Adaa Art Dealers Association Of America

“Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it...

Vase of Flowers Oil on tin, 13 1/2 x 9 3/4 in. Signed (at lower left): C. Eaton

The main feature of his work is the overlap between "serious" painting and images drawn from the world of advertising, illustration and comic strips. Pictorial influences range from ...

“Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it...

“Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it...

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 life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry Nichols...

The Victorian still-life painter William Hough began his career working in Coventry and later moved to London. He exhibited flower and fruit still lifes at the Royal Academy and at t...

Signed (at lower right): FJK [partial]

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His fat...

I am inspired by Andy Warhol, who taught us through his silk-screened images of Campbell Soup cans back in 1962 that objects of our popular culture cab be interpreted as “art” if we ...

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...

Amy Weiskopf was born in Chicago in 1957, and received her M.F.A. from the Tyler School of Art, Temple University, PA. Though Weiskopf is a master of the still life genre, her painti...

A pine scalloped hanging plate rack in original blue paint.

"The comment I hear most often about my paintings is 'happy'". I've loved art all of my life and it warms my heart to know that I'm able to pass that love and joy on to others. I use...

Peter Fischli / David Weiss Untitled (Airport Paris) 2008 Offset lithograph on three sheets Each sheet: 51 1/4 x 32 5/8 inches; 130 x 83 cm Edition of 100 Signed and numbered in ink ...

Cleveland-born painter, advertising artist, and industrial designer Lawrence Blazey received his professional training at the Cleveland School of Art (now the Cleveland Institute). I...

Oil on canvas, 14 x 12 in.

"The comment I hear most often about my paintings is 'happy'". I've loved art all of my life and it warms my heart to know that I'm able to pass that love and joy on to others. I use color and shape to capture the wonders of the world around me. Her love affair with art began as a child, when her favorite present was a new box of Crayola crayons...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

2014, set of 3 photogravures with aquatint, 18 3/4 x 18 inches each, edition of 35. Signed and numbered by the artist.

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

New York, Fan-carved mantel in the Federal taste, circa 1812 Pine Measures: 66 1/4 in. high, 90 3/8 in. wide, 13 1/4 in. deep Within the genre of carved rather than plasterwork mantels of the Federal Period, no example that has come to light is more perfectly designed or more carefully wrought than the present one, which is an amazing symphony of fans, urns, beads, and other Neo-Classical devices, all ultimately influenced by the plasterwork designs of the English architects Robert (1728–1792) and James (1732–1794) Adam. Of a type that proliferated in the area bounded by the northern New Jersey counties of Bergen and Passaic, the Hudson Valley, and western Long Island, the mantel is representative of work that flourished in the first couple of decades of the 19th century. While most of the woodwork of this style that has survived is found in interiors, various examples of exterior doors and other trim have been noted, but most examples have disappeared as a result, variously, of natural deterioration and purposeful demolition in anticipation of development. Although considerably larger in scale and more elaborate in ornament than a mantel that has been in the collection of the Brooklyn Museum since 1944 (acc. no. 44.55; photograph in Hirschl & Adler archives), the present mantel is so close in style and conception to that example that it likely originated in the same house. The Brooklyn mantel is documented as having been removed from a house built by Judge Isaac Terhune (1762–1837), an eminent lawyer and judge. The house was situated on King’s Highway, at the corner of Mansfield Place, at the edge of South Greenfield, a village in northern Gravesend, Brooklyn. A photograph of the house, taken by the German e´migre´ photographer, Eugene Armbruster (1865–1933), is in the collection of the New-York Historical Society. Terhune is ultimately descended from the Dutch-Huguenot e´migre´ Albert Albertson Terhunen, who died in Flatlands, Brooklyn, in 1685.The family eventually spread out through New Amsterdam, Long Island, and Bergen County, New Jersey. Terhune’s great-grandson, also Albert (1715–1806), left a sizable estate to his six surviving children, including his second child and second son, Isaac. Judge Terhune lived in the house until his death in 1837, at which time, according to an article in The New York Times for November 27, 1910, he, having died without issue, “left the White Frame Mansion with its exquisitely carved doorway, beautiful mantels, and other interior adornments to his brother John” (Part Six, p. 11). The article continues: After the latter’s death, the house and its estate of about 70 acres passed through several owners, eventually being purchased in 1853 by Benjamin G. Hitchings [1813–1893]. The house next passed to Benjamin’s son, Hector, who had been born in the house, and then lived there for 25 years. He sold it in 1910 in partial payment for a Manhattan apartment house. After thus having been sold to a real estate developer, the Hitchings property was subdivided into Hitchings Homestead. The house survived until about 1928, at which time it was razed and a Deco-style apartment house with the address 2301 Kings Highway was constructed on the site and occupied in 1935. By 1910, the fate of the house, in an area of Brooklyn that was being rapidly developed, was becoming obvious. The Times article reported: The house has been well kept up, but fearing lest the hand of time or vandals might deal harshly with some of its choice bits of carving, Mr. Hitchings removed a few years ago a few beautifully carved wood mantels...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Romona Youngquist was born on January 11, 1960 in Yuba City, California, but grew up in Eastern Oklahoma. Youngquist essentially started out in life as a child of nature, spending he...

