly beauty, a fervor
caused, one imagines, as much by desperation as by scientific and aesthetic high-mindedness.
Once Audubon had committed to his project, producing the monumental Birds of America, it fell
to him to find an engraver and subscribers. After a failed attempt to drum up interest in Philadelphia,
he turned to Europe. Departing from New Orleans in 1826, he arrived in Liverpool first. While in
Europe, he presented himself as a romanticized American woodsman. He dressed in buckskins
and applied bear grease to his long hair, playing to the English’s attraction to characters of frontier
culture. With him he brought more than 300 pictures, which were exhibited in Liverpool,
Manchester, and Edinburgh where they were enthusiastically well-received by a scientific community
much preoccupied with little-known lands. While in Edinburgh, Audubon was directed to
William Home Lizars (1788 – 1859), the finest engraver in the city. Lizars was so impressed by
Audubon’s drawings that he put aside a project and agreed to instead take on the formidable task
of engraving the plates for Audubon’s “Great Work.” Work on the first part began in November
1826 and by January 1827 the first five images were printed. Audubon’s relationship with Lizars
was, however, not long-lasting. During the production of the first two parts Lizars’ colorists went
on strike, and in June 1827 Audubon retrieved the ten completed plates and began his search for
a new engraver.
In London he met Robert Havell, Sr. (1774– 1832), a printmaker. Havell, Sr., felt he was too old
for such an undertaking, but his son Robert Jr. (1793– 1898) entered into a partnership with him
and together they brought to fruition Audubon’s massive work, The Birds of America.
Audubon’s prints are, in a word, stunning. He was an exceptional naturalist. The striking posture
of the birds displays as much of their shape and plumage as possible, with a degree of detail that
proves the extent of his research. Audubon stood out from other ornithological naturalists of his
time by depicting his birds in dynamic, active attitudes, rather than just in profile. The artist’s eye
and hand can be seen on every page; the birds have personalities, and with them Audubon cemented
his status as an American archetype, as much a part of our national folklore as George Washington
or Johnny Appleseed.
John James Audubon’s renowned Birds of America is the single most important work on North
American ornithology ever produced. To own a Havell edition Audubon is to own an important
piece of American History.
3
1 • MEADOW LARK, PLATE 136
Common Name: Eastern Meadowlark
John James Audubon
Estimate: $35,000-45,000
38½ x 25 5/8 inches. Full margins and excellent condition
Retail price: $65,000
Guidance: Christie’s, 2004, $47,800
Mid-Hudson Auction Galleries, October 11, 2014, $45, 750
Guernsey’s, January 25, 2014, $45,000
Guernsey’s 2012, $37,820
4
“At this season the beauty of their plumage
is much improved, their movements have
acquired more grace, their manner of flight
and all their motions when on the ground
evidently shewing how strongly they feel
the passion that glows in their bosom.”
–J.J. Audubon (p218)
*All excerpts taken from John James Audubon’s
Ornithological Biography
2 • BOAT-TAILED GRACKLE, PLATE 187
John James Audubon
Estimate: $7,000-10,000
37 3/4 x 24 3/8 inches. Full margins and excellent condition
Retail Price: $18,000
Guidance: Christie’s, 2004, $13,145
Mid-Hudson Auction Galleries, June 7, 2014, $6,250
Mid-Hudson Auction Galleries.October 11, 2014, $2,745
“In the plate are represented a
pair in full spring plumage.
I have placed them on their
favourite live-oak tree.”
–J.J. Audubon (p508)
5
3 • PURPLE GRACKLE
Common Name: Common Grackle
John James Audubon
Lizars Edition
Estimate: $8,000-$10,000
38 x 26 inches. Full margins and excellent condition.
Retail price: $22,500
Guidance: Christie’s, 2004, $13,145
Mid-Hudson Auction Galleries, December 2014, $6,100
6
“I could not think of any better mode
of representing these birds than that
which I have adopted, as it exhibits
them in the exercise of their nefarious
propensities.” – J.J Audubon (p35)
4 • BLACK-BILLED CUCKOO, PLATE 32
John James Audubon
Estimate: $10,000-12,000
29 x 39 inches
Retail Price: $28,000
Guidance Christie’s 2004, $19,120
Neal Auction Co. 2010, $14,937.50
“It being so scarce a species in
Louisiana, I have honoured it by
placing a pair on a branch of
Magnolia in bloom.”
