Adaa Art Dealers Association Of America

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

Queen Anne mahogany spice box on bracket feet with tombstone panel door. Probably English with oak secondary wood. Contains 16 drawers and two secret drawers.

Robert Pottorf Quattro Mani III, 1998 20-color screenprint 40 x 40 inches

Signed and dated (at lower right): MOORE '18

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

Jim Richard (born 1943, Port Arthur, TX) received a BFA from Lamar State College of Technology, Beaumont, TX (1965) and an MFA from the University of Colorado (1968). He has exhibite...

Having started in Sweden, the company opened up in America in 1888 as the "De Laval Cream Separator Company" in New York City, with a production plant ...

Lauded by critics and collectors alike, the art of Gary Ernest Smith resonates in the mind and memory of contemporary America. Over the past years the artist’s one-man shows have att...

Signed and dated (on verso): Angela Fraleigh 2021

Signed and dated (on verso): Angela Fraleigh 2021

Signed (at lower right): Bailey 1977

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

Signed and dated (at lower right): J. STONE ROBERTS./ 2004.

Delightful child's sized Pennsylvania high chest in red paint. Three over two over four drawer arrangement and resting on bracket feet, circa 1800. Tulip...

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

Robert Adams Harney County, Oregon 2005 Set of four photogravures Each image: 19 7/8 x 15 5/8 inches; 51 x 40 cm Each frame: 29 x 25 inches; 74 x 64 cm Edition of 30 Each signed, ...

David Aylsworth (born 1966, Tiffin, OH) earned a BFA from Kent State University in 1989 and was an artist resident at the Core Program, Museum of Fine Arts, Houston, from 1989-1991. ...

Signed and dated (on verso): Angela Fraleigh 2021

Jim Richard (born 1943, Port Arthur, TX) received a BFA from Lamar State College of Technology, Beaumont, TX (1965) and an MFA from the University of Colorado (1968). He has exhibite...

Over the past forty years, Malou Flato’s paintings have focused on the Texas landscape—its native flowers, blooming cactus, diverse citizenry, and especially its precious water and abundant sky. “Texas is my inspiration,” she says. “I have made my life here, and I would like to think that my art reflects the place I know best.” Malou Flato’s works can be seen in many public places in Texas and beyond. They enliven a border crossing...

Signed "P. Bisiaux" at lower right The overall dimensions, including the frame, are 29 x 34 7/8 inches

This is a unique bronze container. The figure has always been Deborah Ballard’s muse in her sculptures. Ballard works in bronze, cast stone, and plaster; her figures ranging from li...

c. 44 x 55 inch archival pigment print. Edition of 15 (includes several different sizes - please inquire). Signed, titled, dated and editioned on frame label provided. Shipping cost...

Thomas Satterwhite Noble, who studied in France with Thomas Couture for three years, adapted his master’s genre style to American subjects. Born on his parents’ plantation in Kentucky in 1835, Noble was the son of a wealthy rope manufacturer. His early upbringing in Lexington, the center of that state’s slave trade in the antebellum South...

Signed (at lower right): John Ross Key 1882

Signed and dated (at lower right): MOORE '19

Charles Caleb Ward was born in St. John, New Brunswick, Canada, the grandson of a New York Ward who had left for New Brunswick around the time of th...

"My artwork is always in progress. There is not a goal. There is not a category for my work. It is all about enjoying the process of every moment. On a blank sheet of washi calli...

c. 44 x 55 inch archival pigment print. Edition of 15 (includes several different sizes - please inquire). Signed, titled, dated and editioned on frame label provided. Luca Campigo...

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

c. 44 x 55 inch archival pigment print. Edition of 15 (includes several different sizes - please inquire). Signed, titled, dated and editioned on frame label provided. Luca Campigo...

from the exhibition: SURVIVING THE PANDEMIC, Nohra Haime Gallery 2020 satirical self-portrait

Hammered lead on paper Signed and dated (on verso): LCR 2014

Mahogany

This item is from a collection of "magic" props from a California estate, and was accumulated in New York City; home too many famous conjurors; Houdini, Hermann the Great, and Copper...

Walking down a forgotten country lane, littered with stones and broken limbs, carpeted with the new growth of spring, I am exhilarated by warm days and the end of a long winter. I’m ...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

ceramic relief sculpture, glazed in colors. Bold colors. Edition 186/200 In original wooden box (22 x 24 x 4 3/4")

Signed by artist

Karsh is a master 20th Century photographer. Karsh is known for his portraits of authors, scientists, artists, statesmen, musicians, and other dis...

Otis Huband begins his work with no preconceived ideas, but rather to discover what will reveal itself. He states, "I work from the inside out rather than from the outside in. I do n...

Texas artist Jim Stoker began developing his confetti-splatter technique of painting in 2000 to depict his interpretations of the unique flora along the Guadalupe River, as well as t...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Suite of 3 drawings Charcoal and Getty Fire Ash on paper, 24 x 18 in (each)

Gary Stephan Untitled, 1990 Oil and acrylic paint on linen 18 x 14 inches

Walnut

James Turrell Corrected RC Site Plan, 1988/92 Ink on printed paper 35 x 45

Charcoal and Getty Fire Ash on paper

Bronze

Kate Shepherd Here and There #4, 2020 Enamel and transfer on paper 12 1/2 x 19 inches

Fine quality English late 18th century faience planter or pot, with accompanying small porcelain stand. The hand painted image depicts a young couple handsomely dressed in bright col...

Peter Fischli / David Weiss Equilibres 1984–85/2006 Limited-edition book with photograph in linen-bound portfolio Photograph: 12 1/4 x 9 1/8 inches; 31 x 23 cm Book: 9 1/4 x 7 3/4 x 7/8 inches; 24 x 20 x 2 cm Portfolio: 15 x 11 1/2 x 1 1/2 inches; 38 x 29 x 4 cm Edition of 60 Photograph signed and numbered in ink (lower verso) Book signed and numbered in graphite on title page For Equilibres, the well-known series of photographs from the mid-1980s, Peter Fischli and David Weiss balanced everyday household items on top of each other in an absurd equilibrium. The Equilibres photographs anticipate Fischli and Weiss...

Signed and dated (at lower left): Randall Exon 07