"Treasury" cast Iron still bank is a re-issue of a bank made in 1928 by the Grey Iron Casting Company, and was made by The John Wright Company in...

Throughout her career, Geesaman photographed public parks and formal gardens in the United States and Europe, focusing on the intersection of nature and artifice in the cultivated la...

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 Japan, Moore spent time in 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 sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

"I want my paintings to be a celebration of pure nature and moment––homage to the sacred spaces of memory. I begin with small automatic drawings, a practice of intuitive organization...

I am inspired by Andy Warhol, who taught us through his silk-screened images of Campbell Soup cans back in 1962 that objects of our popular culture cab be interpreted as “art” if we ...

2016, color aquatint and hardground etching, 25 3/4 x 37 inches (65.4 x 94 cm), edition of 25, signed, dated and numbered by the artist

A native New Yorker, Brosen has spent a lifetime wandering its streets, discovering its long history and witnessing its constant metamorphosis. The city is his muse and his primary s...

Lloyd Goff studied at the Art Students League, and has work in the collections of the Smithsonian American Art Museum, Whitney Museum of American Art, and T...

Jennifer Bartlett 6 p.m. from Air: 24 Hours, 1994 Drypoint 19 x 19 inches Edition of 65 Unframed

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

Stanley Twardowicz (1917–2008), a one-time orphan, Golden Gloves boxer, professional baseball player and auto worker, emerged from a hardscrabble upbringing in Detroit to become a po...

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...

I am inspired by Andy Warhol, who taught us through his silk-screened images of Campbell Soup cans back in 1962 that objects of our popular culture cab be interpreted as “art” if we ...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibson ...

Fransioli was born in Seattle, Washington, and received a degree in architecture from the University of Pennsylvania in 1930. He worked with John Russell Pope on plans for the exhibition galleries at the National Gallery of Art in Washington, D.C., which he pinpointed as the beginning of his interest in painting. World War II interrupted a promising career in architecture. Fransioli served in the Pacific Theatre from 1943 until 1946, and was among the first American soldiers to survey Hiroshima after the atomic bomb’s detonation in August 1945. He returned to civilian life and took up painting, basing himself in Boston, but working up and down the eastern seaboard. Thomas Fransioli’s cityscapes are crisp and tidy. Buildings stand in bold outline, their forms squarely defined by stark light and long shadows. Saturated color permeates every corner of his canvases, from vibrant oranges and greens to smoky terra cottas and granites. Even the trees that line Fransioli’s streets, parks, and squares are sharp and angular, exactly like those in an architect’s elevation rendering. But Fransioli’s cities often lack one critical feature: people. His streets are largely deserted, save for parked cars and an occasional black cat scurrying across the pavement. People make rare appearances in Fransioli’s compositions, and never does the entropy of a crowd overwhelm their prevailing sense of order and precision. People are implied in a Fransioli painting, but their physical presence would detract from the scene’s bleak and surreal beauty. Magic Realism neatly characterizes Fransioli’s artistic viewpoint. The term was first broadly applied to contemporary American art in the 1943 Museum of Modern Art exhibition, American Realists and Magic Realists. As exhibition curator Dorothy Miller noted in her foreword to the catalogue, Magic Realism was a “widespread but not yet generally recognized trend in contemporary American art…. It is limited, in the main, to pictures of sharp focus and precise representation, whether the subject has been observed in the outer world—realism, or contrived by the imagination—magic realism.” In his introductory essay, Lincoln Kirstein took the concept a step further: “Magic realists try to convince us that extraordinary things are possible simply by painting them as if they existed.” This is Fransioli, in a nutshell. His cityscapes exist in time and space, but certainly not in the manner in which he portrays them. Fransioli—and other Magic Realists of his time—was also the heir to Precisionism, spawned from Cubism and Futurism after the Great War and popularized in the 1920s and early 1930s. While Fransioli may not have aspired to celebrate the Machine Age, heavy industry, and skyscrapers in the same manner as Charles Sheeler, his compositions tap into the same rigid gridwork of the urban landscape that was first codified by the Precisionists. During the 1950s, Fransioli was represented by the progressive Margaret Brown...