– J.J. Audubon (p170)
7
5 • PIGEON HAWK, PLATE 92
Common Name: Merlin
John James Audubon
Estimate: $4,000-6,000
37 3/4 x 25 1/2 inches|
Retail Price: $15,000
Guidance: Guernsey’s, January 25, 2014, $7,500
Christie’s 2004, $7,170
Guernsey’s 2013, $6,500
“It sweeps along in the stillness of the autumnal evening
with a rapidity seldom equalled, creating confusion, terror,
and dismay along the whole shores.” – J.J. Audubon
(p250)
6 • ZENAIDA DOVE, PLATE 162
John James Audubon
38 x 26 inches. Excellent condition.
Estimate: $6,000-8,000
Retail Price: $18,000
Guidance: Neal Auction Company, 2011, $8,962.50
Mid-Hudson Auction Galleries, December 6, 2014,
$2,440
“‘The cooing of the Zenaida Dove is so peculiar, that one
who hears it for the first time naturally stops to ask,
‘What bird is that?’” – J. J. Audubon (p331)
8
7 • TUFTED AUK, PLATE 249
Common Name: Tufted Puffin
John James Audubon
25 x 38 inches
Estimate: $8,000 -10,000
Retail price: $11,000
Guidance: Guernsey’s, December 5, 2012, $4,250
9
8 • CAROLINA TURTLE DOVE, PLATE 17
Common Name: Mourning Dove
John James Audubon
30 7/8 x 24 3/8 inches
Estimate: $800-1,000
Retail Price: $1,800
“I have tried, kind reader, to give you a faithful representation
of two as gentle pairs of Turtles as ever cooed their loves in the
green woods. I have placed them on a branch of Stuartia,
which you see ornamented with a profusion of white blossoms,
emblematic of purity and chastity.” – J.J. Audubon (p56)
10
A Selection of Octavo lithographs by John James Audubon
(1785–1851)
Hand-colored lithographs. Royal Octavo Edition
Philadelphia: J.T.Bowen, 1840 – 1844
Lots 9-16
The success of Audubon’s first Birds of America brought Audubon worldwide acclaim. Following
that success, he returned to America and set out to issue a smaller version that would include
more birds (most newly discovered in the Western U.S.). He decided on a 1/8 or octavo sized sheet
measuring about 6-1/2" x 10". He called this set The Royal Octavo Edition of Birds of America.
The 1st Edition of 500 plates was lithographed and hand colored by J.T. Bowen in Philadelphia
and New York from 1840-44. The 1st Royal Octavo Edition of Birds of America was completed
under the direct supervision of J.J. Audubon.
They were again sold by subscription, and issued in order by species in 100 sets of 5 each. It is
estimated that from 1000-1200 complete sets were issued. No one knows how many complete sets
and individual prints survive today. They are very popular and highly collectable. Today, a complete
set in good condition would sell for over $50,000.00 at auction. Individual 1st edition prints sell
at dealer's galleries from $50-$100 each, on up to $4,000.00+, depending upon popularity.
