Adaa Art Dealers Association Of America

A contemporary figurative painter whose art is rooted in both the past and the present, Alan Feltus specializes in enigmatic depictions of women. Notable for their purity and simplic...

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

Signed (at lower right): DJ [monogram]; (on back): David Johnson 1865

Anodized aluminum (black)

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...

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

This is a hand carved wood prototype for a toy that would have been the model for a 19th century cast iron or tin horse drawn hansom cab. It precedes the mol...

Signed (at lower right): John Ross Key 1882

"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")

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...

Brice Marden Lana 2 1966 Screenprint on paper 20 x 24 inches; 51 x 61 cm Edition of 11 Signed, titled, and numbered in graphite (lower recto) This silkscreen was printed by Brice...

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods,...

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, ...

"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 ...

Of British origin, circa 1815, and of Regency design, the bronze platform support, with foliate and flower head ornamented bracket feet, below a collar of leaves, support a central c...

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

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...

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...

Signed by artist

Displayed on a custom made metal stand designed especially for this boat, this is a typical model dugout canoe carved by the Nootka or Makah Indian tribe of the Pacific Northwest...

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 ...

portrait painted in acrylic on canvas.

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

Signed on back

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...

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...

"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 ...

"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 is a lifelong photographer whose first contact with the medium was in his father's darkroom before he could read. Gibson received a B.A. from Centenary College in Shreveport, Louisiana, and an M.A. at Trinity University in San Antonio, Texas. His early work in theater lighting...

Walnut

"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...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University. She has had solo exhibitions at The McKinney Avenue Contemporary and ...

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...

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...

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

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

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

Signed (at lower right): FJK

Signed (at lower right): Louisa Chase 1989

Will Henry "Painting for Porter" 2019 Oil on linen 15 x 13 inches

Nice example of an ironstone pitcher, hand painted from copper plate transfers in the Chinese Manduran pattern depicting peacocks and abundant floral decoration in a Famille Rose sty...

4 panels hinged together of bronze metalic textured paper over wood.

Signed (at lower left): W.R. Miller/ 1851

signed "Ike Edward Morgan" at lower left

Samoylova's "Landscape Sublime" series explores how landscape imagery in contemporary culture is used to create constructed realities, wholly apart from our lived experiences. Samoyl...

Made for Cadarina Moser, Lancaster, PA in 1801. Inlaid tulips and resting on ogee feet. Iron strap hinges inside. Pictured and mentioned in "American Furniture" catalog in 2015, page...

Charcoal and Getty Fire Ash on paper

Mahogany

"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...

multi color silscreen on paper, edition of 144 abstracted landscape with trees

Samoylova's "Landscape Sublime" series explores how landscape imagery in contemporary culture is used to create constructed realities, wholly apart from our lived experiences. Samoyl...

Samoylova's "Landscape Sublime" series explores how landscape imagery in contemporary culture is used to create constructed realities, wholly apart from our lived experiences. Samoyl...

Signed and dated (on verso): Louisa Chase 1985

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 wood panels, he created about sixty scenes of daily life, among them this picturesque vignette of a Japanese tea garden...

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

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

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

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

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