Lilly Martin Spencer was a professional artist for over sixty years, painting portraits, still lifes, miniatures, and genre scenes. In the 1850s to mid-1860s her genre scenes depicti...

“Everybody has that feeling when they look at a work of art and it’s right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it...

Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. I...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibson ...

FAPG 19959D/2 Gothic Revival armoire New York, about 1835-1840 Mahogany, with brass hardware Measure: 104 in. high, 73 in. wide, 30 in. deep Exhibited: Hirschl & Adler Galleries, New York, 2011–12, The World of Duncan Phyfe: The Arts of New York, 1800–1847, p. 89 no. 45 illus. 89 Ex coll.: Private collection (probably R. H. Selstadt, Big Stone Gap, Virginia) Although no specific pieces of Gothic furniture documented as by Duncan Phyfe have come to light, there is considerable evidence that he, like various of his contemporaries in New York, embraced the Gothic style. For example, the catalogue of the Halliday & Jenkins auction sale of the contents of Phyfe’s furniture ware rooms, which was held on site at 192 and 194 Fulton Street, New York, on April 16 and 17, 1847, included a “mahogany centre table Gothic gilt pillar and Egyptian marble top” (Halliday & Jenkins, p. 3 no. 63); “12 mahogany Gothic chairs...

Colin Hunt (b. 1973) is a Brooklyn, NY-based artist working primarily in egg tempera and watercolor. His recent series of landscapes of the Avebury stone circle outside of London are...

This is a unique work. The image size is 12 x 18 1/2 inches, and the paper size is 17 x 25 inches. The price does not include a frame. Gail Norfleet earned her BFA at The Universi...

In his "Absence" series, Denis Darzacq’s mines his own work for raw material. By cutting and tearing recent photographic prints of his own work, he generated a wealth of formal mater...

Edition size: 15; Signed, dated, and numbered in pencil, lower margin

Terry Winters Models for Synthetic Pictures, 6 1994 Etching with aquatint on Gampi laid down on Lana Gravure paper Print: 19 3/8 x 22 1/4 inches; 49 x 57 cm Frame: 22 1/4 x 25 1/4 i...

2015, pigment print photograph, 14 x 11 inches, Edition of 12

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

Thomas Fransioli’s cityscapes are crisp and tidy. Buildings stand in bold outline, trees are sharp, and saturated color permeates the scene. But Fransioli’s cities often lack one critical feature: people. His streets are largely deserted, save for the rare appearance of figure and the occasional black cat scurrying across pavement. Instead, humanity is implied. Magic Realism neatly characterizes Fransioli’s viewpoint. First applied to American art in the 1943 MoMA exhibition “American Realists and Magic Realists...

Nice mellow patina on this 18th century English mahogany tea caddy with three interior compartments. Two end sections have incised geometric carved lids. Tapered all around from top ...

Shell on crest, solid splat, great arm support and carved knuckles. Cabriole legs terminating in pad feet. Nice patina. Philadelphia, circa 1760.

Cupid's bow crest, solid splat, great concave arm supports and carved knuckles. Spooned back, deep scalloped skirts, cabriole legs terminating in trifid feet. Wonderful old patina. P...

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

Stone’s luminous still lifes, private interiors, and large-scale panoramas of figures in motion invite us to look—and then look some more—and relish in the sensuality of the three di...

In Anastasia Samoylova's "Breakfast With" series, photo books are splayed open and the iconic images therein mingle with the first meal of the day, reading as affectionate homages to...

Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. I...