11
9 • A Selection of 4 Audubon Artic Bird Octavos
Estimate: $1,000-1,500
Hand-colored lithographs:
6 1/2 x 10 inches or 10 x 6 1/2 inches each
Philadelphia, 1840-44, Royal Edition
LARGE-BILLED PUFFIN, PLATE 463
Retail Price: $775.00
HUTCHINS GOOSE, PLATE 377
Retail Price: $690.00
HORNED-BILLED GUILLEMOT, PLATE 471
Retail Price $175.00
ARCTIC TURN, PLATE 436
Retail Price: $890.00
12
10 • A Selection of 4 Audubon Songbird Octavos
Estimate: $800-1,000
Hand-colored lithographs: 10 x 6 1/2 inches each
Philadelphia, 1840-44, Royal Edition
SUMMER RED-BIRD, PLATE 208
Retail: $890.00
CARULEAN WOOD-WARBLER,
PLATE 86
Retail: $460.00
ROSE-BREASTED SONG GROSBEAK,
PLATE 205
Retail: $375.00
PIPIRY FLYCATCHER, PLATE 55
Retail: $260.00
13
11 • ROSEATE SPOONBILL, PLATE 362
Estimate: $2,000-3,000
Hand-colored lithograph
Framed: 10 1/2 x 14 inches
Philadelphia, 1840-44,
Royal Octavo Edition
Retail Price: $4,025
14
12 • IVORY-BILLED WOODPECKER, PLATE 256
Estimate: $1,000-2,000
Hand-colored lithograph: 10 1/2 x 6 inches
Philadelphia, 1840-44, Royal Edition
Retail Price: $2, 875
15
13 • BLUE HERON, PLATE 372
Estimate: $1,000-1,500
Hand-colored lithograph
10 1/2 x 6 inches
Philadelphia, 1840-44, Royal Edition
Retail Price: $2,070
16
14 • COLUMBIA JAY, PLATE 229
Estimate: $500-1,000
Hand-colored lithograph: 10 1/2 x 6 inches
Philadelphia, 1840-44, Royal Edition
Retail Price: $1,600
17
15 • WHOOPING CRANE, PLATE 314
Estimate: $500-1,000
Hand-colored lithograph: 10 1/2 x 6 inches
Philadelphia, 1840-44, Royal Edition
Retail: $1,150
16 • PASSENGER PIGEON, PLATE 285
Estimate: $500-800
Hand-colored lithograph, 2nd Edition
Framed: 17 3/4 x 14 inches
Philadelphia, 1843
Retail: $950
18
A Selection of Limited Edition Facsimiles of
Audubon’s Birds of America
Elephant Folio dimensions. Color photo-lithography prints
Amsterdam: Theatrum Orbis Terrarum Ltd, 1973
Lots 17-21
In October 1971, employing the most faithful printing method available, the best materials and
the ablest craftsmen of their age, the Amsterdam firm of Theatrum Orbis Terrarum Ltd., in
conjunction with the Johnson Reprint Corporation of New York, set out to produce the finest
possible limited edition facsimile of the greatest bird book ever printed: the Havell edition of John
James Audubon's well-loved "Birds of America".
“The Birds of America” is the single greatest ornithological work ever produced and is the realization
of Audubon's dream of travelling throughout the United States recording, natural size, every native
bird then known. The 435 double-elephant folio sized plates, printed by the Havells of London
and published in 1827-38, depict some 1,065 different species, the majority drawn from specimens
that Audubon himself had captured.
The Curators of the Teyler's Museum in Haarlem, Holland, made their copy of the original work
available for use as a model. The Museum, founded in 1778, bought their copy through Audubon’s
son as part of the original subscription in 1839. After long deliberation, the extremely complex
but highly accurate process of color photo-lithography was chosen as the appropriate printing
method. The best exponents of this art were the renowned Dutch printing firm of NV Fotolitho
Inrichting Drommel at Zandvoort who were willing to undertake the task of printing each plate in
up to eight different colors.
19
17 • ICELAND OR JYR FALCON, PLATE 366
Estimate: $1,000-2,000
Limited Edition Facsimile: 38 x 25 inches
Amsterdam, 1973
Retail Price: $2,500
18 • SNOWY OWL, PLATE 121
Estimate: $1,000-2,000
Limited Edition Facsimile: 38 x 25 inches
Amsterdam, 1973
Retail Price: $2,500
20
19 • BROAD-WINGED HAWK, PLATE 91
Estimate: $900-1,500
Limited Edition Facsimile: 38 x 25 inches
Amsterdam, 1973
Retail Price: $2,500
20 • WHITE-FRONTED GOOSE, PLATE 286
Estimate: $900-1,500
Limited Edition Facsimile: 25 x 38 inches
Amsterdam, 1973
Retail Price: $2,500
21
21 • BROWN PELICAN, PLATE 286
Estimate: $1,000-2,000
Limited Edition Facsimile: 38 x 25 inches
Amsterdam, 1973
Retail Price: $2,500
22
Viviparous Quadrupeds of North America Imperial Folio
Lithographs with original hand-color
Published in Philadelphia between 1839 and 1844 by J.T. Bowen
Illustrations by John James Audubon
In collaboration with his sons, Victor Gifford and John Woodhouse Audubon
Text by the Reverend Dr. John Bachman
Lots 22-23
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.
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.
23
22 • SWIFT FOX, PLATE 52
John James Audubon
Estimate: $10,000-$12,000
Retail Price: $35,000
Guidance: Guernsey’s
January 25, 2014, $11,590
Guernsey’s, November 9, 2013, $7930
23 • CANADA LYNX, PLATE 16
John James Audubon
Estimate: $8,000-10,000
Retail Price: $35,000
Guidance:
Guernsey’s January 25,2014, $11,590
Guernsey’s, November 9, 2013, $7930
24
A selection of prints from
Natural History of Carolina, Florida, and the Bahama Islands
And
Hortus Europae Americanus: Collection of Curious Trees
and Shrubs, The Produce of America…
Mark Catesby (1683 - 1749)
Lots 24-29
In 1712, the English-born artist and naturalist Mark Catesby embarked on a series of expeditions
to the southern colonies of British North America. His drawings and written observations were the
raw material for as for an unprecedented project: a scientific account of previously uninvestigated
wildlife, with illustrations taken from life. The result was the most sweeping, complete and unique
natural history study ever done. Catesby’s images convey what the artist must have experienced in
America: the colors and varieties of the exotic species of birds, fish, animals, insects and plants of
the New World. Widely considered the greatest achievement of eighteenth-century art and science,
the images from Catesby’s Natural History of Carolina, Florida, and the Bahama Islands and Hortus
Europae Americanus have lost none of their power to delight in the 250 years since the first
publication.
The work of Mark Catesby greatly influenced the images of naturalist John James Audubon.
While there is a distinct difference in the way these artists approached their subjects, it is clear
that Audubon looked to Mark Catesby’s compositions for inspiration.
25
24 • SWALLOW TAIL’D HAWK
Mark Catesby
Estimate: $1,000-2,000
20 3/4 x 14 1/2
Retail Price: $4,750
25 • THE BAHAMA FINCH
Mark Catesby
Estimate: $1,000-2,000
20 3/4 x 14 1/2 inches
Retail Price: $4,750
26
26 • |THE TROPICAL BIRD
Mark Catesby
Estimate: $3,000-4,000
14 1/2 x 20 3/4 inches
Retail Price: $8,500
27 • THE NOODY
Mark Catesby
Estimate: $2,000-3,000
14 1/2 x 20 3/4 inches
Retail Price: $8,500
27
Two Hand-colored engravings from Catesby’s Hortus Europae Americanus:
Collection of 85 Curious Trees and Shrubs, the Produce of North America …
(London: J. Millan, 1767)
28 • ROCK ROSE OF PENNSYLVANI;
IVY TREE; PELLITORY OR
TOOTH-ACHE-TREE; ANONA FRUCTU
Estimate: $4,000-6,000
Retail Price: $8,500
29 • CYPRESS OF AMERICA; SWEET
GUMTREE; TULIP TREE;
WATER TUPELO
Estimate: $4,000-6,000
Retail Price: $8,500
28
A Selection of Historic Maps Relating to QLF’s Global Reach
Lots 30-40
30 • Nouvelle Carte Particulière De L’Amerique
ou font exactement marquees la Nouvelle
Bretagne, le Canada ou Nouvelle France, la
Nouvelle Ecosse, la Nouvelle Angleterre…
Estimate: $5,000-6,000
Covens & Mortier
Hand colored engraving
Amsterdam, 1737
Retail Price: $8,500
29
31 • Carte du Canada ou de la Nouvelle France
Estimate: $25,000-30,000
Guillaume de L'Isle (1675-1726)
Engraving with original hand color outline
Paris, 1703
Framed: 31 3/8 x 38 ½ inches
Retail Price: $45,000
30
32 • Novi Belgii Noraeque Angliae …
Estimate: $15,000-20,000
Nicholass Jansz Visscher
Engraving with original hand color
Amsterdam, ca. 1685
Framed: 30 1/8 x 33 5/8 inches
Retail Price: $26,000
31
33 • United States of America. Correct & Improved from the best Authorities.
Estimate: $2,00-3,500
Benjamin Warner
Published by Philadelphia: B. Warner, 1820
Retail Price: $ 4,800
34 • Coast of West Florida and Louisiana with the Peninsula …
Thomas Jefferys (1719-1771)
Estimate: $ 5,000- $6,000
London: Robert Sayer, 1775
21 3/4 x 50 inches
Retail Price: $8,500
32
35 • Grand theatre de la guerre en amerique
suivant les plus nouvelles observations
des Espagnol…
Estimate: $800-1,500
Ottens, R. (Reinier), 1698-1750
Amterdam, 1745
Retail Price: $2,000
36 • India Orientalis
Rare map highlighting Southeast Asia and India
Hondius and Mercator
Estimate: $5,000-$7,000
Copperplate engraving with original hand color
Amsterdam, 1606
Framed: 29 1/2 x 33 1/2 inches
Retail Price: $ 9,000
33
37 • Deliniantur in hac tabula, Orae maritimae Abexiae, freti Mecani…
Map of the Region Surrounding the Indian Ocean
Estimate: $8,000-10,000
Jan van Linschoten
Engraved by Robert Beckit from Itinerario
16 3/4 x 21 3/8 inches
London: John Wolfe, 1598
Retail: $12, 000
38 • Carte Particuliere des Pais ou Les Apotres ont Preche l’Euan Gile…
Detailed Map of the Mediterranean and the Middle East
Estimate: $800-1,000
Covens and Mortier
Retail Price: $1,800
34
39 • La Figure du Monde Universel
Sebastian Munster (1489-1552)
Estimate:$ 5,000-$7,000
Basel: Heinrich Petri, 1552-1568
21 x 24 4/8 inches
Retail Price: $9,500
The Most Widely Circulated Contemporary Delineation of the New World
35
40 • Orbis Terrae Compendiosa Descriptio
Estimate: $8,000-10,000
Gerard (1512 – 1549) and Rumold (1545-1599)
Engraving with original hand-color
From Strabonis Rerum Geographicarum
15 1/2 x 21 inches
Duisberg: 1587 [ 1595 ]
Retial: $12,500
36
SILENT AUCTION RULES & GUIDELINES
You are eligible to begin bidding as soon as you receive this catalog!
However, please take the time to read our Auction Rules & Guidelines listed below.
There will be an additional 20% buyer’s premium fee on each individual lot during this sale. If the
bidding on one item concludes at $1,000 a fee of 20% (or $200 in this case) will be added to the
purchaser’s total: the purchaser would pay $1,200 (plus nyc sales tax where applicable). This 20%
fee will go directly to funding QLF conservation programs. A check made out separately for this
20% to QLF will act as a receipt of a charitable donation for tax purposes.
Each lot is given a low and high estimate, representing the opinion of Arader Galleries experts
about the range in which the lot might sell at auction. Estimates are based on the examination of
an item and recent auction records of comparable pieces. An estimate provides prospective buyers
with an important preliminary guide to value. There is no guarantee that any item will fall within
the estimate range.
If you cannot attend the auction you can still participate: please call Morgan Beckwith at
(212) 628-7625 or fill out the Absentee Bidding Form located at the back of this catalog and follow
the instructions.
Contact Morgan Beckwith from Arader Galleries if you have any questions regarding any of the
works listed in the catalog. [email protected] (212) 628 7625
On the evening of the Silent Auction all guests will receive a bidding number upon entering Arader
Galleries. Arader Galleries staff will announce when it is time to begin bidding. To place bids on
items one will write down their bidding number and the dollar amount they wish to bid on the
sheets placed next to all of the auction lots.
Bids must be in whole dollar increments. Any bids not adhering to this format will be declared
invalid and voided. If a bid number is crossed out, that bid will be considered null.
There is no maximum limit for your bid and you may bid as many times as you wish. If the bid
sheet is full, please continue onto the second sheet. If there are no extra sheets, please request one
from the Arader Galleries or QLF staff.
Once the auction is declared closed, the last bid entered on the bid sheet that adheres to the designated bidding increment will constitute the winning bid and will be so marked. Arader Galleries
will mediate any disputes among bidders and that determination shall be final.
Invoices will be prepared after the closing of the Silent Auction. Please be patient!
Payment can be made by cash, check, or credit card (excluding Amex).
Arader Galleries staff will work with the winners regarding shipment or framing of any pieces that
have been won at auction. These additional services will be at the cost of the purchaser.
If the initial declared winner refuses to follow through with the silent auction bid, the second
highest bidder will be contacted.
*Also see TERMS & CONDITIONS*
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TERMS AND CONDITIONS
By Bidding at the auction, whether present in
person or by agent, or by written bid, telephone,
or by other means, the buyer agrees to be bound
by the conditions of the sale.
1. All properties are sold as is, and neither we nor
the consigner make any warranties or representations
with respect to any lot sold including but not
limited to correctness of the catalogue description,
the physical condition, size, quality, rarity,
attribution, authorship, importance, medium,
provenance, exhibitions, literature, or historical
relevance of the property, and no statement anywhere, whether oral or written, shall be deemed
such a warranty or representation. All sizes listed
are approximate. Prospective bidders should inspect
the property before bidding to determine condition,
size, and whether or not it has been repaired
or restored. WE DISCLAIM ANY AND ALL
WARRANTIES, EXPRESSED OR IMPLIED,
INCLUDING BUT NOT LIMITED TO THE
IMPLIED WARRANTY OR MERCHANTABILITY
OR FITNESS FOR ANY PARTICULAR PURPOSE.
NO WARRANTIES ARE MADE THAT ANY OF
THE MERCHANDISE COMPLIES WITH ANY
APPLICABLE GOVERNMNETAL RULES,
REGULATIONS OR GUIDELINES OF ANY
KIND OR NATURE WHATSOEVER.
2. A buyer’s premium will be added to the purchase
of all lots in the sale, and is payable by the purchaser
as part of the total purchase price. The buyer’s
premium for bidders participating in the auction
in person or in absentia, either on the telephone
or by submitting written bids in advance, is 20%.
The total of this buyer’s premium fee will going
directly to the Quebec Labrador Foundation.
3. We reserve the right to withdraw any property
before the sale.
4. Unless otherwise announced, all bids are per lot
as numbered in the catalogue. Arader Galleries staff
may open bidding on any lot below the reserve
by placing a bid on behalf of the seller. Arader
Galleries staff may continue to bid on behalf of the
seller up to the amount of the reserve either by
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placing consecutive bids or by placing bids in
response to other bidders.
5. All bids placed and all payments made must
be in U.S. dollars drawn on a U.S. bank unless
payment in U.S. dollars wired from a foreign bank
has been pre-arranged.
6. We reserve the right to reject any bid. The
highest bidder acknowledged by Arader Galleries
will be the purchaser. In the event of doubt on our
part as to the validity of any bid, Arader Galleries
will have the final discretion whether to resell the
article in dispute. If any disputes arise after the
sale, our sale records are conclusive. Although in
our discretion we will execute order bids or accept
telephone bids as a convenience to clients who are
not present at the auction, we are not responsible
for any errors or omissions in connection therewith.
7. If Arader Galleries decides that any opening bid
is below the value of the article offered, he or she
may reject the same and withdraw the article from
sale, and if having acknowledged an opening bid,
he or she decides that any advance thereafter is
insufficient, he or she may reject the advance.
8. At the conclusion of the silent auction, title
to the offered lot will pass to the highest bidder
acknowledged by Arader Galleries subject to
fulfillment by such bidder, of all the conditions
set forth herein, and such bidder thereupon
1) assumes full risk and responsibility thereof,
but not limited to, insurance, fire, theft, removal
and storage or damage from any and all causes
and b) will pay full purchase price thereof. In
addition to other remedies available to us by law,
we reserve the right to impose a late charge of 1½%
per month of the total purchase price if payment
is not made in accordance with the conditions set
forth. If any applicable conditions herein are not
complied with by the purchaser, in addition to
other remedies available to us and the Consigner
by law, haser liable for the total purchase price,
we at our option may either, a) cancel the sale,
retaining as liquidated damages all payments
made by the purchaser, or b) resell the property
at public auction without reserve, and the
purchaser will be liable for any deficiency costs
including handling charges, the expenses of both
sales, our commissions on both sales at our regular
rates, reasonable attorney’s fees, incidental damages,
and all other charges due hereunder. In the event
that such a buyer pays a portion of the purchase
price for any or all lots purchased, Arader Galleries
shall apply the payment received to such lot or
lots that Arader Galleries, in its sole discretion
deems appropriate. In case of default, purchaser
shall be liable for legal fees and expenses. In
addition, a defaulting purchaser will be deemed
to have granted us a security interest in, and we
may retain as collateral security for such purchaser’s
obligations to us, any property in our possession
owned by such purchaser. We shall have the rights
afforded to a secured party under the New York
Uniform Commercial Code with respect to such
property and we may apply against such obligations all monies held or received by us for the
account of, due from us to, such purchaser.
9. Estimates do not represent any opinion or guarantee of actual value or ultimate sale price. Actual
prices realized for items can fall below or above
this range. They should not be relied upon as a
prediction or guarantee of the actual selling price.
They are prepared well in advance of the sale and
are subject to revision.
10. Should any disputes arise pertaining to purchases
at this auction or any other matters relating to the
auction, such disputes shall be brought in the
courts of the State of New York. Venue shall be
within the County of New York.
11. Any claim regarding a purchase must be made
by the successful bidder to Arader Galleries, in
writing, certified mail, return receipt requested,
within 90 days of the final day of the silent auction.
Thereafter, all claims shall be time-barred.
12. Unless exempt by law, purchasers will be
required to pay New York City sales tax and
other local taxes as required.
13. Packing and handling of the purchased lots
by us or by someone else is at the entire risk of
the purchaser. Purchasers are responsible for all
packing and shipping costs. We are not responsible
for the acts or omissions of carriers or packers of
purchased lots whether or not recommended by us.
14. We are happy to help you on the telephone
or via e-mail with condition reports or any other
information you might need to facilitate your
bidding. Please contact
[email protected]
39
Arader Galleries
1016 Madison Avenue
New York, NY 10075
Email: [email protected]
Website: www.aradernyc.com
ABSENTEE BIDDING FORM
I wish to place the following absentee bids for the Silent Auction benefiting the Quebec Labrador Foundation on
April 28, 2015. These bids are to be executed by Arader Galleries on behalf, up to but not exceeding the amount,
or amounts, specified below. Each bid is per lot, as indicated. All bids will be executed, and are accepted
subject to the “Terms and Conditions” as stated by Arader Galleries and announced at the start of the sale.
NAME
ADDRESS, CITY, STATE, ZIPCODE
TELEPHONE
EMAIL
■ Visa
■
Mastercard
■
Amex/Discover
CreditCard Number*___________________________________________ Expiration _____ /_____ /_____
■
■
SIGNATURE
I wish to bid by phone (subject to availability)
By checking this box and initialing here _______, I authorize Arader Galleries to bid up
to the amount indicated in the event I cannot be reached by phone during the auction.
DATE
Please PRINT Neatly and List Lots in Numerical Order
LOT NUMBER
CATALOGUE TITLE
TOP BID AMOUNT ($US)
ALL PURCHASES ARE SUBJECT TO A 20% BUYER’S PREMIUM. APPLICABLE NYC SALES TAX
40
QUEBEC-LABRADOR FOUNDATION
Gros Morne National Park, Great Northern Peninsula of Newfoundland
PHOTOGRAPH BY NICHOLAS GATES
AUDUBON SONGBIRD OCTAVOS
CARULEAN WOOD-WARBLER
SUMMER RED-BIRD
PIPIRY FLYCATCHER
ROSE-BREASTED SONG GROSBEAK